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Look at me now . . . Lily of the 5 & lO 

Is IT really me? . . . here in a lovely house, 
with a car and servants . . . and the nicest 
man in the world for a husband? Sometimes 
I wonder . . . 

It seems only yesterday that I was one of an 
army of clerks — and a very lonely one at that 
. . . only yesterday that Anna Johnson gave 
me the hint that changed my entire life. Maybe 
she told me because I was quitting and she 
wanted me to have a good time on my little trip 
to Bermuda that I'd skimped and saved for. 

"Lil," she said, "in the three years we've 
been here, I've only seen you out with a man 
occasionally. I know it isn't because you don't 
like men ..." 

"They don't like me" I confessed. 
"That's what you think . . . but you're 
wrong. You've got everything — and any man 
would like you if it weren't for . . ." 
"If it weren't for what?" 
"Gosh, Lil, I hate to say it . . . but I think 

I ought to . . ." 

And then she told me . . . told me what I 
should have been told years before — what 
everyone should be told. It was a pretty hu- 
miliating hint to receive, but I took it. And 
how beautifully it worked! 

On the boat on the way down to the Islands, 
I was really sought after for the first time in 
my life. And then, at a cocktail party in a cute 
little inn in Bermuda, I met HIM. The moon, 
the water, the scent of the hibiscus did the 
rest. Three months later we were married. 

I realized that but for Anna's hint, Romance 
might have passed -me by. 

For this is wha.t Anna told me: 

"Lil," she said, "there's nothing that kills 
a man's interest in a girl as fast as a case of 
halitosis (bad breath).* Everyone has it now 
and then. To say the least, youve been, well . . . 
careless. You probably never realized your 
trouble. Halitosis victims seldom do. 

"I'm passing you a little tip, honey — use 
Listerine Antiseptic before any date. It's a 
wonderful antiseptic and deodorant . . . makes 
your breath so much sweeter in no time, honest. 

"I'd rather go to a date without my shoes 
than without Listerine Antiseptic. Nine times 
out of ten it spells the difference between being 
a washout or a winner." 

And in view of what happened, I guess 
Anna was right. 

* Sotnetinn's halitosis is due to systemic condi- 
tions, but usually and fortunately it is caused, 
say some authorities, by fermentation of tiny 
food particles in the mouth, Listerine quickly 
halts such food fermentation and then over- 
comes the odors it causes. Your breath be- 
comes streeter, purer, less likely to offend. 
Always use Listerine before business and 
social engagements. Lambert Pharmacal Co., 
St. Louis, Mo. 

Her smart little hat impressed him first but 
her lovely smile went straight to his heart! 

An appealing smile is a priceless asset — Protect yours with Ipana and massage! 

New "Postillion "hat of black 
felt, wool snood back, gros- 
grainband and tailored boiv. 

Don't neglect "Pink Tooth Brush!" ipana and massage 
promote firmer gums, brighter smiles! 

A SAUCY little hat may catch the eye of 
many a man, but a lovely smile goes 
straight to his heart! 

And how pitiful the girl who lets her 
smile get dull and dingy . . . who ignores 
"pink tooth brush". . . who doesn't take the 
proper care of her teeth and gums. 

Don't YOU be so careless! For your smile 
is you—lose it and you lose one of your most 
appealing charms. Neglect the modern care 
of your teeth and gums, ignore the warning 
of "pink tooth brush," and all the Paris hats 
in the world can't help you overcome the 
bad impression of a dull and unattractive 

So if you notice a tinge of "pink" on your 
tooth brush — w yozir dentist immediately! 

Very often, he'll tell you it's only a warning 
that your gums have grown tender because 
our soft-food menus deny them the vigorous 
chewing exercise they need. To help correct 
this he's likely to advise— as so many den- 
tists do— "the stimulating help of Ipana 
Tooth Paste and massage." 

For Ipana, with massage, is especially de- 
signed to help your gums as well as to clean 
teeth. Massage a little extra Ipana into your 
gums whenever you brush your teeth. Cir- 
culation increases in the gums— they tend to 
become firmer, healthier, more resistant. 

Play safe. Buy a tube of economical Ipana 
Tooth Paste at your druggist's today. Let 
Ipana and massage help make your smile 
the bright and winning smile it should be. 


for November 1939 


©CIB 427921 


Everything happens to me. 
Other writers seem to be able to go 
off on location trips and have a perfectly 
wonderful time hob-nobbing with movie 
stars and enjoying nature at its mildest. 
But just let me go on a location trip and 
you can be quite certain that nature will 
rear up and act nasty. I think I bring 
out the beast in nature. There was the 
time I went on the desert location down 
in Arizona with the "Under Two Flags" 
company. Everything was dandy until I 
got there and then a sand storm blew up 
that wrecked the set, Ronnie Colman's 
eyes, and my new car. When I went to 
Sun Valley, Idaho, with the "She Met 
Him in Paris" company a snow storm set 
in that lasted a week — and after a week 
of hob-nobbing with sulking actors in 
hotel rooms I hated them and they hated 
me. On the "Rose-Marie" location in 
Nevada I was all set to expand my lungs 
and thump my chest and enjoy the forest 
primeval when the rains came, and prac- 
tically washed Jeanette MacDonald and 
Nelson Eddy, and all of us into Lake 

So it was inevitable that nothing minor 
would occur when I recently joined an 
RKO junket to Eugene, Oregon, to visit 
the location of "Abe Lincoln in Illinois." 
Raymond Massey (Abe Lincoln), Mary 
Howard (Aiin Rutledge), and a swell 
cast of character actors under the direc- 
tion of John Cromwell had been getting 
on so well up there in Oregon that they 
were days ahead of schedule. But I soon 
fixed that. Immediately after I hit town, 
several forest fires that had formerly kept 
a well-mannered distance suddenly started 
closing in — in fact, the sun was so com- 
pletely done in by the smoke that there 
wasn't enough light for shooting, so all 
work had to be called off indefinitely. 
Now I can be big about sand storms, 
snow storms, and floods, but there's a 
little something about fire I don't take 
to. So I didn't tarry long in Oregon. 
Which was a break for the company be- 
cause the wind changed immediately after 
I left and "Abe Lincoln in Illinois" car- 
ried on in fine fettle. 

There was an Easterner ( one of those 
Hollywood belit tiers) on that junket who 
seemed to be a bit bafiled because "Abe 
Lincoln in Illinois" is being made in 
Oregon instead of Illinois, because an 
Englishman is playing the Greatest Amer- 
ican of Them All, because the studio 
built an entire village of New Salem in 
the wilds of Oregon, rather than use the 
authentic New Salem in Illinois. "So 
what?" I said politely, "Do you want to 
make something out of it?" He didn't. 

Well, it seems that there is no actor in 
this world ( even Henry Fonda) who looks 
as much like the pictures of Abraham 
Lincoln as Raymond Massey. Mr. Massey 
has been in the Broadway production of 
"Abe Lincoln in Illinois" all this past 
year in New York, and believe me, he just 
is Lincoln. ( And a fine time to get upset 
over an Englishman playing Lijicoln when 

(Continued on page 13) 

SEP 28 1939 


NOVEMBER, 1939 / 

Volume Ten 
Number One 

Silver S 


Lester C. Grady 

Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 




An exclusive inlerview with Janet Gaynor on her marriage to Adrian 

His younger sister, Ann, tells some tales out of school 


Dorothy Lamour knows all the answers about allure and doesn't mince words 


Jimmy Stewart behaved Just like any other sightseer 


Joel McCrea knoivs the value of a helping hand 


The surprising flight to fame of Linda Darnell, Brenda Marshall, Brenda 
Joyce and Helen Gilbert 


Rosalind Russell has a determined way of getting what she wants 
HE TOOK WILL ROGERS' ADVICE William Lynch Vallee 42 

And it led to fame and fortune for Gene Autry 

CHECKING ON THEIR COMMENTS Frederick- James Smith 44 

Reading-between-the-lines of the interviews given by the stars 


Showing Manhattan to Lya Lys was part of the author's job 



Down on the farm with Clark Gable and Carole Lombard 

Screen celebrities galore jlocked to gala opening 

Waller Winchell called her ' Broadway's most beautiful showgirl!" 




In which Liza goes on a location trip to Oregon 

Intimate items about your favorites 

Pictures to see and to miss 


Some aids in the discovery of that beauty of which you are not aware 


The latest news of the players and studios in print and pictures 


To Joan Crawfordl 


The virtues and vices of all the new pictures 


Priscilla Lane models the latest collegiate fashions 


Advance reports on films in production 







T. G. Heimbucher, President Paul C. Hunter, Vice President and Publisher D. H. Lapham, Secretary and Treasurer 

SILVER SCREEN. Published monthly by Screenland Magazine, Inc.. at 45 West 45th Street, New York, N. T. 
Advertising Offices: 45 West 45th St., New York; 410 North Michigan Ave., Chicago; 530 W. Sixth St., 
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive 
careful attention but Silver Sceebn assumes no responsibility for their safety. Yearly subscriptions $1.00 in 
the United States, its dependencies, Cuba and Mexico: $1.50 in Canada: foreign $1.60. Changes of address 
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered 
as second class matter. September 23. 1930, at the Post Office. New York. N. Y., under the act of March 3. 1879. 
Additional entry at Chicago, Illinois. Copyright 1939 by Screenland Magazine, Inc. Printed in the U. S. A. 


A prophecy: WcRB^ r//£ 6kf/IT£ST Fm /lAfP 

Ati/s/c RfrejiTA/AfMeA/r You iv£R Saw/ " 




Screen Play by Jack McGowan and Kay Van Riper. 
Directed hy Busby Berkeley • Produced by Arthur Freed 


. . . and the best of music! Hear: 
"BABES IN ARMS" and •'WHERE and WHEN" by 
Rodgers & Hart,"GOD'S COUNTRY" by Arlen & Harburg, 
"GOOD MORNING ' ' by Nacio Herb Brown & A rthur Freed. 

for November 1939 



Shirley Temple looks amazed at hearing 'em and so will you! 

GLAMOUR Girls are certainly going 
in for freckles these days! And 
when we think that only a year 
or so ago you practically had to beat 
one over the head with a sledgehammer 
before she'd let you take a picture of 
her without gobs of make-up on to hide 
the httle brown spots! But no more. 
Joan Crawford, Bette Davis, Ginger 
Rogers and Myrna Loy are all quite 
pleased with their freckles, thank you, 
and if you pop up on them with a candid 
camera it doesn't annoy them one bit. 

In fact. Ginger is really over-doing it. 
So proud is she of her freckles that she 
refuses even to use powder most of the 

time. Recently, her studio had some pic- 
tures made of her for magazine covers. 
Ginger refused to use make-up, so natu- 
rally when the pictures were developed 
there was a whole harvest of freckles 
on her pretty face. "Candid camera pic- 
tures are fun," said one magazine editor, 
"but we don't want them quite that can- 
did. Re-touch the freckles and send them 
back." But Ginger calmly refused to okay 
the pictures if one single freckle was 
removed. And when a magazine has to 
beg a Glamour Girl to "look pretty," 
Jumping Jupiter, that's news! 

1, K^„ » 

Before Tyrone Power and Afinabella 

Left: Charles Laughton with 
his protege, Maureen O'Hara, 
whose performance with him 
in "Jamaica Inn" was so 
highly successful he brought 
her to Hollywood for his 
"Hunchback of Notre Dame." 

left on their recent European vacation 
they, along with other Twentieth Century 
players, had to attend a formal banquet 
with plenty of speeches and trimmings. 
It was all quite dignified and everyone 
was being very polite and very bored. 
Once removed from Ty at the speakers' 
table was his pa! and former best man, 
Don Ameclie. Don's speech was to be the 
most serious of a long series of serious 
speeches. Like most orators Don grabbed 
for his glass of water for a last gidp 
before he pompoiisly rose from his chair 
— and to the surprise of everyone did a 
marvelous "double take." Then he gig- 
gled, then he pidled himself together, and 
launched into his oratory. How he ever 
got through the speech he doesn't know! 
It seems that Ty had slipped one of those 
tiny painted turtles into his water glass — 
and when he gulped he almost swallowed 
a live, wiggling turtle. Moral: Don't ever 
sit next to Ty Power at a banquet. 

The greatest ovation at the premiere of 
"The Star Maker" went to Mary Pickford 
and Lillian Gish. The crowds cheered loud 
and lustily when those two lovely ladies 
got out of their cars. Gives one some kind 
of a beautiful thrill to realize that the 
public doesn't forget. That it isn't as fickle 
as it's represented to be. 

There seems to be an old bromide or 
something going around that music lovers 
are very dull people {except to other 
{Continued on page 12) 

Above: The end of the straw hat sea- 
son is savagely welcomed by Mischa 
Auer. Right: Jeanette MacDonald coz- 
ily at home with her hubby, Gene 
Raymond. Our staff photographer, 
Gene Lester, got this exclusive pose 
while visiting them in their home. 

Silver Screen^ 

g A HOLLYWOOD DIARY bY i^ixmiC^k^ 









Your bright young correspondent's hands are quite 
black and blue from pounding on the Paramount 
doors, begging for a preview of "Jamaica Inn," the 
new Paramount release starring our special screen 
favorite Charles Laughton, and directed by the one 
and only Alfred Hitchcock. But every black and 
blue mark is a cherished possession now. 

For I've seen "Jamaica Inn" and it is all that I'd hoped for. Laughton has 
an even grander role than his Captain Bligh, or Javert, as Sir Humphrey 
Pengallan, a glorious rogue in a top hat, who directs the thrilling activities 
of a crew of cutthroats who wreck ships on the English coast and turn 
over their spoils to Sir Humphrey. Maureen O'Hara, Laughton's own dis- 
covery, is all he claims her to be. In short, Pommer-Laughton Mayflower 
Productions have made this exciting Daphne du Maurier novel into an 
even better screen drama. 


If you've seen the stage play "What a Life," or listened to the adventures 
of Henry Aldrich on the radio, you're prepared for the treat Paramount 
has m store for you m the new picture, "What a Life." Jackie Cooper is, of 
course, the perfect choice for young Henry. And Betty Field is so delightful 
as Henry's Best Girl that Paramount has already signed this young Broad- 
way actress for the lead in Booth Tarkington's "Seventeen." Frankly, I 
haven't had so much fun since my last high school dance as I had watching 
Henry, his mother, and all his teachers tangle in the true-to-life schoolday 
adventures of "What a Life." Jay Theodore Reed deserves a lot of credit 
for making the finest school comedy brought to the screen in years. 


Suppose you were a very beautiful and very successful young New York 
career woman, with plenty of social and economic independence; would you 
think a husband necessary? Madeleine Carroll, as such a young lady in 
Paramount's "Honeymoon in Bali," gives a very definite "no" to that ques- 
tion. Even charming Allan Jones, as an opera singer who can make most 
girls' hearts go pit-a-pat, gets a cold shoulder from Madeleine. Then along 
comes Fred MacMurray, the adventurous charmer from Bali, boasting of the 
five Balinese beauties who love to mend his socks, gives Madeleine a Bali- 
nese kiss . . . and whammmmmm! P. S. Little Paramount starlet Carolyn 
Lee, under the expert direction of Edward H. Griffith, is wonderful as that 
wonderful Babe from Bali. 

Call Y^"' theatre and ask them when these Paramount 
Pictures, mentioned by Miss Grant, will play. Remember: If it's 
a Paramount Picture, it's the best show in town. 

j r November 1939 





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A Film for 
Every Mood 

FEVER rMGM;— Excellent. Just before 
graduating from highschool, Andy sud- 
denly transfers his affections from Polly 
Benedict to Helen Gilbert, the new dra- 
matic instructress. Andy gets it hard and, 
although we laugh at his subsequent mis- 
fortunes, it's with a lump in our throat. 
He even writes a play, and the perform- 
ance of this "masterpiece" is worth the 
price of admission alone. {Mickey 
Rooney, Ann Rutherford, Lewis Stone:) 

This will put you in a grand humor. It 
tells of the absurd but delightful compli- 
cations that arise when Ginger Rogers, a 
soft-hearted department store salesgirl, 
helps a baby in distress on the doors of a 
foundling asylum. Ginger really is a 
marvelous comedienne and is aided and 
abetted in this instance by Charles Co- 
burn, the millionaire store owner, and his 
susceptible son, David Niven. The baby 
is adorable, and will give Sandy a run for 
her prestige. 

BEAU GESTE (Paramount) — Fine. A 
worthy remake of the famous silent pic- 
ture, this tells the story of three loyal 
brothers who join the French Foreign 
Legion in Africa after the theft of a price- 
less jewel at their home in England. Each, 
of course, is trying to shield the other 
who "might" be guilty. It is packed with 
mystery, intrigue, murder and romance. 

(Gary Cooper, Ray Milland, Brian Don- 

(Paramount)— Good. You'll find thrills 
of the haunted house, spooky variety in 
this rather old-fashioned mystery story. 
But if you enjoy haunted houses with 
secret wall panels, etc., you'll get many a 
shiver and many a giggle when you see 
this. The lonely Bayous of New Orleans 
are a fine atmospheric background, and 
the cast is tops. {Bob Hope, Paulette 
Goddard, Douglas Montgomery.) 
ISLAND (20th Century-Fox) — Fair. The 
newest Charlie Chan opus {with Sidney 
Toler in the Warner Oland part, of 
course) brings this droll Chinese detec- 
tive to the San Francisco World's Fair to 
unravel his latest mystery, concerned with 
the mind-reading racket. {Cesar Romero, 
Pauline Moore.) 

Century-Fox) — Good. Jane Withers, minus 
her bangs, and well on the way to young 
girlhood, is the star of this charming film 
adaptation of Barry Benefield's popular 
novel of the same title. It tells, and most 
amusingly, too, the story of the gay and 
debonair father {Leo Carrillo) who brings 
his family to New York from the Deep 
South in an old wagon drawn by mules, 
and their adventures in the Big Town. 
{Spring Byington, Marjorie Weaver.) 

EACH DAWN I DIE (Warners)— Ex- 
cellent. A prison drama that pulls no 
punches. If you can take it, you will see 
{Continued on page 10) 

A lively scene from "Hawaiian Nights," with lovely Constance Moore rehearsing 
her new dance as Johnny Downs toots his trumpet, Matty Malneck plays his 
violin and all the boys swing out with some red hot "rug-cutting" music. 


Silver Screen 

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for November 1939 

JILL: O-oh, Mommy! Do I have to take 
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your little tummy or sicken you. It's so 
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[Continued from page 8] 

Jimmy Cagney giving one of the most 
outstanding performances of his career 
as the newspaper man railroaded to jail 
by a crooked pohtical boss. George Raft, 
as a big time gangster, who actually meets 
what he calls "an honest guy," in Jimmy, 
is superb. (/a«e Bryan, Geo. Bancroft.) 

FOUR FEATHERS (United Artists)— 
Fine. When the English set out to make 
a film lauding the Empire, rest assured 
you're in for a colorful patriotic treat. 
Here we have a dramatic, breath-takingly 
real reproduction of Lord Kitchener's 
bloody campaign to win back the Sudan, 
with the heroes four officers in a swank 
regiment. Filmed beautifully in Techni- 
color, and acted right up to the hilt, this 
is a "must see." {Ralph Richardson, C. 
Aubrey Smith, John Clements, June 

GIRL FROM RIO, THE (Monogram) 

— Fair. Although the plot of this is not 
new screen fare, it is always dramatic 
enough to be served for another helping. 
Movita plays the role of a South Ameri- 
can singer who comes to New York to 
help her brother out of a murder rap. As 
a night club singer — in the right spot, of 
course — she is able to do this quite sim- 
ply. There are some good songs, some 
good acting, and plenty of action. (War- 
ren Hull, Kay Linaker, Alan Baldwin.) 

Entertaining. Light and breezy and young 
as the morning is this filmusical telling 
the story of the son of a grouchy depart- 
ment store owner, who insists upon "liv- 
ing his own life." In other words, becom- 
ing a band leader instead of a merchant. 
Hawaii is the locale. There's plenty of 
swing music as well as a few romantic 
Hawaiian numbers. (Johnny Downs, 
Mary Carlisle, Cojistance Moore.) 

IRISH LUCK (Monogram)— (3,ooA. 
Frankie Darro is cast as a bell hop in a 
large hotel that is used as an undercover 
exchange by a gang of crooks. Imbued 
with the desire to be a detective on his 
own account, young Frankie does a bit 
of shrewd sleuthing which lands him in 
several precarious positions. Plenty of 
melodrama in this one, and some good 
comedy, too. 

mount) — Good. Romance and intrigue in 
a mythical South American republic. 
When the President of this exciting coun- 
try is assassinated, Akim Timiroff, a 
French actor wanted by the pohce of his 
own land, impersonates him until an im- 
portant deal is put through. (Patricia 
Morison, Ernest Cossart, Lloyd Nolan.) 

(United Artists) — Fine. Adapted, but 
freely, from Alexander Dumas' famous 
novel, this is chuck full of romance, ac- 
tion of the swashbuckling school, and his- 
tory in the making. Louis Hayward plays 
Louis the 14th of France, as well as the 
role of his twin brother, Philippe of Gas- 
cony. The excellent cast includes Joan 
Bennett, Warren William and Joseph 

Excellent. In which death, in the person 
of the serious Mr. Brink, is kept literally 
up a tree while "Gramps" Northrup lives 
on borrowed time long enough, he hopes, 
to keep his adored orphaned grandson. 

Pud, out of the reach of grim Aunt 
Demetria. A film that you will long re- 
member for its hauntingly beautiful phi- 
losophy on a subject so generally feared. 
Perfectly acted by Lionel Barrymore, 
Bobs Watson and Beulah Bondi. 

QUICK MILLIONS (20th Century- 
Fox) — Amusing. This is a sequel to The 
Jones Family in Hollywood and has this 
already famous homespun family inherit- 
ing a gold mine and shack in the Grand 
Canyon. However, they find the shack 
is now a hangout for a gang of crooks, 
who are trying to gain access to the mine. 
It is pure hokum, but will entertain all 
lovers of the Jones Family. (Spring By- 
ington, Jed Prouty, June Carlson, George 

SECOND FIDDLE (20th Century-Fox) 

— Entertaining. In which our charming 
little skating star, Sonja Henie, is cast as 
a Minnesota schoolmarm! But wait a 
minute. An up and coming Hollywood 
press agent, played by Tyrone Power, 
discovers her and soon she is hard at 
work becoming a screen glamour girl 
under his expert tutelage. The skating 
and the Irving Berlin songs are "tops." 
(Rudy Valee, Edna May Oliver.) 

Fair. In which the California orange 
growers run up against an unscrupulous 
business man who wishes to force their 
prices down to meet his demands. A mur- 
der in which Ralph Morgan, the head of 
the orange growers, becomes involved, 
leads to the end of this dictatorship. (Ro- 
chelle Hudson, Barry Mackay, George 
Bar bier.) 

Artists — Fine. What with Jascha Heifetz, 
one of the world's great violinists, play- 
ing several times during the picture, and 
with California's most accomplished chil- 
dren's symphonic orchestra getting in its 
crescendoes, so to speak, what does it 
matter if the story is hokum — it's enjoy- 
able hokum, and you'll have a grand time 
following it. (Gene Reynolds, Walter 
Brennan, Andrea Leads, Joel McCrea.) 

— Fine. With Lana Turner as the taxi- 
dancer who makes High Society, only to 
be insulted fast and furiously by the 
ultra-sophisticated Anita Louise, you 
have an idea of what kind of plot situa- 
tions this comedy is letting you in for. 
The excellent cast includes Jane Bryan, 
Richard Carlson, Lew Ayres and Ann 

— Fair. With variations this plot re- 
sembles that of Bachelor Mother. Only 
here we have three corny actors, Dennis 
O'Keefe, Mischa Auer and Shirley Ross, 
acting as parents to a poor Httle orphan 
baby, in this case none other than that 
remarkable Sandy of whom you have 
heard so much favorable comment. 

WINTER CARNIVAL (United Artists) 
— Fair. The annual Dartmouth winter 
sports events are reproduced here with a 
great deal of verve and excitement. But 
that's more than we can say for the plot 
of this yarn exploiting the charms of this 
year's "oomph" girl, Ann Sheridan, who 
in the not so dim and distant past was 
Carnival Queen, with Richard Carlson 
playing head man in her dizzy life. (Helen 


Silver Screen 

J.O one woman 
he gave his memories . . . 
to another 
he gave his dreams— 
wild longings- 
fierce desires 
he dared not name . . » 
for an interlude of 
stolen love! 
Could any woman 
be content with 
half a love? 
Could any man 
summon enough 
for both?. . . 
A vivid portrayal by 


star player extraordinary in 


A Love Story 


great production introducing 
the glamorous new Swedish star 


Produced by DAVID O. SELZNICK 
Leslie Howard, Associate Producer 
Released thru United Artists 

for November 1939 


Hollywood Whispers 

[Continued from page 6] 

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I enclose 10c to cover mailing expense. Please send me valuable book 
"Etiquette of the Engagement and Wedding." 

Name , 

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SS 11-39 

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music lovers) but such was not the case 
at a cocktail party given recently by 
Jeanette MacDonald and Gene Raymond 
in honor of Lily Pons, Andre Kostelanetz, 
and Dalies Frantz. Music lovers were 
there in full swing (not Bemiy Goodman's 
kind of swing) and even if you didn't 
know a concerto from a contralto it was 
great fun. Jeanette, fresh from a vacation 
at Arrowhead, looked like a beautiful 
bronze statue — ^her face matching her 
dress perfectly. With all the wonderful 
things to eat and drink Jeanette kept 
nibbling at a plate of candy — what a gal 
she is for ice cream and candy! 

"Pink" seemed to be the Hollywood 
motif that afternoon. Gorgeous Korjus 
appeared in pink and black plaid. Janet 
Gaynor wore a green suit with a pink 
blouse, and Irene Dunne had on a very 
cute hat with a scoop of pink carnations 
swooping down over one eye. After sit- 
ting with her back to a blazing afternoon 
sun for a half hour or more Irene Hervey 
— who gets prettier and prettier — had a 
pink neck and pink ears. We were in 
the pink, too, but it came out of a cham- 
pagne bottle. 

„ ii^n u 

Picture making in Hollywood: 

Hollywood sweaters under ninety-degree 
heat. Tay Garnett, comfortably clad in 
soft shoes, basket-weave trousers and an 
open-collared shirt, directs Loretta Voting 
and David Niven on a sound stage at 
United Artists studios. 

Miss Young wears a heavy ice-skating 
costume, woolen socks, heavy shoes, and 
a woolen cap. Niven is beautifidly arrayed 
in a felt skiing costume, with similar ac- 
cessories. As Garnett calls for action, the 
pair climbs into an ice boat on a plat- 
form backed by a process background. 

Both are wilting. Make-up men take a 
last swipe at their perspiring faces. Gar- 
nett gives the signal for action. Through 
a huge canvas pipe is forced a blast of 
air. The sails of the ice boat bellow in 
the man-made draft. 

"Thank heavens!" Loretta gasps. "I'd 
die if the sails didn't need wind." 

We had the pleasure not long ago of 
watching Hedy Lamarr fish. And Jeepers 
Creepers, she's even beautiful when she's 
fishing, though what with live bait dan- 
gling in her hair and fish scales clinging 
to her slacks she doesn't exactly look like 
a close-up from "The Lady of the Trop- 
ics." Hedy's best "fish story" is about the 
three barracuda and three bass she caught 
all in one afternoon in Catalina waters. 
And hubby Gene Markey says it's true. 

The following we snitched from Irving 
Hoffman's column in the Reporter. It 
seems too good to be true — but Ann 
swears it is true: 

Ann Sothern and Roger Pryor recently 
bought a new house. They decided to 
furnish it gradually — doing the upstairs 
first. "You can sit on the floor and look 
at blank walls," Ann said to Roger, "and 
if your friends are real friends, they'll 
sit there, too. But -you- can't sleep on 
bare floors. We'll get the bedroom fur- 
niture first, then the downstairs." So they 

furnished the upper floor completely, and 
left the lower rooms vacant — except for 
a radio. 

Roger had to go out one night to talk 
to a producer, and he and Ann dined 
out that evening. He left her at the res- 
taurant, and Ann said she'd go home and 
sleep, or listen to the radio. At 10:45 
Roger wended his weary way homewards, 
saw that there was no light on upstairs, 
and decided his wife had gone to bed. 
He was about to open the door, when 
he heard voices inside, and he paused. 
". . . What kind of a way is this to live, 
Annie?" a man's voice said. "Let me get 
you out of here and into a decent place!" 

"I can't, I mustn't," a woman's voice 
replied. "It wouldn't be fair to. . . 

"... To that loafer, that orchestra 
leader!" the man scoffed. "That's silly. 
Ann. Silly! Come on, dear. Leave him 
a note and tell "him what you've done. 
But hurry, he may be home any minute." 

Roger was furious. He burst into the 

house yelling, "You're damned right he 

may be home any minute . . ." — and then 

he stopped. The voices emanated from 

the radio, which Ann had forgotten to 

turn off when she retired. 


// you want to make friends and in- 
fluence people, according to Ida Lupino, 
just learn to tell fortunes. Ida claims she 
doesn't know a thing about palmistry, 
really, but she has the uncanny faculty 
of being able to look at a person's pair 
of mitts — a person she hasn't even seen 
before — -and telling them the most amaz- 
ing things about themselves, and things 
they know to be true. Poor Ida. She 
hasn't been able to enjoy a party since 
someone discovered she could "read 
palms." A party to her is just a series 
of hands stuck under her nose. And her 
working companions are no more con- 
siderate tha?i her party companions. Wlien 
we visited her on "The Light That Failed" 
set not long ago great big hulks of elec 
tricians and painters were scrubbing away 
at their hands so they could submit them 
to Ida. By the way, Ronnie Colman 
claims that Ida gives a magnificent dra- 
matic performajice — and after the release 
of the picture she'll indubitably become 
07ie of the leading dramatic actresses in 
Hollywood. Look out, Bette Davis and 
Miriam Hopkins. 

— " 

Myrna Loy always insists on sitting in 
the right rear corner of the back seat of 
a car. She says it's some kind of car- 
phobia, and the only phobia she has. 

,, u<^„ ,, 

Baby Sandy seemed to have started a 
new trend when she played a boy in "East 
Side of Heaven" and became typed as 
a boy. Now Louis King, director of 
"Typhoon" has cast a young male chim- 
panzee, Skippy, as a little girl ape in 
the picture. Skippy seemed to sulk quite 
a bit over being made a sissy, however, 
and to assert his manhood the other day 
took a couple of socks at Dorothy Lamoiir 
who stars in the picture. Poor Dotty has 
now decided she is allergic to apes and 
won't go near one for love or money. 


Silver Screen 

Nancy Kelly and Tommy Wonder look- 
ing quite intrigued at Cafe La Conga. 

Letter from Liza 

[Continued from page 4] 

our Helen Hayes has been playing Queen 
Victoria all over the place.) And it seems 
that the New Salem which the studio 
built some thirty miles out of Eugene 
is far more authentic, according to history 
(it has something to do with log cabins 
a7id stone chimneys) , than the real New 
Salem — the production manager proved 
that to me, though I'm quite sure the 
real New Salem is going to be awfully 
mad when it hears about it. 

Raymond Massey turned out to be a 
swell kind of guy with a grand sense of 
humor. Just to prove that he was a good 
sport he jumped in the pig pen and petted 
a few pigs while I took pictures. (I'll 
send you one — but none of those "ham- 
my" captions now, Mr. Massey might be 
se7tsitive.) I chatted with pretty Mary 
Howard ( wasn't she splendid in "Nurse 
Edith Cavell?") at a cocktail party that 
evening. Her petticoat was showing and 
I thought the womanly thing to do was 
to tell her. "Yes," she said, "Ten people 
have told me already. I like it that way." 


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for November 1939 



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The first step towards hair health is a good brushing, 
and Sheila Darcy, of Paramount, uses firm upward 
strokes to stimulate circulation and polish her hair. 

"Problem" Heads and Faces 

I WAIT for every new Ginger Rogers 
picture with interest. For I know 
now that Ginger will introduce some- 
thing charming and more than often very 
practical in the way of a hair-do. So many 
of Ginger's roles are those of modern 
girls. Formerly, Carole Lombard and 
Bette Davis did more with their hair 
than a magician with a pack of cards 
and a tall hat. Now, however, Ginger 
holds the hair-do spotlight. She has nat- 
urally lovely hair, to begin with, the first 
step toward personal appeal, if you ask 
me. This hair, however, is the result of 
constant and conscientious care to keep 
it healthy and beautiful. The all-seeing 
eye of the camera demands good hair for 
good photography, and the make-up 
studios know the importance of arrange- 
ment with regard to the shape of your 
face and features. There, in a nutshell, 
are the two steps toward making the most 
of your crowning glory. 

To you who sometimes look in your 
mirror with discouragement, sigh and 
silently breathe a prayer for beauty, I 
wonder if it has ever occurred to you 
that you may already have it? None too 
obvious, perhaps; not cut to a standard 
pattern, but hiding there, awaiting only 
the emphasis of a certain line, a subtle 
touch of color, a change of hair to bring 
it forth? You may well wonder at the 
glorious changes you have seen in faces 
on the screen. All this, because keen, 
trained eyes saw how to accent a good 

Some Aids In The Dis- 
covery . Of That Beauty Of 
Which You Are Not Aware! 

By Mary Lee 


After her hair is set, she uses a 
comb to curl up the ends, for 
that natural, unstudied effect. 


Silver Screen 

point, how to subdue a lesser one. 

If you really want to restyle yourself, 
begin with your hair. The divinely col- 
ored, soft lustrous hair, we pass up, just 
as we do perfect faces. They are too much 
in the minority, and somehow it seems 
that most nice girls have problems. 

First, let's try to develop really lovely 
hair to work on. A perfect permanent 
and a lovely arrangement are never a 
problem with this hair. Here, though, we 
are going to consider such everyday trials 

Dry hair, usually dull, harsh and like 
straw. A new hat even emphasizes these 
points, instead of doing something for 
you. Often you bemoan its loss of rich 
color and shine and the embarrassing little 
flakes of dandruff that sift over your dark- 
clad shoulders. . . . 

Oily hair, which you wash often 
enough but which a few days afterwards 
returns to its flat, dull lifelessness. You 
worry, too, about a thick, oily type of 
dandruff that covers your scalp. This hair 
gives you the willies, and in spite of 
otherwise good grooming makes you look 
careless. . . . 

Extra-fine hair, a type you love to 
touch atop a three-year-old, but which on 
an adult is a distinct problem. Even a 
good permanent seems to cause these fine 
hairs to break or turn into a fuzz. . . . 

Your bleached or dyed hair begins to 
tell the truth. Its natural life and lustre 
are gone; its tone, once so beautiful, now 
looks artificial and in poor taste. . . . 

Now, every problem head listed above 
has something in common. These are 
known as "difficult" hair cases. 

To return your hair to normal condi- 
tion, to reveal some of its old beauty, 
I know of no better suggestion than 
making an appointment at once with your 
hairdresser for a Fitch Reconditioning 
Treatment. This treatment is the result 
of much highly scientific laboratory work 
and experimentation to discover the 
causes of prevalent hair ailments and to 
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on dry scalp and hair of that famous 
IContinued on page 80] 


mt of the hearts of its people 
. . . out of the very soil of America ... a 
great director creates his most stirring, human drama ... of an un- 
sophisticated young man with a dream in his heart ... of a woman 
who helps make his dream come true . , . and of the laughter, the 
love, the pain, and the joy they share in this everyday business of 
living! Stirring ... in the seeing! Precious ... in the remembering! 
Enacted by one of the most perfect casts ever assembled! 

For her type. Sheila finds this 
simple parted-in-the-middle style 
of hair-do the most flattering. 


ill SMITH Goes To^^ W^ 



Claude RAINS • Edward ARNOLD • Guy KIBBEE • Thomas MITCHELL • Beulah BONDI 

Directed by FRANK CAPRA • Screen play by SIDNEY BUCHMAH 

A Columbia Picture 

for November 1939 


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Janet Does an 

Off to Yuma! 

An exclusive interview 
with Janet Gaynor on 
her recent marriage to 
Adrian, the designer 

By Liza 

THERE I sat in my office trying to 
decide whether to pierce my heart 
with my scissors, drink my glue, 
or merely drop myself off the window 
ledge into a revolting splash in front of 
Grauman's Chinese Theatre. {"The Lady 
of the Tropics" was playing there, and 
Hedy Lamarr is one of my favorite peo- 
ple, and I wouldn't begrudge her picture 
a little extra publicity.) Then the phone 

"Hello," I said dully, expecting noth- 
ing better than a pohceman's benefit. 

"You can't be important," came a cute 
voice I recognized as Janet Gaynor's, 
"or you wouldn't answer your own tele- 
phone. However, I'll take a chance on 
you. Give your typewriter a day off and 
come on down to the beach and let's 
have girhsh confidences." 

"You're the only nice thing that's hap- 
pened to me in days," I said brightening, 
"I'll be right down." So postponing my 
suicide indefinitely I left for the beach. 
I had a hunch it was about a wedding. 
To get to the Gaynor's httle blue and 
white beach house {except it isn't so 
little) you have to drive to Venice and 
then for several miles along the Speed- 
way {except it isn't a speedway) to the 
1500 block. I was promptly shown into 
Janet's bedroom upstairs which faces 
the ocean and which has recently been 

As the wife of Adrian, Janet confessed 
to Liza that she looks forward to a 
richness and fullness of living she never 
could have known if she continued to 
live just by herself like a hermit. 


Silver Screen 

It was just about a year ago that Janet 
and Adrian started "going together" 
and had the Hollywood gossips buzzing 
away over an exciting new romance. 

decorated by Adrian in blue and white — 
blue being Janet's favorite color, as 
you've probably guessed by now. 

Janet was packing like mad. All kinds 
of luggage was strewn around the room, 
and I haven't seen her so fluttery since 
the night of the preview of "A Star Is 
Born," when a gang of enthusiastic fans 
decided that bits of her dress and her 
hair were just what they needed for their 
memory books. 

"Don't tell me," I said, flopping on a 
cushion, "Let me guess. You're getting 
married. You're eloping." 

"Yes," Janet fairly gurgled. (Oh, these 
in-love people!) "Isn't it wonderful! A 
and I hadn't intended getting married 
until Thanksgiving. We were planning a 
quiet home wedding. But yesterday A 
discovered that he could get away for 
a month if he could finish up at the 
studio. So we've decided to drive to Yuma 
on Monday, take the train there for El 
Paso, Texas, and then on to Mexico City. 
Honeymoon in Mexico. Isn't it thrilling! 
A tells me that Mexico City is the most 
fascinating city in the world." 

{"A" stands for Adrian. Janet has a 
habit of calling her close friends by their 
initials. When she and Tyrone Power 
were going together she called him T.P.) 

"This is the dress I'm going to wear," 
Janet said, holding up a polka-dotted 
blue of thin silk crepe. "A had planned 
to design my wedding dress for me. But 
now he hasn't time. I'm wearing this 
because it's the coolest dress I have in 
my wardrobe, and it's going to be awfully 
hot driving to Yuma. I ought to know — 
I've been on enough locations there. But 
never to the Justice of the Peace before. 
I probably won't wear a hat. Unless A 
insists. I never do." 

While she dropped handkerchiefs, eau 
de cologne, tooth brushes, stockings, per- 
fume, handsomely tailored {Janet isn't 
the frilly type, thank goodness) robes 
and underwear around in the different 
bags, she prattled on about happiness, 
love and marriage. And I think she's got 
something there. 

"For my part," she said, "I feel that 
what happiness any person may experi- 
ence must have its origin in one's own 
capacity for happiness. Wasn't it Lin 
Yutang who told us about the Chinese 
big-wig of the seventeenth century who 
found the height of happiness on a sum- 
mer's day in cutting open a big green 
watermelon as it rested on a scarlet 
plate?" {Me — I woiddn't be knowing 
about Lin Yutang, but Janet is a very 
erudite young lady.) "So you see, Eliza- 
beth, happiness is really a personal thing. 

"Marriage is a matter of free and de- 
liberate choosing in this modern day. To 
most people it is a gamble for happiness. 
I have a feeling that, in marriage, no 
matter how unevenly the days move 
along, and they are bound to be uneven 
in this complex scheme of today's li\'ing, 
it is in the regular give-and-take of ac- 
tivities that the real worth while pattern 
is woven. 

"With A and me — now here you have 
two distinct individualities with separate 
and mutual interests — but we share them, 
and both enjoy what we feel is a rare 
companionship. We feel, too, that we are 
making an investment in faith, rather 
than the customary gamble for happiness. 
I sound awfully serious, don't I?" She 
giggled, and she has a most infectious 
giggle. "Well, I am serious." 

And happy too, I thought. I haven't 
seen anyone radiate such happiness in 

"A and I both love to travel and both 
of us have done a lot of it," she con- 
tinued. "We expect to do a lot more. 
Travel does something to a person. At 
least it is a liberal education. Surely, 
anyone who can possibly afford it travels 
these days. I always feel as if I'd had 
the inside of my head re-decorated when 
I return from a trip, even if it's only 
up to Yosemite or over to Boulder Dam. 
You give your mental house an airing 
and you feel so refreshed. And how would 
you like to travel from that cushion 
over to this chair — you're sitting on my 
favorite scarf." 

I moved off of a very gay red scarf 
and handed it to Janet, thinking of the 
old days when Janet, with her burnished- 
copper hair, wouldn't come within a mile 
of anything red. But Adrian told her to 
wear red — and she wears it. 

"When you go to another country, as 
we are doing — going down to Mexico 
City — you learn about other people, their 
aims, their principles, their folklore and 
their art treasures. A iinds inspiration for 
his work in visiting other countries and 
has always been an enthusiastic traveler 
and sightseer. And you know me. All 
you have to do is barely suggest a trip 
and I'm practically on the train. Just 
imagine! Four weeks of browsing about 
in Mexico City and all that fascinating 
country. Isn't it wonderful! And the next 
time A can get away from the studio 
we are going to Persia. Both of us have 
always wanted to go to Persia. Oh, hon- 
estly, Elizabeth, {Continued on page 66) 



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for November 1939 


The romance of 
hollywood from 
bathing beauties to 
world premieres 




The most brilliant new 
note in entertainment ! 
A heart-warming drama 
of today filled with 1001 
thrilling yesterdays ! 







Associate Producer HARRY JOE BROWN • Screen Play by 
\ Ernest Pascal • Story by Hilary Lynn arid Brown Holmes 
\ Based upon an original idea by Lou Breslow 

* % A 20th Century-Fox Picture 


Silver Screen 


For Gossip 

THOSE new evening dresses that 
show several inches of flesh around 
the middle are becoming very pop- 
ular in Hollywood. Joan Crawford and 
Paulette Goddard, who have slender waists 
and perfect sun tans, were the first to 
go for the new style — and had all the 
plump girls drooling with envy. 

Ann Sheridan bought herself one of 
the new evening dresses the other day 
and set her heart on wearing it to the 
Ann Warner party. But Ann has been 
so busy working, rushing from one pic- 
ture to another, that she hasn't had any 
time to get herself a sun tan. However, 
she was going to wear that dress or bust, 
so she solved the situation quite simply 
by having Westmore's do a special job 
of simonizing on her exposed five inches. 
You can imagine what five inches of Ann, 
even simonized, did to the menfolk at 
the party. 

— <$>— . 

Before he left for the East Louis Brom- 
He'd (who thinks that Hollywood has 
done right by his popular "The Rains 
Came") offered a prize to anyone who 
would sort of accidentally set fire to 
Orson Welles' whiskers. The bearded Mr. 
Welles is quite a startling sight at Holly- 
wood's smart premieres. 

Mary Livingstone is very, very proud 
of her rhumba. She takes lessons con- 
tinuously, even spent a small fortune on 
rhumba lessons from a professional dancer 
in the South of France when she and 
iiubby Jack Benny were in Europe last, 
i^t present, she is enrolled in a rhumba 

Vpper left: Frank McHugh, 
Jane Wyman, Ronald Rea- 
gan and Boris Karloff at 
the Hollywood Legion Sta- 
dium for the Screen Actors 
Guild mass meeting. Upper 
right: Joan Bennett had 
two escorts for the "Old 
Maid" premiere, Walter 
Wanger and Connie's boy 
friend, Gilbert Roland. 

Right: Shirley Ross, with 
her hubby Ken Dolan, 
thought for a moment she 
had the winning ticket in 
Troc's "sweepstakes," but 
no such luck. Below: Judy 
Garland looks on admir- 
ingly as Mickey Rooney 
smashes his way to victory 
in a table tennij match. 
They caused a sensation in 
New York recently with 
their personal appearance. 

Above: Ann Sheridan is escorted to a 
Hollywood premiere by Anatole Litvak, 
whose wife, Miriam Hopkins, is in Reno 
getting a divorce. Right: Loretta Young 
getting ready for one of the magic scenes 
in "Eternally Yours." Lower left: Pro- 
ducer Joe Pasternak with Deanna Durbin 
enjoying Helen Parrish emote in "First 
Love." Lower right: Director Gregory 
Ratoff with Leslie Howard and Ingrid 
Bergman between scenes of "Intermezzo." 

class in Hollywood, which also boasts of 
such celebrated pupils as Joan Blondell 
and Dick Powell, and Gracie Allen and 
George Burns. 

"But heaven only knows," Mary la- 
mented to us at a dinner party recently, 
"what good it does me to dance a perfect 
rhumba. The minute the orchestra starts 
playing rhumba music Jack bolts off the 
floor as if he were shot." 

Hollywood has had its estates named 
"Rancho Mucha Costa," "Mortgage 
Manor," and even Edward Everett Hor- 
ton's "Belly Acres" (he calls it that be- 
cause he claims "belly laughs" enabled 
him to build it), but a new one has 

popped up. It's "Cirrhosis-bythe-Sea," 
all year beach house of handsome David 

"I chose the name," David declared, 
"because it's so pretty." 

David shares the house with Walter 
Davis, motion picture production man, 
and Robert Coote, an English actor. 
David plans to build a home of his own 
as soon as he finds the right girl. 
■ — — • 

Clark Gable is just an old softie. Olivia 
de Havilland made that discovery when 
she was working on "Gone With the 
Wind" with him. According to Olivia, 
(whose "Melanie," they say, is something 
out of this world it's so wonderful) there 
was an old worn-out horse, called "Marse 
Lee," used in the flight-from-Atlanta se- 
quence. The horse was so skinny it's 
bones rattled, but everyone at the studio 
had definite instructions not to feed it 
as they had to keep him starved looking 
for the picture. Clark just had fits every 
time he had to look at the poor hungry 
old nag. So, as soon as the picture was 
finished Mr. Gable ups and buys "Marse 
Lee" and turns him loose out on the 

Gable-Lombard pastures to eat his stom- 
ach full for the rest of his days. 

DAVID NIVEN, handsome and ro- 
mantic {currently playing a magician 
in "Eternally Yours,") admitted to us 
recently that he uses a set of rules which 
he applies to decide whether or not he 
will "date" a girl for the second time. 
David, one of the most eligible young 
Hollywood bachelors, has very definite 
ideas about how young women should 
conduct themselves. 

"I'm far from perfect myself, and defi- 
nitely annoying to the weaker sex, I 
know," he said. "Furthermore, not only 
do I have a considerable number of bad 
habits, but a collection of phobias, also." 

As far as the weaker sex is concerned, 
he never calls on a girl for the second 
time who: 

1. Asks him to go shopping with her. 

2. Asks him to carry bundles or pack- 
ages of any kind. 

3. Requests that he fill his pockets full 
of her personal impedimenta, such as lip- 
stick, purse, rouge, etc. 

4. Is constantly asking him for a ciga- 

5. Makes-up in public. 

"Those are pretty serious things with 
me," the British star said. "I can think 
of a dozen reasons why a girl wouldn't 
go out with me a second time — ^you'd 
be surprised to know how many haven't 
— and I'm no angel. But those are the 
rules, I stick to 'em, and I suppose they'll 
finally result in permanent bachelorhood 
for me." Well, girls, now you know. 

Before leaving ' jor Europe following 
the extremely gala premiere of her first 
Hollywood made picture, "Nurse Edith 
Cavell," lovely Anna Neagle took time 
off to straighten out a Hollywood con- 
troversy concerning the correct pronun- 
ciation of her name. She is most often 
addressed, she says, as "Miss Nagle," 
while the true pronunciation is Neagle 
as in eagle. In explanation, she told a 
bit of family history: 

"Anna Neagle is my mother's name, 
which I took as my stage name. The 
earliest known ancestor on my mother's 
side won his name by rescuing a child 
from- the talons of an eagle. According 
to custom, his name became O'Neagle 

because he was Irish. The name has re- 
mained with the family ever since." 

And by the way, just in case you're 
like us and always called it Edith 
Ca-VELL — you're wrong. The correct 
pronunciation of England's brave nurse 
who faced a German firing squad in Bel- 
gium during the War is Edith CAV-ell, 
as in ravel. 

Before leaving -for London Madeleine 
Carroll had this to say on the oft debated 
subject of whether or not a married 
woman should work. 

"It is a ridiculous idea that a woman 
must stay at home because she is mar- 
ried," Miss Carroll asserted. "If an un- 
married woman can be a successful 
author, or painter, or sculptor, or musi- 
cian—as so many are — nobody objects. 
But let a married woman take a job as 
a secretary, a teacher — even a clerk — 
and she finds herself, very definitely, a 
storm center. 

"There is no question of 'stealing' a 
job, or keeping a man from worldng. 
You'll usually find that the married girl 
and her husband, are carefully saving to- 

Above: Eddie Cantor in a bit of tomfool- 
ery with Mary Livingstone Benny at the 
Benny Goodman opening at Victor Hugo'*. 
Left: Betty Grable, at Atlantic City's 
famous Steel Pier, learns the "Triangle," 
(a Continental dance in which a man has 
two girl partners.) with Betty Hutton and 
Walter as Vincent Lopez plays. Lower 
right: June Preisser prepares her Pinky 
for M-G-M camera. Lower left: Bob Hope 
is made Indian Chief at N. Y. World's Fair. 

wards the time when they can have a 
home and a family. When they reach 
that point, their savings will put many 
men to work in the building of that home. 
If the girl chooses to continue working 
— then usually she gives employment to 
someone — maids, gardeners, cooks, some 
sort of household workers — to take care 
of her" home for her. 

"If a millionaire has a son," she pointed 
out, "no one objects when the son seeks 
employment, even though his father can 
support him. Why should a millionaire's 
daughter, or a woman in ordinary cir- 
cumstances, be denied the same right to 
earn money?" 

Family Secrets About 

ONE of the most attractive young 
girls in Hollywood today is Ann 
Power, sister of the famous 
Tyrone. Ann was born on La Brea Ave- 
nue in Hollywood on August 26, 1915, 
which makes her exactly one year and 
four months younger than her brother 
Ty — who, incidentally, first saw the light, 
literally and not spiritually, in Cincin- 

The first time I saw Ann she was in 
a picture frame on Ty's dresser in the 
bedroom of his beautiful new home out 
in Brentwood. (What was I doing there? 
Annabella was showing me around. 
Wouldn't you know!) Recently I had the 
pleasure of meeting her — a tall, slender 
girl with big dark eyes like her brother's 
— and over a crab salad and endless cups 
of coffee {she's a worse chain coffee 
drinker than Barbara Stanwyck, holder 
of the present championship) we engaged 
in a bit of idle chitchat, which wasn't 
idle very long. 

Being one of those women {and there 
must be a million of us) who simply goes 
stark, staring mad over the very men- 
tion of Tyrone Power I tricked Ann into 
telling me some of the family secrets 
about that brother of hers, whom I sus- 
pected wasn't the little angel in his child- 
hood that his pictures, with that cherubic 
expression, might lead one to believe. Ann 
and Ty spent their childhood and early 
teen age together romping over Southern 
CaUfornia, with frequent trips to Ohio 
to visit a grandmother and aunts and 

uncles. As the twig is bent so grows the 
trees, or something, I always say, so I was 
eager to hear about the early traits of 
that Power kid who turned out well in 
spite of what some of the neighbors pre- 

"At the close of the war," said Ann, 
"Mother was asked to take an important 
role in John Stephen McGroarty's famous 
'Mission Play' which is staged annually 
in San Gabriel, California. She remained 
a member of the company for five years 
and Tyrone and I lived with her in the 
close-by town of Alhambra. 

"While Mother was away at the thea- 
tre, Tyrone and I found plenty of mis- 
chief to get into. Tyrone had seen pictures 
in a book of some children in the East 
having a snowball fight. It looked like 
fun. But he couldn't find any snow in 
Alhambra. Oranges, he decided, would be 
just as effective as snowballs, and oranges, 
as you know, are quite plentiful in that 
section of California. He stripped a few 
trees and the battle took place one after- 
noon in the back yard. 

"It was girls versus boys, and ripe 
oranges were bursting all over the place, 
but mainly all over our faces. On my 
team was a little girl who didn't like 
Tyrone — the only little girl, or big girl, 
I ever knew who didn't like my brother 
— and she simply couldn't resist picking 
up a brick and hurling it at Tyrone's 
head. It clipped him on the forehead, he 
was knocked out cold, and the doctor 
had to take several stitches. After that 

he lost interest in oranges, but not in 
little girls. 

"Mother had several pieces of antique 
furniture in our living room which she 
valued very much, a chair in particular, 
and for that reason we had been told 
never to play in that room. We had a 
tremendous back yard and front yard, 
but of course it had to be the living 
room that Tyrone and several little boys 
from his school chose for a very exciting 
football game one afternoon. In the ex- 
citement Tyrone kicked the chair instead 
of the ball and it broke in seven places. 
He knew Mother would be furious so he 
make me cross my heart and hope to die 
that I wouldn't tell, and then he pro- 
ceeded to nail it together with some huge 
nails he found in the garage, 'It's so 
old,' he said contemptuously, 'a few nails 
won't be noticed.' But Mother did notice 
and Tyrone got a good paddling. ' 

It seems that the "trade" instinct came 
out in Tyrone at a very early age. He 
was always trying to "sell" something, 
and if he hadn't become an actor he 
would probably have made one of those 
smooth talking super salesmen. {Mercy, 
he could have sold me anything!) His 
first venture in the business world was 
a lemonade stand on the front lawn. Ann 
squeezed the lenions and washed the 
glasses and swished at the fliies. Ty wat- 
ered the lemonade profusely from the 
garden hose, and sold it. People actually 
bought it — five cents a small glass, ten 
cents a big glass [Continued on page 62] 

Lower left: Tyrone when he was "going on four." Below: With his lovely 
wife, Annabella, while they were in New York prior to sailing for Europe. 
Lower right: On board the S. S. Normandie for their honeymoon trip. It is 
rumored they are expecting an heir during the early months of 1940. 

Ty Power 

His younger sister, Ann Power, gives 
you the untold lowdown on that brother 
of hers who wasn't the little angel in his 
childhood that his cherubic expression 
invariably lead strangers to believe. 

By Elizabeth Wilson 

Tyrone always has 
been a terrible tease, 
according to his sister. 
As a child he had a 
vivid imagination. His 
folks called it fibbing. 
Even today when he 
is making up a beau- 
tiful whopper you 
can detect that quirk 
around his lips if you 
look closely. Tyrone is 
stillloyal toold friend*. 

To herself, a 
woman's emotions are 
always important and 
she never wearies of 
studying them," says 
Dorothy. "The mad 
hot chase for a man 
is the only real outlet 
certain women have 
for self-expression." 

Exotic Dorothy Lamour, who 
should and does know all the 
answers on the subject of al- 
lure, herewith supplies them 
— and without mincing words 

Is IT one unique quality, or the alchemy 
of many that forms the magic elixir 
that makes a woman dangerous? Is 
the Lorelei song, which creates emotional 
havoc and writes enduring dramas, the 
same throughout the ages? Are the sirens 
of today gifted with the same sorcery that 
aided the Queen of Sheba in winning 
Solomon, Cleopatra in bringing the mighty 
Antony to his knees, and Good Queen 
Bess in keeping the dashing Essex dang- 
ling at her side? Or does feminine allure 
change with the times? 

These, and many more were the ques- 
tions I asked Dorothy Lamour, the screen's 
premiere interpreter of vampish roles. 

Dorothy, as modern as tomorrow, in- 
sists that the realm of emotions defies 
rules and guide posts, because no two 
people have the same reactions, regardless 
of the century in which they live. She 
beUeves, however, that potentially every 
woman has the same emotional equipment, 
but that each molds it into a different 
pattern. Also, that no woman can awaken 
deep emotion without the capacity of ex- 
periencing it herself. 

She's never quite recovered from the 
surprise of finding herself classed as super- 
allurement. She insists it was all a mis- 
take. Just a green kid, burning with am- 
bitions, she jumped from singing ballads, 
with Herbie Kay's orchestra, into pic- 
tures with no emotional preparedness, and 
her very first scene before the camera 
was trying to win the affections of a lion. 
She was so terribly frightened that she 
gave a brilliant exhibition of primitive 
emotions that won her the scanty sarong, 
the picturesque costume of the South Sea 
belles, and the leading role in the pic- 
ture "The Jungle Princess." In this, she 
went right on being primitive and was so 
altogether lovely, that Paramount studio 
hastily hunted up more jungle romances 
, in which to star Dorothy and her sarong. 
■ "My experiences are limited to my 
i screen roles," said Dorothy, "but I give 


a Woman Dangerous? 

them much thought and in trying to find 
the key to their reactions I read innum- 
erable biographies of women whose en- 
chantment made history. I've learned this. 
That human nature changes little through 
the centuries, and emotions remain the 
same; it is only our method of expressing 
them that varies. 

"A woman's femininity is her greatest 
lure. There never was a time when men 
did not fall for frills, daintiness, fra- 
grance, curves — all the qualities in direct 
contrast to their own. Naturally, sex is of 
supreme importance; it enters into every 
human relationship, but men seldom like 
to discover it themselves. Mystery does 
its bit, too, and excitement that lurfes to 
conquest is fatal. Men have a limitless 
curiosity and a compelling yen to seek 
thrills amid dangers, if there is a reward 

"No, it is no one weapon that the 
dangerous woman uses. She must have 
infinite resources, because she must meet 

By Maude Cheatham 

every mood, every background, every 
challenge, and while many women are 
born with the come-hither qualities that 
attract men, others must cultivate them, 
but the result is the same. European men 
seek sweethearts, Americans like pals — 
companions to share their sports. In the 
Orient, women are toys — and slaves. 

"To herself, a woman's emotions are 
always important and she never wearies 
of studying them. The mad, hot chase for 
a man is the only outlet certain women 
have for self-expression. Maybe this all 
started when women were chattels, and 
the only means of gaining favors and 
privileges was to win over the 'head man!' 

"Of course," (Continued on page 64 ) 

Right: Dorothy being definitely dan- 
gerous, herself, in a love scene with Ray 
Milland. Below: "Americans like pals, 
companions to share their sports," ex- 
plains Dorothy, "but, naturally, they 
realize sex i* of supreme importance." 

upper left: When Jimmy arrived in Watliington, ||lO 
the first autograph he gave was to Clara May Hild, 
airline hostess, who waited until then to ask for it. 
Lower left: Jean Arthur taw Jimmy to the airport 
when he had to fly to Washington for five days of 
special shots for "Mr. Smith Goes to Washington." 

JIMMY STEWART doesn't want 
to be President. 
In fact, he doesn't even want 
to be a Congressman or the Mayor 
of Van Nuys, Studio City or any of 
the other Hollywood suburbs that 
elect stars as public ofl&cials. 

For Jimmy has just completed 89 
days of being Senator Jeff Smith in 
Frank Capra's production, "Mr. Smith 
Goes to Washington." For 89 days he 
made political speeches, shook hands 
with constituents and avoided lobby- 
ists in Hollywood's letter-perfect re- 
production of the nation's Capitol. 

Then, to climax it all. Senator Stew- 
art flew across the continent to make 
final scenes for the picture in Wash- 
ington itself. After five days of that 
city's unbearable heat and humidity, 
Jimmy is certain that he desires no 
further contact with the public speak- 
ing and baby-kissing profession — a. de- 
cision that definitely gives the babies 
of the nation something less to look 
forward to. 

oes to 


lough official Washington and the 
» went crazy over Jimmy and his 
IS, he behaved like any other ^ghtseer 

By David Tearle 

t while he would not want to adopt politics 
:areer, Jim does admit that playing the part 
senator has its points. Especially since the 
or in question did his work under the guid- 
of Frank Capra, the "great little guy" whose 

of hits includes "It Happened One Night," 

Deeds Goes To Town" and "You Can't 

It With You." 

lator Stewart was perfectly willing to talk 
tt anything, but politics) between scenes in 
ington. And despite the fact that his vaca- 
began the minute shooting was completed, 
owed no impatience when clouds in front 
e sun prolonged the work in Washington 
an expected two days to near^y a week. 
; that is the kind of a person that tall, lanky, 
ing Jimmy Stewart is. Perfectly at ease with 

ramatic editors, reporters and cameramen Below. Director 
logged his footsteps in Washington, he won Frank Capra discus- 
imiration of them all. One editor described »'°s tl»e script of 
is the most likeable and least "actorish" ^'"v.^""*'' 9,'^*.*° 
he had ever met. They all agreed that he Washington, 
, , J » tu ui Jimmy Stewart and 

I completely modest, thoroughly engagmg Arthur. Jimmy 

man. plays the part of a 

le 500 fans waited {Continued on page 67 ) very young senator. 

Jimmy got just as 
big a kick out of 
Washington, D. C, 
as Washington, 
D. C, got put of 
him. (The Lincoln 
Memorial impressed 
him most of all). It 
was his second visit. 
The first time was 
during the World 
War when, as a 
kid, he came to see 
his father who was 
then in the army. 


Jane's latest picture is "Kid 
Nightingale." She's also doing 
the Torchy Blaine series. St. 
Joseph, Missouri, is her home 
town and when she lived 
there she was known as Sarah 
Jane Folks, which happens to 
be her right name. She at- 
tended Columbia College in 
Missouri and was invariably 
leading lady in all of the 
campus plays. Ronald Reagan 
is still her No, 1 boy friend. 



re's more screen excifemenf ff, 


^erica at its maddest J America '""^ ^""^e 

""CO Qf . See , 

( land of the free gone wild' ifg ^, 

the hotcha - the shock-cramniea rf^J 
Hen took ten whole years to //c^/ 

far the biggest of all^^^^^|||||^\y \ m i • 

L ^ * « " ^ flieir Fans! 

hmy'sbig hits! 







When David O. Selznick saw Ingrtd Bergman in an< 
inal Swedish film entitled "Intermezzo," he was so de 
fully impressed that he immediately bought the fill 
all rights and summoned her to Hollywood to play 
site Leslie Howard in an American version. It w>< 
inspired bit of casting, for Ingrid and Leslie are 
as the unfortunate lovers. Edna Best is cast as his>> 



rums Along the Mohawk," 
pted from the best-selling novel 
the same name, co-stars Henry 
da and Claudette Colbert. He 
^s the part of a young farmer 
m the Mohawk Valley during 
Jy Revolutionary Days, who 
fries Claudette, a cultured Al- 
y belle, and takes her back to 

hardships of farming. They are 
idly settled when the treacherous 
ian raids start. All of which is 

about, but not quite, sufficient 
>reak her spirit, thanks to Henry. 


Not the man who makes the goal— not the boys who 
buck the line— but energy. In play or work every- 
one needs it. Baby Ruth, rich in Dextrose, is a real 
source of food-energy. It's fine candy— and fine 
food for young and old. Have you had a bar lately? 




' I ' HERE never has been a better 
-■- known name in pictures than Joan 
Crawford's. Nor has any actress ever 
worked more diligently to make her 
name famous. Naturally, along the be- 
wildering road to fame one is called 
upon to make consequential decisions. 
Joan was no exception. She had to 
make many. Some turned out to be 
rather unwise, with discouraging re- 
sults. A less spirited person would have 
given up, but not Joan. Just when the 
wiseacres would start whispering that 
her career was finished, she'd come 
crashing back with a brilliant per- 
formance, such as she gives in "The 
Women," and re-establish every bit 
of her enormous popularity. Maligned, 
misunderstood, nevertheless Joan cou- 
rageously fights on to new and greater 
triumphs. No wonder we're proud of her. 

The famous bath tub sc 
from "The Women," 
which Joan appears v 
Rosalind Russell. Joan's i 
is unsympathetic, but 
plays it so convincingly t 
you can't possibly hold " 
ill will toward her. Acc< 
ing the part was one of 
smartest moves Joan e 
made as it again gives 
the opportunity to show 
an outstanding actress sh 

Farmer Gable 

and His Wife 

November 1939 

THEY really live on a ranch, buL 
Carole and Clark call it "The 
Farm." It has fourteen acres in En- 
cino, California, and they bought it from 
Director Raoul Walsh, who used to live 
there. Their house isn't very large, but it's 
built for comfort and informality. Carole 
and Clark did all of the furnishing and 
decorating themselves. There's a large 
main living room with a small adjacent 
bar; a cozy dining room; off which is the 
kitchen and butler's pantry; two small 
cellar rooms, one of which Clark calls his 
"gun room" and the other "the office" 
because that's where they keep all bills 
and data about their farm. Upstairs, are 
two bedrooms, two baths and two dress- 
ing rooms and that's all. They raise 
chickens and flowers mostly. Clark has 
taken over the actual management of the 
place and knows exactly what he's about, 
since originally he came from a farm. 
Just about every fruit and vegetable you 
can think of grows on the place. They 
couldn't be happier, these typical farmers, 
which is well to remember as you see 
Clark in "Gone With the Wind" and 
Carole in "Vigil in the Night." 


He's Always Thinking of 

The Other Fellow 

Because Joel McCrea 
never has forgotten 
how grateful he, him- 
self, was when the 
other fellow lent a 
helping hand as he 
was struggling to es- 
tablish himself in 
heartless Hollywood 


Ben Maddox 

Joel is always boost- 
ing the stock of fel- 
low players. It was 
his pep talk that put 
Lew Ayres back in 
the running again. 
Jon Hall and Bruce 
Cabot owe their start 
movies to Joel. 


< m 

' »<••■* •*« ti 

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It * t ft * * * 


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**»**«*««*»««•*»» ,.« 


Silver Screen 

ONE of the girls who didn't get 
into "Gone With the Wind" was 
Joel McCrea's protege. 
You didn't know he had one? 
Neither did anyone else, including the 
sixteen-year-old herself! 

She had been out to the Selznick 
studio three times before, vainly trying 
to tell the very busy casting director that 
she could play the role of Scarlett's sister 
Careen. She had been magnificently ig- 
nored, being nobody. 

But when she walked in for the fourth 
time, bravely, in her best dress, her new 
hat, and smiling uncertainly, a miracle 
followed. An impressive, smart gentle- 
man stepped up to her, briskly announced 
that he had been sent by Joel McCrea's 
agent, and whisked her straight into the 
guarded inner office of the casting mogul. 
That important person looked at her 
with genuine interest. He would be glad 
to talk to her about the part. Why hadn't 
she said she was Mr. McCrea's protege in 
the first place? 

Dumbfounded, Beverly Andre started 
foolishly to open her mouth and wave 
her hands. Fortunately she remembered 
fluttering would be appalling at that mo- 
ment. She swallowed hastily, and blurted, 
"Well, I really didn't— I mean, I didn't 
think it would make any difference, I 
guess !" 

No difference? An appointment was im- 
mediately made for her to give a reading 
of the character before the director of 
the picture and David Selznick, the pro- 
ducer. She was carefully made-up, and 
gowned by the wardrobe department. In 
the end Ann Rutherford was assigned the 
role, but today a talented beginner is no 
longer stamped as merely an extra in 
Hollywood. She is on her way to amount- 
ing to something, having been seriously 
considered for a real part. She is still 
an unknown, but she blooms with a new 
confidence that is bound to bring her 
eventual success. 

I asked Joel about her. A much big- 
ger man physically than you even expect, 
he twisted his huge frame in a dressing- 
room chair that is too small for him. 

"Her father stands in for me. Her 
mother has been my secretary for two 
years. They would never ask for favors, 
but when I happened to hear that Bever- 
ly was in earnest about getting that part 
I did what I could. Why shouldn't I?" 

You've heard how cruel they are in 

Above: Joel and Brenda Marshall get a 
few last minute touches for a scene in 
"Career Man." Joel was most helpful to 
Brenda in this, her screen debut. Upper 
right: With his pal, Cecil B. De Mille. 
Right: At his ranch with his lovely wife, 
Frances Dee. Lower right: Joel discuss- 
ing the script of "Career Man" with 
Director Lloyd Bacon and Dialogue 
Director Jo Graham. He loves his work. 

Hollywood, how an ambitious person 
struggles against selfishness and cynicism. 
Joel confounds that prevalent theory. He 
speaks from his own experience. "If I de- 
cided to spend the rest of my life being 
appreciative to the people who went out 
of their way to help me I wouldn't have 
enough time! I can think of at least 
eighty men and women right off who have 
befriended me. 

"There was Sam Wood, the director, 
who liked me in a college show and intro- 
duced me to Gloria Swanson. She gave me 
a letter to producer Bill LeBaron. C. B. 
DeMille gave me my first contract. One 
after the other volunteered to assist me. 
I wanted to be an actor, I said so, and if 
you have potentialities and are sincere 
and open to suggestion I think you auto- 
matically win your opportunities. When I 
was doing 'Career Man' for Warners, re- 
cently, I remembered how I'd worked as 
an extra on their lot. Billie Dove was one 
of the top stars there then. So was Colleen 
Moore. I was playing a bit, a taxi driver, 
in one of Colleen's pictures when she no- 
ticed me and asked John McCormick, her 
husband and the studio manager then, to 
test me. He did. His verdict was, 'He 
stinks!' I'm glad I didn't .smell quite that 
bad to myself. Later McCormick became 
an agent and wanted to handle me!" 

A star as well set as McCrea can choose 
his companions from among the wealthiest 
sophisticates. Regularly Joel goes hunt- 
ing and fishing, and his buddy on these 
trips is not a man of influence, but Carl 
Andre, his stand-in. They pack back into 
the High Sierras where, Carl swears, Joel 
is a genius at cooking a venison steak 
over a campfire. When Joel is not work- 
ing, and is at home on his ranch forty 
miles north of Hollywood, Carl can keep 
up his riding in Hollywood — because he 
has "the grand horse Joel gave me." 

This democratic independence that dis- 
tinguishes Joel is no new phase. The Ar- 
nold Grey chap- {Continued on page 60) 

for November 1939 

"AH Flew Into The 

Left: Erenda Joyce flew in 
from Kansas City. Above: 
Linda Darnell came in 
from Dallas, Texas. Lower 
left: Brenda Marshall flew 
in from the Philippines. 
Belour: Helen Gilbert, who 
comes from Warren, Ohio, 

The fascinating story of 
hov7 four totally different 
"unknowns" flew, overnight, 
to the heights of stardom! 


Gladys Hall 

^NE flew East, one flew West, they 
all flew into the Cuckoo's nest. . . . 
I don't know why I'm minded of 
the old nursery rhyme, it isn't really 
apposite, except that Brenda Marshall 
flew in from the Island of Negros in the 
Philippines. Linda Darnell flew in from 
Dallas, Texas, Brenda Joyce flew in from 
Kansas City, Missouri, Helen Gilbert 
fvom Warren, Ohio, and they all flew into 
the Cuckoo's Nest (which is Hollywood, 
of course) and right into the warm, 
feathered, snug and starry center of the 
nest, at that. 

For not one of the girls had ever 
made a picture before and, Presto, Abra- 
cadabra and all that, Brenda Marshall 
landed in Career Man, playing opposite 
Joel McCrea; Linda Darnell became a 
famous name upon the release of her 
very first picture, titled Hotel For 
Women; Brenda Joyce "stuck in her 
thumb and pulled out a plum," as Fern, 
in The Rains Came, and Helen Gilbert 


Silver Screen 

Cuckoo's Nest!" 

flew spang into the arms of Mickey 
Rooney in Andy Hardy Gets Spring 
Fever. No languishing in studio stock 
companies for the Hkes o' them; no extra 
work; no "bit" parts; no "B's"; no 
cooHng off of heels while waiting for a 
break, a chance, a part, while the lag- 
gard months make a long year, as was 
the fate of Greer Garson, for instance, 
such as has been the fate of many 
trained actors and actresses. And if this 
isn't landing ker-plunk into the very 
featheriest center of the Cuckoo's Nest, 
you tell me . . 

Really, I never heard of such a thing. 
Or of such things. Here they are, these 
fledghngs, these Unknowns, these babes, 
these novices, literally flying into the 
stars. Here they are, fresh out of 
rompers, their names on all movie- 
minded tongues before they had time to 
lisp the movie jargon themselves, before 
they even learned that a "dolly" is not a 
bisque plaything, that a "penguin" is not 
a bird but a dress extra in tails. . . . 
Here they are, with long-term contracts 
in their slim slacks' pockets, such ac- 
claim and recognition and fat parts ac- 
corded them as only come, we have been 
wont to beheve, to those who have 
sweated up the ladder, rung by rung. 
It's fabulous. It's fairy-tale stuff. It's un- 
believable and — it's true. 

And they flew in, all four of them, 
by different routes, from different back- 
grounds, with dissimilar types of beautj^, 
with different luggage of hopes and 
dreams and abil- (Continued 07i page 70) 


Above: Helen Gilbert be- 
lieves Fate made it ail pos- 
sible. Right: Brenda Mar- 
shall thinks Determination 
did the trick. Lower left: 
Linda Darnell says it's 
Naturalness. Loiver right: 
Brenda Joyce insists it's 
ability to make friends. 

for NovEMB''^ 1939 


^^Connecticut Yankee 

Rosalind Russell is a 
Waterbury, Connect- 
icut, girl whose 
mother was vehement- 
ly opposed to any 
sort of theatricals. 

By Ed Sullivan 

For all her well bred gentility, Rosalind 
Russell knows what she wants and can 
fight like the very mischief to get it! 


upper left: Rosalind loves to ride and swim. 
Above: With Director George Cukor and 
Hedda Hopper on "The Women" set. Right: 
In England with the popular Robert Donat 
with whom she appeared in "The Citadel." 

WHILE they were filming "The 
Women," at M-G-M, Director 
George Cukor kept stressing the 
necessity for realism. Time and again, 
Cukor told Rosalind Russell and Paulette 
Goddard that their hair-pulling match 
lacked authenticity. "When you kick her, 
Paulette," suggested the director, "put 
some oomph into your kick. Hurt her." 
Paulette, thus encouraged, in the next take 
hauled off and kicked Rosalind Russell 
directly on the shin. "That's better," 
said Cukor, encouragingly. "Not quite 
right, but better." He took the scene 
again. Miss Goddard landed another well- 
placed kick on the Russell shinbone. 

The next setup put the shoe on the 
other foot. Miss Russell was called upon 
to bite Paulette's leg as they struggled 
on the ground. For the behind-the-scenes 
records of Hollywood, let it be here stated 
that Rosahnd bit the Goddard calf so 
heartily that it bled. 

The incident is interesting because it 
is a fair summation of Rosalind Rus- 
sell's career. The girl from Waterbur3?, 

Connecticut, well-bred and 
all that sort of thing, has 
succeeded in show business 
because when anyone fig- 
uratively kicked her in the 
shins, she literally always 
drew blood in the retort. In 
other words, Rosalind has 
never quit. She's been 
scared. She's been, at times, 
uncertain. But she's always 
managed to keep her chin 
up and muddle through. 
She's lost minor battles, but 
she has a habit of winning 
the major victories. 

Her entire career served 
to steel her resolution. 
First, it was her mother's 
opposition she had to over- 
come in order to enroll at 
the Academy of Dramatic 
Arts. To the Connecticut 
mother of a family of 
daughters, the suggestion 
{Continued on page 74) 

jar November 1939 


Gene Autry with 
his famous horse, 

He Took 
Will Rogers' 

IT WAS turning dusk in Chelsea, Okla- 
homa — a city of 1,500 souls on Sat- 
urday night and thirty-five during 
the week. It was Tuesday and thiry-four 
of the regulars were getting ready for 
bed. The thirty-fifth sat in the railroad 
telegraph office, singing mournful songs. 
A man opened the door, walked in. 

"Excuse me, son," he drawled, "hate to 
interrupt all this good music, but do you 
suppose you could send a telegram for 

The operator 'lowed as to how he could, 
took his feet off the desk and shoved a 
sheet of paper towards the stranger. 

"Jest keep on singin' while I write 
this," the newcomer said, moistening the 
pencil in his mouth. "You know the one 
that goes, 'la-di-di-la-la?' " 

The operator knew it, knew it well and 
before either of them realized it he had 
sung a dozen songs to the music of his 
guitar and the tapping of the stranger's 

"Yore wastin' time here, young feller," 
said the man, "that's too good a voice 
for a big town like this. Here, get this off 
before they close up the county." 

And with that he handed the message 
to the operator. It was a we-got-lost-but- 
we're-safe telegram to the folks back 
home and it was signed, "Will Rogers." 

The telegraph operator, who was none 
other than Gene Autry, came up for air 
a few minutes later and gasped, "Are you 
really Will Rogers?" 

"Yep," answered Will with a grin, 
"hope it's all right with you. Now 'bout 
that singin' . . ." 

And for an hour more they talked, 

Gene Autry was a small- 
town telegraph operator 
who liked to sing and play 
the guitar, until quite by ac- 
cident he met Will Rogers 


William Lynch Vallee 

Gene and his wife live in a brand new 
home of 14 rooms in San Fernando 
Valley on the outskirts of Hollywood, 
fiis ranch, where he stables his ten 
horses, is about four miles farther in 
the valley. Gene, a true westerner, was 
born in Tioga, Texas, where his ener- 
getic dad raised cattle, hogs and horses. 


Silver Screen 

with Will telling him to strike out and 
face the world with his voice. All the while 
Gene sat with his mouth open, thanking 
his lucky stars that he hadn't known that 
his idol was the stranger standing in the 
dim, lantern-Ht office. If he'd known he 
couldn't have gotten a note out — gosh! 

"Right away," says Gene, "we became 
good friends. His advice to me later on 
movie sets was just as free and just as 
good as it was in Chelsea. I," and his 
hand tightened almost imperceptibly on 
a paper clip he was twisting, "I saw him 
a few days before he left on his fatal 
trip. He was a great man. . . ." 

He was a great man and he is wholly 
responsible for Gene Autry's terrific suc- 
cess. The Autry man who made Republic 
Pictures what it is today would probably 
have ended his days tapping out freight 
orders in Chelsea had it not been for that 
lucky visit. 

But to go back a bit — he was born 
in Tioga, Texas, on September 29th, 1908, 
which makes him just 31. His back- 
ground, 'way back, is French and Irish 
and Autry might once have been "Autrie." 
Let Gene tell you about his father. . . . 

"My father owned a ranch where we 
raised cattle, hogs and bosses. Since many 
of our customers were far away I'd often 
ride a herd into Chelsea for shipment by 
rail. The tapping of the telegraph instru- 
ment fascinated me; I determined to get 
a job there and learn to telegraph. The 
railroad got itself a hired man. 

"I went to work unloading cars, sweep- 
ing up, helping the occasional passenger 
off from the train and learning how to 
work the key." 

Besides this, he studied the saxo- 
phone. But this was not for him, he de- 
cided, so he took up the guitar and every- 
thing fell into place. Feet on desk, hand 
on guitar and ear for any telegraphic tap- 

And so for five years the Frisco R. R. 
rented, very cheaply, the services of Gene 
Autry. That is, until Will dropped in and 
advised him to get out of town. Gene 

"I came to New York," he says, "with 
the high hopes that everyone has and 
planked myself and my hopes down in a 

cheap hotel room. Every day we, my 
hopes and I, tried to sell our services 
to record companies and anyone who 
might possibly be interested in us. 

"Things were blackest when I did get 
a chance. I was sitting in the reception 
room of one the biggest recording com- 
panies when the receptionist asked me if 
I played whatever was in the black box. 
'Sure thing!' I said, and played and sang 
a number for her. As I was finishing, two 
men came out. One was Joe Marvin, 
whom I'd met in Oklahoma, and the 
other, Leonard Joy, of the company. Mr. 
Marvin put in a good word for me and 
Mr. Joy let me cut a wax (make a rec- 
ord) next day." 

Autry was good, Mr. Joy told him, but 
he was nervous when he made the test 
recording, and it showed in the record. 
Joy couldn't offer it to the company 
committee, he could only advise Gene 
to get himself some more experience. To 
get all the experience he could — stage, 
radio. . . . There was an idea! 

"Back home to my railroad job I went," 
said Gene, giving the paper chp another 
shape, "and on the side I sang over a 
nearby radio station. My nervousness did 
go away and I was about to resign and 
start out again when the depression came 
along and helped me with my resigna- 

In New York for the second time he 
faced a mike in the 'Velvetone recording 
studio and then waited for the verdict, 
The verdict and three executives rushed 
in. He could stay in town if he wanted 
to, but if he did he had to make records 
for 'Velvetone. 

Two weeks latet Gene found his name 
on a 'Velvetone record list along with two 
other young comers, Kate Smith and 
Rudy Vallee. They were all very hope- 
ful. ... 

Shortly after this. Gene sang before 
a group of people and one of his audi- 
ence, a Sears, Roebuck man, asked him 
to sing "Silver Haired Daddy of Mine," 
a little effort of Gene's. The man seemed 
to like it. 

"A week after that he sent me a con- 
tract for thirteen weeks on the Sears, 
Roebuck hour {Continued on page 76) 

Gene and his wife recently sailed 
for a tour of England, on the S.S. 
Manhattan. It was their first trip 
abroad. All his pictures, inciden- 
tally, are previewed at Bucking- 
ham Palace by the Princesses Eliz- 
abeth and Margaret before anyone 
else in the land sees them. They 
can't wait. Below. The Autrys took 
in the New York World's Fair be- 
fore sailing. At the popular Ford 
Building with Host Richard Crowe. 

for November 1939 




- i 



/OHN GARFIELD is an intense 
young man, burning with ambition 
to do things. He was afraid of 
Hollywood. Afraid that it would stifle 
his ideas, kill his initiative, soften him 
with money. He's just as intense now, 
but he has swung around about Holly- 

"The fact that the Warners make such 
pictures as 'Juarez' and 'Confessions of 
a Nazi Spy' has given me a different 
view of Hollywood," he admits frankly. 
"I was proud to be in 'Juarez' and I was 
proud of Hollywood when I saw 'Con- 
fessions of a Is^azi Spy.' Important pro- 
ductions hke those, which take fearless 
stands on significant issues and really 

"I was tired of being a lady on the screen," 
says Joan Crawford. Belotv: "Eventually, 
I'd like to do the sort of thing Clark Gable 
and Spencer Tracy do," insists Mickey 
Rooney. And Cecil B. DeMille states that 
the screen today is really far too drab. 


Silver Screen 


contribute something to human welfare, 
certainly make detractors of Hollywood 
look a bit silly. 

"They have made me want to stay in 
pictures, if the studio considers me good 
enough to do important stories that have 
real meaning and human value. Sure, I 
have certain roles in mind that I'd like 
most to play in pictures. I'd like to do 
the hfe of George Gershwin. I'd also 
like to portray the great German poet, 
Heinrich Heine. Then there's a story 
called ^Young Man With a Horn' that 
I'd love to do. I'd play a swing musician. 
But it wouldn't be a musical production. 

"I'll probably not get to do any of 
those and it really doesn't matter. The 
thing that counts to me is the chance 
to do characters that mean something. 

"I've never disliked Hollywood. I can't 
actually say I like it now, because my 
roots are still pretty deep in New York. 
But I am becoming accustomed to it 
and I've found a lot in it to admire. 
It can do fine and big things in a fine 
and big way." 

Don't soften, John Garfield. There's a 
faint sign of weakening in your words. 
And do I hear that you've gone Beverly 
Hills? Remember, you hit Hollywood full 
of fight and rebellion, fresh from strug- 
gling for years for your very food. If 
you soften, you'll lose your, shall we say, 
earthy eagerness? Your primeval zest. It's 
the quality that made Cagney, for in- 
stance. It also made writers like Jack 

So here's my aside to you: nurse along 
that fear of Hollywood. Get it out and 
exercise it. It's priceless. In fact, it's Gar- 
field. And, when you can't find it, you'll 
know you're washed up. You'll have gone 

/OAN CRAWFORD is at the cross- 
roads of a spectacular, colorful career. 
Her advettture into what is really a sec- 
ondary role of "The Women" will have 
far reaching consequences to Joan. She 
did it for a simple reason. Let her tell it: 

"1 was tired of being a lady on the 
screen. That's why, when I saw Clare 
Booth's 'The Women' on the stage, I was 
fascinated with the idea of portraying 
Crystal Allen when, as and if the picture 
were to be made. When it was purchased 
I hterally camped on the doorstep of 
Porducer Hunt Stromberg with my bid 
for the part. 

"Maybe Crystal isn't too refined, may- 
be she has few, if any, saving graces, but 
at any rate she's a real person and one 
who gives excellent opportunities for 
making an audience react violently, even 
if that reaction is far from being on the 
sweetness and light side. 

"Personally, I feel that it is a grand 
tonic for an actress to get herself thor- 

Left: "It isn't as hard as you would 
think for an English girl to play a 
Dixie heroine," explains Vivien Leigh. 
Lorver left: Paul Muni wants to get 
away from historical characters. Be- 
low: Glenda Farrell believes there is 
too much "So what?" in Hollywood, 
Lower right: Raymond Massey says 
that a highly emotional kid can 
succeed in films where a sea- 
soned actor can't get his bearings. 

A new and unusual fea- 
ture of short, right-to-the- 
point interviews, coupled 
with a frank "reading-be- 
tween-the-lines" of what 
each star has had to say 


Frederick James Smith 

oughly disliked by her screen audiences 
now and then. Incidentally, don't get the 
idea that there aren't any men in this 
picture. True, you won't see any of the 
male gender, but their influence is un- 
mistakable, from the first scene to the 
final fadeout. As a matter of fact, I 
think about 90 per cent of the conver- 
sations that go on between Miss Shearer, 
Miss Russell and the other members of 
the cast and myself, concern the men." 

Joan realizes she has been miscast fre- 
quently in the last three years. She has a 
curious vitality, an animal magnetism that 
was frequently subordinated, or forgotten. 
Particularly, when Joan played a lady. 
She was right in venturing into the role 
of the tough Crystal Allen. She all but 
steals the film. 

AFTER Raymond Massey makes "Abe 
Lincoln in Illinois" for RKO in 
Hollywood, with John Cromwell direct- 
ing, he returns to play the Emancipator 
on the New York stage until next June. 
Then he goes back to Hollywood to make 
the other half of Lincoln's life, ending 
with the tragic night in Ford's Theater 
in Washington. This will be written di- 
rectly for the screen by Robert Sherwood, 
who did the play. Massey always wanted 
to play Lincoln. As he puts it, "I've lived 
from hand to month all my life. I've 
never built for the future. But I always 
wanted to do {Continued on page 78) 

for November 1939 


I NEVER want to go home," said Lya 
Lys for the hundredth time, as she 
bounded out of "21" and headed for 
the Stork Club. By home, Miss Lys 
might have meant Germany where she 
was born in 1913, or France where she 
was raised, or Hollywood, where she had 
just finished work in another Warner 
Brothers' film, "The Return of Doctor 
X." But she meant Germany. 

Nothing, she assured me, could ever 
induce her to leave America for Nazi 
Germany. In Hollywood she picked up 
the very explanatory word which she uses 
to describe America, "sensational." 

Lya Lys {pronounced lease) never stops 
thanking her lucky star for guiding her 
to these happy shores. She loves every- 
thing about America. "I love American 
men, the way they dress, the way they 
talk and act," she declared. "I love 
American women. They are so much 
smarter, so much more chic," she said, 
with just the right French inflection. 
"Look at the best dressed woman in any 
Paris restaurant and you have an Amer- 
ican," she -announced. 

Lya had been in New York only a few 
days,, but already had established herself 
as the darling of the Stork Club, that 
swank rendezvous of Cafe Society. Each 
time she swept into the room the orches- 
tra would play her favorite tune, "Stair- 
way to the Stars," and Lya would shake 
her golden head in time with the music. 
It was at the Stork that Lya told me 
something of her past. 

Above: Lya Lys is considered 
one of the most glamorous 
European stars in Hollywood. 
Right: 'Lya., with the author, 
whose hard-to-take job was 
being her constant escort 
while she was in New York. 

"I was born in Berlin," 
she began. Then she got 
up and made me do a few 
turns to the strains of 
"Stairway to the Stars." 
"My parents were Rus- 
sian," she continued as 
the music subsided. "My 
father was a banker. He is 
dead. My mother is a doc- 
tor. When I was a child 
my parents moved to 
Paris where I grew up." 

The waiter brought her 
filet mignon and Lya mur- 
mured "sensational." A 
great many famous people 
moved in and out and Lya 
seemed to know them all. 
Columnist Louis Sobol 
greeted her, looked at me 
and wrote in his next day's 
column: ". . . . Nicest job 
belongs to several young 
men connected with our 
picture companies. . . . 
Their chief duty is to 
escort pretty film stars 


Whirling Around With Lya 

Escorting visiting movie stars, like Lya Lys, 
around Manhattan is nice work if you can get it 
and the author, who has it, tells you all about Lya 


Bob William 

around town. ..." A while later Lya was 
introduced to Dorothy Kilgallen who 
smiled at me and next day wrote in her 
column: ". . . . The Warner Brothers' 
press agents have been wearing themselves 
out at the not-hard-to-take occupation of 
escorting Lya Lys, their new star, to the 
best night clubs in town." 

About two hours later, when the check 
was running along nicely at thirty-five, 
we started for the Cotton Club. There, 
whether by coincidence or design, the or- 
chestra launched immediately into "Stair- 
way to the Stars" and Lya chmbed over 
the ringside ropes dragging me along like 
a streamer of confetti in the breeze and 
started to dance with a degree of anima- 
tion to which I was not exactly attuned. 
In a few minutes Lya stopped dancing as 
suddenly as she had started and left me 
blinking foolishly in the spotlight's white 

When the floor show came on, Lya 
stared speechless at the Beachcomber 
Dance in which the male dancer takes a 

whip to his partner. No sooner had the 
sepia review disappeared from the slip- 
pery floor when a blinding spotUght was 
thrown on Miss Lys's golden locks and 
a gracious master of ceremonies intro- 
duced her from the floor. Lya blew some 
kisses to the guests and hurried out into 
the street. It was four o'clock and Miss 
Lys was too tired to tell me any more 
about her past. "Tomorrow, I will tell 
you more," she yawned. 

"Tomorrow" turned out to be a Mon- 
day, the day on which Lya was to meet 
the Philadelphia press. Catching trains 
is not one of her hobbies. She ignores 
train schedules with alarming abandon. 
At nine thirty, when I nervously reminded 
her that the train was to leave at ten, 
Lya stopped combing her hair long enough 
to say "Silly, how can the train leave? I 
am not ready." Somehow, the train did 
leave at ten and Lya and I were on it. 

In the drawing room she stretched out 
her pretty legs and said she wished she 
were out driving her new convertible 
coupe. It seems that in Holly- 
wood Lya's favorite pastime is 
speeding through the countryside 
in the early hours of the morn- 
ing with her hair flying in the 
cool wind. 

"When I have enough money I am 
going to build a racing car," she an- 
nounced. Lya has owned and driven rac- 
ing cars before. "First I shall build a 
midget racer," she said. "Do you know 
how much a midget racer costs?" I 
guessed about four hundred dollars. 
"Four hundred dollars!" she sneered. "A 
little midget racer costs three thousand 
dollars!" This ended my interest in mid- 
get racers. 

Getting back to the subject of pictures, 
Lya did a little reminiscing about her first 
experience in the cinema. It seems she 
never had much inchnation toward an 
acting career until that fortuitous day on 
which she was returning to Paris from 
Monte Carlo. While sitting in the dining 
car, two tourists approached her and 
begged for her autograph. Lya protested 
on the grounds that she was not an ac- 
tress, but the tourists would not leave her 
alone until she had signed her name. At 
the time. Miss Lys was studying law at 
the Sorbcnne but this incident, she says, 
first put the acting bee in her bonnet. 

In Paris she went to one of the large 
motion picture studios and asked for a 
job. When they turned her down she put 
on such an hyste-ical scene that it gained 
her the atten- {Continued on page 81) 

Above: Lya is popular with re- 
porters because she is so expres- 
sive and enthusiastic, which al- 
ways makes for "good copy" for 
them. Left: Lya is next to be 
seen in "The Return of Doctor 
X," with Humphrey Bogart. 

for November 1939 


Marion Martin was tor- 
merly Broadway's most 
famous showgirl. Walter 
Winchell called her "the 
most beautiful'" and pho- 
tographers voted hers as the 
eifect back" of 



TV/TARION lives in a secluded Van 
Nys ranch house about fifteen 
miles from Hollywood. She's an ardent 
churchgoer and her home is adorned 
with many religious pictures and 
statues. Above. Note the sign at the 
front entrance. Below: Her younger 
brother, Paul, whose education Marion 
has financed, is now studying for the 
prissthood. He visits Marion frequently 
and both have the time of their lives. 
Her mother is a former artists' model. 


Silver Screen 

Photos by 
Gene Lester 

Left: Al- 
Marion is ex- 
c e p t i o n- 
ally fond of 
children, she 
never has 

skin bathing 
suit, right, 
caused a sensa- 
tion in Holly- 
wood. She loves 
California sun- 
shine, but her 
white skin can 
stand very little 
exposure to it. 
Marion was a 
showgirl in 
Earl Carroll's 
Vanities when 
she was but 14. 
Left: Takes 
singing and dra- 
matic lessons and 
is keeping her 
fingers crossed. 
Rarely seen at 
nite spots. Has 
never been link- 
ed with any spe- 
cial boy friend 
in Hollywood. 

She's particu- 
larly proud of 
her gleaming, 
white teeth. 

She drives a smart, but 
low-priced, convertible 
coupe. Never diets, loves 
to eat, but exercises reg- 
ularly. Is an excellent 
cook and gardener, too. 

for November 1959 


Direct from the 
West Coast 


Gay and Sparkling Comedy — RKO 

GINGER ROGERS is the girl to keep 
your eyes on these days if you 
like to laugh. Fast on the footsteps of 
"Bachelor Mother" comfs this laugh- 
binge, with a dead-pan Ginger funnier 
than ever. Ginger plays a gal who is 
down on her luck, no job, no nothing, 
but she can't seem to let her sad plight 
upset her too much. At the seal pond in 
Central Park she meets up with Walter 
Connolly, a Fifth Avenue millionaire 
whose business {Amalgamated Pumps) is 
all wrapped up in strikes, whose son pre- 
fers polo to pumps, whose debutante 
daughter is in love with the Capitalist- 
hating chauffeur, and whose wife is carry- 
ing on with younger men. It's his birth- 
day, and he couldn't be sadder. He invites 
Ginger to celebrate his birthday with him 
at the swank Flamingo Club — and what 
a night of popping corks that is. He of- 
fers Ginger the job of moving into his 
home and subtly bringing his crazy family 
back to their senses. Naturally, the fam- 
ily thinks she is Daddy's "girl friend," 
which brings on much comedy. Veree 
Teasdale is perfectly elegant as the 
haughty wife, who stoops to a bit of 
conniving to win back her husband from 
"that woman." Competent are Tim Holt 
as the son who falls for Ginger, Kathryn 
Adams as the daughter and Jimmy Elli- 
son, as the chauffeur. The amazing 
Gregory La Cava is both the producer 
and director of the comedy, so you just 
know it sparkles like a mountain of dia- 

Walter Connolly 
and Ginger Rog- 
ers in "Fifth Ave- 
nue Girl," a highly 
amusing comedy 
with superb dia- 
logue and acting. 


True to Life — Imperadio-RKO 

THIS is the most impressive of the 
documentary films to come out of 
Hollywood — its a straight-forward, dig- 
nified, and intensely moving production 
which you must not fail to see. Anna 
Neagle, famous English actress, plays the 
English Nurse Edith Cavell, and gives 
an extraordinarily beautiful and restrained 
performance. Calm and compassionate the 

clean-cut Miss Neagle is said to be the 
exact prototype of the real Edith Cavell 
who faced a German firing squad during 
the early years of the war. The story is 
laid in Brussells during the German oc- 
cupation in 1914 and tells with absorbing 
interest how Nurse Cavell, matron of a 
nursing home, helped the escaped prison- 
ers and wounded soldiers of the Alhes 
to get out of Belgium, into Holland, and 
back to their own countries. With three 
close friends — Edna May Oliver, an aris- 
tocratic old countess; ZaSu Pitts, the 
owner of a barge; and May Robson, a 
grateful grandmother — Nurse Cavell cre- 
ates the famous "underground railroad" 
which for many months had the Germans 
completely mystified. But eventually 
through spies the German Military Serv- 
ice traps her and her three conspirators 
and they are sent to prison. It is decided 
at the Prussian headquarters that Nurse 
Cavell must be made an example of, so 
on deviously devised charges of espionage 
she is sentenced to death — the horrible 
death of a spy. It is Miss Neagle's pic- 
ture. Simply and absorbingly directed by 
Herbert Wilcox, English producer-direc- 
tor, it is a powerful indictment against 
the incredible inhumanity of war. Con- 
tributing to its success are George San- 
ders, Martin Kosleck, Robert Coote and 
H. B. Warner. ZaSu Pitts playing 
"straight" for a change gives a note- 
worthy performance {Cont. on page 81) 

Above: Anna 
Nagle and May 
Robson in 
"Nurse Edith 
Cavell." Left: 
Jean Rogers 
and Linda Dar- 
nell in the gay 
"Hotel for 
Right: Pris- 
cilla Lane, John 
Garf iel d and 
Alan Hale in a 
scene from 
"Dust Be My 


Silver Screen 



Screen celebrities galore 
flocked to the opening at 
the Chinese Theatre 

IT WAS a festive evening as Holly- 
wood got its first glimpse of Mervyn 
Le Roy's "Wizard of Oz." The "Merry 
Munchkins" gathered in the lobby to 
greet arriving guests, and assist with the 
broadcast of the proceedings. In clock- 
wise fashion are Wallace Beery and his 
daughter, Carol Ann, at the lobby micro- 
phone; weird-looking Orson Welles and 
his wife; Bert Lahr, who plays the "Cow- 
ardly Lion" in the picture, with Margaret 
Schroeder to whom he's reported engaged; 
Edgar Bergen doing a Charlie McCarthy 
on the lap of the Robot in the lobby, 
with Mervyn Le Roy supplying the voice 
of the Robot; Doug Fairbanks, Jr., and 
his wife were among those who attended; 
Eleanor Powell tries to get the Robot 
to dance with her; and in the center, 
the "Mayor of Munchkinland" reads a 
proclamation of welcome to Virginia 
Weidler as she enters the lobby. Among 
others seen at the premiere were Eddie 
Cantor and his daughter, Janet; Virginia 
Bruce and her hubby, Director J. Walter 
Ruben; Allan Jones and his wife, Irene 
Hervey; Harold Lloyd and his family; 
and Ann Rutherford. 

Photos by Gene Lester 

for November 1939 



Above, A casual al!-day-round dress suited for both 
campus and office. The long-sleeved crepe blouse is a 
deep, hunter's green crepe, while the skirt is of 
smooth wool in shades of green, orange, yellow and 
black. The plaid is used diagonally with pleats 
stitched to a point below the hips. A wide plaid 
wool belt joins the dress at the natural waistline. 

Left: For tea dates or for an occasional drive to 
town, shopping bent, Priscilla wears this extremely 
youthful dressmaker-type suit with a full gored skirt 
of rich wine-colored wool topped by a scalloped 
jacket of soft powder blue wool. The lapels of the 
jacket are faced in the wine colored wool, and her 
chic little felt hat, with its provocative veil, is wine. 


Silver Screen 

Priscilla, the youngest and most viva- 
cious of the famous Lane sisters who 
have made so many outstanding films 
for Warner Brothers, very gaily poses 
in some autumn fashions that should 
attract the streamlined 1939 student. Of 
course, the girl who works for a living 
could use these models with equal as- 
surance that they are "just the thing." 

Above: Just how smart huge checks can be this sea- 
son is demonstrated by Priscilla in this trimly lined 
Princess coat in Japonica and beige tweed. The un- 
usual double breasted treatment is achieved by two 
large buttons at the natural waistline, and the collar 
is finished in Japonica velvet. Her pleated felt tam 
and other accessories are carried out in this shade. 

Right: A smart version of the mismatched suit is 
Priscilla's favorite costume for football games and 
Jong drives into the country. The monotone black 
skirt flairs slightly and is topped with a fitted jacket 
of yellow and black tweed in a diagonal weave. Nar- 
row black binding is used on the brief revers and 
pockets. A seven-eighths length swagger coat of 
matching tweed makes this ?n all- winter-long costume. 

for November 1939 


T> LACK crepe is used 
for this exquisitely 
simple, figure - molding 
dinner gown which has 
Priscilla Lane reaching for 
the stars — or maybe it's 
the moon. Cut on the bias, 
the front is almost severe- 
ly plain, with the tiny 
sleeves and shallow V 
neckline edged with gold 
kid. But the back, in com- 
pliment to this year's 
fashion decree, shows a 
lovely set-in panel to 
which the sides of the bod- 
ice and the back fullness 
are shirred. The train of 
this panel is alsoedged with 
gold kid. A lovely gown 
for that "heavy date." 

STRIKING combina- 

gown is velvet and sheer 
wool. Priscilla Lane looks 
particularly distinguished 
in this model having a 
shirtwaist top of lustrous 
black velvet, while the 
flared skirt is plaided in 
brilliant tones of gold, 
green, cyclamen and deep 
wine. The belt of self fab- 
ric is crossed in front and 
fastened with two large 
buttons. This is the un- 
pretentious type of af- 
ter-dark costume which 
young girls adore. It is 
flattering, and at the 
same time so comfortable. 
And plaid is so popular! 

for November 1939 


Visits to the sets and 
chats with the players 

Greer Garson, Lew Ayres and Robert Taylor 
in a scene from "Remember," in which the 
boys flip a coin to see which will marry Greer. 
Our Dick Mook was on the set as this scene 
was being made and describes it for you. 

By Dick Mook 

WNOTHER month rolls around and 
the studios are in their seasonal 
" " doldrums. Of them all, the only 
one where there is much doing is 


THERE are three big pictures going 
here. The first is "Remember" star- 
ring Robert Taylor, Greer Garson and 
Lew Ayres, directed by Norman McLeod. 

Lew works for a large chemical com- 
pany. On a vacation to Nassau he meets, 
and becomes engaged to, Greer Garson. 
On their return to New York, Lew in- 


sists that Taylor, his best friend, meet 
Greer at luncheon. They arrive at the 
restaurant and, while Lew is exchanging 
greetings with the head waiter, Mr. Tay- 
lor is taking in the panorama, always 
with an eye for something intriguing. 
His eye falls on Greer, not knowing she 
is Lew's betrothed. 

"Psst — psst," he whispers inarticulately 
to Lew. 

"What is it?" Lew asks in surprise. 

"Just the most beautiful girl I ever 
saw in my life, that's all," Mr. Taylor 
announces reverently, looking towards 
Greer who has risen and is walking to- 
wards them. 

"I'll introduce you," Lew promises 
magnanimously because that's the way 
his part is writte?t. In real life he wouldn't 
dream of doing anything of the kind. He 
turns to Greer: "Miss Branson, Mr. Hol- 
land. Linda — Jeff." 

"Hello, Jeff," Linda smiles. 

As she and Bob stare at each other. 
Bob gulps. "Hello — Linda," he finally 

"Well," Lew turns to Linda once more, 
"is he anything like you thought he'd 

"He's eveti more like I thought he'd 
be than I thought he would," she decides. 

"Well, Jeff, like her?" he puts it up 
to Bob. 

"Portrait in Diamonds" is the title of the 
film from which this interesting scene is 
taken. Left to right are Matthew Bolton, 
Isa Miranda, John Loder, George Brent and 
Walter Kingsford. Isa is the Italian star. 

Silver Screen 

"Mm-hmm," Mr. Taylor nods emphati- 

"Like her well enough to marry her?" 
Lew prompts him. 

"Mm-hmm," Mr. Taylor nods again 
and turns to Greer: "Wi'.l you marry 

"Hey, wait a minute," Lew laughs. "I 
meant me — I'm going to marry her." 

"Sorry, old man," says Mr. Taylor, a 
gent of quick decisions (it took him and 
Barbara Stanwyck only two or three years 
to make up their minds), "but I'm marry- 
ing her, too." 

"But she — she's the surprise I was tell- 
ing you about," Lew interrupts. 

"All right, then," quoths Robert, "I'll 
be fair about it. You can match me for 

"Well, that's cozy " Greer puts in. 
"How about my getting in on this, too?" 

"Okay," Lew agrees. "Got a nickel?" 

Greer takes a nickel from her purse 
and hands it to Lew. Is this all I'm 

"Now, you just stand there and look 
like a pretty girl being matched for," 
Bob soothes her. "Call it," he orders 
Lew. "What do you want?" 

"Three martinis," says Lew to a waiter, 
ignoring Bob. 

Bob uncovers the coin in his hand and 
shakes his head. "Sorry," he notifies Mr. 

Sigrid Gurie, Basil Rathbone and Samuel 
Hinds in a scene from "Rio." Our correspond- 
ent watched it being made and jotted down 
the dialogue in which Basil, as a gigantic 
swindler, is trapped by Hinds, a banker. 

for November 1939 

Left: Helen Parrish, 
Leatrice Joy and De- 
anna Durbin as they 
appear in "First Love." 
It marks Miss Joy's 
return to the screen. 
Above: Myrna Loy 
hands over the liquor 
cabinet keys to amazed 
William Powell in 
"Another Thin Man." 

Ayres, "you lose. But," he adds con- 
solingly, "you came awfully close to be- 
ing an awfully lucky fellow." 

This is going to be one of those zany 
comedies and as far as I'm concerned, 
I'm more than ready for a zany comedy. 
All these biographies and railroad spec- 
tacles and frontier pictures and prison 
pictures have got me down. I'll read when 
I want to be educated. When I go to 
the theatre I want to laugh. 

Norman McLeod collaborated in the 
writing of this story and he sketches the 
plot for me. It ought to be a humdinger 
— funnier even than "Bachelor Mother." 

Then I hunt up Lew. "Are you waiting 
to meet Miss Garson?" he inquires sar- 

"I've met Miss Garson," I return. "I 
just came to say hello to you." 

"Perhaps, you're looking for Mr. Tay- 
lor?" he suggests. 

"I've seen Mr. Taylor," I retort. "I 
tell you I came to say hello." 

"Oh," says Lew. Then, after a moment, 

"Go to hell," I shout, which is exactly 
what Lew wanted. 

"One nice thing about you, Dick," he 
concedes generously, "in fact, I might 
say the oidy nice thing about you, you 
never change from one year to the next. 
Always quiet, even-tempered, easy-go- 
ing — " (Continued on next page) 


I grin as I realize he has simply been 
trying to get my goat. "I've a clipping 
for you at home. I know you don't read 
the papers so I cut it out." 

"What was it?" Lew asks suspiciously. 

"I don't remember, but I have it. I'll 
mail it to you." 

"Well, I'm sure it was a dirty crack 
or you wouldn't have bothered," he re- 

And I'm supposed to be the one with 
the nasty disposition. 

* H= * 

ILEA'VE Mr. Ayres with his splenetic 
liver and proceed to the next set 
where Myrna Loy, whom I almost mar- 
ried last month {in a dream), and Wil- 
liam Powell are working on "Another 
Thin Man." 

If Myrna remembers the white hot 
passion that seared us like a flame last 
month {in my dream) she gives no sign 
of it. To her I am just another — and 
not very famihar — writer. She extends a 
cool hand. "Hello," she smiles vaguely. 

"There ought to be a law," I begin 
hotly, "that when two people are involved 
in the same dream both of them should 
dream the same dream so — " 

"What are you talking about?" she 
asks a Httle uneasily, at the same tirne 
glancing toward the cop sulking in the 
background of every set. 

And then I realize she doesn't know 
a thing about my dream — unless she read 
last month's Silver Screen, because it was 
all recounted there, I not being a person 
to keep things to myself- — least of all 
a near-marriage to Myrna Loy. 

"If you'll stop goggling at my star," 
Mr. Woody Van Dyke, the director, in- 
terrupts, "I'd hke her for a scene in this 
epochal picture I'm filming. And when 
you see it, don't say I didn't warn you." 

So Myrna leaves me with a sigh of 
rehef and takes her place with Mr. 
Powell. C. Aubrey Smith, who manages 
her vast estate, has received a threaten- 
ing letter. He wants Powell to handle 
the case, but Powell wants no more de- 
tecting. Finally, Myrna persuades him to 
go down to the Smith estate on Long 
Island. But more indignities are in store 
for him. Mr. Smith has the hquor cabi- 
net locked up without so much as offer- 
ing The Thin Man a drink (/ know 
exactly how you feel, Bill). He wants 
Mr. P. sober when they talk. But Mr. 
P. is like me, he thinks better with a 
little stimulation. Seeing he is going to 
get no hquor, Mr. Powell refuses to think. 
He sulks. 

"What mould happen to Nora's estate 
if anything happened to me?" Smith puts 
it tip to Bill. 

"Nothing's going to happen to you," 
Myrna whispers soothingly, putting her 
arms around him {and me within easy 
reach!). "I promise you." She starts to- 
wards the dining room door with him. 
"You go on in. I'll attend to Nick." 

"Well, don't be long," Smith grunts, 
slightly relieved. 

He goes on out and she turns toward 
Bill, her hands behind her back. 

"What do you think you're doing?" 
Powell demands, watching her grimly. 
"Getting me another case?" she grins, but 
doesn't answer him and he rumbles on: 
"That old skinflint can afford the best 
detective in the business. He's just trying 

to get one for nothing. And you're abet- 
ting him." 

"I don't know what you're talking 
about," Myrna murmurs, all wide-eyed 

"No?" he barks, "then what was all 
that business at the door?" 

"I was just picking his pockets," she 
explains, bringing her hands out from 
behind her and dangling the keys to the 
liquor cabinet in frojit of him. "I haven't 
been married to you for nothing," she 
explains dryly. 

The scene finished, Myrna disappears 
into her dressing room and CLOSES THE 
DOOR without giving me a chance to 
remind her she had been married to me 
at all. 

* * * 

I WANDER disconsolately to the next 
set. My spirits lift a little as I find 
Ann Sothern sitting there and also Fran- 
chot Tone and John Miljan, who is seen 
all too seldom these days. 

"Have a drink?" Ann invites me. 
"Sure," I agree eagerly and her maid 
promptly hands me a coke. I glance at 
Ann murderously. Then I reflect, if it 
hadn't been for Myrna and her light fin- 
gers. Bill wouldn't even have got that 
much so I muster up what grace I can 
and say "thanks," but I don't mean it. 
Then the director calls her for a "take." 
The scene starts with a wrangle be- 
tween Mary Beth Hughes and Allen 
Joslyn. She tells him off in no uncertain 
terms, leaves him and steps out on to 
the terrace as Franchot and Ann come 
up. Allen grins sheepishly. 

"The mighty Casey has struck out," 
Franchot jibes. 

"Shame on you, Ted Bentley," Ann 
chides in mock severity, "making eyes 
at that girl when your little Southern 
girl is pining for you." 

"He's a beast," Franchot proclaims 
cheerfully. "Not the faithful, home-lov- 
ing type like me." 

"We'll discuss that later," Ann decides 

I dilly-dally around awhile with Ann 
and Franchot and Mr. Miljan. Franchot 
is completely recovered from his illness 
and in fine fettle, but other studios are 
calling. One of them is — 


IT'S always an event at this studio 
when Deanna Durbin starts a new 
picture so this is an event. She's working 
and the film is called "First Love." It's 
notable for something else, too. Leatrice 
Joy who used to be one of the glamour 
girls of the screen appears for the first 
time in years in this opus. She plays the 
part of Deanna's aunt and Helen Par- 
rish's mother. 

Leatrice and Deanna have just been 
having a little set-to when Helen comes 
in in riding clothes. 

"Mother," Helen complains, "you're 
paying more attention to Connie's 
(Deanna's) nonsense than you are to 
my pla?is for the party." 

By this time Deanna is well on her 
way upstairs and Leatrice turns back to 
Helen. "I'm sorry. We were talking about 
your dress." 

Deanna pauses on the stairs and looks 
down at them as they walk towards the 
living room, arm in arm. "Remember the 
one Chris designed that you said was 
too old for me?" Helen begins. "Well, 
that's the one I want. Wilma goes in 
for sophisticated clothes and this time 
I want to go her one better." 

Deanna turns and goes on upstairs to 
her room. 

You want to get a load of Leatrice's 
costume in this scene. It's something. 
The fashion editor of Universal describes 
it this way: turquoise blue crepe pajamas 
and bodice with an overjacket that comes 
to the knees of blue and gold metal cloth. 


Now we come to Basil Rathbone and 
Sigrid Gurie in "Rio." Mr. Rath- 
bone is a gigantic swindler and Sigrid is 
his bride of two days. They are meeting 
Samuel S. Hinds, his banker {who has 
just found out all about it) at a res- 
taurant. Hinds has told the pohce to come 
there and pick Basil up, but Basil doesn't 
know this. Victor McLaglen, who is sit- 
ting at another table, out of camera 
range, is Basil's secretary. 

Basil pours Hinds a glass of cham- 

"You might as well pour yourself one, 
too, Reynard," Hinds says, a look of 
intense hatred in his eyes. 

"You understand," Basil reminds him, 
a look of triumph in his eyes, "that 
champagne is the wine of celebration- 
one offers it after a victory." 

"Or as consolation for defeat," Hinds 
counters, raising his glass. 

But Basil misunderstands him and 
thinks he is referring to his own defeat. 
"Then it's all settled?" he whispers, rais- 
ing his glass. 

"Yes," Hinds answers. "It was not 
easy. You have one more chance." 

Basil moves his glass towards his lips, 
then pauses and looks off towards Mc- 
Laglen and offers hint a toast, too, to 
let him know everything is all right. 

This is the most beautiful set of the 
month. It's the kind of night club you 
dream about, but never see. The tables 
are not jammed together, the atmosphere 
is one of elegance without being gaudy 
and in the centre of the dance floor is 
a huge fountain. Ferns, dripping with 
water and sparkling in the light, grow 
all about the pillar in the centre of it. 

Miss Curie's gown, too, I beg leave 
to inform you, is well worth a once-over. 
It is silver lame that fits like a sausage 
skin that reveals po-lenty of glamour 
and an unequalled expanse of epidermis. 
* * * 

THE last picture on this lot is "Call 
A Messenger." It's a mixture of the 
Little Tough Guys and The Dead End 
Kids with William Benedict {the Will 
Rogers discovery) and El Brendel thrown 
in for good measure. 

The scene they're shooting is not par- 
ticularly important so there's no use going 
into details. We'll just go over to — 

Warner Brothers 

ASIDE from the pictures on this lot 
' about which I've already told you 
— "20,000 Years in Sing Sing," with John 
Garfield and Pat O'Brien, and "The Roar- 
ing Twenties," with James Cagney, Hum- 


Silver S creen 

'fraid of Mac — that what keep you 
quiet?" he persists. 

"Ain't afeard of nobody, an' dang well 
he knows it," Bevans says in a sudden, 
hot anger, turning away. 

But Tanmroff follows, swings him 
around and pulls him close. His voice is 
dangerous. "You know something — hey?" 
There is no answer so he begins shaking 
Bevans. "Is — it — true ■ — ■ what — Mac ■ 

"Yeh — some of it," Bevans admits 

"Smokey," Jane shriek^ hysterically, 
"shut yer mouth!" 

"Cut!" calls the director, and then, 
"Thats' all for today. Wrap 'em up." 

So I never learn what happens to 
Smokey Bevans, but I'll bet it's some- 
thing awful for Mr. Tamiroff is not a 
gent to be trifled with — particularly in 

THE other picture going over here is 
"Portrait in Diamonds," with Isa 
Miranda, George Brent and John Loder. 

This is almost the start of the picture 
and it's hard to tell what it's about. But 
the three mentioned and Matthew Bolton 
and Walter Kingsford are all standing 
about a desk looking at a little Zulu 

"Looks just like Jack Lansfield (Nigel 
Bruce)," Bretit opines. As a matter of 
fact, it does faintly resemble Nigel. 

"Oh! It's very odd," Isa exclaims 
looking at it admiringly, "and, somehow, 

"The natives make them," Kingsford 
explains. He pauses and then is strjick by 
a sudden thought, "won't you take it — 
as a souvenir of your visit?" 

"Thank you," Isa beams. "I'd love 

Bolton's eyes dart from Kingsford to 
Isa. His expression has become suspicious. 
"Mind if I take a look at it. Miss Fal- 
con?" he asks, taking the statuette from 
her before she can object. "I know a lit- 
tle about 'native art — Jie continues. 
He turns it around, looking at it and sud- 
denly his suspicions are heightened. Some- 
tliing within tlie statue definitely rattles, 
and the plot is on. 

"You see," George grins when the 
scene is finished, "you can't get away 
with a thing these days." 

I nod. "It reminds me of that song 
they used to sing in "Liliom" on the stage 
— "Look out, here come the damn pohce, 
the damn police, the damn police are 

There's nothing more to see there, any- 
how, so I truck on down to — 

star is Edward Ellis {"A Man to Remem- 

He has spent his life building up a big 
department store. His friend and assistant 
is J. Edward Bromberg. Every time a new 
son is born, Ellis builds an addition to 
the store, hoping that each of his sons 
will one day take over a department. He 
won't even sell Bromberg a part of the 
business, because he feels it belongs to 
his children. But when they grow up 
none of them wants any part of the store 
so he sadly divides the stock between the 
three sons and the daughter. They {the 
two older boys and tlie daughter) want 
only the money so they sell the stock 
and Bromberg buys it. At the end, years 
later, Ellis is about to die and he sends 
for his family. We meet them now in the 
huge living room of his home, the furni- 
ture shrouded in ghostly covers. 

He comes in and looks at them wist- 
fully. "So I've brought you back — back 
from tlie four corners of the eartfi," he 

"We'd Jiave come anyway, Guv'nor, 
if we'd known," Kent Taylor, the oldest 
replies. Kent is bigger, with a slight pot 

"Well, there's not much I can say 
about you," Ellis goes on. "Maybe that's 
been the troiible. Not much one way or 
another. You just didn't have it. Well, I 
wanted to see you together once again. 
Don't seem so many years ago you 
looked so beautiful — so young — strong. 
Eacli of you part of me — my strengtli — 
my way of dreamin' things — my steadi- 
ness — my stubborn pride." He is speak- 
ing from a cloud of memories and doesn't 
even see them any more: "Goodbye, 
Gene, strong old son. Goodbye, Bert that 
played on my knee. Goodbye, Phoebe, 
darling." He pauses, looking past tliem. 
"Goodbye, Freddie (Dick Hogan, the 
youngest son), prince of my dreams, 
wlierever you are — " 

Dick is about eighteen. He is standing 
in the doorway witJi Bromberg. Brom- 
berg motions him to go to his father. He 
does, sitting on the arm of his father's 
chair and putting liis arm around iiim. 

Ellis pulls liimself together for a sec- 
mid. "Still — partners?" he whispers to 

Dick nods, his lips compressed. Ellis' 
face is peacefid now as he looks off to- 
ward tlie window. Dick looks, too — and 
is fumbling for words, trying to remem- 
ber something from long, long ago. It is 
something his father once told him when 
they were watching the crowds through 
the store window: "See all sorts of 
things through that window — if you look 
hard enough," he whispers. 

phrey Bogart and Jeffrey Lynn — there 
are "Lady Dick' 'and "Ride, Cowboy, 

The latter is a technicolor short star- 
ring Dennis Morgan. This short is being 
made as a sort of test to see if he is 
good enough to do "The Desert Song" 
when and if they ever get around to film- 
ing it. Dennis sings beautifully {he's 
singing today), he photographs hand- 
somely and he's a nice fellow, so I don't 
know what more they want unless they're 
going to insist upon his acting, too. Well, 
he can even act, so there! 

But the piece de resistance in this short, 
as far as I'm concerned, is Esther How- 
ard. If I had my way, Esther would play 
the character part in practically every 
picture that's made in Hollywood. Here 
she sits with a brassy blond wig on and 
a dress that proclaims her a member of 
the oldest profession. 

"Ah, yes," she sighs mockingly, "this 
time I'm Cactus Kate. These girls are all 
mine. Could I introduce you?" 

"Well, no," I decline her offer. "I'll just 
sit and gab with you. Those are some 
swell jewels you're wearing. If they're 
yours we can get married. I'm in an amor- 
ous mood today." 

"Alas, they're not," she admits. "But 
there's nothing small about me. Bette 
Davis wore them as Queen Elizabeth and 
this is about as close as I'll ever come 
to the Academy Award." 

At this point one of "her girls" gets 
into a row with one of "her customers" 
and Esther has to go about her duties 
{although this scene is not in the script), 
so I leave. 

^ ^ ^ 

"TADY DICK" features Morgan Con- 
*Jway and Jane Wyman, to say noth- 
ing of Maxie Rosenbloom, Gloria Dick- 
son and Dick Foran. 

It's a cops and robbers story, with 
Jane playing a lady detective. It's grow- 
ing late so let's beat it to — 


Jt^ ring Barbara Stanwyck and Fred 
MacMurray, is working in the tank today 
and the set is closed so you'll have to wait 
for this one until next month. Ditto, 
"Typhoon" starring Dorothy Lamour and 
Robert Preston, which is on location. 
But there are still two shooting here. 

ONE of them is "Untamed" {tenta- 
tive title) with Pat Morison, Akim 
Tamiroff, Jane Darwell, Clem Bevans 
and Ray Milland. 

Only the middle three are working to- 
day. The scene is a mountain cabin where 
Bevans is sitting in front of a fire, snow- 
blind. It's in the northern Rockies. Some 
people have evidently just left, because 
Jane turns back into the room furiously. 

"I'd a killed 'em, Joe — the whole, dirty, 
lyin' pack of 'em," she shouts to Tami- 

But he pushes past her and faces 
Bevans. His voice is curiously quiet. 
"Smokey," he says to Clem, "why you 
not speak up? Why you not tell Mac 
he is a liar?" But Bevans only stares 
woodenly and says nothing. "You got a 
tongue, hey?" Akim yells, jerking him 
to his feet. There is no answer. "You 


THE Hunchback of Notre Dame" is 
shooting, but Mr. Charles Laughton 
works only on a closed set and he's work- 
ing today so you'll have to wait until 
next month for this one. I'll catch it some 
day when he isn't working. "Allegheny 
Frontier," starring Claire Trevor and John 
Wayne is on location so that, too, will 
have to wait. 

BUT there's another good picture go- 
ing here called "Three Sons." The 

Scenes like that always get me down 
and this one is so beautifully played I 
don't feel much like kidding when it is 

So I head for home, because at 
Columbia there is nothing shooting and 
the only things shooting at 20th Cen- 
tury-Fox are "Drums Along the Mo- 
hawk," which is closed tighter than a 
drum, and Jane Withers in "High 
School," which is on process and about 
which I'll tell you next month. That's all, 

for November 1939 



Silver Screen for November 1939 

He's Always Thinking of the Other Fellow 

[Continued from- page 37] 

ter proves that. 

Arnold was Joel's stand-in before Carl. 
But to go way back, when Joel was a kid, 
delivering papers in Hollywood, Arnold 
was a prominent actor and chum of Wal- 
lace Reid's. The two men asked Joel what 
he wanted to be. "Another William S. 
Hart!" he .exclaimed. The years ran on. 
Wally Reid died tragically, and Arnold 
Grey went down the ladder instead of 
further up. When he needed any kind of 
job it was Joel who, matured and a star 
himself, lent the helping hand. 

But Arnold, like Carl, wasn't treated 
as only a studio dummy. He was Joel's 
buddy, too. Then, one day, the doctors 
stated that a prolonged rest in the warm 
Arizona desert was the only thing that 
could save the life of Arnold's wife. 
Quietly Joel went downtown and exam- 
ined all the house trailers on the market. 
The most complete one was sent to the 
Greys. And so, with an affectionate fare- 
well encouraging them, the two drove 
away in it. After settling his wife, Arnold 
had to return to finish a business matter. 
En route he suddenly died of a heart at- 
tack. Three days later his ailing wife, 
the woman of whom he'd said to Joel, "I 
wouldn't want to live without her," died. 

Joel doesn't tell you of these things 
that make up much of his off-screen days. 
Nor are they common gossip. He doesn't 
exDOund on his intentions; he keeps his 
eyes open, investigates calmly, and then 
when he is sure, acts. There are no pre- 
liminaries apparent on the surface, and no 
questioning of the other fellow's motives. 

Undoubtedly Joel had an advantageous 
home life before he tackled pictures. 
Whatever we have been leaves its mark, 
and every wrong occurrence, no matter 
how minor, puts a lasting scar some- 
where. Joel's parents thought so much of 
their youngest son that they set high 
standards for him. His father was the 
president of the Los Angeles' Gas and 
Light Company, and his mother came 
from a puritanical New England family. 
Joel, consequently, had an attractive, in- 
telligent background, and he was encour- 
aged to select his future. 

"Some men want money, some want 
power," Joel maintains. "I wanted adven- 
ture, and that's why I wanted to be in 
pictures. I saw that Hollywood was an 
unpredictable place, and that was swell. 
I want to be surprised. I couldn't stand 
anything cut-and-dried. Uncertainty is a 
challenge! That's why I've never been dis- 
illusioned about Hollywood. I counted on 
it being the most impulsive, astonishing 
place in the world. Some day I may come 
to work and they'll not let me in. You've 
got to think fast here! 

"The stakes we play for are big. So are 
the rewards. So far as the money I make 
goes, I always save because what's the 
use of working for it if it isn't going to 
do you some good? When you can earn 
more than you have to spend to live, it 
seems pretty dumb to throw away what 
you may need sometime later on. But 
money in itself is unimportant, to rne, 

"I say the only tangible thing we have 

is our everyday chance to live fully. 
Who's ever able to bank on money or 
prestige? They get away from you. 

"Frances and I aren't half as 'settled 
down' as you might imagine. We haven't 
bought a house in town because we don't 
want to be stuck with one. We rent, and 
move around. For the past two years we 
were at the beach at Santa Monica in- 
stead of in the city. I don't want to be a 
slave of possessions, always looking out 
for them. That's why I've never had a 
boat. If you accumulate too much you're 
worrying about what to do with things." 

Joel stretched and yawned. "I've been 
driving in from the ranch, getting up at 
six every morning. We're back there for 
awhile. I love it, and it's no whim. It's 
profitable as well as a pleasure. I guess 
I would have been a cowboy if I hadn't 
tried pictures. I didn't have an awful lot 
of ambition, just the urge for an excit- 
ing, natural life that'd call on my re- 
sources. I'd never work in an office; six 
months of that and I'd go right out 
through the ceiling. But I love pictures. 
Acting itself is a business to me; if I 
don't deliver what they want I'm off the 
payroll. I don't plan to retire and devote 
myself to farming. When they ask me 
what I intend to do when I'm washed up 
here, too old you know, I say, 'I don't 
know.' And I don't. What do you sup- 
pose Lewis Stone will do when he's 

"I thought," he laughed, "that I wasn't 
the type to marry. I was going to have 
freedom, come and go with no respon- 
sibilities. I was going to have varied and 
colorful experiences forever after. Then 
Frances came on my horizon and I rec- 
ognized that love is essential, too. 

"To my way of thinking it's wonderful 
that Frances wants to go on with her 
own career. I encourage her to keep it up. 
I think that, today, women ought to do 
something besides keep house. We have 
three servants. Why should she vege- 

"We've had some grand trips together. 
We couldn't get away the first three years 
we were married, what with babies and 
both of us having contracts that inter- 
fered. But then we started off by going 
to Hawaii. I'd been there before when 
I did 'Bird of Paradise.' You know loca- 
tion trips are like explorations; on my first 
picture I went clear to Alaska and had 
enough free time to meet real Eskimos. 

"I don't like actual traveling. But when 
I get places, I'd like to stay in each one 
about three months, to know the people. 
I'd love to go to Norway and Sweden. 
I'd love to live in Canada for awhile, and 
in South America. 

"The last time Frances and I got away 
we headed for the Berkshires in New 
England. The president of the Union 
Pacific railroad happened to be on the 
same train and he told us how his father 
had fought Indians and how he himself 
had risen from section boss. No woman 
had ever ridden in the engine of his new 
streamline train; he let Frances and 
me go up there, and they average ninety- 
two miles an hour! When we reached 

Albany, Frances and I, we bought a car 
a senator had used only for a small 
mileage and we drove to Lake George, 
the most beautiful lake I've ever seen, 
and on up into the 'Northwest Passage' 
country. We met the author of that book 
• — I hope you've read it! — and saw the old 

"Then we got onto the side roads in 
New Hampshire, and stayed overnight at 
farmhouses where they take in touristj 
for two dollars a night. They sell you 
maple syrup before you leave!" In the 
sparsely-settled neighborhoods the Mc- 
Creas weren't identified as picture stars. 
"But when they discovered we were from 
Cahfornia we were plied with questions. 
The kids would solemnly stop milking to 
quiz me on 'What's it like out there, 

"We spent a week in Manchester, Ver- 
mont, at the same hotel where we'd 
honeymooned. We stopped a few days 
in New York. Frances thinks it's rriar- 
velous, but after I've seen the new plays 
I'm ready to get out into the country. 
I'd enjoy pioneering. But no woman 
prefers the loneliness and hardship 
that means. From New York we 
drove on South to New Orleans. You 
miss so much if you stick to trains or 
the highways. We tried the backroads. 
They bring you to the real country. We 
saw Gettysburg. It's marvelous! You see 
where Lincoln stood. It's a great experi- 
ence. You can look over those graves, 
with their historical names, see those 
pine stumps, walk into that little bakery 
shop nearby, where the woman who had 
baked extra bread and pastries for the 
day when the address was given was ac- 
cidentally shot by a stray bullet, just 
before Lincoln arrived. They've kept her 
bakery exactly as it was, and the chair 
where she sat when fate stepped in! 

"The plantations down South are some- 
thing! Have you ever seen those fireflies 
they have? And the easy-going party 
spirit of the Southerners was amaz- 
ing to us. Hollywood is hectic, but down 
South they don't worry and if a party is 
arranged for Saturday night no business 
interferes, everyone dresses for it, and 
they have a wonderful time." 

I don't know any other actor who lit- 
erally mixes with both the prominent 
and the everyday people as Joel does. I 
could tell you how he, in turn, makes 
definite efforts to boost the stock of fel- 
low actors, of how he gave Lew Ayres 
a pep talk that put Lew into high again. 
Jon Hall, Bruce Cabot, and many others 
owe their starts to Joel's help. Sam Gold- 
wyn has never quite recovered from 
Joel's insistence that John Beal be given 
a certain lead because he was more the 
type than Joel was. And then there is 
the inside tale of how Joel went to the 
trouble of "selling" Barbara Stanwyck to 
Goldwyn for one of her greatest hits. Joel 
believed Barbara would act the role to 
the hilt. So he phoned Sam and told him 
so. "What are you now, an agent?" sput- 
tered the producer. Midnight, a couple 
of days afterwards, Joel was awakened 
(Coittimced on page 65) 

shopping for the week end — Mrs. James W. Moore, of 
Mt. Lebanon, Pa., takes advantage of the Friday food 
bargains. Her two young children have healthy appclitesi 


lu find it difficult to protect 
ikin against sun and 
f/hen you're traveling or 

Drs a lot? 

ANSWER: "Oh, no — my regular use of 
Pond's 'Vanishing Cream helps take 
care of that. I can smooth little rough- 
nesses away with just a single appli- 

MOORE: Can a busy 
housewife find time to 
give her skin proper 
care, Mrs. Moore? 

ANSWER: "Yes. Pond's 2 creams make it very easy — 
inexpensive, too! I can get my skin really clean and 
fresh with their Cold Cream. Besides that, this famous 
cream now contains Vitamin A, which is certainly 
important to know." 

return from Paris, her favorite of ^European cities. AJr-. Ali ilon on 
ach Line dock. Customs inspector goes over her luggage. 


N; Does using more 
ne cream improve 
nieral effect of 

ANSWER: "Yes. When my skin is cleansed with 
Pond's Cold Cream and then smoothed with Pond's 
Vanishing Cream — make-up goes on evenly — 
sparkles longerl" 

'er the Theatre — In Mrs. Mellon's lovely 
w York apartment, friends often gather for 
ite supper. 

MOORE: Why do you 

think it's important 
to have Vitamin A 
in your face cream? 

♦ Statements abontthe "skin-vitamin" are based open medical literature 
and tests on the skin of animals following accepted laboratory methods. 

Copyright, 1939, Pond's Extract Company 

for the cost of only ONE 

ANSWER: "I studied about vitamins in feeding my 
children. That's how I learned there's one that's 
especially important to the skin — Vitamin A. Skin 
lacking it gets rough and dry. And now I can 
cream it right into my skin with Pond's Cold CreamI" 

Icebox raiding — Climax to an evening of ping- 
pong. Mrs. Moore pours coffee, while her hus- 
band slices hara. 


Silver Screen for November 1939 

Family Secrets About Ty Power from His Sister 

[Continued from page 221 

— though usually they didn't bother to 
drink it. 

Too much competition broke out in 
the neighborhood so Ty advanced to 
bigger and better things. He decided to 
manufacture, and peddle, perfume. He 
and Ann gathered up all the milk bottles 
they could find and hid them in the 
garage. Then they squeezed dozens of 
flowers into the bottles and poured in 
water that had been slightly colored via 
the paint box. After "steeping" a while 
the liquid was drained off and bottled. 
Ty packed them in his httle wagon and 
began to canvass the neighborhood. 
Women, who simply couldn't resist his 
smile, even at that early age, bought his 
perfume and were practically knocked 
out by the smell that came out of the 
bottles. After the first rush of suckers 
the perfume business went into a decline 
and the perfume magnate declared bank- 
ruptcy and had to think of a new trade. 
He gathered up his mother's magazines 
and books and sold them from door to 
door. She soon put a stop to that. 
"Son," she said, "if you are so anxious 
to make money I will give you a regular 
job, and pay you for it. If you'll weed 
the dandelions out of the lawn every day 
I will give you a penny for every fifteen 
dandelions." At an early age Ty became 
a professional dandelion weeder. No won- 
der the dandelions haven't a Chinaman's 
chance now on his spacious lawns out on 
his Brentwood estate. 

"I remember," Ann continued, "the 
first visit we made to our Grandmother's 
in Cincinnati. Tyrone was completely fas- 
cinated, for some strange reason, by the 
high ceilings in her home. Our bungalows 
in California had always had low ceilings 
and heavy beams and Grandmother's old 
fashioned Eastern house with the high 
ceilings seemed to awe him at first. But 
not for long. 

"Grandmother was entertaining a large 
and formal dinner party one night, and 
as a special treat Tyrone and I were al- 
lowed to have ice cream in the library, 
while the guests were having theirs in the 
dining room. I was eating away joyously 
when suddenly I saw Tyrone stretch out 
flat on his back on the couch, balance 
the saucer on his stomach, and with his 
spoon flip the ice cream toward the ceil- 
ing. After several flips that landed over 
his new suit and the couch he made the 
ceiling — in a nice chocolate splash. He 
was extremely enthused over his prowess. 
But Mother and Grandmother failed to 
share his enthusiasm. My brother is the 
only little boy I ever met who'd rather 
flip his ice cream than eat it." 

It was during the stay in Alhambra 
that a nurse, whom the children called 
"Pet," came to look after them for sev- 
eral years. She was a kindly, intelligent 
woman who taught them not to be afraid 
of the dark, or of anything for that mat- 
ter. The imaginative Tyrone took her 
teachings right to heart and when the 
Doctor arrived to vaccinate him Ty 
boldly informed him, "You can hurt Ann, 
and you can hurt other little children. 

But you can't hurt me. Only God can 
hurt me." 

The mysteries of religion he solved at 
a very early age, and quite satisfactorily, 
too. "Pet" would read to them every night 
before she turned out the lights in the 
nursery, usually several chapters from 
the Bible. One night she read the Twenty- 
Third Psalm. Ann, who was inclined to 
be a phlegmatic child, the exact opposite 
of her volatile brother, was a little wor- 
ried about the meaning. "What does the- 
Lord - is - my - Shepherd - I-shall-not-want 
mean," she asked Tyrone in the next 
bed. "It means," answered Ty, already 
half asleep after a hard day of "trade" 
— "it means that you don't have to worry 
about anything. The Lord will take care 
of you. Shut up and go to sleep." 

To this day Ty refuses to worry about 
anything. In the early days when he 
was trying to get a foothold in pictures, 
or on the stage, he was kicked a'bout 
plenty, but he never worried. Even when 
his "best friends" gathered around and 
told him that if he married Annabella 
the fans would turn against him and his 
movie career would be shot to hell he 
refused to worry. Just smiled that fa- 
mous Tyrone smile — and married Anna- 

"Tyrone 'has always been a terrible 
tease," Ann continued. "And as I was a 
rather serious child he took great pleas- 
ure in teasing me. Usually the teasing was 
innocent enough, but I will never forget 
one summer we spent in Ludington, Mich- 
igan. Ty would tease me because he could 
swim out to the fish nets in the lake, 
but I was afraid to. So one day he 
coaxed me into a row boat with him 
and rowed out to the fish nets — where 
he proceeded to turn the boat over and 
allow me to get back to the shore as best 
I could. He thought it great sport that 
his poor little sister nearly drowned. The 
following summer we spent with an Aunt 
on a farm out near Columbus, Ohio. My 
aunt had a white Spitz dog with a long 
coat of woolly hair, and that dog was the 
apple of her eye. Tyrone found some cans 
of paint in the barn, and to help cele- 
brate the Fourth of July he painted that 
poor dog red, white and blue. It had 
to be shaved, and my aunt was in 

"Tyrone had a very vivid imagination 
when- he was a child — except that we 
didn't call it an imagination then — we 
called it fibbing. He was quite adept at 
it. Every day was April Fool's day at the 
Powers. But in sort of self-protection I 
soon learned to detect when Tyrone was 
fibbing. His face would be perfectly 
straight, but there would be a funny 
little quirk around his lips. Mother never 
could tell. But I always could. Even to- 
day when he is making up a beautiful 
whopper you can detect that quirk around 
his lips if you look closely. 

"My brother always wanted to know 
the 'Why?' of everything. He would ar- 
gue until he was blue in the face. But 
the minute you gave him a logical reason 
for something he accepted it without any 
further ado. He's like that today. When 

we moved to Cincinnati and I started 
having dates he became a very protective 
brother. 'Ann can't go out with a boy 
until I know him well,' he would say. 
being very big brotherly. He was always 
falling in love with my classmates at 
school and for years I played Farley for 
him and delivered his notes regularly 
every morning. He was very faithful, in 
his way, to his 'girls.' But the girl he 
seemed most excited about was one he 
never met. She used to come into the 
drug store there in Cincinnati, where 
he was jerking sodas during summer va- 
cation, and order banana spHts. He never 
knew her name, and he never dared speak 
to her, he was content to worship from 
afar. He has always been a very loyal 
friend, even as a small boy. He would 
loan the shirt off his back to a pal and 
think nothing about it." 

Tyrone has a grand habit, practically 
unique in the picture business, of remem- 
bering old friends. William' Gallagher, his 
secretary, is a well known friend of Ty's 
lean days in New York. And another 
example of his loyalty is directed towards 
his stand-in and friend of his Cincinnati 
school days, Tommy Noonan. When there 
are trips to take and fun to be had Ty 
always sees to it that Bill and Tommy 
have a share in it. Annabella, fortunately, 
likes Bill and Tommy too. 

"The best spanking Tyrone ever got," 
said Ann, "was when he hned the car 
tracks back of the San Gabriel theatre 
with the dead electric bulbs from the 
foothghts. During the most beautiful 
and spiritual scene in the play there sud- 
denly arose a series of explosions which 
frightened the audience right out of their 
seats. Mother did a httle paddling on his 
seat. And ever since then he has had the 
greatest respect for audiences." 

The worst trouble that Mrs. Power 
seemed to have with her young son was 
making him relax. She would make Ann 
and Ty remain sitting at the dinner table 
for fifteen minutes after a meal during 
which time she would combine a lesson 
in poise with one of diction. Ty, one 
of those nervous squirmers, found these 
fifteen minutes the hardest in his day's 
routine. Today Ty still sits for fifteen 
minutes, or more, at the dinner table 
after the coffee has been served. But it 
isn't for the purpose of relaxing. It's 
to show off his magic. He can make the 
silverware and the china do all sorts of 
mysterious tricks, and he never gets tired 
of amazing his guests. Annabella is the 
perfect wife. She never gives away the 
secret or kills a point. 

The rumors are hot and heavy that the 
Powers are expecting their first heir in 
January. Ty has often said that he wants 
four sons. And he wants them early in 
life so he can have that companionship 
with his sons that he never had with his 
father. Well, I guess his "best friends" 
will rush to him now and warn him that 
he will lose his fan following if he be- 
comes a father. But Ty, as usual, will 
refuse to worry about it. He still believes 
impKcitly in the Twenty-Third Psalm. 

Silver Screen for November 1939 



^To keep your Accent on Youth s 
Join this Revolt aqainst Heavy, Waxy Creams 

Go get the facts and you'll never use a 
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ADDRESS ^ — ^ 

CITY ■ — ^STATE _ 

( Tf you live in Canada,write Lady Esther, Toronto,Ont. ) 


Silver Screen for November 1939 




What Really Makes a Woman 
Dangerous ? 

[Continued from page 25] 


SO RESTED? she's 
400 MILES!" 


and see which you like the best. Besides the 
popular Peppermint, there -are Beech-Nut 
Spearmint, Oralgum and 3 flavors of Beechies 
— Peppermint, Spearmint and Pepsin. 

continued Dorothy, "there are women who 
collect men's hearts with the same zest 
and lust that the male hunter feels in add- 
ing to his jungle trophies — they are the 
ones to be called 'dangerous.' However, 
I believe, most women employ their 
charms and graces because they really 
want to win some man for their own, so 
they are justified. Now, men like excite- 
ment in their wooing, and if a girl can be 
modern and up-to-date, yet a bit old- 
fashioned, too, she's bound to be a 

"My primitive, jungle characters, be- 
ing free from inhibitions, are bold in the 
pursuit of love. With no traditions or 
ethics to guide them, they go after what 
they want without bothering with subtle- 
ties. They are more honest, more ruthless 
than a civilized sorceress. Also, more 
loyal, as well as more selfish. 

"In 'Spawn of the North' I was a girl 
from the lowest strata whose emotions 
were elemental. I liked her because she 
was exciting. She took what she wanted 
without counting the cost, then gamely 
paid the price. Now, in 'Disputed Pass- 
age' I'm playing the most thrilling role 
I've ever had. The girl is an American 
but has been reared by the Chinese and 
she's become one with that race, except 
for the heritage of blood. There's a beau- 
tiful romance between her and a young 
doctor and she follows the Oriental re- 
pression, giving little hint of turbulent 
emotions. Yet, the gliding body, the flut- 
tering movements of her hands, her voice, 
her eyes, all speak for her. The people 
of the East have developed imagination 
to an almost visible point." 

Dorothy's career is amazing, for this 
little girl from New Orleans has won top 
spots on screen and radio within three 
short years. Her pictures are theatre fa- 
vorites, and as Charlie McCarthy's girl- 
friend Dottie, on the N.B.C. Chase and 
Sanborn Sunday broadcast, she's beloved 
the world over. She's had her ups and 
downs, Jier disappointments and her griefs, 
but they've left no mark on her radiant, 
sweet personality. 

Dorothy has bought a beautiful home 
in Cold Water Canyon, not far from her 
predecessor in sorcery, Myrna Loy, who 
dropped her menace to become the Per- 
fect Wife, and here she and her mother 
live quietly and happily. Dorothy should 
be dubbed the lovable vamp, for while she 
has glamour and mystery, with an exotic 
quality that grips the imagination, she's 
soft and sweet, and ultra feminine in 
everything. She wears her long hair, that 
has escaped the modern shears, in a soft 
coil at her neck, with a ribbon bow catch- 
ing a few curls at the side of her face. 
She adores clothes, simple, dainty things, 
and her every movement is full of rhythm. 

"I suppose the really dangerous woman," 
continued Dorothy, at my urging for more 
particulars, "would create the suggestion 
of mystery, a devastating mystery that 
would haunt a man's thoughts — stir him. 
She'd project a feeling of restrained fire, 
smouldering, ready to burst into flame, 
for this would create suspense. How would 

she do this? I'm sure I don't know. 

"Maybe, the Victorian woman knew 
more about the art of romance, how to 
win and hold her man. Whether her tactics 
would work today is a question, but the 
modern girl is losing something very 
precious. The old-fashioned woman knew 
that man is the hunter, that he likes to 
test his mettle, and is not apt to value 
anything too easily won. 

"Every woman has her own special 
brand of allure and she should develop 
this, for a carbon copy of another's 
charms is pretty flat. If one can be an 
Individualist, stand out from the sur- 
rounding crowd, that is the greatest of 
all assets because it suggests a mental 
originality, too, that side-steps ruts and 
drab corners. We can't be dangerous, or 
even interesting, with an inferiority com- 
plex, so we must acquire poise and self- 
assurance, and we should all cultivate 
charm, for it is the one lasting quality 
that defies Time. 

"Beauty? Of course, it attracts. But 
you'll notice that more often than not, 
men disregard this when falling in love 
for there are many other qualities more 
potent in stirring their emotions than a 
pretty face. Too, men are more clothes- 
conscious than women realize, but they 
are intrigued by effect rather than detail. 

"The emotional influence of clothes is 
very subtle, both for the wearer and 
those who see us, and offers a tremendous 
aid in creating moods and backgrounds; 
women should study this. When one per- 
mits her seductive abilities to lead her 
into tricks, she loses her man. Nothing 
in the world so frightens the male as to 
feel he's the victim of any kind of trick- 
ery. I believe men are extravagant in 
their admiration of sincerity, honesty 
and good taste in women, and it is 'well 
for us all to remember this. 

"Some women can cast one alluring 
glance at a man and it is dynamite. A 
face like an open book can't be glamor- 
ous because men thrill to the unexpected- 
ness of the exciting personality that hints 
but doesn't reveal. They revel in the ad- 
venture of discovering undercurrents. It 
is the hidden mystery in the smiling eyes 
of the famous painting of Mona Lisa that 
has made it the rave for centuries. 

"Men yearn for love just as much as 
women, but they never let it absorb them, 
always retaining other interests and keep- 
ing their balance. Women are the foolish 
ones, for they emotionally toss all their 
eggs into one basket, and when the basket 
tips, as it usually does, they feel life is 

Dorothy stopped abruptly. Her own 
beautiful romance ended recently, when 
she and Herbie Kay were divorced after 
a few happy years. Different careers, pro- 
longed separations, caused the inevitable 
drifting apart. At the moment, Dorothy 
feels she's through with love and romance 
— ^it's career for her from now on. But if 
ever a girl was made for love, for glamor- 
ous romance, it is Dorothy Lamour. She 
can't escape it, it is bound to catch up 
wi^h her again — someday! 


Silver Screen for November 1939 


Franciska Gaal, the Hungarian beauty, 
has been faithful to her English les- 
sons and now has mastered the language. 

He's Always Think- 
ing of the Other 

[Continued from page 60] 

by a call. Goldwyn wished him to hurry 
to his home instantly. Expecting a calam- 
ity, no less, Joel rushed over. "Barbara 
Stanwyck hasn't enough sex appeal!" Sam 
greeted hira. Pointing his finger in Joel's 
face, he added, "Has she for you?" Smil- 
ing wryly, Joel retorted. "That's hardly 
the point. She has plenty of appeal for 
Taylor and ten million women know 
he could do his own choosing!" Barbara 
Stanwyck got that part; the picture was 
"Stella Dallas." 

And then there is the touching story 
of the little old lady hitch-hiker whom 
Joel gave a ride to. He learned more, of 
human courage when she refused to accept 
a gift of a suit for her son. She had 
asked him for a ride four years before, 
and he recalled that. Inquiring what she 
carried in the bags she was weighted 
down with, he discovered she was pack- 
ing laundry back and forth from Holly- 
wood to the country in order to supDort 
her son. She was making, this second 
time he stopped her, a number of extra 
trips to get him a decent suit for his 
graduation. Joel said he would like to 
buy the suit for him. "Who are you that 
you can throw away money?" she re- 
sponded. "I work in pictures," Joel said 
quietly. "Oh," she nodded, "my boy sees 
movies. I was able to afford one once 
myself. I remember it well, 'The Birth 
of a Nation.' But I couldn't accept that, 
thank you very much." 

Joel doesn't judge by appearances. He 
doesn't miss much, as a result. Things 
aren't always going wrong with him, be- 
cause he isn't always doing things the 
wrong way, and he gets a break at 
the drop of a hat in Hollywood because 
he thinks of the other fellow, as well as 
of himself. 

Maybe he explains himself most ac- 
curately when he admits, "I hate to do 
anything that isn't constructive." Probe 
him about his method for maintaining 
his equilibrium and he grins, "I'm diplo- 
matic to a degree, then I fight like hell!" 

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is almost always guilty of 


HE NEGLECTS to kiss 
her good-bye, and 
never shows the little 
signs of affection which 
mean much to a wife. 

HE NEGLECTS the com- 
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to have; shows no in- 
terest in her doily 
problems and plans. 


the sentiments 
that are dear to 
her; forgets anni- 
versaries and 
special occasions 
to which she has 
looked forward. 


he r own neglect 
was really the 

cause of his 


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Silver Screen for November 1939 







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Janet Does an Off to Yuma! 

[Continued from page 17] 

I look forward to a richness and fullness 
of living that I never could have known 
if I had continued to live always just by 

"But what about your career?" I asked 
in alarm. Too much happiness is a dan- 
gerous thing for a movie career. 

"Oh, I don't know," said Janet cas- 
ually. "Maybe I'll just be Mrs. A." 

But I happen to know through my 
spy system — Mata Hari brought it to me 
in an olive in a Martini — that the little 
Gaynor has several very important pic- 
tures in mind. Janet has reached that 
very comfortable and easy position on 
the Hollywood ladder of fame where she 
can afford to be choosy. 

Sure enough, the Monday following my 
Saturday visit to her beach house Janet 
and Adrian were driven by Janet's chauf- 
feur, Clifford Mogale (who looks like a 
double of Charles Laiighton) to Yuma, 
Arizona, where they were married by 
Justice of the Peace Ed. Winn in the 
San Carlos Hotel. Mogale, who has been 
with Janet for ten years, stood up with 
them. They immediately took the train 
for El Paso following the short ceremony, 
and then on to Mexico City. Two days 
after the marriage, I talked to Mrs. Gay- 
nor who had already received a letter 
and three wires from her daughter and 
new son-in-law. They simply oozed hap- 

It was just about a year ago that 
Janet and Adrian started "going together" 
and had the Hollywood gossips buzzing 
away over a new, and rather unexpected, 
romance. Adrian, as you know, is Gilbert 
Adrian, a former Naugatuck, Connecticut, 
boy whose designing skill led him to 
Paris, New York, {where he created the 
costumes for Irving Berlin's Music Box 
Revues) arxA then to Hollywood, where, 
for a number of years, he has been de- 
signing clothes for Metro's most smartly 
gowned stars — Joan Crawford, Myrna 
Loy, Hedy Lamarr, Norma Shearer, Rosa- 
lind Russell, and dozens of other women. 
Adrian is only thirty-five but he is cred- 
ited with having more influence on Amer- 
ican fashions than any other designer in 
the country. Whenever a woman sees 
"Gowns by Adrian" on the screen she 
draws a delicious sigh of relief, knowing 
that she is about to^ feast her eyes on 
something really chic. Although always 
impeccably groomed, Janet had never 
been particularly clothes-conscious until 
she started "dating" with Adrian. She still 
clung to the curls and old-fashioned hair- 
dress that her fans loved in "Seventh 
Heaven." But Adrian changed all that. 
Now she has one of the smartest coiffures 
in Hollywood, and is recognized as one 
of the "best dressed" stars. Reds and 
browns Adrian feels are her best colors. 

Janet and Adrian first met in 1933, 
when Janet was under contract to Fox 
Films. They wanted her to appear "dif- 
ferent" in "Paddy the Next Best Thing" 
so Fox arranged with Metro to have 
Adrian do her clothes. Janet and he paid 
very little attention to each other. A 

year or so later Janet bumped into Adrian 
at a preview and didn't even recognize 
him. "Remember me," said Adrian, "I'm 
Adrian." Janet was quite embarrassed, 
and made a mental note never to forget 
a face in the future. When Janet was 
loaned to Metro by Selznick International 
for the lead in "Three Loves Has Nancy" 
Adrian was assigned to do her clothes, 
and this time Janet remembered him 
quite well. They lunched together regu- 
larly during the production of the picture. 

Fourth of July, a year ago, Janet gave 
a small party at her beach house and 
invited Adrian. She tried a bit of "small 
talk," gay and inconsequential, and she 
tried a bit of flirting in the Hollywood 
manner, and suddenly discovered that 
Adrian wasn't the type to be trifled with. 
He was the most sincere person she had 
ever met in all her life! They found 
they had a common interest in many 
things, travel, books, music, psychology, 
and Yoga philosophy. {Yoga philosophy, 
in case you're dumb like me, has ma?iy 
wonderful beliefs: "Do not hate anybody, 
because that hatred which comes out 
from you, must, in the long run, come 
back to you." And "There is no happi- 
ness higher than what a man obtains 
through his attitude of non-offensiveness 
to all creation.") In the Bublichki res- 
taurant on the Sunset Strip Adrian and 
Janet would listen to Russian music and 
discuss Yoga philosophy until the sun 
popped over the Hollywood hills. 

When they return from their honey- 
moon Mr. and Mrs. A. will live at 
Adrian's beautiful home out in Toluca 
Lake. Adrian has a valuable collection 
of rare birds and monkeys — so let's 
hope Janet likes birds and monkeys. 
Adrian also has a small ranch house in 
the desert near Victorville where they 
will spend most of their week-ends, and 
where they can completely relax and "get 
away from it all." Although they are 
far from being anti-social neither Janet 
nor Adrian care for big Hollywood parties. 

This is Adrian's first marriage. It is 
the second for Janet. Soon after she made 
"Seventh Heaven" young Lydell Peck, 
the son of a well known attorney in 
Oakland, fell madly in love with the 
screen Janet. He had known Bill Howard, 
the director, so he came to Hollywood 
and fairly drove Bill nuts until he had 
arranged an introduction. After a whirl- 
wind courtship he and Janet married and 
he was given a job at the Fox studio as 
associate producer. They were divorced 
in 1933. 

Janet isn't the demure little person 
you may think her at all. She has one 
of the grandest senses of humor in this 
town. And a wit that is second to none. 
Well; maybe, second to Adrian's. The 
Adrian quips are famous. The Glamour 
Girls on the Metro lot never complain 
about their fittings in his salon because 
they know that his humor will have them 
fairly bursting out their seams. Often, too 
often, he stoops to punning. But Janet 
doesn't seem to mind. So why should we? 

Silver Screen for November 1939 


Mr. Stewart Goes to Washington 

[Continued from page 27] 

over an hour at Washington Airport for 
a glimpse of Jimmy when he arrived. And 
although he had caught cold on the flight 
East, he took time to give autographs, 
pose for cameramen and greet newspaper- 
men and friends before leaving for his 

An insistent girl reporter, a camera- 
man and this writer got him out of bed 
the next morning. He was as amiable as 
if his sleep had been undisturbed. But he 
was completely firm about not discussing 
politics, the chief industry of Washing- 
ton, and about not wanting to be a public 
official, even if anyone would vote for 
him (which he doubted). 

"I just want to be an actor," he ex- 

"I want to be as good an actor as I 
can, but I know I'd be a terrible poli- 

As an actor, he was glad that he would 
be able to be a sightseer, too. 

"This is my second trip to Washington, 
but I don't remember much about the 
first one," he said. 

"That was late in the war, when as a 
kid I came here to say hello to my father, 
who was in the army. All I remember 
about that trip was seeing the Capitol 
and seeing my Dad." 

As Senator Smith, Stewart had plenty 
of opportunity to see all of Washington's 

sights. The sequence filmed in the Capital 
City was under the supervision of Slavko 
Vorkapitch, Russian genius whose mon- 
tage work and special effects have in- 
cluded the earthquake in "San Francisco," 
the cyclone in "Hurricane" and many 
other unusual scenes. 

There is no earthquake in "Mr. Smith," 
although the new Senator does cause 
something of an upheaval in Washington's 
pohtical circles. But it was necessary to 
show, on the screen, that Senator Smith 
had been sightseeing in Washington for 
five hours. 

Cameras were set up at the Capitol, the 
Lincoln Memorial, the National Press 
Club, the Senate Office Building — and 
there was even a scene of Stewart board- 
ing a Washington street car. The total of 
five days shooting will occupy but two or 
three minutes of screen time, but as 
photographed and mounted by Vorkapitch, 
it will give a clear impression that the 
young Senator really covered some ter- 

"The Lincoln Memorial is the most im- 
portant of all," Stewart explained. 

"As Jeff Smith, I don't know anything 
about Napoleon or Shakespeare, but, boy, 
do I know my Lincoln!" 

A movie agent, overhearing him, hinted 
that Stewart in real life is much better 
acquainted with the works of Shakespeare. 

Stewart grinned. 

"I've never played Shakespeare. Every- 
body figured I would look terrible in 
tights. You know, my legs!" 

Stewart, it is obvious, doesn't take 
things seriously. His easy-going air was 
disturbed only once, when he recalled five 
weeks of hard work which he and Jean 
Arthur put in learning to shag for "You 
Can't Take It With You." 

"We thought we were pretty hot stuff, 
too," he recalled, but they cut the whole 
thing out. And say, by a week later, I 
couldn't remember a single step. I liked, 
it, too — wish I could do it now." 

Stewart doesn't hold this against Frank 
Capra, however. He has complete faith in 
the director. 

"Once he starts a picture, everybody 
connected with it knows that Capra is 
going to do everything possible to make 
it a hit. It isn't a case of making a film 
because you have to meet a release date. 

"He's a great little guy, and when he's 
sitting there, you just naturally do your 
best. And if your best isn't good enough 
on the first shot, you know he'll be pa- 
tient and there will be plenty more shots 
to give you a chance to come through.'' 

Inevitable, of course, in any interview 
with Stewart is the question of his bache- 
lorhood. He admits he would hke to get 
married, but having just made ten pic- 
tures in a row, didn't see where he had 
had much time to look into the matter. 

"I've been pretty busy," he explains, 
"but I can't say I haven't been looking. 
I don't care whether she's an actress or 





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not. but I do hope someday to find the 
right girl." 

That, of course, brought up the ques- 
tion of Washington women. 

"That's funny," said Jim. "It's one of 
the questions a girl reporter asks Senator 
Smith in the picture. But I'm darned if I 
can remember what the answer is!" 

That interview terminated, Stewart, 
shaved, dressed, had some breakfast and 
repaired to the Lincoln Memorial, where 
cameras were being set up. The usual 
crowd of tourists who were visiting the 
Memorial had an added thrill. Many of 
them were invited by Assistant Director 
Black to take part in the scenes being 
shot. Old and young, they did their bit 
for the camera and "Mr. Smith Goes to 
Washington" will be eagerly awaited by a 
number of Americans who happened to be 
visiting Washington that July day. 

While set-ups were being completed, 
Stewart disappeared. A few minutes later 
he was located, his personal movie camera 
in hand, making an angle shot of the Lin- 
coln statue. 

After that afternoon's shooting was 
completed — and an unfriendly sun made 
progress difficult- — Senator Stewart re- 
paired to Washington's Variety Club, 
recreation center for Capitol showmen, 
and amazed a small town exhibitor, three 
film salesmen and a Columbia distributor 
(?iot to mention a couple of publicity 
men) by pretty well refusing to talk 
about Stewart. He was more interested in 
hearing what the salesmen had to say 
about pictures than in delivering any 
speeches about himself. 

It was all very valuable, Stewart in- 
sisted, this getting the slant of people 
far from the ivory towers of Hollywood 
and in close contact with the real movie 

"I'm in something of a spot anyhow," 
Jim explained. 

"You see, I figure I'm somewhere be- 
tween the Gables and Taylors and Flynns 
— the big popular male stars — and the 
Donald Meeks and Edward Arnolds of the 
more specialized types of roles. 

"In Hollywood, they seem to have a 
hard time deciding what I am. Sometimes 
they call me a 'character juvenile,' some- 
times it's 'character lead.' Sometimes it's 
just 'character!' " 

"So anything I can learn from you boys 
about pictures people like, and roles they 
enjoy, is worth a lot to me." 

Completely overcome by a film star 
who wanted to learn something from 
them, the film men did their best to give 
Stewart the benefit of their experience. By 
dint of much probing, they discovered 
that he himself liked best of all his work 
for Capra and his role in an early pic- 
ture, "Next Time We Love." And he won- 
dered if a story like "Made For Each 
Other" wasn't too close to real life, too 
true, to make real entertainment for 

He named as his own favorite players 
Spencer Tracy, Alfred Lunt of stage fame, 
Paul Muni and — on the feminine side — 
Margaret Sullavan. He also spoke highly 
of Jean Arthur, his leading lady in both 
"You Can't Take It With You" and "Mr. 
Smith." And for sheer good fun, he 
couldn't help but rave about "Hellzapop- 
pin," which he had seen in a brief New 
York visit last winter. 

But after the important business of 
discussing pictures and players had been: 
finished, Senator Stewart relaxed com- 
pletely and, in answer to questions, told 
some anecdotes about his pre-HoUywood 
days. He admitted to being born in In- 
diana, Pennsylvania, although nobody 
present had ever heard of it ; talked abouti 
student days at Mercersburg Academy, m 
Pennsylvania, and at Princeton University, 
where he graduated with the class of 1932.! 

Most fun of all was his discussion o|| 
a summer vacation which he spent aa 
assistant to a magician playing a Chautau| 
qua Circuit in Pennsylvania. The assists 
ant, it seems, had a hard time; Stewar^' 
in person as in pictures, is a fun-lovin| 
rather slow-moving, drawling person. 4l 
magician's assistant has to move fast. • 

Jimmy recalled one night when he was 
walking on the stage to hand a guinea] 
pig to the magician. Stretched from the 
stage center to the wings was a very im- 
portant wire, invisible to the audience 
but in plain view to Jim. Not thinkingjj 
he ducked under the wire, making itsi 
presence pretty plain — much to his andl 
the prestidigitator's embarrassment. I 

In another town, he recalled an incidenf 
that almost turned the magic act into i 
Sennett comedy. He and the magiciara 
were both on stage, raising a lady int^ 
midair by hypnotic powers. In the wingsjj 
a local stage hand was entrusted with 
lever which, when gently pulled, work& 
an invisible apparatus which raised ani 
lowered the lady. 

When the magic passes were completedJ| 
the lady failed to move. A quick glance 
in the wings revealed that the stagehancl 
was fast asleep! I 

Stewart, by much coughing and shout| 
ing behind his hand, managed to arousi 
this hapless assistant. The local ma; 
realizing that he was far behind in hii 
duties, grabbed the lever and gave on 
tr-emendous push, tossing the lady int 
the air faster than an express elevator anc 
nearly knocking Stewart and his boss ovei £ 
in the rush! 

Stagestruck after his Chautauqua ex^ 
perience, Jim lost no time in looking for! 
work behind footlights after his gradua 
tion. Small parts in several plays helpe 
to get him started and it was then that hi 
and another young man engaged an apart| 
ment in New York. 

The other young fellow, by the nam^ 
of Henry Fonda, rushed into the theateal 
one day to announce that he had foun( 
the ideal home site for two far fron 
wealthy actors. Jim went with him am 
added his approval. It was a fine apart 
ment, and so reasonable. 

They lived there a whole year befon 
they discovered why the rent was so low 
A murder in the block woke them up ii 
the fact that their neighbor on one side 
was a gentleman known familiarly ai 
"Dutch" Schultz, while adjoining thenj 
on the other side was the establishmen 
of an equally infamous character — Mista 
"Legs" Diamond! Jimmy still insists thai 
it was a swell spot, although they were t 
little amazed by a hotel in the same block 
which kept changing its name. 

They finally discovered that every tim< 
a murder was committed on the premises 
this hostelry put up a new electric sign — \ 
and the basement was full of signs which 
were used from time to time and thei 





J Senal 
tie koti 
lor. u 
iij itas 


It n\ 

wnc ir 


■3 ma: 
cntial I 


Silver Screen for November 1939 

Exotic Patricia Morison being es- 
corted to a premiere by Preston Foster. 

replaced as the house, under its old name, 
received unpleasant newspaper publicity! 

Before the evening ended, most of the 
Variety Club members were grouped 
around Stewart, laughing heartily at his 
anecdotes. But when he suddenly realized 
that his audience had grown and he was 
doing most of the talking, Jim proved 
very definitely that he would never make 
a Senator. He yielded the floor at the first 
excuse and soon was on his way back to 
the hotel for dinner. 

The rest of Stewart's visit to Washing- 
ton was nearly as full as his first day. 
Whenever the weather permitted, shoot- 
ing was resumed around town. One diffi- 
culty developed when it was discovered 
that scenes shot in Hollywood showing 
Senator Smith looking up at pictures on 
the walls of the Capitol were hard to do 
in reverse in Washington. The pictures he 
looked up at all hung at eye level, act- 
ually. And vice-versa. 

This difficulty overcome — by one cam- 
era trick or another — further trouble was 
created by enthusiastic tourists who 
turned their attention from scenes of his- 
toric interest to Stewart whenever he 
appeared. It was a real task to keep the 
'extras' interested in Washington's sights 
when they all wanted to stare at a Holly- 
wood star — and no senator, not even 
Senator Smith, would have created so 
much interest. 

Even official Washington became in- 
terested in the lanky visitor. One Senator 
■ — a man who expects to win the presi- 
dential nomination at the next convention 
— kept his secretary busy phoning the 
Stewart hotel room; Jimmy, much as he 
appreciated the interest, didn't have time 
to meet the real Senator. But he did find 
a moment, during the week, to call on a 
Princeton classmate and the two of them 
spent valuable time poring over pictures 
in a college photo album. 

That, to Jimmy Stewart, was probably 
the highlight of the whole trip. For he is 
a friendly guy, who remembers his friends 
— and gets the biggest kick in the world 
out of being remembered by them ! 


♦Penny Singleton and Arthur 
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Silver Screen for November 1939 

"AH Flew Into the Cuckoo's Nest!' 

[Continued from page 39] 


ities. Two are blondes and two are brun- 
ettes. Two of the girls are married, two 
are not. One of them never thought of 
becoming an actress. One thought of it 
when she w'as half grown up. Three of 
them come from families of very modest 
means. One of them is the child of a 
well-to-do father. One went to Dramatic 
School, three did not go to Dramatic 
School. So, you see, there are no hard- 
and-fast rules — you can't say "I'm mar- 
ried, what chance have I?" or "my folks 
were poor, I didn't have opportunities" 
— no, you can"t alibi yourselves, for these 
girls didn't. . . . 

If you are interested in Astrology, want 
to check your horoscopes with theirs, 
Linda Darnell was born on October 16th, 
1921; Brenda Marshall on September 
29th, 1915; Brenda Joyce on February 
25th, 1918, and Helen Gilbert on July 
4th, 1915. 

If you'd like to compare your physi- 
cal type to theirs, Brenda Joyce has fair 
hair, fair skin, blue eyes, weighs 112 
pounds, is five feet four inches in her 
bobby socks; Helen Gilbert is fair, too, 
with golden hair, blue eyes, white rose- 
petal skin, stands five feet one-half inch 
in height, weighs 113 pounds; Brenda 
Marshall is very dark, gypsy dark hair, 
hazel eyes, olive skin, is five feet three 
inches tall and weighs 108 pounds; Linda 
Darnell is dark, too, though not quite so 
'brune" as Brenda, her skin is rosy- 
olive, eyes a brilliant brown, hair 
matches her eyes, she is five feet four 
and three-quarters inches tall and weighs 
109 pounds. All four girls are natural, 
as natural as God made them. None of 
them have "touched up" their hair. None 
of them have permanent waves. None of 
them use any street make-up save for a 
flip dash of lipstick. 

And now, suppose we let the girls tell 
their own stories of how-come they 
came to Hollywood, by what routes, via 
what qualities, breaks, ambitions or ef- 
forts. Then you girls who read may say: 
"I think I might do it the way Brenda 
Joyce did" or "I believe Linda's way is 
my best bet!" 

For these girls have certainly proven, 
right handsomely, too, that it can be 
done, that if all roads lead to Rome, then 
several roads lead to Hollywood, too. 
Four roads at the very least . . . four 
separate roads which they have taken, 
the two Brendas, Linda and Helen. . . . 
* * * 

Brenda Marshall told me: "I always 
wanted to be an actress in a vague sort 
of way. But I was ashamed to admit it. 
Because I thought that wanting to be an 
actress implied being very beautiful and 
so was conceited. And I wasn't beautiful 
at all. I was a little, thin brown child, 
sort of scrawnj'. No one in my family 
had ever been in the theatre. My father. 
Otto Peter Ankerson (wy real name is 
Ardis Ankerson) owns one of the largest 
sugar plantations on the small island of 
Negros, where I was born and where I 
lived until I was nine years old. {Brenda 
is one movie girl who can boast a sure- 

Cfiongh "Sugar Daddy"!) I have one 
sister, a few years older than I. My 
mother died when I was eight. And then 
we went to San Antonio, Texas, my sis- 
ter and I, and lived with our step-mother. 

"I was a Junior in High School — the 
Alamo Heights High School, where Ann 
Sheridan was also a pupil a little before 
my time, before I ever really thought of 
becoming an actress. 

"Up to that time I'd never even played 
at Make-Beheve. I'd never made up lit- 
tle plays and acted in them. I never did 
any of the things most actresses say they 
did when they were kids. I'd seen a few 
movies, but mostly very old ones, on the 
Island of Negros. They never meant any- 
thing to me except just something to 
do. Well, when I was a Junior in High, 
I tried out for and got a part in a play 
called The Rosary. That was the begin- 
ning. That started me. 

"After that one little play everything I 
did was directed to one end — the Stage. 
That little play is exactly why I am mak- 
ing Career Man in Hollywood toda3'. 
Then I won the prize for the best per- 
formance given by the pupils of all the 
High Schools in San Antonio county. 
After I graduated from High I entered 
TSCW— the Texas State College for 
Women. I stayed only two years. I doubt 
that I would have got a diploma, any- 
way, since I took all the courses which 
don't do much for you by way of credits 
— speech courses, dramatics, painting, 
music and so on. I shunned sororities like 
the plague. I can honestly say that I lived 
and breathed the Theatre. I even man- 
aged to break precedent, being the only 
Freshman to get a part in one of the 
Little Theatre plays, which, is a senior 

"At the end of my second year I quit 
college because I couldn't wait any longer 
to get on the stage. But I was faced with 
the great problem of how to get on the 
stage. I must get to New York. I knew 
that. That was all I did know. Dramatic 
School was one way, I supposed, but what 
Dramatic School? We had some friends 
who knew Arthur Hopkins and they 
asked Mr. Hopkins for his advice. He 
wrote saying that "the only Dramatic 
School to which I would send any daugh- 
ter of mine is Madame Ouspenskaya's." 
That did it. 

"I had a little income of my own, de- 
rived from some investments my father 
had made for me. Not much, but I 
wouldn't starve. I went to New York. I 
enrolled at Mme. Ouspenskaya's and I 
am completely glad that I did. There are 
many ways, of course, but I think that if 
girls can go to the best dramatic schools, 
they should go. But better not go to any 
unless you can go to the best. And almost 
any one ca?i go if they are willing to 
work for it. You can always try out for 
scholarships, you know, and keep trying 
out . . . you can do whatever you want 
to do, I believe, if you want to hard 

"I was two years with Mme. Ouspens- 
kaya and I think she is the greatest liv- 

ing teacher of Dramatics. We had the 
most rigorous training. The discipline was 
terrific. And it was discipline I needed, 
never having had any. Richard Gaines 
{who is now playing Raymond Massey's 
part in "Abe Lincoln in Illinois") was^ 
Ouspenskaya's co-director. In the summer' 
he would take us up to Peterborough, 
New Hampshire, to join the Peterborough 
Players, a sort of summer stock. Which 
gave me all kinds of experience. I played 
the leads in all kinds of the best, most 
teaching plays, Candida, The Giicrdsman 
and others. / never even started with 
small parts. And while I was in Peter- 
borough, two summers ago," smiled the 
young Brenda, "it was a case of 'pupil 
and teacher read no more that day,' for 
Richard and I were married. No, I don't 
think that marriage hinders a girl's ca- 
reer ... I think that the more 'fullness 
of life and living' we can have, the 
richer our work will be. 

"Well, the next thing I did was to ap 
pear in the American premiere of Shaw's: 
On the Rocks at Daly's Theatre in Newj 
York. All the first-string critics wen 
there. We had a regular opening and all-; 
and nice things were said about my work, 
Through that part I got several screm 
tests. Nothing came of them. I made onei^ 
for M-G-M, which is best forgotten. One^ 
for 20th Century-Fox, which was for-;! 
gotten. I just about gave up in despair,'; 
deciding that I would never photography 
worth a cent, when Paramount sent Artid(j 
Jacobsen, their ace talent scout, to New j 
York to make some tests. I read for him 
and he was enthusiastic. I made a test 
for him and when I saw it, / was en-*,' 
thusiastic. I didn't know that I coul 
photograph so well. But not a word di^: 
1 hear. Then I thought it was just no. 
use. If that test didn't get me to Holly 
wood, nothing ever would. 

"Time passed. Suddenly, a teletype meS' 
sage came through to Warner Brothers^ 
offices in New York. The studio had seenj 
my test. The message read. 'Have 
Brenda Marshall fly to Hollywood on the 
6.20 plane this afternoon to test for a. 
Hal Wallis production, Career Man.' 1 
bought an extra pair of stockings," 
laughed Brenda, "and I flew! I got the 
part. I got a contract. I flew right into 
the Cuckoo's Nest, indeed! And it's all 
a hundred times more wonderful than I 
thought it would be, and that's the truth 
I'm glad I had my dramatic school train- 
ing, glad I had my experience on the, 
stage. For once you get used to that 
camera, you have the same problems on 
the screen as on the stage, that's why the, 
stage is valuable preliminary training for 
the screen." 

I said, "What one particular quality 
is most necessary to get a gal to Holly- 
wood, do you think, into the movies?" ' 

"Frankly," said the dark Brenda, "I, 
think looks are pretty important. After J 
all, there's not much call for young char- 
acter actresses. But, given a fair amount 
of looks. I would say that Determina- 
tion is the one necessary thing. For, if 
you hold one thought in your mind, one 
thought only, it does seem to work out 
... so that," said Brenda, "is how / fleW 
into the Cuckoo's Nest!" 

* =): * j 

Brenda Joyce told me, "None of my 
people were ever on the stage but all my' 
family just love to talk! I was born in 

Silver Screen for November 1939 


Kansas City, you know. My real name 
is Betty Leabo. I'm an only child which 
might be considered a liability since only 
children are supposed to be spoiled and a 
spoiled child might make for a petulant, 
temperamental actress. But I think being 
an only child helped me, in a way . . . 
being alone so much, Mother working 
most of the time, I read and read and 
read. And my reading has given me a 
background which does help when you are 
in pictures. For instance, knowing some- 
thing about India came in very handy for 
me when I played Fern in The Rains 

"When I was five, Mother and I came 
to San Bernardino to live and I went to 
Grade School there. Then we moved here 
to Los Angeles and I went to L.A. High 
where I was quite active in such extra- 
curricular activities as being Vice-Presi- 
dent of the Student Body and head of 
the Brush and Quill and other offices. 
I was quite good at dramatics and pub- 
lic speaking, too, and won a scholarship 
to the University of Southern California, 
in 1936. After one semester there I trans- 
ferred to U.C.L.A. I joined the Delta 
Gamma sorority. I think sororities help 
you, if you want to become an actress, 
and can afford them. You learn how to 
meet all kinds of people, how to talk 
with them on their own ground. If I 
hadn't had my sorority experience when 
I met Mr. Zanuck as, aU unbeknown to 
me, dear knows, I was so soon to do, 
I'd have wobbled so they would have had 
to carry me in — and out, no doubt! 

"I always wanted to be an actress, 
always. 1 remember seeing Mary Pick- 
ford on the screen when I was very tiny 
and screaming right out loud in the thea- 
tre: 'Oh, if I could only do that!' All 
my life I've read every book I could 
find about the theatre. I read all the fan 
magazines from cover to cover. I see 
every movie, I do believe, that is made 
and I've seldom missed a legitimate show 
here in Los Angeles. As a small child 
I'd go about imitating every actress I 
saw on the stage or screen. I knew that 
I wanted, awfully, to be an actress. But 
how to go about being one, I didn't 
know! . . . 

"Well, I quit college after two years 
(this Brenda, too!) "I had done some 
dramatic work in college, mostly Shakes- 
pearean plays, but I started to work as a 
photographer's model. I had to earn my 
living. Mother and I were apart then, 
for the first time. She accepted a position 
as house-mother in a boy's school in the 
East. I got work as a model merely by 
looking up the names of photographers in 
the phone book. 

"It took a little time and going-the- 
rounds on foot, but eventually I' posed 
for shoe ads, automobile ads, toothpaste 
ads and so on. My picture was in Life 
a couple of times, advertising shoes. And 
let me tell you, girls, this kind of work 
doesn't hurt you one bit if you are hop- 
ing to get into the movies. Because I 
learned, a very little later, that Mr. 
Zanuck had seen one of my photographs 
smiling gaily out of some advertisement 
and he remembered it because he thought 
I looked hke he thought Fern looked 
and that was instrumental in my getting 
the part. . . . Well, then I met an agent, 
Frances Bailie, through some tennis 
friends of mine. And she offered to take 


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Silver Screen for November 1939 


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mc on the rounds of the studios. Now 
you arc saying, 'Poof, it was Luck with 
her, just Luck!' Yes, and no, to that. 
Because I wouldn't have met Frances 
Hailie if I hadn't done a lot of circulat- 
ing, kept up a lot of activities, such as 
tennis, badminton and all. I honestly be- 
lieve that circulating is one way for a girl 
to get somewhere in Hollywood, no mat- 
ter where she may be, whether here in 
Hollywood or somewhere in the sticks. 
Because you never know. You never 
know whom you may meet, or where. 
Agents, talent scouts, someone who 
knows someone who can "do" something 
for you are found under current bushes 
these days! 

"So. I met Frances Bailie, and when 
she offered to take me to the studios I 
chose to go to 20th Century-Fox first 
because I'd heard how they do so much 
for young people. That's how I got in the 
gates. Once there . . . well, Frances took 
me to meet Lew Schreiber, Casting Di- 
rector at Fox. He has the say as to 
whether you can make a test or not. He 
said that I could make a test. Then I 
was turned over to Tom Moore, who 
was the star of so many movies before 
he became a stellar coach at Fox. Tom 
coached me for my test, which I believed 
was just for Stock. 

"And here's where Luck does enter 
into it for me ... I happened to make 
my test just when Mr. Zanuck hap- 
pened to be looking for his Fern. Any- 
way, Tom Moore tested me and tested 
me, laughing, crying, talking, walking. 
Then, one day, a cutter in the studio said 
to Director Clarence Brown: 'Found 
your Fern yet?' And Mr. Brown said 'No' 
and the cutter said 'take a look at this 
test, girl by name of Betty Leabo.' And 
he did. And then Mr. Zanuck saw the test 
and remembered my face in the tooth- 
paste ad or whatever it was, and I was 
signed to a long-term contract and went 
into The Rains Came. They tested 58 
girls for that part of mine, at a cost to 
the studio of $40,000— think of it! It all 
happened to me within one week, which 
is miraculous! 

"After The Rains Came I made Here 
I Am, A Stranger and well," laughed 
Brenda, "here / am . . . and not a 'stran- 
ger' at all but right at home, and comfy 
and happy even though it is so sudden, 
new and starthng. I don't feel a stran- 
ger, because I've made friends. 

"You asked me what quality I think 
is the most necessary to get a girl into 
the movies. Well, as I said, I thing cir- 
culating is very important to get you 
into a studio. After that I'd say that the 
ability to make friends is just about the 
most important success quality I know. 
Because the ability to make friends not 
only helps you in every phase of your 
work but it also means that you have 
some sort of personality, which is more 
than looks, more, even, than the ability 
to <act. 

"For the rest, I'm going to work my 
head off. I'm not going to get married — 
not yet — even though I do go with one 
boy, and one boy only, and have ever 
since we were in high school and college 
together. I don't think you can have 
your mind on husband and career at one 
and the same time . . . and now that I 
have flown into the Cuckoo's Nest I'm 
going to nest right here. . . ." 

So, you see . . . one believes in mar- 
riage and career, one doesn't . . . one is 
all for sororities, one is all against them 
, . . and so on and on . . . comparisons 
may be odious but they are illuminating. 

Linda Darnell, who's already "clicked," 
said: "My mother had stage ambitions 
when she was a girl but her parents 
wouldn't hear of them, so I'm one of 
those girls who had their mothers' am- 
bitions 'transferred' to them. I'm the 
third from youngest in a family of four 
girls and two boys. Which is helpful to 
any girl's career because it sure knocks 
any conceit she may have right out of 
her! My full name is Linda Monette 
Eloyse Darnell. My father has been a 
clerk in the Dallas Post Office for 30 
years, so we didn't have a great deal of 
money, of course. From the very instant 
that I showed signs of wanting to sing 
and dance my mother just simply pounded 
on me and saw to it that I had dancing 
and piano lessons and, later, got into 
amateur shows and all. My 'first appear- 
ance on any stage,' as they say, was when, 
at the age of 10, I played Rachel in an 
Easter play at school. I wore the most 
beautiful cheesecloth dress and cried all 
over the place at the proper moments, 
and adored it. When I was very little I 
thought only of the stage, not of movies 
at all. I didn't even care about going to 
the movies, and don't now. All I thought 
about was acting myself, in my own way. 
I didn't care what other people did or 
how they did it. I still don't. I think, by 
the way, that my dancing lessons were the 
most valuable thing I did towards mv 
career. Dancing gives you so much poise, 
so much. I took ballet and character 
dancing. Well, I graduated from Lida 
Hope Grammar School and was in the 
second half of my senior year at Sunset 
High School when I first came to Holly- 
wood. . . . 

"I never, by the way, had any am- 
bition for anything but acting. I never 
once thought that I might hke to be a 
stenographer or a buyer or enter any of 
the other careers girls consider. I never 
cared particularly about boys, and still 
don't. I'm going to take my career now, 
while I have a chance at it. Everything 
else can come later. 

"Well, as I say, I joined amateur stock 
companies, did amateur broadcasts and 
all. Every time a talent scout would 
come to Dallas mother would take" rne 
to see him. But he always said, 'you are 
too young.' So I just kept on working. 
In addition to my amateur stage and 
radio work I posed for pubhcity pictures 
for the Greater Texas and Pan-American 
Exposition, which was good experience 
for me, apart from being photographed 
so much, because I had to meet so many 
trains and planes and people. I also 
modelled at the Southwestern Style 
Show each Spring and Fall, and in other 
Dallas department stores, too. 

"It was Ivan Kahn, the talent scout, 
who really 'discovered' me. It was just 
a year and a half ago that he came to 
Dallas and mother took me to see him. 
I thought, oh, he'll say the same old 
thing, 'You're too young.' But he didn't. 
He looked at all my photographs. He let 
me read for him. And then he went j 
away. And I thought, well, that is that.] 
Six weeks later I had a wire saying:] 

Silver Screen for November 1939 


■How would you like to come to Holly- 
wood, all expenses paid, just to make a 
test?' I was so excited I almost broke 
my neck getting to the train! Mother and 
my little sister and brother came with 
me. Mary Healy and Dorris Bowden were 
on the train, too, also going to Hollywood 
to make tests for Mr. Kahn. That helped. 
We talked and had hot and cold chills 
all the way, of course. 

"Well, we made our tests. The day 
after I made mine they called me and 
told me I was 'very good' but that I 
was too young and they couldn't use me, 
I could go home. I was just broken- 
hearted. I didn't beheve the 'too young' 
business. I thought I just wasn't any 
good. It made it all the harder because 
Mary Healy and Dorris Bowden stayed. 
But I'd hke to say one special thing to 
girls. It's this: Don't you believe them 
when they say that 'Opportunity Knocks 
But Once,' that you only get One 
Chunce. It's not so. There are second 
cha-nces, there are lots of chances and if 
you just keep your chin up and your 
ears to the door you'll hear Opportunity 
knocking again and again. . . . 

"So back home we went, my mother 
and sister and brother and I, a sorry 
httle foursome, to be sure. I just went 
to work again, harder than ever. I joined 
the Cathedral Players of St. Matthews 
Episcopal Church in Dallas, the Civic 
Theatre and the New League Theatre, 
too. And I kept listening and listening 
for that Knock again. And just one year 
to the day of leaving Hollywood the first 
time, I was back here again. This time 

one of Jesse Lasky's scouts found me and 
brought me to Hollywood to appear on 
Mr. Lasky's Gateway to Hollywood radio 
program. I was on the air twice, once I 
did a scene from Clarence with Edward 
Everett Horton, once I did a scene in 
which I played a gangster's Moll. I was 
in the finals, too. Then I made the screen 
test which was part of the agreement. It 
was awful. And agam I had to go home! 
I didn't have enough money to stay here, 
you see. But before I went home I went 
to see Mr. Lew Schreiber at 20th Century 
and he saw how I had grown up since 
I'd tested there a year ago and he prom- 
ised to send for me, and soon. So home 
I went again, pretty discouraged this 
time, convinced that I wouldn't be 'sent 
for.' But I was. And so, for the third 
time, I came back to Hollywood! 

"At first they were going to let me 
test for the part of Fern in The Rains 
Came. Then they saw Brenda Joyce and 
she was more the type. Then they tested 
me for the lead in Hotel For Women and 
when Gregory Ratoff watched me mak- 
ing the test, he groaned around and 
exclaimed, 'just another thousand dollars 
wasted!' But when he saw the test run 
on the screen — well, I went in the produc- 
tion, then and there. I got my contract, 
and after the picture was finished they 
put me into Drums and sent me on loca- 
tion and after Hotel For Women was 
previewed, they brought me back and 
took me out of Drums because, of all 
things, my part wasn't big enough. 

"And so here I am. And I believe that 
naturalness is the most important thing 

a girl can have to get her a break in pic- 
tures. Because they're looking for new 
people, new faces all the time, not copies 
of old ones. It's a mistake, I think, to 
start acting like Jeanette MacDonald or 
Norma Shearer or anyone but just your 
own self. 

"Well, that's how I flew into the 
Cuckoo's Nest," laughed lovely Linda. 
{so lovely she is, too, so breathlessly 
beautiful) "and every time I think about 
it, I nearly faint, it's so staggering, and 
I'm just blissfully happy right now, bliss- 
fully. . . ." 

^ ^ j}; 

And here is the girl who flew into the 
Cuckoo's Nest straight off the strings of 
her cello. Here is the one who didn't want 
to be an actress, never once thought of 
being an actress, because she was a cellist 
and all her background was music, just 
nothing but music. Helen Gilbert was 
born in Warren, Ohio, went to school in 
Minneapolis and in Superior, Wisconsin. 
Her father, Vaughn Gilbert, was a con- 
cert pianist and a music publisher. And 
Helen studied violin and piano and then, 
one day, heard Pablo Casals play The 
Swan on the cello and knew what she 
wanted to be ! 

"I've never deviated from that want- 
ing," Helen told me {you may note that 
not one of the four ever deviated once 
they found their Ambition). "I studied 
cello in Minneapolis. Then I went to 
Philadelphia, played for Felix Salmon, 
the great English cellist there, and won 
a scholarship to the Curtis Institute of 
Music. I graduated with honors and then 

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I began to make a little name for my- 
self, in concert, as a soloist, as guest 
artist on some coast-to-coast broadcasts. 

"Then my mother became ill, lung 
trouble, and a warmer climate 'was nec- 
essary. I came to Hollywood with her. 

1 felt, then, that the most terrible thing 
in the world had happened to me — my 
mother's illness, having to leave my work 
and come to Hollywood where, I knew, I 
would have to take a job in some orches- 
tra, and give up my career on the con- 
cert stage, as soloist. I did play, as solo- 
ist, with the Los Angeles Philharmonic 
but such opportunities are very few out 
here and very soon I had to take a job 
with the orchestra at Columbia Studios. 
I began to lose my ambition and my 
dreams, playing Yankee Doodle, plunk, 
plink, plunk, fifteen hours on end. Then 
my mother passed away . . . and, two 
years ago, I married. My husband is a 
Russian. He is ass's'ant to Morris 
Stoloff, musical director at Columbia. 
Well, I played in the orchestra here at 
M-G-M, too. I've watched most of the 
famous actresses upon the screen of the 
darkened sound stages while our music 
was being cued in to atmospheric back- 
grounds. But I was a part of my in- 
strument, that's all. Becoming an actress 
myself never once occurred to me! I am 
a rabid movie fan. I never miss any pic- 
ture. But I have always been a fan, 
never movie-struck for myself. 

"Then, one day. Director 'Woody' Van 
Dyke happened to come on the sound 
stage where we were recording Sweet- 
hearts. He looked at me, just once. He 
suggested to our conductor that I be ad- 
vised to make a screen test. I said no, 
thanks, I didn't want to make a fool of 
myself. Then Freddy Wilcox talked with 
me, said that he could arrange for me 
to coach before I made a test. So I 
said, all right, why not, I'll try any- 

thing once! 

"I coached with Lillian Burns here at 
M-G-M. I made my test, two little scenes 
from Florian, and within four days after 
I made the test, / had my contract and 
the next thing I knew I was being di- 
rected by Mr. Van Dyke in Andy 
Hardy Gets Spring Fever. And I call 
it Fate, in my case. Just nothing but 

"Why, just imagine me, a few months 
ago, seeing the Hardy pictures, which I 
love, and the next thing I know, Andy 
Hardy is making love to me! And I 
thought that coming to Hollywood 'was 
the End for me. Instead of which it's 
the Beginning, for I may do Florian. 
And now Mr. Mayer has assigned a spe- 
cial writer to write a story around me, 
as a cellist — now I can be a soloist again, 
bring my music to the screen — now 
everything I ever hoped for in my life 
is coming true, in the very last place I 
ever expected, in pictures. And all I can 
feel now is gratitude and the desire to 
prove to Mr. Mayer and the others who 
have such faith in me that their faith 
is not mwplaced. . . . 

"And that's how / flew into the 
Cuckoo's Nest," smiled Helen-with-the- 
face-of-an-angel, "and / don't know what 
special quality is the best pass-key unless 
it's just that we should take Life as it 
comes, do what we have to do; believe 
that it can, indeed, be Darkest Before 
the Dawn. That's the best I can say 
because, in my own particular case, it 
was just Fate, it was meant to be, that's 

And so they flew in, all four of them, 
Helen and Linda, and the two Brendas by 
different routes, from different back- 
grounds, with different luggage of hopes 
and dreams and ways and means . . . 
straight into the Cuckoo's Nest! 

Meet Miss Connecticut Yankee 

[Continued from page 41] 

of a stage career must have been anath- 
ema. Rosalind artfully got around this 
by indicating that such a course would 
quahfy her to become a teacher. The 
mother liked the thought of a teacher 
in the family and enthusiastically agreed. 

Victory in this bloodless battle taught 
Rosalind the strategy of a circuitous ap- 
proach as opposed to a direct onslaught. 
Her first job, in a stock company at 
Lake Placid, N. Y., after graduation, 
was secured through her initiative. At the 
Academy graduation exercises, Edward G. 
Robinson had addressed the class: "The 
theatre is a great Art," said Robinson. 
"Let us serve it." To the idealistic young- 
ster, the words were wine and meat. It 
was the summer time and no productions 
were in process of organization. Despite 
the summer lag, the girl graduate went 
from one producer's office to another. In 
one office, she heard that an obscure lit- 
tle producer was going to have a stock 
company at Lake Placid. 

Somehow, she discovered his telephone 
number by ransacking the Long Island 
telephone directory. 

"But my dear child," he protested, "we 

won't be casting for that for several 
months." She wangled his promise that 
he'd meet her in New York City the 
next day. To her amazement, she found 
that the chap who had addressed her as 
"my dear child" was no older than she. 
But she wasn't too amazed to overlook 
the main chance. She didn't leave him 
until she had the contract to play the 
leading woman's role at Lake Placid. 

From that time on, the Waterbury girl 
was to prove conclusively that a female 
Connecticut Yankee knew something 
about trading and bartering. In the lean 
theatrical seasons that followed, when 
people were beginning to lament the de- 
cline and fall of Broadway, there was 
never a week that she didn't work. The 
only disgrace to "Ros" was not to keep 
in action. She took any sort of a role so 
long as it supported her and so long as 
it enabled her to keep on learning. 

Then Universal signed her. They as- 
sumed that they were signing a society 
girl, more attractive than most and more 
talented than many. They never dreamed 
that this femme Connecticut Yankee was 
a lady of rare resolution. When they 

Silver Screen for November 1939 


loaded her on the train to Hollywood, 
they wished her well and told her not 
to be upset by Hollywood. In the privacy 
of her drawing room, Miss Russell 
laughed merrily at the precautionary ad- 
vice. She, who had out-sat producers in 
every office along Broadway, who had 
fought and bluffed and struggled to keep 
working every week of the year, wasn't 
apt to be discouraged by Hollywood. 

Then Hollywood put the boots to her. 
Universal, at the time, was being run 
by the Laemmles. Miss Russell was ush- 
ered into the office of a high-priced ex- 
ecutive on the lot. "This is Miss Russell, 
from the Broadway stage," explained the 
messenger who ushered her into The 

"For two solid hours, I stood in that 
man's office," she recalls, with as close 
an approach to bitterness as she allows 
herself. "For two solid hours, I analyzed 
him. In all of that time, believe me, Ed, 
he didn't make one decision. His tele- 
phone rang continuously. He evaded every 
decision or delayed them. I could have 
seated myself, but I resolved to stand 
until this boor recognized my presence 
and asked me to be seated. At the end 
of two hours, he looked up and pretended 
to notice me for the first time. Then he 
made me re-introduce myself, pressed a 
buzzer and had a messenger take me to 
the office of a cameraman who had just 
been promoted to the rank of producer. 

"The messenger took me to Mr. 
Freund's office, and muttered my name. 
Freund looked up. He was standing near 
a piano where a piano player was bang- 
ing out a song. 'Give me a title for this 
song,' he demanded of me. 'What sort 
of a song is it?" I asked, trying to be 
helpful. At this logical answer, Freund 
tore at his hair with both hands and 
registered despair. He waved me into the 
outer darkness, so completely bewildered, 
I left that office. 

"I wandered around and finally suc- 
ceeded in having a dressing room assigned 
to me. The four walls of the dressing room 
restored normalcy. I sat down and smoked 
a cigarette and decided that Hollywood 
was as daffy and insane as it had been 
caricatured, but that after I oriented my- 
self, everything would be all right. 

"Stage people in the east had warned 
me that, because of the tricks a camera 
could accomplish, it was vitally important 
to be made up correctly for your movie 
test. They had told me to establish im- 
mediate, and friendly, relations with the 
make-up man and the hairdresser. So I 
went over to Make-Up and introduced 
myself to one of the make-up men. 'I'm 
Miss Russell and some day this week, 
I'll have to make a test,' I told him. He 
nodded listlessly. 'I want you to take this 
and get yourself something,' I continued 
and gave him $25. 

" 'What's this for?' he asked, pocket- 
ing the bills. I told him that I'd appre- 
ciate having him for a friend and doing 
whatever he could do for me. He assured 
me that he would take care of me. Then, 
I went to the hairdresser and I gave her 
$25. She said. 'Thanks, girhe.' 

"The next day, they notified me to get 
ready for a test on the following day. 
Bright and early I got to the studio. I 
was nervous, naturally, but the knowledge 
that I had the make-up man and the 

First time I ever met my father-in- 
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hairdresser as allies served as a nice warm 
reassurance. I rushed over to Make-Up. 
The fellow who had taken my $25 was 
reading a racing paper and was quite in- 
dignant when I tore him away from it. 
He didn't even recognize me, so I in- 
troduced myself again: 'I can't take you 
this morning,' he said and shrugged his 
shoulders when I tried to impress the 
importance of it upon him. 

"I figured that, perhaps, if I went to 
the hairdresser, I could return and find 
him disengaged. The hairdresser was just 
as vague when I came into the place. 
I introduced myself all over again to her. 
I'll never forget the scene, Ed, She was 
standing in front of the mirror, frizzing 
the ends of her hair and chewing gum 
and I had to talk to her reflection in 
the mirror. 'Sorry, girlie,' she said. T 
can't take you today'." 

So, Rosalind Russell appeared for her 
movie test without make-up and Director 
John Stahl can be pardoned his annoyed 
surprise when he arrived on the stage 
and learned that he was to give a test to 
a girl who was in street make-up. She ex- 
plained to him what had happened and at 
least had the satisfaction of hearing Stahl 
call the Make-Up man and the hairdresser 
and express his opinion of their slovenly 
behavior in tones stentorian. 

However, the consolation at best was 
dubious. Stahl didn't have time to wait 
two hours for Rosahnd to get made-up. 
So, she sat outside camera range and 
read responses to a young actor who was 
being screen-tested. As a result, the Con- 
necticut Yankee, who was shipped out 
from Broadway to bolster the Universal 
personnel, never appeared in front of a 
camera on that lot. There is not an inch 
of film on her in the Universal library. 

Bitterly humihated, Rosalind Russell 
would have rushed off to Broadway had 
it not been for M.-G.-M,'s Ben Piazza 
and Benny Thau. Their courtesy was just 
as flattering as the rudeness of Universal 
had been disconcerting. They even agreed, 

an unusual dispensation, that if she didn't 
hke the test, she could have the film to 

Harold Bucquet, who recently directed 
the successful "On Borrowed Time," 
made the test. "I owe everything to him,'' 
says Miss Russell. "He was the soul of 
patience and kindliness. It was his idea 
to present me in a close-up that filled 
the screen, 'The big bosses see a lot of 
tests,' he told me, 'and sometimes their 
attention wanders. 'Well, we won't let 
them do it to you, when this close-up 
hits the screen in the projection room, 
they've got to take notice.' " 

Bucquet's reasoning was correct. Not 
only did the big bosses take notice. They 
signed her immediately. The Connecticut 
Yankee streak in "Ros'' again proved 
helpful. They wanted to put her in im- 
portant pictures. She demurred, asked 
them to give her a chance to learn the 
mechanics of this new medium in smaller 
pictures. So, when "Rendezvous" pre- 
sented her with her BIG opportunity, 
Rosalind Russell had a backlog of ex- 
perience gained in twelve pictures of the 
short-budgeted variety. " 'Rendezvous' 
was my thirteenth picture and I clicked, 
but it didn't cure me of superstitions. 
Now I'm superstitious that 13 is my 
lucky number." 

I present to you, my little chickadees, 
this portrait of a Connecticut Yankee 
in King Ballyhoo's Court. The next time 
you see her on the screen, don't be too 
taken in by that naive expression. Miss 
Russell, for all of her well-bred gentility, 
has a will of iron. She knows what she 
wants — and she gets it. 

When "The Women" was about to be 
released, the studio suggested that Rosa- 
lind would understand the necessity of 
billing Norma Shearer and Joan Crawford 
above her. Miss Russell just as sweetly 
registered well-bred objections. The studio 
got tough. Miss Russell got just as tough. 
You will note, however, that Miss Rus- 
sell won co-star billing. 

He Took Will Rogers' Advice 

[Continued from page 43] 

on the air, " said Gene. "The man was a 
vice president but I didn't know it." 

Nor did Gene know that that thirteen 
weeks would lengthen to five years, which 
is just 247 more pay checks than thir- 

But aside from radio, things were hap- 
pening to the movies. Strange things the 
movies didn't like. 

"The Legion of Decency was cleaning 
up the films," he said, crossing one beau- 
tifully-booted leg over the other. "West- 
erns had been in a bad way since the ad- 
vent of sound but here was their chance 
at a comeback. They were clean, cheap to 
make and more attention to sound was 
all they needed. 

"A Mr. Herbert Yates liked my stuff 
and had taken an interest in me. So when 
Mascot Pictures were about to make a 
Ken Maynard picture with a barn dance 
sequence in it, he suggested me for the 
singing. He was financing the company 
so he had a lot of influence." 

Yates had good judgment, too. Because 
later on he formed Republic Pictures 

{his Consolidated Films owns it) and 
Gene works for them, or they work for 
him — whichever way you see it. 

"I got along pretty well in the May- 
nard picture, so they stuck me in a serial 
and Smiley and I . . ." 

You know Smiley, Smiley Burnette. 
Even if you're only a half-way Autry fan 
you'll know that Smiley is his fat and 
funny pal in the movies. 

Smiley came into pictures because Gene 
sold the company on him. They first met 
in a small suburb of Chicago at a period 
when Gene was leading a five-piece band. 
There was never any question about the 
quality of the band — it was fair — but one 
man objected that it wasn't good enough. 
Someone spoke about a fellow who 
owned a radio station in this little town. 
He played accordian — loud, they said. 

"I went out to see him and when he 
grinned at me I laughed out loud. Smiley 
was clearing $12 a week and gas with the 
100 watt station. His only customer was 
the filling station next door and they paid 
off with twelve bones and gasoline!" 

"I was pleasantly 
surprised at the 
convenience and 
comfort of, 

Silver Screen for November 1 

Gene said that Smiley, when he met 
him, was wearing "cacky" pants. Our Mr. 
Autry has very little accent but a nice, 
pleasant drawl. With that drawl goes 
one of the most natural, unassuming per- 
sonalities yet to come out of Hollywood. 
Catch some of your temperamental 
movie people talking about someone else's 
fine points when a perfectly good, live 
reporter faces them with poised pencil. 
But Gene did. . . . 

"I went up to Smiley's house for a 
'recital.' He played accordian nice and 
loud, guitar, hand-saw and mandolin and 
asked me if I wanted to hear more. I said 
I'd like to but that I had to get back to 
town before 1940 and that he'd better 
pack up and come with me — for $35 a 
week and transportation. He'd have to 
furnish his own chuck. 

"He opened with us New Year's Eve 
and he didn't know a thing about the band 
business. He was scared stiff but when 
they gave him a little applause on his 
first number he went right back and did 
another for them. Three of us got him 
down in his seat before he could start his 

Smiley, he says, couldn't get used to 
restaurants at first. He'd buy a hot dog 
at a stand, a bottle of soda pop at the 
store and an apple from a man on the cor- 
ner. Gene bought him a Sears, Roebuck 
suit and Smiley wouldn't sit down in it 
until they made him. 

"We've never had an argument in all 
these years. Sure, he's much more so- 
phisticated today, got a pretty newspaper 
gal for a wife and he even eats in restau- 
k rants." 

* And so it goes. Gene and Smiley have 
made 32 pictures, to date, for Repubhc. 
Gene has appeared in person in 1,750 
towns in the U. S. and Canada. He owns 
a $1,500 trailer for his boss "Champion." 
The trailer has hot and cold running 
water, air-conditioning and a groom 
handy. He has won the Motion Picture 
Exhibitors' Poll three times running. He 
and Shirley Temple are under different 
classifications but his vote was 800, hers 
600. His thirty hats cost $50 apiece and 
hold ten gallons to the drop. He won't 
endorse cigaret ads ($100,000 reputedly 
offered) because kids imitate him. 

He whips out songs all the time. That 
little "Silver Haired Daddy" number sold 
100,000 records, which ain't hay. He gets 
about 3,000 letters a week. His boss gets 
some, too, and once whinnied over WKY, 
Oklahoma City. He fought with Repub- 
lic once over salary and had them and the 
Jimmie Fidlers tearing their hair out by 
fistfuls. That has been fixed up now and 
Republic officials hve in big fine houses 
and say big prayers at night for Gene 

He can still handle a telegraph key 
and when he hits a small town on a per- 
sonal appearance tour he's as apt as not 
to take over the key in the station office. 
On the stage he does quite a bit of shoot- 
ing at targets. Shoots with a mirror; 
through his legs and almost any way. On 
the through-legs shot he purposely misses 
the first time — it excites the kids to see 
him vindicate himself with the next one. 

But it doesn't always work that way. 
"I was grinning at a stage hand," he says, 
"as I aimed wildly for the miss-on-pur- 
pose shot one night. 'Bang' went the pistol 
and 'whango!' I'd made a bull's eye!" 

During this interview, he was in New 
York on his way to London, accom- 
panied by his pretty wife and Mr. Yates, 
Repubhc's biggest big-shot. Don't think 
those officials in the big fine homes 
would let this man go to London without 
a proper escort ! 

They say that he was quite respect- 
fully awed by Mayor Fiorello H. La- 
Guardia, who hails from out yonder, his- 
self. The Mayor was in a prankish mood 
afer a successful battle with his Council 
and kidded Gene unmercifully about a real 
cowboy traveUing by plane. Gene might 
have been a schoolboy answering teacher 
until a famihar Western Governor, hap- 
pening in, broke the ice. 

He reads his own pubHcity but he 
doesnt' believe all of it and is excited by 
none of it. At the World's Fair, Ruth Mix 
introduced him as the man her father, 
Tom Mix, had given his crown to. 

"Lots of people," answered Gene, "will 
remember Tom Mix as the greatest cow- 
boy of all time." 

He says nice things like that often, 
they say. He's gentle and shy. In fact it's 
sometimes hard to reconcile this 170 
pound, five foot ten-and-a-half gentle- 
man with the hard-riding saviour of 
down-trodden maids in the cinema. The 
answer is that he's probably both. 

"I'm taking along a boss for the Dub- 
lin Horse Show that they've never seen 
over there," he finished with the paper 
clip and tossed it, a bent wire, into the 
wastebasket. "It's a Palmino hoss and 
he's a beauty! They're golden in color 
and about fifteen hands and three fingers 
high. Sure, there are bigger bosses but 
these fellers just seem to look taller than 
any other hoss. I think my pet will make 
them sit up and take notice, begorrah!" 

But aside from London and horse 
shows, it's what he's going to do when 
he returns that is the big thing for him. 

His company has lent him to Darryl 
F. Zanuck to make "Jubilo." 

There's considerably more to that 
statement than meets the eye, because 
"Jubilo" was made twice by Will Rogers. 
It was one of his greatest pictures and 
in the first version. Will was a wander- 
ing cowhand, in the second, a hobo. 

"This is the greatest thing in my life," 
said Gene, half-closing his blue eyes. "To 
think that I, the small-town telegraph, 
pounder Will shoved up the ladder, am 
to do a picture that he made. . . ." 

It will be Autry's biggest picture, to 
date. It will get him into theatres that 
Repubhc can't sell to. And if he is so tre- 
mendously popular with his present handi- 
cap (not being able to get into certaitt 
big picture houses), what won't he do 
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Checking on Their Comments 

[Continued from page 45] 

Lincohi. And I would like to play Ethan 
Froine on the screen, as I did on the 
stage. Outside of that, I have no driving 
ambitions. I'm just an actor." But let us 
fade-in on Massey's comments on Holly- 

'The Deanna Durbins and the Shirley 
Temples succeed on the screen, whereas 
experienced and able stage actors fail in 
films, because they can, without particular 
technical equipment, express a spontane- 
ous emotion. The footlight actor is trained 
to resort to technical devices portraying 
emotions, and the movie camera shows 
them to be just what they are — care- 
fully calculated moods. 

"In the theater you take a role, study 
it, and slowly develop it during rehearsals. 
In fact, it goes on developing night after 
night as you play it and get to know 
the character better. You utilize your 
emotions in rehearsals, get the part 
shaped as it should be — and then, from 
that point on, you do it smoothly, with 
the right shading and the right emphasis 
and the right balance. You have the part 
down to a technical basis. You can't do 
it over and over again and continually 
feel the part. For you it is now a definite 
mathematical structure. 

"In films you rush into a scene, the 
director tells you how it should be done, 
the camera is shoved in front of you, 
and a moment later you are playing it. 
Right there an inexperienced, highly emo- 
tional kid can succeed where a seasoned 
actor can't get his bearings. It is a frag- 
mentary emotion of the moment, but the 
youngster feels it. With him, the camera 
is photographing an actual emotion. And 
audiences rightly realize that." 

So there you have an analysis of why 
many an experienced actor fails before 
the cameras. And probably it is basically 
true. It sounds reasonable. Just what will 
happen to Massey's Lincoln in films re- 
mains to be seen. But the stage star has 
explained away any possible failure in 

QiLENDA FARRELL was in the East 
this past Summer playiftg in stock. 
She wanted experience.' For she has am- 
bitions. She wants to advance. That's 
why she declined a good motion picture 
contract recently. Her reasons are direct 
and simple: 

"I got tired of playing tough comedy 
babies. Sure, the work was regular, paid 
pretty well, too. But I think I can do 
more. I've been acting pretty steadily 
since I was seven. Went to heaven as 
Little Eva in 'Uncle Tom's Cabin' twice 
a day at the age of four. Did a lot of 
things since. Then, six years ago, the 
movies swallowed me. 

"Ever since then I've been getting up 
at 6:30 in the morning, rushing to the 
studio, hurrying into make-up. Home at 
8 or 9, an hour to study tomorrow's 
lines, then to bed. That's no life. If you 
play, it shows on your face. Worse yet, 
I was kept in the same kind of part. 

Tough, slangy girls with hearts of gold. 
Sometimes without the heart of gold. I 
got tired. When I asked for a chance at 
other parts, they'd say 'So what?' And 
I'd get another slangy baby to play. 

"It's nice having your home and your 
car and your garden. But I still want to 
do things. The only film part I really 
liked was in 'I Am a Fugitive From a 
Chain Gang,' with Paul Muni. So I kicked 
it all over and went East to try doing 
something else on the stage. I want to 
develop. In Summer stock I did 'Anna 
Christie.' I still want to go places in the 
business of acting. 

"It's nice to get away from the im- 
personal machinery of Hollywood. In the 
theater if you want to buy a fur coat, 
you go to your manager. Suppose it's AI 
Woods. You tell him. And he'll say, 'Baby, 
tell the auditor it's OK for an advance 
of $500. Pay it back each week. Fix it 
up with him.' Suppose you went to a, 
movie producer, if you you could catch 
him outside of a conference. You'd say 
you wanted a coat. He'd say, 'So what?' 
And push all the buttons on his desk. 

"I guess, when I come to think of it, 
I'm mostly in rebellion against 'So 
what?' " 

That's one of Hollywood's faults, 
Glenda. Typing. Most of the time it burns 
out a player, consumes her ambitions, 
leaves her forgotten by the wayside. Let's 
see what you can do as guardian of your 
own time. But you will find that "So 
what?" is a national disease, not entirely 

TT, HEN David Selznick shortly re- 
' ^ leases Margaret Mitchell's famous 
story,- "Gone With the Wi?id," a little 
English girl, born in India, will be binder 
the guns of Hollywood. For the com- 
parative newcomer, Vivien Leigh, landed 
the role every actress in the movie colony 
longed to play. Is Miss Leigh, the Scarlett 
O'Hara of the film, afraid? 

"Why afraid?" returns Miss Leigh 
coolly. "All that talk of hundreds of 
actresses trying for the part was pub- 
licity, a lot of it on the part of other 
studios. Actually less than a dozen made 
tests. Norma Shearer, who had consid- 
ered the part, sent me a swell letter of 
congratulation after I was chosen. 

"I got the role by chance. I came over 
from London to spend a single week in 
the Hollywood colony. One night I went 
to a party at Myron Selznick's home. 
He suggested that we go over to his 
brother's studio to watch the mimic 
burning of Richmond. Although they had 
not cast the principal roles, they were 
shooting some of the spectacular scenes. 
■While we stood by, Myron Selznick said 
jokingly, 'How about a test for Scarlett?' 
I took the test next day and got the part. 
I started in January, worked twenty-two 
weeks straight with only five free days. 
I hardly saw anything of Hollywood. I 
was too tired after work to go about, and 
I slept through the free days. 

"The film carries Scarlett from the age 
of sixteen to twenty-eight. It was easy 

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to look the part until about June. I'm 
twenty-two but even so the strain began 
to show then. I felt a million years old. 
I'd say to myself, 'Now, can I look 
twenty-eight?' — and worry. 

"It isn't as hard as you would think 
for an English girl to play a Dixie hero- 
ine. We English often drop our r's and 
we talk in a lackadaisical way. The dia- 
lect came easy. Indeed, the director would 
tell me every now and then, 'Not too 
Southern, Vivien!' And those rumored 
quarrels with Clark Gable who played 
Rhett Butler. We finally came to joke 
about the reports. We'd say when we'd 
meet in the morning, What'll we quarrel 
about today?' " 

Still, in spite of all her confidence, Miss 
Leigh is on the firing line — or will be, 
now that "Gone With the Wind" is to 
be released. The part will make or break 

Although she has the most coveted role 
in years. Miss Leigh still is unknown. She 
went about New York recently unrecog- 
nized, even toured the World's Fair un- 
observed. It will be different after the 
release of the picture. She will be a name 
and a face then, I trust. 

JLflCKEY ROONEY comes of the 
theater. His father was long a bur- 
lesque comic. Mickey grew up back stage. 
And now he's a Hollywood name while 
still in his teens. Very soon he'll have 
to make the step from boyhood to man- 
hood in film roles. Let him explain it. 

"Naturally, after all that Andy Hardy 
has done for me, I'd be crazy not to 
want to play that part as long as the 
public wants to see it. It almost has 
reached the point now where I forget 
which is Andy Hardy and which is Mickey 

"For that matter, I think I've enjoyed 
every part I've ever played. I just do 
what the studio thinks is most suited to 
me. There's been plenty of variety in my 
parts in the past and I figure there will 
be in the future. Eventually, I'd like to 
do the sort . of thing Clark Gable and 
Spencer Tracy do. They're tops with me 
among the men stars. Whether I'll ever 
be able to match up to them, I doubt, 
but I'd like to try. 

"Right now, I'm pretty excited about 
my part in 'Babes in Arms,' because it 
gave me a chance to do a lot of different 
things; sing, dance, act, play a few in- 
struments. And it's something like me, 
myself, because it has a background of 
the theater, where I was brought up. 

"Maybe I'll go into directing eventu- 
ally. I've always wanted to. But I'd just 
as soon stay an actor until people get 
tired of looking at me." 

Little man, you've had a busy life. And 
the fact that you have that earthy Garfield 
quality has helped. It's given a Puckish 
honesty to your Andy Hardy. It will help 
you make the step to grown-up roles. 
What's adolescence to a Rooney? 

JDAUL muni wanted to play Bee- 
thoven — but he was a little afraid. 
Instead, he is doing James Hilton's "We 
Are Not Alone." Muni doesn't want to 
be typed in spite of his hopes to play 

the composer. Let him tell you his rea- 

"It is just as easy and just as danger- 
ous for an actor to become typed in the 
kind of stories he uses for his screen 
appearance as it is to become typed as 
an actor who plays only one kind of role. 
I do not want to become a 'biography 
actor.' To break the apparent chain of 
biographies — I have already made one of 
Pasteur, one of Zola and the current one 
of Juarez — I set out to find a lighter, 
modern story for my next picture." 

Of "Juarez," Muni has some interest- 
ing comments: "The parallel with present 
conditions in the world is too close to 
be ignored. I have fewer lines than are 
usually allotted to me in a picture. In 
the stage play from which the script was 
partially adapted, the character, Juarez, 
was an unseen force, an 'off-stage pres- 
ence,' one who dominated the actors on 
the stage, but made no appearances. 

"It was not easy for either scenarist 
or actor to bring the powerful, behind- 
the-scenes character of the play into 
actuality on the screen. Every appearance 
and every brief speech was written and 
rewritten many times." 

Muni is a serious minded, slow work- 
ing, careful, conscientious actor. By pure 
force of hard work he has climbed to the 
pinnacle among Hollywood actors. It will 
be interesting, and a new kind of test for 
him, to try a modern fictional character, 
his first since 1935. He won't have history 
as a bulwark — and the test will be worth 

CECIL De MILLE, smartly attired in 
brown, paces his Plaza Hotel suite. 

Miss Rosson, his secretary for 28 years 
and a sister of the Rosson brothers who 
are directors and cameramen, .hovers 
about anxiously. 

"The total gross of the pictures I have 
personally directed in the last fifteen 
years, up to 'Union Pacific,' is exactly 
$41,907,052.75," he remarks meditatively. 
"The biggest gross achieved by any of 
my pictures was reached by 'The Ten 
Commandments.' It ran over five million 
dollars. My first big gross was hit by 
'Male and Female.' That went to a mil' 
hon and a half, a sizeable figure for its 

"The screen today is too drab. It has 
grown a little dull, talking endlessly of 
money. That accounts for the vogue of 
historical pictures. We want to get away 
from the everyday realities." 

You're the grey fox of Hollywood, CD., 
with your tremendous profits that sound 
like a whole day's spending in the Senate. 
You do know your screen audiences. So, 
when you say you arc going to do more 
history, you probably know what the pub- 
He wants. The next picture may deal with 
the American Revolution, you say. Nobody 
has ever been able to humanize those 
decorative days on stage or screen. Every- 
body looks stuffed in those stiff uniforms 
and stiffcr petticoats, those wigs and peri- 
wigs. But, if anybody can do the trick, 
you can. Didn't you, in "Union Pacificj" 
make a whole railroad take a bath? Re- 
member the epic collapse of the water 


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"Problem " Heads and Faces 

[Continued from page 15] 

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Silver Screen for November 1939 


Whirling Around With Lya 

[Continued from page 47] 

tion of one of the producers who prom- 
ised her a chance to act. Her chance 
turned out to be an extra's job in a mob 
scene. '"But I was lucky," Lya added. It 
just so happened that duVivier, the fa- 
mous French director, saw a close-up of 
the scene in which she appeared and called 
her over to his studio where her film 
career really began. Five years ago 
M-G-M signed her to do the French 
versions of its American films and dur- 
ing her stay in Hollywood she took out 
naturalization papers, a fact which was 
to serve her well in her encounter with 
Nazi agents. After a year in Hollywood' 
Miss Lys returned to Paris for a few 
more films and again returned to Amer- 
ica where she tried the legitimate stage 
in "The Night of January 16." It was 
while she was in New York that War- 
ners called her to play in "Confessions of 
a Nazi Spy." 

Lya told me all this twixt New York 
and Philadelphia. When we got back to 
New York she found that she was to ap- 
pear as guest star on a popular radio 
program. Radio doesn't faze her. She took 
a copy of the script to the hairdresser 
and read it under the drier. Then she 
rushed off to the broadcasting studio just 
in time to go on the air. As usual, she 
was the calmest person involved. While 
waiting for her cues, she blew kisses to 
her friends in the glass-enclosed control 
booth. Her voice is low and rather ef- 
fective as it comes through the radio 
speaker. When we complimented her on 
her voice after the program, she con- 
fided that she could sing when the mood 
was on her. 

After peeking into several restaurants 
around Broadway for dinner (she was 
very particular that night) we hastened 
into a place called the Tavern, where, 
again, she seemed to know everyone. Lya 
likes plenty of ice with her food. She 
started by gulping quantities of ice 
water. When I warned her that ice water 
is not good for the digestion she turned 
on me and said, "Don't tell me what's 
good for me. My mother is a doctor, my 
uncles are doctors and all my aunts are 
doctors and they have been telling me 
what's good for me all my life!" So we 
finished dinner and before going to the 

Waldorf's Scrt Room to dance I stopped 
off to buy some bicarbonate. 

When the Waldorf palled, Lya began 
to yearn for the Stork Club again. There 
she met Quentin Reynolds, who had re- 
cently returned from Germany and who 
had written the story "The Man Who 
Walked With God" which is to be a 
forthcoming picture for Miss Lys. Lya 
told us how she had been detained by Nazi 
agents in Hamburg, how she had been 
taken off the train and accused of mak- 
ing derogatory remarks about the gov- 
ernment and how her money and most of 
her belongings had been confiscated. Lit- 
tle wonder that she does not care to go 

On the evenings that followed, Lya 
saw Katherine Hepburn's performance in 
"The Philadelphia Story" and com- 
mented favorably on the leading lady's 
wardrobe. Lya, herself, has impeccable 
taste in clothes. From the theatre we 
whipped over to "21" to say hello to 
some of Lya's friends and thence to the 
smart and coruscating El Morocco where 
Lya posed for some very candid camera 
studies. The best dressed women, Lya de- 
cided, were at Morocco — and all Amer- 
icans! It was here, while studying her 
expressive mouth, that I said — with a 
smile — "What pretty lips ycu have," and 
she replied with logic, "It is better that 
you should like the person, not the lips." 

The next day word came from the 
coast asking Lya to return for the film- 
ing of a new picture, called "The Fight- 
ing 6Qth." Shortly before train time she 
startled her friends again by saying, 
"How can the train leave? I am not yet 
packed!" With the help of four friends 
and a professional valet she succeeded 
in putting her things into their respec- 
tive containers. Through all the packing 
she calmly ran a comb through her long 
golden hair. I counted fourteen combs 
scattered about the suite. We arrived at 
the station with very httle time to spare, 
but in the brief moment before the train 
pulled out Lya expressed her regret at 
having to leave the great city. 

"But I'll be back," she added matter- 
of-factly, "for personal appearances!" She 
will too, if I have anything to say 
about it. 


[Continued from page 5 0] 


Features a New Discovery — Twentieth 

WELL, if you were holding your 
breath for Elsa Maxwell's screen 
debut, here it is. The famous party 
thrower throws one of her parties right 
here on the screen for your delight, but 
it doesn't look so hot, believe me. How- 
ever, Lisa's parties for the smart folk, 
in real life, so they tell me, are not so 
dull as the screen would have you be- 
lieve. The debut honors of the picture, 
anyway, seem to go to Linda Darnell, 

Mr. Zanuck's newest discovery, who has 
as pretty a face and figure as you'll see 
in a month of Sundays. You'll be seeing 
Miss Linda of Dallas, Texas, in bigger 
and better pictures. Linda plays a sweet 
naive young girl who arrives in New 
York expecting her "back home" boy 
friend to rush her to the altar. But he 
has gone for glamour and wealth in the 
shape of the boss's daughter, so Linda 
is pretty crushed and is on her way back 
to Syracuse when she falls in with the 
sophisticated inmates of a smart New 
York women's hotel. She becomes an ar- 
tist's model — and good old fashioned 


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SiLVHR Screen for November 1939 

melodrama sets in with a seduction scene, 
a siiooting, and Linda rushing to her boy 
friend's arms. The highspots of the pic- 
ture are provided by Ann Sothern who 
phys a wise-cracking chorus girl who 
knows all the answers. A special award 
should be given Ann for rescuing pictures 
from the doldrums. Jimmy Ellison plays 
the young hero. John Halliday the mid- 
dle-aged playboy deceiver, and Alan Dine- 
hart a man with ideas, not good. Among 
the pretty girls are Katharine Aldridge 
and Lynn Bari. Director Gregory Ratoff 
deserves better stories than this. 


William Holden Surpasses Expecta- 
tions — Columbia 

ADAPTED from the Clifford Odets' 
hit play of the same title, "Golden 
Boy" reaches the screen as one of the 
most powerfully dramatic pictures of the 
year — and lays itself wide open to an 
Academy Award. Magnificently directed 
by Rouben Mamoulian there are moments 
of rare beauty, of haunting pathos; and, 
always, it is thoroughly absorbing. Wil- 
liam Holden plays Joe Bonaparte, the 
young Italian boy from New York's East 
Side who has the soul of an artist and 
the body of a prizefighter. Columbia's 
search for a Golden Boy was second only 
to Selznick's search for a Scarlett O'Hara 
— and may it be said that their search 
couldn't have come out better. Young 
Holden, who was "discovered" at the 
Pasadena Playhouse, in this, his first pic- 
ture, can climb right up on top with the 
old-timers. Giving Mamoulian and Bar- 
bara Stanwyck credit for his remarkable 
performance. Bill is happy about the 
whole thing. Barbara (beautifully photo- 
graphed for a change, thank goodness) 
is excellent as the "dame from Newark" 
who makes a fighter out of Joe Bona- 
parte, and then, in romorse, sends him 
back to his father and his violin. In the 
briUiant cast are Adolphe Menjou as the 
fight manager, Joseph Calleia as the gang- 
ster, Beatrice Blinn as Joe's sister, and 
Sam Levene as Joe's highly amusing 
brother-in-law. But the greatest acting 
honors must go to Lee J. Cobb who 
plays Joe's father, a heart-broken, beaten 
old man, who simply can't understand 
about money when there are such beau- 
tiful things in hfe as music. You'll gulp 
and choke all over Mr. Cobb — who, it 
might amaze you to know, is only twenty- 
seven years old! There is only one real 
fight sequence, and that is so dramatic 
and heart-breaking that women will like 
it as well as men. 


BiNG And A Group of T.alented Kids — 

BING at his best! Mrs. Crosby's little 
boy portrays the thrilling, true-to- 
life story of one of broadway's greatest 
characters — Gus Edwards. It was Gus 
Edwards who wrote hit songs and turned 
kids into top stars, and as the lovable, 
understanding "Star Maker" Bing gives 
one of his best performances. He starts 
out as an ambitious young man who 
stumbles upon the discovery that young- 
sters have box-office value, and as soon 
as he can sell his idea to the theatre 
bookers he clicks big! Things are going 
along grand when "child labor" steps in 
and slaps him down — and just when he 

has his star pupil ( Linda Ware) ready for 
the footlights. He turns her over to 
Walter Damrosch, she becomes a hit at 
Carnegie Hall, and eventually the "Star 
Maker" ties up with the newly discovered 
radio and finds another fortune. Linda 
Ware, Paramount 's new "find," who can 
hit notes that are simply out of this 
world, lives up to all her advance pub- 
hcity. There are a lot of cute, talented 
kids in the picture, and such old reliables 
as Laura Hope Crews playing a stage 
mother, and Ned Sparks a press agent. 


Wonderful, Whether You're 6 or 60 

THE kids will eat this up! And so will 
the grown-ups, too! L. Frank Baum's 
"Oz" books have been childhood classics 
for years, and everyone known about 
Dorothy, the Tin Woodman, the Straw 
Man, and the wonderful land of Oz. Pro- 
duced lavishly and in starthngly beautiful 
Technicolor, the screen verson of "The 
Wizard of Oz" retains all the magic and 
exquisite fantasy of the original books. 
(Those old die-hards who said that fan- 
tasy could 7iot be successfidly presented 
on the screen with human actors will now 
have to eat their words.) Judy Garland 
plays the famous Dorothy who, with her 
little dog, gets blown away from her home 
in Kansas in a hurricane and finds herself 
in the land of Oz. Homesick, she wants 
to get back to her aunt and uncle in 
Kansas, bu'. the only person who can 
"magic" her back is the Wizard who lives 
in the Emerald City. On her way to ask 
a favor of the Wizard, she has numerous 
adventures, and meets up with such 
charming people as the Straw Man (Ray 
Bolger) who wants a brain, the Tin 
Woodman (Jack Haley) who wants a 
heart, and the Cowardly Lion ( Bert Lahr) 
who wants courage. Good old Frank 
Morgan turns out to be the Wizard, and, 
in the musical comedy manner, grants 
the requests of Dorothy and her friends. 


Not As Good As "Love Affair" — 

IRENE DUNNE and Charle Boyer, the 
famous romantic team of "Love Af- 
fair," are united again under the direc- 
torial baton of John M. Stahl. The pic- 
ture, unfortunately, is rather slow-paced 
and disjointed. The two popular stars are 
excellent, as usual, and deserving of a 
much better story. The handsome Boyer. 
who makes women flutter both on and 
off the screen, drops in at Karb's Restau- 
rant one noon and is served a forty-five 
cent special de luxe blue plate by waitress 
Irene Dunne. Quite intrigued by Irene, 
as who wouldn't be, he follows her to a 
union meeting where she makes a stirring 
speech on the sisterhood of the working 
class. The next afternoon she spends an 
idyllic hour or so with him on his sailboat 
on Long Island Sound, and learns that he 
is a famous concert pianist. They are 
caught in a hurricane on their way back 
to the city and find refuge in the choir 
loft of a small church. They love each 
other, but it's no dice, because Mr. Boyer 
has a wife, and his wife is a mental case 
— but sane enough to hold on to him. The 
picture ends abruptly with one of the 
most beautiful love scenes ever acted. 


Truly an Epic — 20th Century-Fox 

THERE is no hokum in this almost 
scholarly account of the famous meet- 
ing of Henry M. Stanley and Dr. David 
Livingstone in "darkest Africa." The pic- 
ture sticks strictly to facts. Even the 
colorful backgrounds are authentic. 
Spencer Tracy gives one of his best per- 
formances as the American newspaper re- 
porter who is sent out by his news-mak- 
ing editor (Henry Hull) to find the long 
lost Dr. Livingstone for a newspaper 
"scoop." Imagine his surprise when he 
discovers that the good missionary does 
not wish to be found, but is perfectly 
happy in the humanitarian work he is 
doing with the ignorant natives. Sir 
Cedric Harwicke is perfect in the role of 
the kindly Dr. Livingstone, the most be- 
loved man in Africa. Important in the 
cast are Charles Coburn, as the arrogant 
publisher of the London Globe; Richard 
Greene, his son, but Stanley's champion; 
Nancy Kelly, who becomes Stanley's in- 
spiration on his physically impossible trek 
through the African veldt; and Walter 
Brennan, a frontier Indian scout who ac- 
companies Stanley on all his hazardous 
trips. It is a story of a man who finds 
himself, simply told, and exquisitely acted. 


Hedy Slays 'Em Again! — M.G.M. 

THE great news in this picture is that 
Hedy Lamarr is not just a "flash in 
the pan," as so many of the professional 
be-littlers in Hollywood predicted. "Beau- 
tiful, yes," they said after 'Algiers,' "but 
can she act? — -no!" Well, pretty Miss Hedy 
now proceeds to make liars out of them. 
Not only does her beauty make her the 
most glamorous star on the screen today, 
but in this picture she proves she is a 
skillful actress {she does a Camille for 
twenty minutes that would tax even a 
Bette Davis) and a definite personality. 
As stories go "Lady of the Tropics," a 
little something tossed off by Ben Hecht 
who ought to know better, is certainly 
no great shakes — but thanks to the splen- 
did trouping of Hedy and Bob Taylor 
you don't realize just how trite it really 
is. Bob and Hedy make as exciting a 
pair of lovers as you could ever hope for, 
and it's only a matter of time before 
they'll be teamed again. 


For The Ladies — Warner Brothers 

BETTE DAVIS and Miriam Hopkins, 
Hollywood's best dramatic actresses 
are co-starred in this most recent adapta- 
tion of Edith Wharton's musty old- 
fashioned story of a past generation. The 
picture is sombre, long, and so unhappy 
that women who like to weep will have 
themselves a perfect field day. Direc- 
tor Edmund Goulding has managed to 
give both his stars an equal number of 
big dramatic scenes, so neither has ' a 
chance at picture stealing. Jane Bryan 
plays Tina, Bette's illegitimate daughter, 
and Louise Fazenda is perfect as an old 
family servant. In small, but important, 
parts are Cissie Loftus, Donald Crisp, 
William Lundigan and Jerome Cowan. 
This is what is called a "woman's pic- 


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He first admired her Tartan Plaids but 
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for January 1940 






Like the rest of us, Jeanette MacDonald and Joan Crawford like to hear what's new 

Above: Edgar Bergen with Charlie 
McCarthy and Mortimer Snerd get 
the jump on Kris Kringle and have 
a pre-Christmas party. The three 
are soon to be seen in "Charlie 
McCarthy, Detective." Lower 
right: Jerry (Pop Eyes) Colonna 
accompanies himself 
on the guitar and it 
just about splits poor 
Judy Garland's ear 
drums. Both are on 
Bob Hope's radio 

POOR Cesar Romero, usually cast as a "heavy," 
very rarely gets to kiss a Glamour Girl on the 
screen. In fact, Cesar will bitterly tell you that 
he hasn't kissed a gal on the screen since he kissed 
Marlene Dietrich four years ago in "The Devil Is a 
Woman" — which is a hell of a long time between 
kisses. But the other day he got a break. The script 
called for him to kiss luscious-looking Virginia Field, 
but passionately, for a scene in "The Adventurer and 
the Lady." It happened on the hottest day of 
Southern California's sensational hot spell (a mere 
107 in the shade), but Cesar gave it his all. When 
Virginia came up for air, she fanned herself and 

muttered , "Whew, it's too hot for sex." 

, — <^._. 

Ann Sothern knows exactly what she is going to 
buy for herself the next time she gets her option 
picked up! A high fence! One Sunday morning re- 
cently she decided that she would putter about in the 
garden in the back of her new home in Beverly Hills. 
So without bothering with hair, make-up, or any- 
thing, and in her oldest and sloppiest slacks Ann 
rooted and up-rooted and dug and pruned for hours. 
Finally she stretched herself out on the grass for a 
brief rest a)id discovered to her horror a photographer 
with a candid camera casually peering over the bushes 
at her. Ann gets goose pimples when she thinks what 
those pictures are going to look like. 

Everybody to his own taste, and Lupe Velcz' taste 
in dogs is for the little shivering hairless chihauhas. 
She has one named Mr. Kelly who accompanies her in 
the crook of her arm wherever she goes, and practically 
shivers Lupe's friends into nervous wrecks. One of Lupe's 
friends, wishing to be polite, stroked the little fellow 
the other day and said, "And how is Mr. Kelly today?" 

"That," said Lupe with great dignity, "is not Mr. 
Kelly. That is Mrs. Kelly. I bought him a wife!" 

Rosalind Russell says that her engagement" which 
was announced in the Hollywood columns recently is 
all a mistake. "I was wearing a huge diamond ring to 
be sure," said Rosalind, "but it belonged to the studio 
property department. I wore it in one of the scenes 
in my picture and forgot to return it before I left for 
dinner at the Derby. How did I know all the column- 
ists were going to parade past my table and get ideas? 
If I'm engaged to anyone it's the prop department." 
[Continued on page 15] 

Marlene Dietric 
throws dignity to 
the winds, for a 
refreshing change, 
in Universal's 
"Destry Rides 


Silver Screen 

NOV 30 1939 

©CIB 436881 /; 


JANUARY, 1940 

Volume Ten 
NiiMiiER Three 

liver screen 

Elizabeth Wilson 

Western Editor 

Lester C. Grady 

Lenore Samuels Frank J. Carroll 

Assistant Editor Art Director 




Or has ihe competition for the 1939 Academy Awards been too great? 

Gladys Hall 22 

The new sensation gives it in intimate, as-one-girl-to-another fashion! 
Surprising things happen ivhen actresses lose their temper and dignity 

ITS IN THE STARS FOR PAULETTE., .Elizabeth Wilson 26 

Astrology and good performances forecast stardom for Paillette Goddard 


Dan Ciipid hasn't pierced Sonja Henie yet, but the time will come, she hopes 

TRY ANYTHING ONCE! Jack Holland 38 

That's James Cagney' s advice and he' s followed it himself to success 

The new Walt Disney character in "Pinocchio" which promises to become as 
famous as Alickey Mouse or Donald Duck 


The mother of Jane Withers discusses her daughters becoming an adolescent 

// takes more than lime and patience to make a full-length cartoon feature like 
" Gulliver' s Travels" 

A STORY I COULDN'T TELL TILL NOW! . Elizabeth Benneche Peterson 52 

The first of a series of true life experiences of Hollywood celebrities 



Proving thai Robert Taylor and his tcife, Barbara Stanwyck, are real ranchers 


Our staff photographer, Gene Lester, spends an eventful day with Olivia 




Intimate items about your favorites 


Liza gives an amusing slant on Christmas presents 


- An accurate, right-io-the-point guide of ivhal to see and what to miss 

CHECKING ON THEIR COMMENTS Frfderick James Smith 10 

The stars may say one thing and mean another, so let's check up and see 

Mary Lee 12 

Our beauty department offers intriguing X.mas suggestions 

The latest neivs of the players in print and pictures 

To Joan Blondell! 


The virtues and vices of all the new pictures 

Featuring Barbara Stanwyck in exclusive fashions 


Advance reports on films in production and chats with the players in them 






v. G. Helmbucher, President Paul C. Hunter, Vice President and Publisher D. H. Lapham, Secretary and Treasurer 
SILVER SCREEN. Published monthly by Screenland Magazine, Inc., at 45 West 45th Street, New York, N. Y. 
Advertising Offices: 45 West 45th St., New Y'ork; 410 North Michigan Ave.. Chicago; 530 W. Sixth St.. 
Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive 
careful attention but Silver Screen assumes no responsibility for their safety. Yearly subscriptions $1.00 in 
Ihe I'nited States, its dependencies. Cuba and Jlcxico; $1.50 in Canada; foreign $2.00. Changes of address 
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered 
as second class matter, September 23. 1930, at the Post Office, NeiV York, N. Y'., under the act of March 3, 1879. 
Additional entry at Chicago, Illinois. Copyright 1939 by Screenland Magazine, Inc. Printed in the U. S. A. 


Well, here we are with Christ- 
mas right around the corner again 
and me on my way to the five-and-ten 
to do my Christmas shopping. I'm prob- 
ably only getting into Mr. Claus's hair, 
but if he wants to know what to bring 
the movie boys and girls in Hollywood 
this year I can certainly be Santa's little 
helper. A bracelet in gold and emeralds 
from Cartiers is all right, of course, and 
a snappy new Duesenberg dripping in 
chromium isn't to be sneezed at — but 
there are other things that will be far 
more appreciated, believe me. If Santa 
Claus really wants to be nice about it 
he should bring John Wayne another 
"Stagecoach," and Hedy Lamarr another 
"Algiers." Gene Raymond could certainly 
do with some good publicity for a change. 
It's really criminal how Gene, a swell 
all-right guy with a grand sense of humor, 
has been kicked about by the Press lately. 

And Santa can just cancel those sables 
he has for Joan Blondell right now, and 
bring her instead the role of May Flavin 
in the picture that is being adapted from 
Myron Brinig's book of the same name. 
Metro owns "May Flavin," but I am sure 
Santa could do a httle finagling with Mr. 
Mayer — it would make Joan the happiest 
gal in Hollywood. Even better than a 
new tractor the Clark Gables would like 
to have a chance to take their honeymoon 
— first there was "Gone With the Wind," 
which just wouldn't get finished, and then 
Carole had to have an emergency ap- 
pendectomy, and then they both had to 
do another picture. Those grand orchestra 
leaders, Roger Pryor and Tony Martin, 
would hke to have picture contracts, not 
because they are particularly crazy about 
smearing themselves with grease-paint, 
but because they want to live in Holly- 
wood with their adored wives, Ann Sothern 
and Alice Faye, and can you blame them! 
I wish the Old Guy with the Whiskers 
could get around to giving Nancy Carroll 
a "comeback." A swell actress, but golly, 
she got awful breaks. Much more than 
a new mink coat Ann Sheridan would 
appreciate less oomph and better parts 
in pictures. 

And how about Santa finding a good 
comedy script for Harold Lloyd whose 
hilarious antics on the screen are just 
what we need these days? And every 
movie exhibitor who refuses to run double 
features ought to get a nice big box of 
Corona-Coronas. It would be grand if 
Santa could arrange to have one of Bette 
Davis' pictures end happily for a change. 

And me — oh, I really don't want much 
for myself. I'm strictly the unselfish type. 
But if Santa feels that he just must give 
me something, I would be perfectly con- 
tent on Christmas morning to find Clark 
Gable in one stocking and Tyrone Power 
in the other. 

Adventure with the shipwrecked Gulliver among the 
tiny people of Lilliput land... 2 5,000 of them. 

Laugh till your sides ache at the antics of 
Gabby, the town crier, the little fellow who 
discovered the giant Gulliver but couldn't 
find himself in the dark. 

Meet King Little and his terrible tempered rival. King 
Bombo. Meet the charming Princess Glory and her brave 
Uner, Prince David . . . hear them sing their love songs, 
"Forever" and "Faithful." 

See the tiny Lilliputian horses 
David and I'riuccss Glory. drag the giant to King Little's 
castle. See Gulliver, single-handed, capture 
the entire Lilliputian battle fleet! 

Sneaky Snoop, 
and Snilch. 

Thrill to those three spies, Sneak, Snoop, 

and Snitch. Meet Twinkletoes, the carrier pigeon . . . Aleet them all 
. . . la/((^h u/th them . . . s/i/^ with them eight never-to-be-forgotten 
Leo Robin and Ralph Rainger songs; "Faithful Forever,'' "Bluebirds 
in the Moonlight," "I Hear a Dream," "It's a Hap-Hap-Happy Day," ' 
"All's Well,''' "We're All Together Now," "Faithful," "Forever." 

King Little and King Bonibo. 


'i ■'M^'^^mKam-: - i*-'^, 

* "IT'S A HAP-HAP BAPPy DAy-Words and Music by Al. J. Neiburg and Sammy Timbers & Winston Sharoles 


Co»yrisbt 1939, Paramount Picture* II 

Silver Screen 

Allan Jones • Mary Martin • Walter Conno ly 

Lee Bowman • Juiith Barrett • Susanna Foster • produced and Directed by andrew l. stone 

Screen Pidy by Rus%l Crouse and Robert Lively • Based on a story by Robert Lively and Andrew L. Stone : 

for January 1940 


Tips on Pictures 

The ones to see and 
the ones to miss! 


BEWARE, SPOOKS! (Columbia)— 
Amusing. A Joe E. Brown farce with Joe 
playing a rookie cop who gets in wrong 
on his wedding day when he permits a 
killer to escape. From then on he man- 
ages quite neatly to get himself mixed up 
in various sordid affairs until finally he 
is fired and has time to go off honey- 
mooning with wifie, Mary Carlisle. 

Good. This is what might be called a 
conversation piece — in other words it's 
quaint and charming. The time is 1880, 
the locale a small town in New Jersey, 
with Virginia Weidler, a bible-reading 
orphan who believes that she's a hoodoo 
to her series of foster parents. Prominent 
in the cast are Guy Kibbee, Ian Hunter, 
Lois Wilson, Gene Reynolds, Reginald 
Owen and Elizabeth Patterson. 

The luscious Lana Turner has her first 
starring role in this story of a profes- 
sional dancer who is "planted" in a uni- 
versity when a contest to select the most 
talented co-ed is given nation-wide pub- 
licity. When Lana meets Richard Carl- 
son, who edits "her college's newspaper," 
she gets a change of heart and lets Arm 
Rutherford win the contest. This is as 
light and gay as the morning. 

(RKO) — Good. Joe (wanna buy a duck) 
Penner plays a cab driver who, among 
all his buddies, is the only one who 
doesn't gamble on the ponies. So, you can 
imagine the fun when Joe is chosen to go 
to Kentucky and buy them a racing pony 
of their own. Joe's choice is a nag who 
can't run unless he has an alcoholic drink 
— and for honest-to-goodness "belly" 
laughs you must see the race he wins. 
[Betty Grable, Tom Kennedy.) 

Good. Lloyd C. Douglas, who also au- 
thored The Magnificent Obsession and 


Above: Victor McLaglen having a 
gay evening with a sizzling senorita 
in "Rio." Lower right: Lana Turner 
and Artie Shaw in "Dancing Co-Ed," 
one of the season's livelier films. 

The Green Light, wrote the 
novel from which this story of 
life in a medical college is 
filmed. Akim Tamiroff is splen- 
did as the "Viennese physician 
whose life is wrapped up in his 
work, John Howard is fine as 
the student, and Dorothy La- 
mour is passable as the Amer- 
ican girl reared in China. 

(Warner Brothers) — Fine. So 
timely is this story of the for- 
eign spy ring preying on in- 
dustries and the morale of the 
American people, it is like a 
glaring headline in the morn- 
ing's newspaper. It is exciting, 
informative, romantic! Jeffrey 
Lynn and Joel McCrea play 
young" Washington diplomats, 
and Brenda Marshall, an at- 
tractive newcomer, a counter- 
espionage spy. 

(United Artists) — Fine. A 
beautifully produced, 
artistically directed 
film with a plot that 
is lighter than gossa- 
mer, but thoroughly 
charming throughout. J 
In it we have David 
Niven in the role of 
a sensational magician ^ 
who whisks Loretta 
Young right out of 
the arms of her fiance, 
Broderick Crawford, 
into his own and into 

what turns out to be the "maddest mar- 
riage of the century." (C. Aubrey Smith, 
BilUe Burke.) 

Fair. Sonja Henie's only cinema rival so 
far is little Irene Dare who certainly 
knows what to do when she puts on a pair 
of skates and gets out on the ice. The 
story surrounding Irene's first screen 
effort is not so good as her skating, but it 
has a cast of sure-fire comedians includ- 
ing Roscoe Karns, Edgar Kennedy and 
George Meeker, who furnish laughs 
enough to forget the plot. 

This starts out to be one of those off- 
shoots of THE THIN MAN ideas, but 
the plot finally succeeds in bogging down 
all the hghtness, all the charming igoofi- 
ness it started out with. Franchot' Tone 
and Ann Sothern make a good husband 
and wife team, but both deserve a better 

FENCE (20th Century-Fox) — Good. Al- 
though there are no big marquee names 
in this film, it stands up nicely on its own 

Silver Screen 


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account since it has a good story, good 
direction, and, more important, an idea. 
The story concerns a hitch-hiker, thumb- 
ing his way to Arizona where he owns a 
worthless ranch, and the human derelicts 
he befriends on the way. In the cast are 
Marjorie Rambeau and Jean Rogers. 

— Fine. A very gay, casual, and charming 
story is unfolded, with Madeleine Carroll 
playing the beautiful vice-president of a 
large New York department store who 
believes that independence and freedom 
mean more to a woman than love and 
marriage till she meets Fred MacMurray. 

(United Artists) — Fair. A broad farce, 
mixing up in one dish the newspaper 
game and the gangster racket. It all de- 
pends on the mood you're in, but we'd 
advise you to take it for all the laughs 
you can get. Laughs are a bit hard to get 
these days. Joan Bennett plays the title 
role, Peggy Wood is her mother, John 
Hubbard her heart interest and Adolphe 
Menjou and Bill Gargan two dizzy news- 
paper men. 

(Monogram) — Excellent. This is straight, 
uncompromising drama, superbly directed 
and acted. The entire action takes place 
in a state penitentiary and the nucleus of 
the plot is an actual prison riot that took 
place about ten years ago. Charles Bick- 
ford is splendid as the kindly priest who 
tries to keep alive the spirit of men re- 
duced from names to numbers, and the 
supporting roles are equally well cast. 

RAINS CAME, THE (20th Century- 
Fox) — Excellent. Adapted from the best- 
selling novel of the same name, this has 
been turned into an equally popular film. 
Myrna Loy plays the role of the wealthy 
and spoiled English society woman who 
meets up with a former beau (George 
Brent) in India just before the rains 
come, devastating the land and also the 
lives of our principal protagonists. Fine 
cast includes Tyrone Power, Brenda 
Joyce, and Maria Ouspenskaya. 

RIO (Universal)— Good. If it's melo- 
drama you've been seeking, here it is in 
abundance,' with the plot leading straight 
from gay Paree to a dismal penal colony 
in South America. Basil Rathbone is the 
prisoner in Rio, with the exotic Sigrid 
Gurie as his wife and Victor McLaglen as 
his best friend, and the entire plot hinges 
on Basil's dramatic escape. 

RULERS OF THE SEA (Paramount) 
— Fine. About a hundred years ago two 
Scotsmen, one old, one young, had a bril- 
liant idea that one day the Atlantic would 
be crossed by steam boats instead of sail 
boats and together they worked out their 
imaginative vision into a definite reality. 
Their stirring story is told here in in- 
tensely dramatic fashion, with Doug Fair- 
banks, Jr., Will Fyffe and Margaret Lock- 
wood playing the principal roles. 

WOMEN, THE rMCMJ— Excellent. If 
you want to make an impression on a 
man, girls, better leave him home when 
you see this brutally frank satire on your 
own sex. Of course, if they really love 
you, they'll know that you couldn't be 
like that. Oh, no! However, you'll both 
have fun when watching the absolutely 
amazing antics of this group of society 
women played to perfection by Norma 
Shearer, Rosalind Russell, Joan Fontaine, 
Joan Crawford and Paulette Goddard. 

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for January 1940 




The stars may say one thing 
and mean another, so let's 
read between lines and see 

FRANK CAPRA says he was a bit 
worried about how official Washing- 
ton would receive his "Mr. Smith 
Goes to Washington." There was a swank 
premiere before the National Press Club 
and political Washington, if we may be- 
lieve reports, was a bit annoyed. The 
underlying theme perturbed some of the 
senators, some of the Congressional rep- 
resentatives, even one or two newspaper 
men. But let Capra tell the story— 

"Thank God this is a democracy with 
freedom of speech. You can tell a story 
without fear. My theme was one 
of an honest boy bucking dis- 
honest politicians and, being in 
America, I could tell it as hon- 
estly as I knew how. 

"You say that I get a feeling 
of sustained excitement into a 
picture, similar to the successful 
old silent films. I try, I know. 
If I hit any measure of that, it's 
because one man follows the 
picture all the way through. The 
film is never jammed up with 
too many minds. 

"What is the background for 
a successful director? I can only 
say that mine was least suited. 
I worked my way up from sell- 
ing papers in order to get to the 
Cahfornia Institute of Technolo- 
gy. I worked my way through, 
too. I'm a graduate engineer, 

"I know of no two stars who en- 
joy working together more than 
Bill Powell and I," says Myrna 
Ley. Beloiu: "People keep staring 
at me for oomph symptoms," la- 
ments misunderstood Ann Sheridan. 

not exactly a preparation for manufactur- 
ing entertainment. But, after the first 
World War, there was no work for me. 
I'd always been interested in writing. In 
fact, I had planned ultimately to write 
popular scientific books. Not able to get 
anywhere with that idea, I drifted into 

"I like Mr. Smith best of my pictures, 
I think. I realize that I failed with Lost 
Horizon. It didn't come off and some day 
I'd like to remake it. It was my fault 
entirely. I wasn't ready to tell that kind 
of story. I'm really only at home in the 
American scene, with people I know. 

"What will the war do to pictures? 
Since the foreign market is gone, it will 
force a cut in production costs, probably. 
That ought to make films better. Not so 
many bad ones will be made. With less 



Frederick James Smith 

to spend, studios will be more careful 
about ideas. The trend will be toward 
entertainment, rather than lavishness. 
Sure, the war will help. A kick in the 
pants is good for any art now and then. 
Another good thing about hard times in 
any art — it automatically strikes out in- 

Capra hits upon the keynote of his suc- 
cess when he tells how he worked his way 
up from a newsboy. He knows life. He 
understands humanity. And he's right 
when he says that too many bosses ruin a 
picture. That's why his pictures possess 
the sustained gusto of the old time silent 

* * * 
JURAT'S it feel like to be the 
natiojial Oomph girl? I asked Ann 
Sheridan and, in spite of a bad cold, she 
worked up quite a visible little 
sinus indignation. In a m,oment 
she speaks huskily for herself. 
First let me repeat how it all 
started. It seems that Walter 
Winchell happened to mention 
that Ann had umph. Winchell 
spelled it that way. Taking his 
cue, the Warner publicity chief- 
tain, Bob Taplinger, transformed 
her into the nation's Oomph girl. 
Now let Miss Oomph speak — 

"Tired of oomph? Of course, 
I am. People keep staring at me 
for oomph symptoms. They ex- 
pect some sort of demonstration 
at any moment. I can just say 
one thing — whatever it is, if you 
haven't got it, don't get it. 
Naturally, I appreciate the pub- 
licity. It did a lot for me. No- 

"I like Mr. Smith best of my pic- 
tures, I think," declares genial 
Director Frank Capra. "I realize 
that I failed with Lost Horizon. It 
didn't come off and some day I'd 
like to remake it. I wasn't ready." 


Silver Screen 

body much had heard of me in crowded 
Hollywood. But it made the going tough. 
People expect you to radiate sex. Only the 
other day an amateur song writer mailed 
me a melody dedicated to me: 'I'm Crazy 
About This Oomphy Girl of Mine.' Fans 
wait outside the hotel and say, 'Just sign 
a photo 'The Oomph Girl.' 

"I wanted to see New York, but with 
the title of Oomph Girl I had to stick to 
the exclusive night spots. You know, 
places like El Morocco, the Stork Club 
and so on. And all the time I was long- 
ing to see the Brooklyn Bridge, to check 
on the Statue of Liberty and go up to 
the top of the Empire State Building. 
But that sort of hick curiosity is barred 
to an oomph girl. 

"Ambitious? Sure. I'd like to learn to 
act. Some time I would like to be one 
tenth as good as Bette Davis. Then may- 
be I can live down that oomph." 

As soon as my typewriter cools a bit 
C Mention of oomph does that to the old 
machine) , I want to tell Ann that she 
shouldn't worry about acting. Who cares? 
She's pretty and, in spite of her protests, 
I can't beHeve she hates the oomph title. 
Oomph, or It or something akin, has 
turned empires upside down through the 
ages. And I've seen Ann melt such cynics 
as hardboiled publicity men and motor- 
cycle escorts right under my eyes. Which 
proves, if anything, that publicity men 
believe their own phrases and cops arc 
just human. 

'T^ HESE being desperate days, the 
■'■ great movie public wants to laugh — 

desperately. In ordinary rim-of-the-basket 
years, Myrna toy's playing oj the worldly 
wife in search of emotional adventure in 
Louis Broni field's The Rains Came ivould 
have been hailed as fine acting. But mimic 
cataclysms such as sex on the loose, earth- 
quakes and floods roll off the public knife 
like peas these days. The public has its 
own Grade A cataclysm knocking at the 
door. So it awaits Myrna' s return to com- 
edy with Bill Powell. Says Myrna hope- 
fully — 

"Working with 'William Powell again 
is like visiting your home town after a 
long absence. For a brief moment, every- 
thing seems, unusual and then suddenly 
you are right back in tune with all the 
famihar surroundings. 

"I know of no two stars who enjoy 
working together more than Bill and I. 
On the screen, it is natural teamwork. 
Off screen, it is the meeting of two kin- 
dred senses of humor. The gags we've 
sprung on one another have been widely 
publicized. They are all true and the re- 
ported fun we've had is equally true. I 
need only remind you that people don't 
kid persons they don't like. 

"From the time we breezed through 
what we thought was a 'nice httle picture' 
in 1934 and discovered that 'The Thin 
Man' was a box-office hit, until we fin- 
ished Double Wedding just two years ago, 
we've made six pictures together. 'Work- 
ing as a team has become more than sec- 
ond natiire — it is now the normal thing. 

"When Bill became ill, our movie part- 
nership was temporarily dissolved. But 

not our friendship; my husband and I 
probably have no dearer friend than Bill. 
So, there was no 'long lost' renewal of 
friendship when we started 'Another Thin 
Man.' But there was genuine excitement 
and pleasure when I did my first scene 
again as Bill's screen wife." 

Anyway, Myrna is back in her home 
town — comedy. And the public should for- 
get her interlude. Our own liking of 
Myrna centers in the fact that she is true 
movie, entirely an outgrowth of pictures. 
I like to see our own film gals make good. 
I'm old fashioned like that. That's why I 
always have a cheer for the Crawfords, the 
Shearers and the rest of the real Holly- 
wood nobility. 

T LONA MASSEY faces her real test in 
the forthcoming Nelson Eddy musical 
film, "Balalaika." The producers, Metro- 
Goldwyn-Mayer, had enough faith in her 
to give her almost two years of prepara- 
tion. Which is extraordinary, in itself. But 
tiothing really means anything, except 
your approval. And Ilona is awaiting your 
verdict. Let's let her tell her hopes — 

"Three years ago I saw Jeanette Mac- 
Donald and Nelson Eddy in 'Maytime.' 
It was one of the few movies I had ever 
seen. At the time I had been singing for 
two years in the Staats Opera in Vienna. 
'Maytime' spurred my ambition to come 
to America. I cannot remember how many 
times I saw the picture, it was so often. 

"I read everything I could find about 
America and Hollywood. I dreamed of 
[Continued on page 14] 


''red, chapped hands 
spoil a lot of fun 


^mRB COMES Howey with 

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} WHAT DO you 

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/o; January1940 11 




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Mentholatum is a pleasant, effective 
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It takes those good, old Carter's Little Liver Pills 
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Christmas Stocking-Fillers 
and Treasures for Her Tree 

Fragrance of perfume, possession of 
long-wanted gadgets, gifts that mean 
more beauty — these spell Christmas! 

Above: Radiant Rita 
Johnson, with her 
gift of gifts, Max 
Factor Hollywood 
Color Harmony 
Make-Up Set for 
"her" type, plus 
five other requisites. 
This treasure is $6.5 5. 

At left: The angels sing! 
And so will you when 
you see these Angel Notes 
by Eaton. Two convenient 
sizes of fine, pen-smooth 
vellum finish in one box — ■ 
the semi-note and the 
thank-you note. Gracious 
sizes for the brief mes- 
sage. Semi-note size has 
colored border and tissue 
lined envelope; thank-you 
notes are in pastel with 
white border. Price $1. 

Mais Oui, by Bourjois, 
pronounced "May We" 
and meaning "But Yes," 
is a challenge to male 
hearts. For it is crisp, 
gay, provocative, an in- 
vitation with a thrill of 
suspense. Even its pack- 
age is flirtatious, and I 
assure you it causes re- 
actions! Mais Oui comes 
in sizes from $1.25 to 
$10, every size with iden- 
tical details of sophisti- 
cated packaging shown. 

Very new is the gold and 
blue velour boxful of 
beauty by Tangee, oppo- 
site. It contains the in- 
comparable Tangee lip- 
stick, rouge compact, 
face powder and Tangee 
Amado perfume. The re- 
ceiver will bless the 
thought that prompted a 
coordination of all her 
make-up in the correct 
tone for her type and 
added the grace of a 
lovely perfume. Here, in- 
deed, is more beauty for 
a long time to come. The 
complete box is $2.50. 

Hampden's Powd'r-Base 
takes on a holiday air 
because it is a beauty 
"must" when this gay 
and happy season rolls 
around. To go to a party 
with your complexion its 
loveliest and to know 
that it will continue that 
way for hours is a little 
private joy that users of 
Powd'r-Base all know. It 
is a real good-will-toward- 
girls thought to tuck this 
dainty package in their 
Christmas stockings. 
The price, 5 04 and $1. 



"Vaniteen," by Princess Pat, is a 
streamlined vanity, resembling a golden 
candle. Press against puff and loose 
powder sifts out of the tip, while the 
base opens to reveal rouge and wee 
puff. "Vaniteen" is sheathed in a 
transparent case with flame-colored 
flare. Tiny wire loops it to tree. $1. 

A practical gift that means pretty 
hands, and weeks and weeks of them, 
is this Christmas version of Jergens 
Lotion. The giant size is attractively 
encased to carry the season's greetings 
and an excellent skin softener and 
smoother. The Christmas price is $1. 

When any girl leaves 
home, she needs a bottle 
kit, if only for a week- 
end or for a month. So 
Kleinert made a beauty 
for gift purposes, a gay 
affair of richly blended 
stripes, roomy, and just 
right for bottles, boxes 
and miscellany. There is 
a little bell at the end 
of the Conmar slide fast- 
ener — just for fun. The 
kit comes in a red lacquer 
box with green ribbon 
and holly. In notions or 
toilet goods sections of 
department stores. $2. 

Into a damask-like finish box are gathered 
three bath beauties — Bathasweet and com- 
panion soap and eau de Cologne. For those 
who want real beauty from a bath, a sense 
,of luxury and relaxation from a water- 
isoftened, perfumed tub, a creamy, profuse 
lather of soap, plus a final invigorating rub- 
down with Cologne, here is truly a gift for 
Sybarites! Forest Pine or Garden Bouquet. $1. 

A happy solution for that what-to-give 
problem is Daggett & Ramsdell's "Beauty 
Sampler" kit (not shown). In a cross-stitch, 
: sampler design kit are collected cleans- 
ing cream, foundation cream, face powder, 
skin lotion and hand lotion. All for $ 1 ! 

for January 1940 

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weakening after-effects. Just an easy, 
comfortable bowel movement that 
brings blessed relief. Try Ex-Lax next 
time you need a laxative. It's good 
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Checking on Their Comments 

[Continued from page 11] 

going to America. Then I decided that 
if my dream was ever to come true, I 
must do something about it." 

Let's interrupt here to say that the 
Mogul of Metro, Louis B. Mayer, heard 
her sing in Vienna — and signed her. Over 
here, she was given one role, in "Rosalie." 
Then more practice. 

"I did nothing but study for seventeen 
months, learning English, taking singing 
lessons, dramatic coaching and trying to 
make the most of my opportunity. I am 
interested only in my work. I live quietly 
with my Aunt Theresa. I rarely go to 
parties, because I need all of my strength 
for the work that is more important to 
me than anything else. I have no ro- 
mances. I am not interested in romance. 
Now that my big chance has come in 
'Balalaika,' I do not intend to sit back 
and congratulate myself. Instead, I will 
work all the harder. This, I realize, is 
just the beginning. I still have so much 
to learn and it is learning that makes me 
happiest. When I am not making a pic- 
ture, I still must take fifteen hours of 
singing lessons a week to improve my 
voice. I am constantly striving to improve 
my English. My only ambition is to be 
worthy of the great opportunity America 
has given me. That means I must devote 
all of my time and energy to it." 

Which is zeal, plus. Personally I'm 
cynic enough to believe that the movie 
public doesn't care a hang about zeal. 
It wants pleasant, personable amusement. 
The public can be heartless, too. It doesn't 
give a rap about your fifteen hours of 
singing lessons, Ilona, I regret to report. 
That o!' devil personality will carry you 
a lot farther than hitting high C just ex- 
actly right. Relax, Ilona — but hold your 
hat. Tell Aunt Theresa to hold hers, too. 
You're coming to a sharp curve in the 

JVrOBODY is more serious about things 
than a comedian. Let's consider 
Gr otic ho Marx as Exhibit A. He's wor- 
ried about the future of the films, along 
■with the stage and radio. I caught him 
on the verge of tears in his luxurious New 
York hotel suite just before his "At 
the Circus" opetied. Here was the world 
going all wrong and nobody giving a hang. 
So let's let Groucho give his hang — 

"The movies need less restrictions, less 
hide-bound rules. They should be honestly 
describing what actually goes on in the 
world. Instead the lilms are held to the 
boy-loves-girl formula. Fortunately for 
the screen, the stage has gone stagnant 
and decadent. Look at the Broadway stage 
hit. The Little Foxes, which has been 
running for a year. An intimate two and 
a half hour study of a low blood-pres- 
sured middle class family of amazing 
meanness. Look at any New York musical 
show hit. Smutty and physical. I'm no 
prude, but I revolt at plain unadulterated, 
unimaginative dirt. But if the stage took 
its rightful place, the movies would have 
to fight for life — and have to fight hard. 

"Look at the radio. You have all the 


restrictions of the movies, plus the spon- 
' sor. He's usually a manufacturer of 
woolen underwear who looks upon himself 
as an expert on what people want to hear. 
He's the reason why the shut-off knob 
is so important a feature of radio sets. 
No wonder they call it ether entertain- 

"One sponsor offered us an hour on the 
air each week. I told the man we couldn't 
be funny for sixty minutes and nobody 
else could be, either. However, spotted 
in right, timed right, at brief interludes, 
maybe, with the right material, we could 
do it. . . . Otherwise it would be synthetic 

"If the radio was better, it would com- 
plete the massacre of the movies. As it 
is, the movies are just a bit better, just 
a bit honester and just a bit more amus- 
ing. But what about the future?" 

A fair question — and Groucho's com- 
ments probably are true. That student of 
the dark side of things, Charlie Chaplin, 
doubtless would tell you the same thing. 
If you want to know the worst, consult 
your favorite comic. All clowns since 
Pagliacci have had breaking hearts. 

^ ASU PITTS is one of the phe?iomena 
of the movies. She rode a phrase 
and a flutter to fame. Which, in itself, 
is a triumph of personality . . . or some- 
thing. But, like everyone, ZaSu isn't en- 
tirely happy. Ambition still tugs at her 
sleeve. But let Miss Pitts speak in her 
own way — • 

"0-o-oh, dear! 

"I'd like to do something sincere and 

significant. You know, real acting. Oh, 
dear! But I'm a marked woman. I startedi 
in films 'way back in the old silent days. 
Let's see . . . about 1Q20. In 'The Little 
Princess' with Mary Pickford. I waS' 
Becky, I think she was called. I was com- 
ing along nicely after that. Acting, really 
acting. Erich von Stroheim gave me some 
fine breaks. Remember me in 'Greed?' 
A nice girl acting in front of a Pluto sign.. 
Von liked details like that, bless him., 
Then I did a lovely role in 'Sins of the: 
Fathers,' with Emil Jannings, Ruth Chat- 
terton and Jean Arthur. I seemed all set 
as a serious dramatic actress. For that 
matter, Mr. Jannings seemed to have a 
definite spot in American films. Then the 
films acquired speech. 

"That was the turning point. I was cast 
in the second a!l-talkie, 'The Dummy,' 
with Fredric March, Ruth Chatterton 
and Jack Oakie. Words from the screen,^ 
those first spoken syllables, carried vast 
significance. If you remember, they kept 
me saying 'Oh, dear!' in moments of ten- 
sion — and I became a marked woman. 
I've been saying 'O-o-oh, dear, ever since. 
I go on oh, dearing in everything but 
the news reels. I should think the public 
would be good and bored with me, but 
Hollywood thinks different, apparently. 

"O-o-oh, dear!" { 

And the ZaSu Pitts hands fluttered 
hopelessly. In brief, La Pitts has become 
a symbol of amusing frustration. Sure of 
a laugh or two. And Hollywood has toi 
be sure. It rarely adventures. That sort of 
thing costs too much. It can't take! 
chances. So ZaSu has about as much 
chance of doing serious things as Paul 
Muni has of doing an unhistorical clown. 
Don't tell me that ZaSu had a serious 
role in Nurse Edith Cavell. English direc- 
tors don't count in arguments like this. 

Success hasn't gone to Brenda Joyce's head. She still goes to parties 
and premieres with the boy she went around with in school, Owen Ward. 

Silver Scree: 

ular f 
lings a 
{or » 
to nigl 

kr reo 
Girl wl 
ly evei 
^says IK 
liiit ma 
tier owi 

(ill lid 
jjrl, 'i 
d misk 
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Id {iw 
mst m 
h OH 

soon le 
Sispl) r 


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Hollywood Whispers 

[Continued from page 4] 

Loretta Young and Jimmy Stewart are 
hand-holding again, and this time, their 
friends swear, they aren't fooling. With 
David Nive?i returning to England, 
Jimmy is one of the very few eligible 
young bachelors left in Hollywood. 
Loretta, have a heart! 

Sonja Henic and Alan Curtis can be 
found dancing away like mad in the pop- 
ular Hollywood night clubs several eve- 
nings a week. Sonja likes dancing so much 
(or maybe it's Alan Curtis) that she has 
completely forgotten her former rule of 
no night clubbing while working in a pic- 
ture. Sonja's small, brown-eyed and 
blonde, and Alan is tall, dark and hand- 
some, and they make a very striking 

Now that Miriam Hopkins has a 
Reno divorce, Director Anatole Litvak, 
her recent ex, is free to marry the Oomph 
Girl whom he has been dating constant- 
ly ever since Miriam took a plane to 
Nevada. When Ann left for a personal 
appearance tour in New York the at- 
tractive "Tola" found an excuse for 
showing up in the big town. The studio 
says no marriage for their Oomph Girl, 
but maybe Miss Sheridan has a mind of 
her own 

Gregory Ratoff, who directed Tyrone 
Power and Linda Darnell in "Day-Time 
Wife," discovered a slight error his script 
girl had made. The cast and crew gave the 
girl, who has never been known to make 
a mistake, the raspberry. Ratoff was very 
angry and defended her with: "What's 
the matter, can't the poor girrrrl make a 
meestake? Do you thenk she's inflam- 

Incidentally, at the end-of -the-picture 
party, the whole cast and crew decided 
to give Linda a gift for doing so well. 
Someone found out what she wanted 
most and they gave it to her — a hand- 
somely bound Bible, and a fountain-pen! 
Her own had been left in Dallas in boxes 
packed for storage. 


Nelson Eddy's songs in "Balalaika" will 
soon be heard by the public via phono- 
graph records. He is singing "Ride, Cos- 
sack, Ride," "Volga Boatman," "At the 
Balalaika," and a love duet for a national 
phonograph firm, with the studio sym- 
phony orchestra conducted by Nathaniel 

" — "<%"• — " 

One of the most charming of the Hol- 
lywood' young couples' homes is that of 
the Louis Haywards {Ida Lupino). 
Perched comfortably atop one of Brent- 
wood's highest hills, the white brick, Eng- 
lish-type bungalow has one of the most 
expansive views in Southern California. 
The Haywards admit they have always 
inclined to cliff-dwelling, and here indeed 
they have achieved the peak. In furnish- 
ing the house they agreed to eliminate 
the Hollywood touch — "no mirrors, no 
white rugs." One of the first discoveries 
they made after moving in was that there 
was no dining room. They decided they 
could do much better without a play 


tf or January 1940 

room than they could without a dining 
room, so the play room was renovated. 
Result, the most charming spot in the 
house — an old English inn-like arrange- 
ment, with a long rough wood table and 
wooden benches on either side instead of 
individual chairs. A round fire-place at 
one end, old hunting prints and pewter 
about the walls make Ralph Forbes' 
comment to Louis just about right — "All 
this and heaven, too, old boy? But defi- 
nitely too much." 

A bow to Grade Allen for her explana- 
tion of why President Roosevelt moved 
up the Thanksgiving date. Says she: "Til 
bet he did it so that he could give the 
Republicans the BIRD a week earlier." 

WE wouldn't be surprised if the head- 
lined romance between George Raft 
and Norma Shearer, has sputtered out. 
Virginia Peine is in the East, as the col- 
umnists report, but not to flee the scene 
of a broken romance. Unless my grape- 
vine fails, Virginia is in New York to 
see Mrs. George Raft, and persuade her 
that she should agree at long last to give 
George a divorce. If she succeeds, and 
Virginia can be persuasive, look for a new 
Mrs. Raft, and not in the person of the 
former Miss Shearer. 

Mrs. Lane, motlier of Priscilla, Rose- 
mary and Lola, is past being annoyed at 
the constant rumors that Pat is married 
to Oren Hagliind, because it is becoming 
amusing. In the first place, says Mrs. 
Lane, Pat wouldn't get married that way. 
Marriage is too important to her. And in 
the second place, slie has never kept a 

secret from her in her entire life. But the 
truth of the matter is that Pat hates to 
discuss her personal life, because it is 
embarrassing, and also because tliere is a 
bit of deviltry about letting people 
flounder around and keep guessing. 

II i;<^ii II 

Don't be surprised if the next few 
weeks bring revolutionary changes in the 
set-up of that biggest Sunday radaO show. 
Nelson Eddy's withdrawal from the cast 
is only the first step in the sponsors' plan 
to revamp the show completely, building 
an entirely new program about Edgar 
Bergen and Charlie McCarthy. Don 
Ameche, away from the program now to 
recover from a serious attack of ulcers, 
may be one of those affected. So may 
Dorothy Lamour. The sponsors have dis- 
covered that Dottie's sarongs don't show 
— over the air. 

I,— i,<f>ii_i. 

Red has invaded the boudoir as well as 
the bright spots. Jane Bryan has a red 
wool coffee jacket with matching mules 
she wears over a red and white pin-striped 
chiffon nightie. Then there's Gloria Dick- 
son giving plenty of glow to her white 
satin lounging pajamas with a red taffeta 

" — "<§>» — • 

Ann Sheridan, being a redhead can't 
wear red, but she likes red. Ann Sheridan, 
being a redhead, can wear green, and she 
likes green. So she cleverly combines the 
two by keeping the dangerous shade away 
from her face. Her pet dress is a dinner 
gown swathed like Venus' drapes showing 
a red skirt, and a bodice, crushed sash 
and long tight sleeves in green. 

And speaking of green, Greer Garson, 
Hollywood's most glamorous redhead, 
fairly stole the show at the premiere of 
"Babes in Arms" when she arrived — one 
minute before the lights went out — in a 
brilliant green jersey evening gown, high 
around the neck, and sweater tight. My, 
my! We're still gasping! 

Hedy Lamarr attending the premiere of "Hollywood Cavalcade," with her 
husband, Gene Markey, who is an executive for Twentieth Century-Fox. 


Will Bette 
Win Again? 

Will the Academy Award Champions of last 
year again come through or has the com- 
petition in 1939 been too strong for them? 

JUST a year ago this month, the 12,000 Hollywood' individuals 
who are qualified to cast a vote in the deliberations of the 
Academy of Motion Picture Arts and Sciences awarded the gold 
statuettes of 1938 to Bette Davis, for her characterization of Julie, 
in "Jezebel;" to Spencer Tracy, for his portrayal of Father Flan- 
nagan, in "Boy's Town;" to Director Frank Capra, for "You Can't 
Take It With You;" to Fay Bainter, for her supporting role in 
"Jezebel;" and to Walter Brennan, for his supporting role in "Ken- 
tucky." Twelve months later, the jury of 12,000 {recruited from the 
Academy and the Screen Actors/ Directors and Writers' Guilds), 
assembles again to pass judgment on the $500,000,000 worth 
of pictures which were shipped out of the studios of the 
world last year and to select the blue-ribbon contributions 
of the creative artists. 

Let us first regard the defending champions of 1938 — 
Bette Davis, Spencer Tracy and Director Frank Capra. Miss 
Davis has fired four broadsides in defense of her "Oscar;" 
she has to her credit "Dark Victory," "Juarez," "The Old 
Maid" and "The Private Lives of Elizabeth and Essex." 
Tracy has been only half as active with "Stanley and Living- 
Spencer Tracy will depend on his performances in "Stan- 
ley and Livingstone" and "Northwest Passage" to win 
again. Other Academy Award possibilities are Paul Muni, 
James Cagney, Alice Faye, Vivien Leigh, Charles Boyer, 
Mickey Rooney and Carole Lombard. All have contributed 
topnotch performances especially Vivien Scarlett Leigh. 


and Spence 

By Ed Sullivan 

stone"' and "Northwest Passage" summing up a year's work. 
Director Frank Capra rests his title defense on "Mr. Smith Goes 
to Washington." 

It is obvious that challengers have no easy road here, if the 
champions elected a year ago are to be overthrown, and yet 
greater upsets have been scored. Miss Davis must overpower 
Vivien Leigh, in "Gone With the Wind;" Rosalind Russell, in 
"The Women;" and Irene Dunne in "Love Affair." Tracy must 
meet the title bids of Jimmy Stewart in "Mr. Smith Goes to 
Washington;" Robert Donat in "Goodbye Mr. Chips;" Jimmy 
Cagney in "The Roaring Twenties;" Laurence Olivier in "Wuth- 
ering Heights;" Clark Gable in "Gone With the Wind;" Henry 
Fonda in "Young Mr. Lincoln;" Paul Muni, in "Juarez" and "We 
Are Not Alone," and Laughton in "Hunchback of Notre Dame." 
Director Frank Capra must resist Victor Fleming's "Gone With 
the Wind," Sam Wood's "Goodbye Mr. Chips," William Wyler's 
fine production of "Wuthering Heights," Edmund Gould- 
ing's "The Old Maid," George Stevens' rousing "Gunga 
Din," Clarence Brown's "The Rains Came" and so many 

Numerically, or rather mathematically, the odds are 
most in favor of Bette Davis waging a successful defense 
of her title, because no other \_Continued on page 59~\ 

Bette Davis has had a most active and successful year in 
films and seems certain to repeat as an Academy Award 
winner. Others to be considered are Irene Dunne, James 
Stewart, Robert Donat, Rosalind Russell, Henry Fonda, 
Jean Arthur, Ginger Rogers, Laurence Olivier, and Priscilla 
Lane. Jimmy Stewart and Robert Donat are the dark horses. 

for January 1940 


"T AM one of those women who, as the 
-I- saying is 'missed the boat' . . . women 
who dream of a husband, a home, and 
children — and never get them. 

There is never a morning as I start out 
for work but that I wish I could remain at 
home to look after a family. There is 
never a twilight but that my loneliness 
comes out of the dusk to sadden me as I 
open the door of my empty flat. 

It wasn't always like this. Men used to 
find me attractive. Two wanted to marry 
me. Then some unexplainable change 
took place in me. I met new men of course, 
but somehow their interest was only 
momentary. I could not fathom the rea- 
son for their indifference then, nor can 
I now. To this day I do not know what 
is wrong with me. I wish to heaven I did. 
It's no fun being thirty— and alone." 

"Is anyone immune?" 

An unusual case, you say? 
Nothing of the sort. 
Countless women and 
men are probably in ex- 
actly the same situation 
right now — and ignorant of the reason for it. 

After all, nothing repels others and kills a 
romance so quickly as halitosis (bad breath) . 
Sometimes it is due to systemic conditions, 
but usually and fortunately it is caused, say 
some authorities, by fermentation of tiny 
food particles in the mouth. And Listerine 
Antiseptic quickly halts such food fermen- 
tation and then overcomes 
the odors it causes. 

"Why risk offending?" 

The insidious thing about \ 
this offensive condition is i» 
that you yourself seldom 

realize when you have it. At this very 
moment you may be guilty. But why risk 
offending when it is so easy to take precau- 
tions by using Listerine Antiseptic? 

You simply rinse the 
mouth or gargle with it 
every night and morning, 
and between times before 
social or business engage- 
ments. It freshens and in- 
vigorates the mouth and _ 
your breath becomes sweeter, fresher, more 
agreeable to others. 

"It's my passport to popularity" 

If you want people to like you, if you want 
to get along in business, use Listerine night 
and morning and between times when you 
want to be sure you're at your best. This 
wonderful antiseptic and deodorant may be 
the passport to popularity that you lack. 
Lambert Pharmacal Co., St. Louis, Mo. 


Silver Screen 

upper left: My, my, if it 
isn't David Niven noncha- 
lantly fixing hit suspenders 
as Director Sam Wood dis- 
cusses a scene for "Raffles" 
with Dame May Whitty, 
Olivia de Havilland and 
David. Above: Mickey 
Rooney, Ann Sothem and 
Cary Grant during a re- 
hearsal for a Screen Actors 
Guild radio program. Left: 
Virginia Dale, Paramount 
Golden Circle player, gets 
into the Christmas spirit. 

Topics For Gossip 

ALICE FAYE and Tony Martin were tickled pink 
when they discovered that they could buy the 
' Jack Haley ranch out in Encino. The Haley 
ranch, practically across the road from the Gable ranch, 
was exactly what Alice and Tony wanted. No more 
apartment houses and rented Beverly Hills homes for 
them. On their second wedding anniversary, which they 
celebrated recently, they gave each other nothing but 
household gifts. {Alice gave Tony garden tools, a lot 
of mechanical gadgets, and a desk set, while Tony pre- 
sented Alice with towels, luncheon and dinner sets, bed 
linen, etc.) But, as you read in the newspapers, they 
had only been in their new home a few days when it 
burned down! They are planning to re-build imme- 

All Alice's clothes, with the exception of a house 
dress and pair of bedroom slippers, were burned in the 
fire, so Alice is now wearing clothes she can borrow 
from the Twentieth Century-Fox wardrobe department 
— until she has time for a shopping spree. 

That South American vacation trip that Don Ameche 
has been looking forward to for the past year — ever 
since Tyrone Power told him all about the wonderftd 
time he had there — has been cancelled. Mrs. Ameche 
hasn't been well enough since Thomas Anthony Ameche 
was born to make the long trip, and Don wouldn't 
dream of going without her. So, he is spending his 
muchly needed vacation at home, with possibly a week's 
fishing trip in the High Sierras. Even movie stars have 
their disappointments. 

Barbara Stanwyck played good Samaritan this month 
while driving along the east end of Hollywood Boule- 
vard. A stalled street-car with half a dozen working girls 
looking desperately about for a way of getting to their 
jobs on time prompted Barbara to do a good deed. It was 
indeed a thrill for the gab, who were delivered promptly 
to their offices by none other than the famous Stanwyck. 

John Payne has such broad shoulders the ladies can't 

upper left: Gene Lester was right on the spot with his camera 
when Frances Langford gave her hubby Jon Hall a tweak 
on the nose at the Morton Downey opening at the Cocoanut 
Grove. Above: Bob Hope and Shirley Ross do a corny version 
of "Two Sleepy People" at a party Bob recently gave for 
Judy Garland at the Victor Hugo nitery in Beverly Hills. 

Last minute news in print and picture 

believe it. One in particular, perhaps from Missouri, approached him 
at the Brown Derby, reached over and pinched his shoulder. "Just 
wanted to see if they were padded," said she, "My, that's wonderful!" 

— — 

Newcomer Brenda Joyce nullifies everybody's prophecies that she'd' 
forget her schooltime boy friend, Owen Ward, as soon as "The 
Rains Came" and "Here I Am A Stranger" were released and she 
became a celebrity. Site's a celebrity all right, but Owen Ward, who 
attended school with her since they both went to San Bernardino 
Junior High School and U. C. L. A. together, is still her one and only 
escort. Brenda's current big thrill is the acquisition of her first fur 
coat, and what a time she had deciding against a silver fox and in 
favor of a kolinsky, which is more every-occasionish than the dressier 
silver fox. She got it wholesale or she wouldn't have been able to get 

Victor McLaglen is the latest of the filmites to join the ranch 
owners. Vic has bought himself five hundred acres in Paris, a fertile 
farming land near Riverside, California. Vic is one star who is going 
to do what a great many have been earnestly promising, and only a 
few like Barbara Stanwyck have accomplished — breed fine horses. The 
McLaglen stables are already famed in the state for champion steeple- 
chasers — and there's a tack room elaborately covered with ribbons, 
medals and cups to prove it. 

<— .# — . 

Jane Withers who has— but definitely — attained the party-giving- 
and-going stage, with emphasis on wearing long party dresses, was 
invited to one recently. Mrs. Withers, who always accompanies Jane, 
decided to let the Withers' secretary, Miss Josephine Rainey, chap- 
erone Jane, while Mrs. Withers had a date with Mr. Withers. Miss 
Rainey, feeling her duties keenly, apparently kept warning Jane 
"don't do this or that." Jane whispered to George Ernest, "Gosh, they 
say all movie people have their 'yes men' but I certainly have my 
'don't woman.' " 

Lovely Virginia Field, one of the most talented of the screen's 
newcomers, has Hollywood's most ambitious five-year plan. In addi- 
tion to her determination to become an important actress, Virginia 
is equally determined to become an important business woman. She 
wants to own a grocery store, an apartment house, and a restaurant. 
The latter she has already accomplished with the opening this month 
of a picturesque little English Inn named "Bit O'England" and lo- 
cated in the North Hollywood valley near some of the movie stars' \ 
rancheros. The eatery has been doing stand-out business since its 
opening and with Virginia's astute mind for management and for 
accomplishing what she sets out to do, looks like the grocery ston 
and apartment will be coming up — but soon. 


Ill kail 

1 music 
litoni I 

loft Hi 
las teo 


lortis I 

■vti)' mi 

any ap[ 

Kied t 
iif, ani 

Left: Joe E. Brown having a chin- 
tickling time of it with Beryl Wal- 
lace when called upon to take a 
bow at the Earl Carroll Theatre- 
Restaurant. Right: Doug Fairbanks, 
Jr., is serenaded by three senoritas 
during a lull on the set during the 
filming of "Green Hell." Not bad! 

of your current favorites in Hollywood 

■ Dolores Del Rio, who keeps the Hollywood style-conscious too 
busy matching her pace, has some exciting new tricks for Fall. One of 
them makes it possible to see Dolores even in the dark of night. She 
has had the buttons on a black ensemble painted with phosphorous, 
along with a necklace and clip. Another little nifty is a bracelet with 
a music box inside which plays 'Jingle Bells,' and still ^.lother is her 
custom of wearing a rare cacti blossom for an evening corsago instead 
:)l of the proverbial gardenias and orchids. 


Helen Gilbert and Lew Ayres are acting as if they are falling in 
love. Helen, who was discovered in "Andy Hardy Has Spring Fever," 
has recently started divorce proceedings against her musician hus- 
band. Lew and Ginger have been separated for years now, but never 
have done a thing about that divorce. Maybs those dinner dates with 
t'^lHelen will call for a little action. 

"—<§>■ — " 

The turban rage is growing! Started several months ago by Joan 
Crawford it has taken on like wildfire. At the "Hollywood Cavalcade" 
premiere Joan appeared in a slinky black turban, Lana Turner in a 
white one, and Sally Eilers in a gold one. 

It's wedding bells any minute now for Margaret Lindsay and Eddie 
Norris (Ann Sheridan's ex). And ditto Richard Greene and Virginia 

Shirley Temple is having herself a wonderful time in her new 
picture "The Blue Bird," in which she has sequences in which she 
very meanly orders Eddie Collins, as the bulldog, around. After one 
particularly mean-toned scene, the whole cast and crew, Director 
Walter Lang, even Shirley's teacher, all hissed her resoundingly, 
Shirley beamed more happily at this tribute to her villainy than at 
my applause she'd ever had. 

Incidentally, on a recent hot Sunday, when Shirley was going 
swimming in her pool at home, her mother warned her to stay in the 
shallow water, since Shirley hasn't had enough swimming lessons to 
50 into the deep end where it wasn't safe. 

"If I make it safe, can I go in deep?" inquired Shirley. Absent- 
aiindedly, Mrs. Temple said yes. 
An hour later she saw Shirley in the 12 foot end of the pool, but 
safely." Shirley had gotten a couple of clothes line pulleys, ham- 
nered them into the pool at each end, expertly suspended a clothes- 
ine, and tied a rope round herself attached to the long clothes line 
jy another pulley. When she got tired of actually swimming she just 
ioated along the deep end of the pool suspended from the clothes 
ine! Talk about ingenuity. ^ ^ 

Penny Singleton, "Blondie" of radio and film series, has turned into 
in amateur talent scout. Recently she (Continued on page 74) 

Upper right: Norman Foster and wife, Sally Blane, arrive 
r.t the Grove with Joan Crawford and her ex-hubby, Franchot 
Tone. Just a friendly date, with no thought of re-marria5e. 
Above: At the opening of "Babes in Arms," Judy Garland 
accompanied her mother and Mickey Rooney escorted his. 
The kids and the mothers are looking equally proud. 



Left: Dorothy Lamour telling a 
story to Bob Ritchie, Helene Del 
Valle and Lee Bowman. Right; Pete 
Smith, whose M-G-M short subjects 
always are a delight, doesn't seem 
to be giving much attention to Ned 
Day, bowling champion, featured 
Pete's latest, "Set 'Em Up!" 


What about make-u 
Clothes? Smoking? Dri 
ing? Petting? The best v 
to be attractive to bo' 
These are just a few oi 
questions which lush c 
lovely Lana, as one gir 
another, intimately ansvt 



By Gladys Hall 

Not so long 
Lana was a sti 
in Hollywood 
School. Mervy: 
Roy gave h 
small part in 
Won't Forg^ 
She's been a i 
tion ever si*^. 




Advice to All High School Girls! 



yi'fnHE thing is, I think that High 
I School is just like life," said Lana, 


giving the Serious Subject before 
IS the double take. "I mean, it IS life, 
eally. If you are successful in High 
school, really successful, by which I don't 
nean just grades and things, but getting 
ilong with boys and girls, being a good 
port without going off deep ends and all, 
vhy then, it seems to me, you have 
:very chance of being successful at what- 
iver you do in life . . ." 

As Lana talked, she sipped her glass 
if orange juice, which was her lunch, in 
he M-G-M commissary. I gave her the 
louble take, congratulating myself that I 
ouldn't have picked a better young per- 
, jon to discuss High School problems, 
' tleasures and pastimes. For Lana, 1 
)ri bought, must have run the gauntlet, all 
he gauntlets there are. Lush and lovely 
,s she is, she must have had to be darned 
)0 egular to keep the girls from tarring her 
Tnd feathering her ... she must have 
lad to keep her eyes on the blackboard 
,nd her mind on The Rise and Fall of 
.'he Roman Empire to keep the boys' 
P yes and minds, to say nothing of their 
;earts, from rising and falling for her. 

In Hollywood we are saying that the 
atma of plush and velvet and yumminess 
nd desirability once worn by Clara Bow 
nd by Jean Harlow, has fallen upon the 
issome shoulders of the little, tempting 
'umer — that honey-colored hair, the 
[loonstone eyes, the satin-textured skin, 
"™lie fruity lips, that "Perfect Figure" 
1 ihkh weighs in at 109 delectable pounds, 
he llYz inch waist-line, 35 inch hips, 34 
ich bust, five feet four in height. . . . 
Jew tell me, what geometric symbols 
ould have been curved enough to keep 




the boys' attention riveted on them? 

{Author's Note: High School boys 
please answer!) 

Why, even now, with Lana all of nine- 
teen, a seasoned little trouper, with They 
Won't Forget, Love Finds Andy Hardy, 
Rich Man, Poor Girl, Dramatic School, 
Calling Dr Kildare, These Glamour Girls 
and Dancing Co-ed to her screen credit, 
competing, as she is, with such rivals as 
Lamarr, Ilona Massey, Joan Crawford, 
Virginia Bruce, and engaged as she is, too, 
I had to practically sing "Shoo Fly" to 
Lew Ayres, Mickey Rooney, Jimmy 
Stewart, Franchot Tone and other lads 
who should have outgrown such goings- 
on, before we could be alone, Lana and L 

"I mean," Lana was continuing, as the 
last masculine back slunk sheepishly 
away, "I mean, if you make a fool of 
yourself in High School, well, you may 
get over it, of course, but the chances are 
better for you if you don't make a fool of 
yourself in High School. Things like 
Standards and Good Taste and not 
snatching another girl's 'man', and dress- 
ing in good taste, and not going in for 
'bath-tub' gin, and keeping your con- 
versation clean, and not petting with the 
boys, and doing your job decently even 
if you aren't exactly Phi Beta Kappa 
material — all these things are important 
in High School just exactly as they are 
important in later life. 

"I feel pretty foolish," said Lana, giv- 
ing it her slow, deep smile, "to be giving 
'advice' to anyone. Why, if I hadn't gone 
and cut an Algebra class, if I'd brought 
my lunch to school instead of eating it 
in the cafe across from Hollywood High, 
I'd probably be taking a course in dress 
designing right [Continued on page 68] 

Upper right: With boyfriend Greg Bautzer 
at "Babes in Arms" opening. Right: With 
Greg and Jack Huber leaving La Conga. 
Lower right: At Paula Stone's wedding, 
with Greg. Below: Lana says if a girl wants 
to wow the boys she can always wear her 
sweaters a little shorter and a little tighter 
than other girls do and her stockings sheerer. 

What Goes On In Holl 


Here are the undraped facts of how your favorite 
actresses behave in the studio fitting rooms which 
unfortunately, always bring out the female in the: 
best of them — and then pity the poor designers! 




'AVING lived in Hollywood since Lillian Gish nil 
on her first hang nail and devoted the best yeai 
my life to telling the world what precious little pi 
kins the movie stars really are, I'm afraid I hold no illu 
for our little world of make believe. It's awfully nice wo 
you can get it. (Try and get it!) But don't let it get 
Personally, I recommend something simple and quietin 
the nerves. Like working in a boiler factory. Or drivi 
steam roller. 

Any studio job is tough. Just ask the man who runs 
But of all the unsung heroes in Hollywood, the designers 
cater to the stars' whims in the fitting room are practi 
fugitives from a padded cell. It's their job to convince a 
thousand dollar a week pixie that a shop girl just wov 
be wearing silver fox capes. They have to fill in the h 
And cover up the bulges. They have to be diplomats, psj 
analysts, and the best liars in the world. 

Unlike any other branch of the business, there's some 
about the fitting room that brings out the female in the 
of 'em. All inhibitions give way. It becomes a personal i 
The star invariably assumes the attitude that the whole v 
is against her. She attacks a bolt of chiffon with the fui 
a Bull Terrier. She just knows the designer is saving out s 
thing extra-special for a rival Queen. Clothes must pleas< 
producer. They must get the director's okay. The star 
her own pet ideas on how she wants to look. The 
suffering" designer always winds up being the "heavy, 
the case. 

"Conditions" have improved since those good old days 
Jetta Goudal ripped a gown to bits and shreds. No k 
does Nancy Carroll deliberately wear a dress backwards— 
go shrieking to the front office that the designer is ru 
her career. Occasionally we have stars like Clara Bow 

Upper left: Designer Editb Head of Paramount confers 
with Louise Campbell on a costume. Left: Columbia's Robert 
Kalloch arranges a diaphanous evening gown worn by Vir- 
ginia Bruce. Belotv: Adrian and Joan Crawford go over 
sketches of new gowns. Joan likes an audience during a 
fitting. She usually invites half the studio in to watch. 




/ooD Fitting Rooms! 

ed on long jet earrings with bathing suits. And high heeled 
zrs for playing tennis.) Greta Nissen was another who 
:ed designers to an hysterical quivering pulp. These gay 
belong to a fading era. But there's still never a dull 
ent in the fitting room. Some of the fits they throw 

cause he's used to catering to super-colossal egos, Adrian 
r;lf is a quiet -mannered demon for diplomacy. He applies 
lion sense to intelligent reasoning and gets terrific results, 
hi Garbo has a fitting, Adrian fortifies himself in advance 
i. all his reserve will power. Garbo is usually very pleasant, 
t's always a fight to get her to wear smart clothes. When 
inters the wardrobe, she looks like anything but that 
h-taking creature you see on the screen. Her costume 
5ts of old slacks, dark glasses, sweater, scarf, a large hat 
covers her long straight bob. When she fits her dresses, 
a refuses to remove the slacks. Invariably she picks up 
hion magazine and points out something she considers 
It's usually a dreary affair. Garbo's idea of a bright color 
te grey! When a fitting goes well, Garbo sends out to 
ar for her lunch. If she doesn't send for the lunch, she 
to be alone. 

len Rosalind Russell is expected in the fitting room, Adrian 
s he is going to have fun. He likes Roz because she's 
a good sport, and she isn't an ego-maniac. "She's glad 
ik gay and silly if she's supposed to," says Adrian. "Rosa- 
lussell has courage. She's courageous in her own life too." 
utsider would definitely think that Adrian and Rosalind 
uts. "Did you feed your lions today?" Adrian asks in 
riousness. Rosalind answers, "I was going to. But Grandma 
d so hard I let her do it just this once." They go on 
his for hours. Nothing they say ever makes sense, 
rma Shearer is always late for appointments. But she 
hourly and keeps changing the time. The full day is 
ed in advance, so this throws everything into complete 
sion. Norma is always very sweet and very patient. She 
embarrasses a designer during an awkward moment, as 
any stars do. Norma has a little habit of changing her 
sometimes after the costume has been worn in the 
e. Naturally the scene has to be taken again. Ofttimes 
las several costumes designed when she can't decide 
one to choose. {Continued on page 60\ 

Upper right: Orry-Kelly, Warners' designer, discusses 
gowns with Ann Sheridan. She hates high necks. Right: 
Ilona Massey is fitted for one of the costumes she wears 
in "Balalaika." Below: Designer Edward Stevenson and his 
assistant, of RKO, put the finishing touches on a dress 
for Joan Fontaine. Eddie lets the stars express themselves. 



ti I 




Although Paulette 
refuses to talk 
about her past, 
those "who knew 
her when" don't 
mind. Left: With 
John Beal on the 
Paramount set. 
Below: Director 
Elliott Nugent, 
Douglass Mont- 
gomery and Paul- 
ette during film- 
ing of "The Cat 
and the Canary." 

THE stars, I regret to say, are not down my alley. 
mean Gemini, Uranus, Aquarius^ and such — not Gafl 
Taylor and Power, who, unfortunately, are not exact 
down my alley either. ) I guess I know as little about the ca 
stellations as any person in Hollywood, but just the sau 
when it comes to forecasting a future for one Paulette Gc 
dard it seems that I have hit it off word for word with Ho^ 
wood's favorite astrologer. Blanca Holmes in a neat bit ; 
forecasting recently in Sidney Skolsky's widely read colmt 
has to say of Paulette: 

"Paulette Goddard: After many delays, her career real 
gets started and goes into high in 1940. She is studious $ 
has learned plenty by absorption. She will fool even the criti 
She is married to Charlie Chaplin. She has more intelligoi 
than the average woman of her age." 

Well, slap me down, that's exactly what I've been predict! 
about Paulette for the past three months. Ever since I si 
"The Women" and "The Cat and the Canary." Ever sincelikes 
talked with her at a couple of Hollywood parties. Maybe fc 
should look into this astrology business. Maybe I've got 1 
divination, or something. j 
Believe me, I've been in on plenty of discussions about ^ 
will be the Big Stars of 1940. It's one of the favorite toiM|iiijs 
of conversation in Hollywood. And with most folks sayi 
"Lana Turner," "Judy Garland," "Vivien Leigh," "Ida Lupini 
I have consistently said, "Paulette Goddard." Paulette has Ij fptd 
a whole slue of bad breaks, enough to make a regular sourps «i 
out of her, but she's tossed them off with a laugh. {And do\ 
think it's easy to laugh off Scflrlett O'Hara.) She's about 1 
hardest working gal in Hollywood, when it comes down 
actual hours, and she doesn't consider anything too diffic ii; 
or tedious if she thinks it will help her become a better actre A 
She's learned plenty too, both by serious study and absorptil 
She's intelligent and she's radiantly beautiful (and y 
figure!) — a combination that rarely misses in any langua 
She's not a "new face" and she's been around Hollywood | pse 
six or seven years, to be sure, but don't forget not even Be (lev 
Davis became a star overnight. 

So what with us practically in the lap of 1940, and pr| 
Miss Paulette going into high any minute now {iio motiii 

til 19 

iter studying the heavens, a 
oted astrologer forecasts big 
lings for Paulette Goddard in 
)40, but the average moviegoer 
ould forecast the same thing 
dier seeing her in "The Women" 
.ad "The Cat and the Canary." 


glorified by 
Ziegfeld, has 
one of Holly- 
wood's most 
perfect figures. 

sitiess there, Gemini) we might just as well settle down to 
bit of dishing of the Goddard girl. Not that it hasn't been 
ne bef6re. By the exclusive Santa Monica set. And the not 
exclusive Beverly Hills bunch. One of the most talked about 
ople in Hollywood, Paulette herself does very little talking, 
e'd rather take castor oil than give an interview. But once 
e's cornered she couldn't be sweeter. She has a most in- 
:tious laugh. Pretty soon you are laughing your head off. 
. )out nothing. It's her idea of a satisfactory interview. 
Someone once told Paulette that the best way to keep a 
' iter from prying into your private life is to get the writer 
I king about herself. So I. had hardly seated myself, pencil 
1 hand, before Paulette with a gay little laugh began, "I'm 
'ry interested in people, aren't you? I like to know what 
ikes the wheels go round. What they are thinking, and w-iiat 
kes them the way they 
I can tell that you 
deeply introspective, 
t ). Do you believe the 
ngs you write? Why 

you — " 
'Listen, Paulette," I 
jped her build-up short, 
ju pulled that trick on 
before. Remember, I 
;nt two hours at George 
kor's party last week 
ling you all about my 
eels. And you didn't 
me a darned thing 
)ut your wheels. Now 
your turn to talk, 
ppose you tell me 
ere you got that won- 
•ful poise and self- 
'ease turn to page 62] 


Unfortunately, there is only one 
Adolphe Menjou. All the studios 
want him. Columbia had him for 
"Golden Boy," United Artists 
snagged him for "The Housekeeper's 
Daughter" and now . RKO-Radio 
for "That's Right, You're Wrong." 

^llure in all 
its Splendor 



Above: Magnificently blonde Jane Wy- 
man it currently to be teen in "Kid 
Nightingale," a Warner Brothers pic- 
ture. Left: Judith Barrett, the Venus 
from Venus, Texas, it featured in 
Paramount't mutical extravaganza, 
"The Great Victor Herbert." Below: 
Exquisitely formed Betty Grable, now 
separated from Jackie Coogan, has 
been disporting her charms of late for 
RKO-Radio Pictures and Broadway. 



magical Hollywood, beauty mart 
all nations, one finds the exciting 
lure which warms and quickens 
le heart of a cold-blooded world 

Above: The enticing Ellen Drew, soon 
to be teen in "Geronimo!" is now at 
work in Paramount's "Women With- 
out Names." Right: Luscious Rita 
Hayworth performed so capably in 
"Only Angels Have Wings" that Co- 
lumbia Pictures decided definitely to 
groom her for stardom. Below: Glam- 
orous Gloria Dickson contributes con- 
siderably to the success of "On Your 
Toes," the Warner Brothers musical. 


Point With 



Below: William Frawley seems 
quite annoyed at the billing 
and cooing of Joan Blondell 
and Melvyn Douglas in "The 
Incredible Mr. Williams." 

^T"©!! may well expect another (cin- 
tillating performance by Joan Blon- 
dell in "The Incredible Mr. Williams," 
in which she again appears with Melvyn 
Douglas for Columbia Pictures. Perhaps, 
you recall this entertaining twosome in 
the frightfully misnamed "Good Girls 
Go To Paris?" Joan was excellent. She 
modestly attributed her success to hav- . 
ing so capable a comedian as Melvyn for 
her leading man. Her gay antics on the 
screen are precisely the tonic needed 
to fortify us against the world of today. 


Sonja Henie continues to dodge Dan Cu- 
pid's arrows, but intends to stand still 
some day and give him a good shot at her 

SONJA HENIE was laughing. She couldn't stop laughing, and 
was almost in hysterics. It was all because of the ludicrous 
gyrations of good-looking Robert Cummings as they rehearsed 
a comedy skating scene for her new picture "Everything Happens at 

"When you do go down, it will be an awful fall — you're so — so long!" 
gasped Sonja, measuring his six-feet something, with mischievous eyes. 

"I'll not tumble," grinned the confident Bob. "I learned all about 
balance during my years of flying." Then, without warning, he put on a 
super-exhibition of waving arms, sprawling legs, and spinning torso 
that barely missed the ice, while everybody near the set shrieked in 
anticipation. Quickly, through magnificent co-ordination, he regained 
his equilibrium — and his grin was still intact. 

"I only hope," said Sonja, clinging to a snowy gate and weak from 
laughter, "that this sequence will be half as funny to audiences 
as it is to us!" 

A few days later, in her dressing room, she told me : "We've 
had fun making this picture and it's one of my happiest exper- 
iences. There was hard work, too. Every morning, all these 
weeks, I was up at a quarter to five, and we started work at 
eight. But there was never any worry, nor tension, and we 
finished four days ahead of schedule, which is a triumph." 

Director Irving Cummings, passing the door, stopped to say, 
"Sonja set a couple of records, too. In an emotional sequence 
with Maurice Moscovitch, who portrays her father, she played 
the longest scene of her career — it clocked five minutes and 38 
seconds, and was filmed on the first take 
without a single hitch. That's also the 
longest scene played by any actor at 
the Twentieth Century-Fox studio this 
year. Some little trouper," he added, 

"Do you wonder," said Sonja, "that I 
love movie work when my director says 
such nice things? Anyway, it is good to 
be back in Hollywood. As usual, mother 
and I spent the summer at our home in 
Oslo, Norway, where the war clouds 
didn't reach us. Even during the three 
days we spent in Paris on our return 
trip, we heard nothing alarming, so you 
can imagine the shock when there was a 
command for a blackout on the Nor- 
mandie the first night at sea. 

"By the time we landed in New York, 
we decided [^Continued on page 631 

Above: "I know that love 
and marriage are needed 
to make a woman's life 
complete," says Sonja. 
Right: She loves to dine 
and dance with Lee Bow- 
man. Loiver right: Alan 
Curtis is a favorite escort. 
Below: With Robert Cum- 
mings in "Everything 
Happens at 
Night," her 
latest picture. 
It is only re- 
cently that 
Sonja has fre- 
quented the 
night spots. 

for January 1940 


That's Jimmy Cagney's 
advice and he's al- 
ways lived up to it, 
himself, ever since the 
day he quit being a 
parcel wrapper in a 
department store to be- 
come a female imper- 
sonator in a chorus! 


IF JIMMY CAGNEY had not been willing to take a chance 
shot at anything that came his way, he might still be 
working as a wrapper in a department store. Or he might 
have been a doctor. Or a manager in a department store. But 
he most certainly would never have been the personable Cagney 
of the cinema. 

Becoming an actor was just another one of those unexpected 
events that have marked his career. The stage and the foot- 
lights were merely vague words to him. But he had to eat 
and he had to help support his family, so he made up his 
mind that he'd try anything at least once. Something would 
be bound to happen. It did. It threw him right into a business 
that was as unfamiliar to him as training tigers and lions 
would be to Hedy Lamarr. 

Surveying the gentleman in question at the Warner Brothers 
studio one day at lunch, where he had just finished putting 
his new picture, "The Roaring Twenties," to bed. I could almost 
understand how fate had played such a big part in his case. 
The challenging chin, the pugnacious mouth, the scrutinizing 
eyes set him apart as a person whom you could very easily 
imagine taking life by the horns and saying: "Show me a 
thing I can't try once. Nothing has ever stopped me yet." 

'T never had the least idea of becoming an actor," Jimmy 
told me in his quiet, direct manner. "In fact, I never had 
the slightest leaning toward the stage. It was just another one 
of those things that happen to guys like me. 

"I belonged to a dramatic club when I was a kid, just to 
be with some of my friends. I might have gotten off a few 
dramatic excerpts here and there, but nothing was farther 
from my thoughts than becoming an actor. 

"At this time, I had just graduated from high school and 
was working as a wra'pper in a department store. I met a chap 
there who seemed to think I was all right. He had some 

Above left: In "The Oklahoma Kid," his first western, . 
Jimmy refused a double for the trick riding, claiming 
he'd done it before, but he hadn't. Left: He has played 
every instrument, some very poorly, but his pride and 
joy is his guitar which he plays well. He sings a bit, too. 


Silver Screen 

friends in vaudeville doing a cheap act — you know, chorus, 
songs, stuff like that. Fellows made up as girls were the 
chorus, by the way. One day, this man said that if I could 
dance, he could get me a job in the chorus with the act. And 
I'd be paid twenty-five dollars a week. 

"Well, my wrapping was only netting me about twelve dol- 
lars a week, so I decided there was no time like the present 
to advance myself. I went to the manager of the act and 
applied for the job. 'Can you dance?' he asked. 'Sure!' I an- 
swered. Well, the next day I was in vaudeville. 

"Maybe I was a fool for taking the chance, for I'd never 
danced a step in my life. Sure I had gone in for some ball- 
room twirling a little, and I managed to look presentable on 
a dance floor, but as for routine steps in a chorus, I didn't 
know a one-two-three from a kick. I managed to get through 
all right by getting some pointers from the other fellows in 
the line." 

Jimmy didn't mention the costume he wore in this act, but 
you can use your own imagination as to the appearance of 
Female Impersonator Cagney. Who said he wouldn't try any- 
thing once! 

Jimmy was able to get by this time because he had natural 
grace and a good sense of rhythm. In fact, by the end of the 
first week he did the routines better than some of the well- 
trained members of the chorus. Not that I mean to imply 
he was sensational. Far from it. He was adequate and that 
got him by. 

The act lasted three months and it gave Jimmy a theatre 
fever. It wasn't a high temperature that he began to run 
whenever he trod the boards. It was merely a slowly mount- 
ing and conscious rise. To Jimmy, it had nothing to do with 
glamour. It was twenty-five dollars a week and better pay in 
sight that made him look upon the stage as a pretty good bet. 

One day, the manager of the act \_Continiied on page 64] 

Above: Enjoying the company of Edward G. Robinson 
and Pat O'Brien. With Humphrey Bogart in "The Roaring 
Twenties;" also with JefErey Lynn, Gladys George, Pris- 
cilla Lane and Bogart in the same film. Right: Jimmy's 
been an amateur boxer and now an expert gardener. 

for January 1940 


Profile of 





Photos by 
Gene Lester 

"LJAVING a free day from studio work is a 
rare treat for Olivia so she starts for town 
in sprightly fashion, because she's got things to 
do. First, there's the marketing to be done and 
how she loves to do it! She stops at the grocery 
store and then at the flower shop which isn't 
far away. Olivia's next stop is at the fruit and 
vegetable market where she also visits the meat 
department. Her shopping for the day com- 
pleted, Olivia is all set to do something that's 
been on her mind for months — visit the Griffith 
Park Observatory in Los Angeles. She skips into 
her station wagon, gets directions and is off! 




Silver Screen 

CHE arrives and finds it a refreshing thrill to be able to 
get so marvelous a view of the beauty of California. 
She peers through the high-powered telescope and sees for 
miles and miles around. Olivia joins a lecture tour and 
learns many amazing facts about Mars. After several 
hours at the Observatory, Olivia returns home and, still 
full of the wonders of astronomy, goes to her library in 
the living room and gets out a book on the subject. When 
the evening of her holiday comes she is escorted by 
Director George ("Gone With The Wind") Cukor to the 
premiere of "The Private Lives of Elizabeth and Essex" 
at the Beverly Theatre in Beverly Hills. Olivia appears 
in this film with Bette Davis and handsome Errol Flynn. 

for January 1940 


Tv^^^^ide Info 

on Jiminy Cricket 

JIMINY CRICKET, one of the 
principal characters in Walt Dis- 
ney's second full-length feature, 
"Pinocchio," comes of a long line of 
thespians. His uncle, Gerald Grasshopper, 
received wild acclaim in the Disney short 
production of "The Grasshopper and the 
Ants." His cousin Wilbur, who is Gerald 
Grasshopper's grandson, made his screen 
debut last spring in another Disney pro- 
duction, "Goofy and Wilbur." 

Jiminy fell heir to one of the prize 
acting plums of the year by the tip of 
his antennae. He almost lost out to an 

The story men wanted an insect or 
tiny creature who would irritate and 
worry the puppet Pinocchio whenever he 
was on the brink of getting into trouble. 
Since Pinocchio is made of wood, they 
suggested an ant. That social little ter- 
mite was a "natural" for the part. 

Although the ant seemed a perfect bit 
of casting, his diminutive size presented 
problems. The artists found that he 
would be extremely difficult to animate 
and keep his size in proportion to the 
rest of the characters. 

Walt reminded the boys that in the C. 
Collodi original story of "Pinocchio" — 
the tale of the marionette who comes to 
life — there was a cricket who warned 
Pinocchio against trouble. For this favor 
Pinocchio, who, while endowed with hfe, 
has still to acquire the true feelings of a 
little boy, killed the cricket. But the 
cricket's voice continued with him, 
through one thrilhng scrape after another, 
acting as a conscience, endeavoring al- 
ways by good counsel to counteract 

Jiminy Cricket has more changes 
of expression than any character 
ever before seen in animated 
cartoons. The animators claim 
he was more fun to work on 
than the others in "Pinocchio." 

Pinocchio's natural bent for getting into trouble. 

To Jiminy's good fortune, however, Walt and the boys, 
in their production, decided to let the cricket live and to 
build up the character considerably. 

"I he Character Model department immediately was 
set to work drawing sketches of a cricket who would 
ht the role to be portrayed. In Disney's version of the 
story, the Blue Fairy, over-hearing the old wood-carver 
wish that the puppet he has carved could be alive, de- 
cides to grant his wish. She accordingly endows Pinocchio 
with life. To make him a real boy, with a sense of right 
and wrong, is beyond her power. This, depending upon 
how he lives, can be done only by Pinocchio himself. 

But the Blue Fairy knows that Pinocchio, without a 
s;nse of right or wrong, will meet many temptations 
before he achieves the right to become a real boy, and 
charges Jiminy, who happens to be looking on from the 
old wood-carver's hearth, with the task of helping 
Pinocchio attain real boyhood. She promises Jiminy a 
gold badge if he does his job well. And with the super- 
elegant title of "Lord High Keeper of the Knowledge 
of Right and Wrong," she appoints Jiminy official con- 
science to Pinocchio. 

In this connection, it is interesting to know that the 
choice of a cricket to play the role of a conscience was 
not a haphazard one. Of all insect life the cricket is best 
suited for the part. The human home is the favorite 
habitat of the cricket, and his song never rings so cheerily 
as when human companionship is near. The early Romans 

Silver Screen 

Read how Walt Disney painstak- 
ingly created Jiminy Cricket, who's 
featured in "Pinocchio" and prom- 
ises to become another sensation 
like Mickey Mouse or Donald Duck! 

In the film, Jiminy 
is the "Lord High 
Keeper of the 
Knowledge of 
Right and Wrong" 
and is appointed 
by the Blue Fairy 
to be official con- 
science to Pinoc- 
chio. They say he 
steals the picture! 

deemed the cricket an omen of good luck. 

The literature of all ages attests the dependence to be 
placed in the cricket. The usual run of them are not 
adventurous souls. They are quite content to sit on the 
warm hearth, feeding on stray crumbs and repaying 
their benefactors with their cheery song. 

Fortunately for Jiminy, however, for he never would 
have won his role in "Pinocchio" otherwise, crickets are 
a prolific breed. They are among others related to the 
grasshoppers, the katydids, locusts, the mole crickets, 
the praying mantises and a score of other flying of 
hopping gadabouts. For Jiminy's role takes him into 
high adventure and calls for iron nerves, and what it 
takes to keep Pinocchio in line Jiminy many times proves 
he possesses. 

It would be easy to be misled concerning Jiminy's real 
character. He's a crooner and richly upholds the family's 
tradition for singing abihty. In "Pinocchio," he is en- 
trusted with several songs, ranging from a gay, lilting 
ditty to a sweet ballad. 

The very first sketches of Jiminy depicted him .as just 
a cricket, pure, simple and unadulterated. But Walt de- 
cided that the cricket should have more human char- 
acteristics. He wanted one who talked and wore clothes. 
Back went the sketches to the Character Model depart- 
ment where a wardrobe was sketched for the cricket. 

Walt conceived the character as a pompous but good- 
hearted soul who mixed up his axioms in his tongue- 
twisting efforts at flowery speech. 


Prndiicl ions 

By Ronald Bryant 

The next stage in Jiminy's creation pre- 
sented him as an elderly soul — in a 
pompous heel-teetering manner. He was a 
frustrated opera singer with grandiose 
ideas. As the story progressed, the busi- 
ness Jiminy had to do really called for 
a younger character. So Walt defied the 
universal law of creation — which decrees 
that everything shall grow older from 
the moment of creation — by shaving 
years off Jiminy. And behold a gay, 
debonair young blade! 

Jiminy started this life as a lean, lanky 
old cricket, with a long segmented thorax. 
As he grew younger, he also grew short 
and plumper and this thorax became more 
like a human torso. His feet and hands 
were made bigger — the better to put 
across the action. His cheeks were given 
a new and expressive roundness. His face 
wasn't always so mobile. When Jiminy 
was first created they found his long face 
was too stiff. About the only part of it 
to have some expression were the eyes. 
The artists discovered that if Jiminy were 
given the bloom of youthful, pliable 
round cheeks, he would be better off. 

Jiminy might easily be called the man 
with a thousand faces! Shades of Lon 
Chaney! He has more changes of expres- 
sion than any character ever before seen 
in animated pictures. There are sheafs of 
model sheets demonstrating to the ani- 
mators the complete gamut of Jiminy's 
facial abilities. 

In re-arranging Jiminy's face, his 
mouth underwent a decided change. Be- 
fore he was given a new mouth, dialogue 
supposedly coming from his mouth 
sounded as if he [Cotititmed on page 63'] 

Jiminy's diminutive size presented great 
problems in the matter of his ward- 
robe. He's about the size of your 
thumbnail. He started life as a lean, 
lanky old cricket, but Walt Disney 
made him younger, shorter and plumper. 
In fact, he's a gay debonair young blade! 

for January 1940 


Mother Confides 
About Jane 

How does Mrs. Withers feel about Jane's chang- 
ing from a prankish child to a boy-conscious 
adolescent who loves clothes, perfume and her 
own way? Her philosophy may surprise you 

By Ben Maddok 

THREE weeks before Jane Withers' 
mother took Jane to Hollywood, 
she kept an appointment she'd made 
to have her fortune told. 

It was a secret, this consultation, even 
from Jane's father. 

What would the old negro mammy fore- 
see? Solid Georgia business men went to 
that shack, ten miles from Atlanta, and 
swore by those predictions! 

Jane only laughed as mother and daugh- 
ter drove out Stone Mountain Road. But 
everything Mrs. Withers held dear clutched 
at her heart. Ruth Withers was positive 
she was doing the right thing in trying 
to get Jane into pictures. 

Still some of their relatives felt she 

was deliberately breaking up her home. 
She knew she was just leaving Mr. Withers 
temporarily, until Jane had a contract in 
Hollywood. He'd agreed to send them 
West with enough money to last six 

Slowly, solemnly, the old mammy cut 
her pack of cards and began to read them. 
She had no idea who this woman was, 
this small, gentle, brown-eyed, brown- 
haired lady from town. Yet she looked 
up sharply, breaking the languidness of 
the lazy afternoon, and said, "You are 
going to take a long trip. When this only 
child of yours is ten she will be a great 

This prophesy was reassuring. Yet dis- 
maying, too. For Mrs. Withers 
was ready to leave and Jane was 
but five years old then. 

Without telhng a soul of this 

heft: It was a long two-year strug- 
gle in Hollywood before Jane was 
finally given a decent role and a 
contract. Below: Mrs. Withers, who 
always wanted to be an actress her- 
self, rehearsing a number with Jane. 

Jane isn't a kid anymore and in place 
of her dolls and pets prefers archery, 
dancing, and wants to attend college. 

episode, mother and daughter boarded a 
train to crash the movies. Ruth resolutely 
decided she'd forget that many of her 
friends thought her too ambitious. 

When Jane's mother confessed this un- 
known story to me the other day I asked 
her if she had ever let the old mammy 
know how accurate her fortune-telling had 
been. Because Jane didn't become a star 
until she was, actually, ten. 

"I wrote her a year ago," Ruth Withers 
declared, "and told her I certainly did 
remember that visit to her. Those things 
are hard to understand, aren't they?" 

Still gentle, though she has been man- 
aging the fame and money that have 
poured in on Jane, this unspoiled movie 
mother showed me through the comfort- 
ably beautiful home success has bought. 

"I was determined that Jane should 
have a chance to be an actress because 
I myself always wanted to act. This was 
my own suppressed desire. And quite liter- 

SiLVER Screen 

ally it was suppressed. I couldn't do any- 
thing about it because my parents ab- 
solutely refused to listen to me. 

"My 'strange notion' was considered 
absolutely ridiculous. My father insisted a 
girl belonged at home entirely; I couldn't 
even have dancing lessons. Any such out- 
landish ability as acting, any individuality 
like that was definitely forbidden. 

"I believe differently towards Jane. 
She showed a talent for imitations when 
she was little more than a baby. I believe 
a woman can be loyal to a husband and 
amount to something besides, so I en- 
couraged Jane's eargemess to act. I mean 
— a woman can be a careerist! 

"A month after I was seventeen I grad- 
uated from high school in Louisville and 
a month later I married and settled down 
in Atlanta. Yet in all the thrill of having 
a house and of being partied as a bride, 
I was honest with Mr. Withers. He 
agreed, before our marriage, that if we 
had a daughter and she had any genuine 
leaning for acting I could train her for 
a career. So when Jane was born I chose 
her first name because it would be good 
for theatre billing! 

"I'd never have forced Jane to act," 
she added. "Pushing a child into some 
profession merely because a mother had 
an unrecognized bent for it is the height 
of selfishness. That's as unfair as ignoring 
potential ability and a child's longing to 
achieve. But I wasn't disappointed, for 
Jane sang before she talked and danced 
before she could walk. At two-and-a-half 
I enrolled her in a private dancing school 
and she began ballet and tap lessons then. 
At three she won amateur night contests 
in Atlanta theatres." 

That led directly to the radio. For two 
years she was featured by an Atlanta sta- 
tion. Mrs. Withers took her to a movie 
and then Jane would mimic the star vo- 
cally, after seeing a picture only once. 

"When she was five she had gone as 
far as she could in Georgia, and I knew 
she could be amusing on the screen," con- 
tinued Jane's mother. "It was an impor- 
tant decision to leave my home and hus- 
band. My marriage was very happy. We 
were comfortable; I had help, a car, a 
circle of nice friends. Mr. Withers was 
in charge of a national rubber company's 

"But he remembered his promise to me, 
and so he and I planned a time and money 

Above: Jane with her mother and 
dad who have guided her so wisely 
in her rise to stardom. Right: Jane 
as the lovely lady she is today — 
sweet, unselfish, capable and self- 

limit for tackhng Hollywood. If 
I failed with Jane I would be 
back. But," she smiled, "I must 
admit I didn't buy round-trip 
tickets. I knew that it would be 
Mr. Withers who'd be joining us I 

"I arrived in Hollywood armed 
with letters of recommendation to 
the chief studio executives, given 
to Jane by the Atlanta radio sta- 
tion, theatre managers, and news- 
paper critics. The first thing I did 
was to locate a small apartment 
and have a telephone put in. 
When no one called on the phone, 
when the letters made no dent, 
Jane and I went the rounds of 
the studios every day by street 
car and bus. I soon discovered I'd rented 
an apartment blocks from all transporta- 
tion facilities. 

"It was a two-year struggle before Jane 
was given a strong role, and a contract. 
When the six months were up I wrote 
Mr. Withers and explained Hollywood as 
I'd found it, telling him I still had the 
greatest faith in Jane and that all she 
needed was one real opportunity. Luckily 
for me and for Jane, he was big enough 
to trust me, to gamble longer, to hang 
on, too. 

"While I was just persisting, Jane was 
in a private school for more dancing les- 
sons. She also entertained at club benefits. 
I was forever hoping she'd be noticed at 
them. She was, but if you have no past 
screen record it is so difficult to get in- 
side studio walls." 

After eight months, however, Jane got 
into a picture. 

"As an extra. I was as excited as though 
she had a part; it might mean that elusive 
break. I stayed with her on the set. But 
then, even when she was a baby I 
wouldn't go to a bridge or dinner party 
unless I could bring her along and put 
her to sleep at my hostess's. 

"I can sympathize with all those tales 
about being cut out, of being the face on 
the cutting-room floor, for I scribbled an 
elated note to Atlanta about Jane's first 

movie role — which eventually material- 
ized — and then she was only in a minute 
flash!" More singing and dancing in neigh- 
borhood theatres in Hollywood at dozens 
of benefits, and Mrs. Withers heard that 
a Hollywood radio station wanted a lead 
for a juvenile radio revue. Five hundred 
girls competed. Jane was chosen, and 
headlined the program for a year, all the 
while trying for picture parts. Then, one 
day, two hundred children were up for 
the role of the meanie in a Shirley Temple 
film. When Jane was rejected because 
she didn't have a box-office name, she can- 
nily began doing imitations that bowled 
the casting director over, and she got the 
part which led to her big success. 

"Today Jane has everything I've wanted 
for her. She has this career that intrigues 
her imagination; she's doing what she is 
qualified to do, establishing herself in a 
profession which wifl become even more 
fascinating as she matures. 

"And I see no disadvantage in her life. 
None. True, she is thrown with older peo- 
ple because of her work, but I've never 
let her suppose she was on any sort of 
a pedestal. I've never kept her apart from 
other children. Just because she's in pic- 
tures she hasn't become artificial, or lost 
out on any of the joys of childhood. I 
bought twin beds for her bedroom so that 
every week-end [Conthmed on page <5i] 

for January 1940 


Direct from the 
West Coast 


Garbo Has a Gay Time and So Will You- 


THIS is the picture in which Garbo laughs — and a mighty hearty laugh 
it is, too. But Garbo's laugh will be nothing compared with yours for 
this is the gayest, most sophisticated, and utterly delightful comedy that 
you have seen in ages. Directed by Ernest Lubitsch the picture is full of 
those quite famous and slightly naughty "Lubitsch touches." As soon as 
you accustom yourself to the fact that your favorite dramatic actress has 
turned comedienne you enter right in the fun, and fun there's plenty. 
Garbo even pokes fun at herself by announcing in one scene "We want to 
be alone." And Garbo on a champagne bender, and with a hang-over, well 
really! The cleverly written story has to do with the arrival in Paris of 
three comrades of the Soviet Board of Trade who are there to sell the 
jewels of a one-time grand duchess {Ina Claire), who unfortunately for 
them, happens to live in Paris and happens to have for her boy friend a 
very smooth Parisian (Melvyii Douglas). Melvyn teaches the Russians 
how to get fun out of Hfe, thoroughly demoralizing them, so an envoy extraor- 
dinary — Garbo herself — is sent to Paris to save the situation and sell the 
jewels. But alas, she too, runs afoul of the smooth talking Mr. D'ouglas — - 
and, alas, alas, falls in love with him. There are all sorts of merry complica- 
tions with the lovers finally getting together in Constantinople where the 
former Soviet Board of Trade has opened up a restaurant. Now that Garbo 
talks, and laughs, what will she do next? 


Bette Davis Does It Again! — Warner Brothers 
lETTE DAVIS as Queen Elizabeth, age forty, gives another of her 
superb performances and triple cinches ("The Old Maid" and "Dark 
Victory") the Academy Award again this year. This is the most difficult 
role that Bette has undertaken to date, but without one bit of quibbling 
or glamorizing she portrays Elizabeth as Elizabeth [Continued on page 73] 

Greta Garbo is excellent in "Ninotchka," a romantic 
comedy, in which Melvyn Douglas is her leading man. 

Harpo Marx is still gayly 
chasing after blondes as 
you can see in this scene 
with Florence Rice from 
"At The Circus," starring 
the Marx Brothers. Left: 
Bette Davis gives an Acad- 
emy Award performance 
in "The Private Lives of 
Elizabeth and Essex," and 
Errol Flynn also contrib- 
utes a characterization 
which is one of the high- 
lights of the 19 39 season. 


Silver Screen 

Till Now/ 

The first of a startling series 
of private life experiences of 
certain Hollywood person- 
alities whose identities, for 
obvious reasons, must be 
left to your own imagination 

By Elizabeth 
Benneche Peterson 

"It wasn't long after that Sally be- 
came the target of Hollywood's whis- 
pering club and God help any one 
who finds herself in that position. 
The thing starts at house parties, 
cocktail parties and dinners, then 
hints come out in gossip columns and 
soon into front page headlines." 

I SAW Carole Lombard to-day when I was going down to 
Encino to get my marketing done. My little rattle-trap 
car, new two years ago but old before its time because 
of the thousands and thousands of Hollywood miles it's climbed 
in those years, went right past the place Carole and Clark 
call "The Farm." The nice thing about it is that they mean 
it. They're not calling it that with their tongues in their cheeks. 

Of course, I wouldn't call it a farm, but then I haven't got 
what Carole and Clark have. And sometimes I wonder if I 
had, whether I'd be as darn nice and simple about it all as 
they are. But I'll probably never have a chance to find out 
about that. 

"Hi, there!" Carole called and straightened up from the 
garden patch she'd been kneeling in front of and waved a 
handful of weeds at me. "Listen," she warned, "if you're out 
to interview me I'm not going to say a word about our mar- 
riage or the way we feel about each other or any of that. 
As far as our marriage is concerned Clark and I are going to 
be known as poor copy to all you fan sleuths. But if you've 
come as a pal, well come right in and we'll gab. Tea'U be ready 
in a minute." 

"I haven't even time for tea," I yelled as I rode by in a 
swirl of dust, having stepped on the gas when I thought I was 
stepping on the brakes. But then I never was mechanically 

Seeing Carole standing there in her slacks, looking so happy 
I knew she wouldn't be able to help telling about it, made me 
wish I was out on an interview. "Gee, I'll bet I could have 
gotten a story out of Carole to-day," I told myself. 

That was the fan writer in me talking. But the other me, 
the girl who's got sort of a conscience about promises and 
things gibed at the scribbler half. "Yeah, and so what!" she 
said. "You couldn't use it anyway if you promised Carole you 

So I felt better about going on my way and poking among 
the sacks of chicken feed and fertilizers at the market. Better 
about the promise I'd made my husband when we got married, 
too. It seems he's an old-fashioned guy, that man I married. 
He doesn't want a gal who thinks, breathes and eats printer's 
ink, and who's always dashing off on an interview when he's 
got an afternoon off. His idea of a wife is one who's ready 
to play when he is and who'll turn out a beef stew and a 
chocolate cake for dinner and brag about how many eggs our 
chickens are laying. Yes, we bought a farm. Only ours really 
is a farm. Ten acres and a tiny hacienda you can just barely 

manage to turn around in. 

But I felt like an old circus horse straining at the smell of 
sawdust. After all I'd spent ten years of my life writing about 
Hollywood and its people, knowing all of them, liking most 
of them, loving some and hating a few and thinking a good 
story was worth a dozen new hats with a carload of orchids 
thrown in. 

I thought of the stories I'd written, the scoops I'd gotten. 
And then I thought of other scoops I couldn't do anything 
about and the stories I'd never written. The stories I couldn't 

And I remembered Sally Carruth. Only that isn't her real 
name. You wouldn't get that out of me by torture. And of 
the day she came to Hollywood. And of the day she left. 

What a story that was and how I wanted to write it. I even 
had the name picked out. Hollywood's Girl Friend. That's 
what I was going to call it. 

It wasn't that I had promised not to write it. For I hadn't. 
It was only that there are certain things you can't do and 
still be able to sleep nights. And even though my quota of 
stories was minus one that month and my editor was furious 
because I came back without the story he'd wanted and the 
landlord had to wait for the rent, I wasn't sorry I hadn't 
written it. 

For if I'm writing with anybod3''s lifeblood it'll be my own 
and not someone else's. 

I did write a story about Sally the first day I met her. Only 
it wasn't just about her. She shared it with six or seven other 
kids who'd been picked as comers. The Wampus Baby Stars 
were always worth a back-in-the-book routine story. 

I didn't like her at all when I talked to her. It was a dis- 
appointment, because at first sight she was the one who ap- 
pealed to me most. She was small and had one of those slim, 
rounded figures that even a woman could see was devastating. 
Her eyes were as blue as the lupines crowding the meadows, 
her hair was the color of the California poppies springing up 
beside them and her mouth was like a flower too, above her 
small pointed chin. 

But you can't tell about little, appealing girls. Publicity was 
new to those kids and the rest of them were diffident and 
giggled a httle when I asked them questions. But not . Sally. 

I'd never seen anyone who could push as well as that girl. 
There wasn't anything shy about her. She was trying to be as 
palsy walsy as if we'd gone to the same kindergarten, and I 
resented it. Because it didn't take {^Continued on page 70) 

for January 1940 


By Dick Mook 

Visits to the sets and 
chats with the players 
about forthcoming flickers 


OF COURSE, the Big Noise out 
here this month is "The Broad- 
way Melody of 1940" starring 
Fred Astaire and Eleanor Powell, to say 
nothing of George Murphy and Director 
Norman Taurog. 

More fun on this set. When I arrive 
Mr. Murphy is what might be called 
"glum." Seems he had a 1:00 o'clock call, 

but he was awakened by the assistant 
director in the middle of the night, so 
to speak {about 9:00 AM) and told he 
was needed on the set immediately. When 
he arrived he found he was "needed" by 
Frank Morgan who "needed"' someone 
to play rummy with him. It was easier 
to stay than go home and come back 
again so George stayed. And, to show how 
Fate manipulates the strings, he has not 
only lost several hours' sleep but a tidy 
sum of money besides — about $2.65 to 
be exact. 

Then I glance at Mr. Fred Astaire. He 
is wearing a sort of medal on a chain 
around his neck. I look closer and find 
it is a miniature dog-house with his name 
on it. 

"What the—" I begin. 
"He blew," a voice at my elbow in- 
forms me. I turn to find it's Norman 
Taurog. Norm means he blew up in his 
lines. Whenever a member of one of 

Pat O'Brien, as 
the famous Father 
DuflFy, with Jim- 
my Cagney, as a 
hard-boiled pri- 
vate, in "The 
lighting 69th." 


Una Merkel and Marlene Dietrich 
square off for their amusing fight in 
"Destry Rides Again," which Dick 
Mook describes in detail for you. 

Norman's companies muffs a scene he 
has to wear this decoration all day to 
show he's in the dog-house. Which just 
goes to show what a swell director Nor- 
man is because I mean there are really 
very few directors who can kid with 
Mr. A. 

Before I have a chance to chin with 
him {Norman, that is, not Mr. Astaire) 
the assistant says they're ready, so the 
artists take their places — all save Mr. 
Murphy and Mr. Morgan who continue 
with their rummy game, to Mr. Murphy's 

The scene is the waiting room of a 
top-flight Broadway producer who is cast- 
ing for a new revue. Fred sits on an 
elaborate leather bench, flanked on one 
side by Joe Yule and on the other by 
Fritzi Fruchanti. 

"Hello," she beatns at Fred. 

"Hello," he answers with a sickly grin. 

"What do YOU do?" she inquires. 

"I'm a juggler," he answers, naming 
the first thing that pops into his head, 
wondering wlicre she's been all her life 
that she has to ask what Fred Astaire 
does. He turns to talk to Joe when some- 
thing attracts his attention. He turns to 
see Fritzi balancing and twirling a couple 
of large rubber balls on the ends of her 

"You try it," she invites. ^ 

From then on until the end of the 
scene life is one long embarrassment to 
Fred, because she performs one difficult 
feat after another, pausing after each to 
invite him to try it. And poor Fred can't 
even juggle a nickel so it will come heads 
when he matches Jerry Asher for dinner. 
^ ^ ^ 

"EXT we have "Northwest Passage," 
adapted from the novel of the same 
name. If you haven't read it by this 
time you should have so I don't aim to 
waste valuable space giving you the plot. 

Silver Screen 

Mickey Rooney's father, Joe Yule, 
appears with him in "Judge Hardy 
and Son." His role is unimportant, 
but they have a good scene together. 

This is a scene near the beginning of the 
picture where Spencer Tracy, Robert 
Young and Walter Brennan meet for the 
first time in the Flintlock Tavern. 
They're singing "Drink to Me Only Wi — 
ith Thine Ey — ees" in order to humor an 
old, drunken Indian guide {Andrew Pena) 
whom Spence wants to get on the march 

Originally, the studio planned to have 
a professional trio in to do the singing, 
but the result was too awful. So they 
decided to utilize their own talent. Didn't 
Spencer sing in "Captains Courageous?" 
Didn't Young sing in "Honolulu?" And 
didn't Brennan sing in musical comedy? 
So three guys who are swell actors give 
up acting for singing. After an hour's 
practice they're all tuckered out. 

"The whole trouble," Spence moans, "is 
we're all trying to sing harmony and no- 
body is carrying the melody." 

"There isn't a bucket around here big 
enough for the three of us to carry it 
in," Brennan quiets him. 

"What difference does it make?" Young 
argues. "We're supposed to be slightly 
tipsy in this scene. People'!! just think 
we're more tipsy than we're supposed to 
be — I hope." 

"We better shoot it the way they've 
been doing it," opines Pena, who has 
been lying with his face buried in his 
arms on the table. "The way those three 
have been singing it would be enough to 
bring any drunk to his senses." 

And King Vidor {who directs all too 
few pictures these days) agrees with him 
and shoots it. 

"Get away from me, you bum," Spence 
squawks as I approach. "Your niece and 
nephew {his children) have practically 
grown up and wouldn't even know you 

any more it's been so long since you've 
been out to see them." 

* * 

HE'S right. I promise to mend my 
ways and then saunter over to the 
next stage where Lionel Barrymore is 
disporting himself in "The Secret of Dr. 

Lew Ayres, as Dr. Kildare, has ordered 
Lionel to bed. Because he's been sent to 
bed in his personal quarters, the M-G-M 
property department have practically de- 
nuded Lionel's dressing room. They've 
taken his etchings off his wall to hang 
them on the set. His etching press, 
phonograph and various instruments 
are scattered about, giving it more the 
appearance of his own dressing-room than 

^ ^Continued on page 56'] 

Flora Robson, George Raft, Jane 
Bryan and William Holden in "In- 
visible Stripes," a Warner Brothers 
Picture. Read how this was made. 

for January 1940 


His nurse, Laraine Day, is hovering 

"I'd like a cigarette," Lionel begins, 
but instead of handing him one she goes 
to the foot of the bed and consults the 
chart. "Never mind the chart," Lionel 
snaps, "give me a cigarette." 

"No cigarettes," she reads. 

"Are you going to mind me or that 
fool piece of paper?" he demands. 

"No cigarettes," is the verdict. 

"Mary," he wheedles, very pleasantly, 
"I'm going to give you some advice. The 
great trick of being a successful nurse is 
to obey the rules and, at the same time, 
keep the patient happy." 

"In MY book," Laraine replies, equally 
pleasantly, "it says: 'Obey the rules — 
period.' " 

"Cut!" calls the director. 

"Gimme a cigarette," Lionel calls. 

"No cigarettes," Laraine reminds him 
in the same tone she used in the scene, 
but his stand-in, Frank Stevens, hands 
him one and holds a match. He puffs 
contentedly — for a moment. 

"He's getting the set full of smoke," 
Al Gilks, the camera man complains. 

"Darn a sick room anyhow," Lionel 
complains as he goes outside to smoke. 
"There's always a catch in anything that 
looks good," he adds, glancing meaningly 
in Miss Day's direction. 

THE last picture on this lot is "Judge 
Hardy & Son." 
Mickey Rooney and his father, Joe 
Yule, are playing their first scene to- 

I rub my eyes as I spot Joe. "I just 
saw you an hour ago on 'The Broadway 
Melody' set," I expostulate to Joe. 

"I'm doubling in brass," he replies, 
lapsing into carnival lingo. 

"Ready," calls Director George Seitz, 
so Joe leaves me to take his place. 

The scene is in front of a tire shop. 
Mickey's car is parked at the curb. Joe 
is the tire shop proprietor. He looks like 
a retired prize-fighter. In fact, he is a 
retired prize-fighter — but his possibilities 
are dangerous. On the sidewalk he is un- 
wrapping a beautiful new tire. Alongside 
is an open box draped with a beautiful 
new tube at which Andy is staring, fas- 

"Gonna be open on the Fourth of 
July?" Mickey inquires in what he hopes 
is a nonchalant tone. 

"No!" says Joe, "but why not take 'em 

"I — I haven't got the cash right now," 
Mickey answers awkwardly, "but," en- 
thusiastically, "my dad practically guaran- 
teed I'd have fifty bucks on the Fourth." 

"Take 'em now — and pay me then. 
BUT— PAY— ME!" Joe admo?tishes him. 

During the scene Mickey has been 
backing away from the camera. So has 

"Say!" Director Seitz cuts in sarcas- 
tically, "What's the matter with you two? 
Are you camera shy?" 

"No," says Mickey, "but you wouldn't 
want me to steal a scene, from my own 
father, would you?" 

"Don't you worry about me, my lad," 
Joe interrupts. "I was stealing scenes 

Shirley Ross wore a lace-up back evening gown, reminiscent of the old- 
fashioned corset, to the Grove recently and much to her embarrassment it 
became undone and hubby Ken Dolan had the job of lacing Shirley in public. 

before you were born. Remember that." 

"Isn't he wonderful?" Mickey whispers 
to me. "Gosh, Dick—" 

I only hope they make the "Father and 
Son" banquet at the Breakfast Club next 

There being nothing more to see on 
this lot, I betake myself to — 


TWO big pictures shooting out here. 
The first is "Green Hell" and I 
mean to tell you they really have a big 
cast for this one: Doug Fairbanks, Jr., 
Joan Bennett, Alan Hale, George Sanders, 
John Howard, George Bancroft, Vincent 
Price and Mala. The time is the present 
and the setting is the jungles of the upper 
Amazon in Brazil. 

Alan is an archaeologist preparing for 
an expedition into the jungles in search 
of Inca temples, tombs and treasure. 
Doug is the woman-hating son of a 
famous explorer who is in charge of the 
expedition in which is included, besides 
the natives, Sanders, Price, Bancroft, 
George Garrick, Frank MacDonald, Mala 
and Peter Bronte. Credits where credits 
are due, I always say. 

For three weeks the party goes up the 
Javary River (you can find this on your 
atlas because in tlie Americas names don't 
change as often as in Europe) and then 
into the narrow, sluggish, mist hung 
Snake River. You know all this old 
tropic atmosphere: jungle growth, terrific 
heat, huge alligators {and you must re- 
mind me to tell you sometime about the 
time I saw a big alligator in the Memphis 
zoo eat a little one), man-eating Piranha 
fish, anacondas, noxious insects, cannibal- 
istic Indians — and then the long trek 
through the jungle . . . harrowing days 
with the men near the breaking point. 
They build their camp near some mounds 
and then, after a year of digging, they 
are rewarded by uncovering an Inca 
Temple. While exploring the temple they 

are observed by hostile Indians whose 
poisoned arrows seriously wound Price. 
One of the men is sent back for serum 
and returns, bringing not only the serum, 
but Price's wife, Joan Bennett. Of course, 
Price has died in the meantime, but that's 
part of the plot. Joan learns from Price's 
papers that he had an undivorced wife 
and two children {the cad!). 

Doug, the woman-hater, falls in love 
with the young widow. Who wouldn't? 
She looks mighty fetching standing there 
in front of the Inca Temple in her black 
hair, a knee length skirt, leather boots 
that come almost to her knees, and a 
neutral colored blouse. 

Of course, once they've discovered a 
ruin the quest is practically over, because 
they only have to dig a little more to 
discover other ruins and it's time for 
Doug to push on. The future looks pretty 

After Joan and Doug have stood there 
at the top of the steps drinking in THE 
BEAUTY OF IT ALL, Joan turns to 
Iiifn: "Where do you go from here — when 
all this is over?" 

"That," says Doug succijtctly, "I 
simply do not know." 

"But," she protests with that devastat- 
ing Bennett sarcasm which shines through 
even scenario writers' lilies, "I thought 
your future would be so full you woiddn't 
have time to get it all in." 

"One's future can't be entirely carved 
stone — and ancient gold," he admits 
despairingly. "It suddenly seems very 
empty to me," he continues looking long- 
ingly at lier. "What do you suggest I do 
with my future?" 

Joan is a lady — under contract (at a 
healthy salary) so you'll have to see the 
picture (and it shouldn't be a burdensome 
task) to find out what she advises. 

While waiting for the release of the 
picture, I mosey over to the next set 
which is — 


Silver Screen 

Will Bette and Spence 
Win Again? 

fContinued from page 17] 

ranking challenger can match her year's 
record of four big pictures, and formid- 
able antagonists Katharine Hepburn and 
Luise Rainer did not make a single pic- 
ture. Irene Dunne, Carole Lombard, Alice 
Faye, Myrna Loy. Claudette Colbert, 
Ginger Rogers, Loretta Young and Pris- 
cilla Lane came closest in volume to the 
tireless Bette Davis, each having made 
three pictures. Norma Shearer made two. 
Joan Crawford made two. Barbara Stan- 
wyck made two. Jean Arthur made two. 
Merle Oberon made two. Vivien Leigh 
made two. Rosalind Russell, newcomer 
Ingrid Bergman and Miriam Hopkins 
made one apiece. 

Break down the year's femme summary 
and you find these things: that Irene 
Dunne turned in her best performance of 
the year in "Love Affair;" Carole Lom- 
bard turned in her top work in "Made 
for Each Other;" Alice Faye's finest per- 
formance was "Hollywood Cavalcade;" 
Claudette Colbert was best in "Mid- 
night;" Merle Oberon peaked in "Wuth- 
ering Heights;" Jean Arthur hit her 
easiest stride in "Mr. Smith Goes to 
Washington;" Vivien Leigh scored most 
importantly in "Gone With the Wind;" 
Priscilla Lane, always excellent, was tops 
in "Dust Be My Destiny;" Ginger Rogers 
achieved a new comedy high in "Bachelor 
Mother;" Rosalind Russell was most 
effective in "The Women;" and Norma 
Shearer most versatile in "Idiot's De- 

While the mathematical odds are a wee 
bit in favor of defending champion Bette 
Davis, because she made more pictures 
in 1939 than the most active of her rivals, 
by the same token, the odds are agin 
Spencer Tracy because he was less active 

than most of his competitors. Jimmy 
Stewart, for instance, made five pictures 
to Tracy's pair of flickers; Jimmy Cagney 
made four; Cary Grant made four; Ty- 
rone Power made five; Gary Cooper made 
three; Fred MacMurray made three; 
David Niven made five; John Garfield 
made three; Mickey Rooney made four; 
Errol Flynn made three. Gable, Paul 
Muni, Melvyn Douglas and Charles 
Boyer, hke Tracy, were limited to two 
flickers. Yet it is significant that Robert 
Donat, one of Tracy's most feared foe- 
men, made only one picture and delivered 
a rousing performance in it — "Goodbye 
Mr. Chips," and similarly, Laurence 
Olivier's one-picture challenge in "Wuth- 
ering Heights" was big-league in cahbre. 
Similarly, Will Fyffe attracted attention 
in his one picture, "Rulers of the Sea." 
Lionel Barrymore had only one role, that 
of Cramps in "On Borrowed Time." 

Out of Jimmy Stewart's five 1939 pic- 
tures came two splendid performances — 
his magnificent performance in "Mr. 
Smith Goes to Washington" having been 
preceded by another grand performance 
as Carole Lombard's young husband in 
"Made for Each Other." Yet it is the 
former performance that will be studied 
most intently by the Academy jury, be- 
cause as the young senator from the west, 
the Princeton youngster dehvered him- 
self of a characterization that caused hats 
to be tossed in the air. Always before, 
Stewart's slow drawling address, unre- 
lieved by a change of pace, had cheated 
him of histrionic greatness; but in this 
picture. Director Capra broke up that 
drawling delivery and injected fire into 
it and the result was electrifying. 

Yet my mind goes back some months 


Mr. and Mrs. Spencer Tracy (she's behind the hat) also attended the premiere 
of "Hollywood Cavalcade." It was held at Hollywood's Four Star Theatre. 

Gloria Franklin, who performed so capably 
in "Lady of the Tropics," was formerly a 
Broadway dancer. She'd like a dancing role. 

to the night of the preview of "Good- 
bye Mr. Chips," at the Four Star Theatre 
out here. On that night, Hollywood was 
certain that Robert Donat's performance 
established a new high-water mark for 
actors. Going up the aisle with Paul 
Muni, after the picture had finished. Muni 
said in afl seriousness: "That is the great- 
est performance by the greatest actor on 
the screen!" Apart from Stewart, Donat 
and Laurence Olivier, we can determine 
these obvious facts about the other chal- 
lengers: Cagney was best in "The Roar- 
ing Twenties;" Tyrone Power was at his 
peak in "The Rains Came;" Mickey 
Rooney was at his precocious best in 
"Babes in Arms;" Fred MacMurray hit 
a new high in "Honeymoon in Bali;" 
John Garfield scored most forcefully in 
"Dust Be My Destiny;" David Niven 
divided his best work between "Dawn 
Patrol" and "Bachelor Mother;" Paul 
Muni was splendid in "We Are Not 
Alone" and I liked his portrait of 
"Juarez;" Boyer was excellent in "Love 
Affair;" Melvyn Douglas turned in his 
top work of the year opposite Garbo, and 
Gable, both as Rhett Butler and the 
hoofer of "Idiot's Delight" showed a new 
mastery of his work. 

These then are the challengers and the 
specific pictures which they will rely upon 
in the Academy councils. Whether or not 
these will be sufficient to topple Tracy, 
who won in 1937 and repeated in 1938, 
is open to question. Undoubtedly, he is 
faced with the most difficult title defense 
any Academy Award winner ever has 

for January 1940 


What Goes On in Hollywood Fitting Rooms! 

[Continued from page 25] 

Adrian calls Hedy Lamarr the "Good 
Humor Girl" because she constantly eats 
ice cream while she's fitting. She orders 
it for everyone in the room and watches 
them anxiously, hoping they'll leave some 
for her. Hedy is easy to please. She 
never complains as long as she has her 
comfort. To keep her from catching cold 
in the rain, Adrian designed a suit of rub- 
ber underwear for "Lady of The Tropics." 
Hedy had to be begged to wear it. 

Luise Rainer is a bit on the bewildered 
side during fittings. She took everything 
Adrian said literally. Once when he de- 
signed a particularly se.xy dress for her, 
the designer kiddingly remarked, "Luise, 
you're going to out-Harlow Harlow in 
this one." Luise refused to wear the dress. 
As a rule the Rainer likes clothes that 
are whimsically drab. She feels there is 
more greatness in the sackcloth and ashes 
side of it all. 

Annabella is allergic to wool. Ina Claire 
in a worrier. But there's nothing wrong 
with her that a good imported label won't 
fix. Having worn gowns exclusively by 
Chanel and Schiaparelli, Ina is prone to 
get panicky with anything else. When Joan 
Crawford fits, the room looks like a mini- 
ature Grand Central Station. Joan likes 
an audience and usually invites half the 
studio in to watch.' When she's particu- 
larly pleased, she behaves like a child 
with a new toy. When she tries on a suit, 
she stands in the middle of the room and 
whirls her arms around like twin propel- 
lers. Joan likes plenty of freedom. She'll 
pop the sleeves out every time unless they 
give it to her. Joan is a great one for 
changing Adrian's ideas — after she gets 
the clothes up to her dressing room. 

It takes three designers to keep the 
Warner Brothers' stars well-dressed. Orry 

Kelly chats a lot with his people and re- 
frains from being a poseur. Howard 
Shoupe "takes his cue from them" and 
treats the stars accordingly. "The minute 
they take their clothes off they get con- 
fidential anyway," Howard explains. Milo 
insults the stars — in a iiice way. He be- 
lieves brow-beating (kiddingly, of course) 
relaxes them. If they get jittery, he agrees 
with everything until he finally wears 
them out. 

They all love Marie Wilson to come 
in for fittings. Marie is always rushing 
off to attend a luncheon for the Charles 
Boyer Fan Club. If they drag out a little 
number from the good will bag, she begins 
screaming her appreciation before it's 
half-way over her head. Marie is posi- 
tively captivated by every gown. She al- 
ways gasps: "It's be-e-autiful. Where did 
you get it?" Nine times out of ten Marie 
has worn the dress in her last three pic- 

Olivia de Havilland is superstitious. 
Pink brings her good luck. So they always 
hide a pink taffeta bow where even Olivia 
can't find it. Believe it or not, the stream- 
lined Priscilla Lane has a modesty com- 
plex. She won't even untie a shoe until 
the fitting room is cleared of people. 
Priscilla and Rosemary have their fittings 
together. Priscilla (lovingly called "Beetle- 
brains" by her sister) hasn't much inter- 
est in clothes. Rosemary (lovingly called 
"Bird head" by Priscilla) insists, "Pull 
the waist in tighter. Make the skirt much 
shorter." (She's no fool!) 

Ann Sheridan has no vanity. They have 
to force her to look in the mirror. She 
has no pet fashion innovations. But she 
won't go for high necks. Lola Lane stages 
a one woman battle against "those sweet 
pea prints." Jane Wyman fittings are just 

The seldom photographed Mrs. Brian 
Donlevy with her husband doing a bit 
of night clubbing. Isn't she pretty? 

a series of "formals." (She was married 
to a dress manufacturer.) Miriam Hop- 
kins is nervous when she fits. This makes 
everyone else in the room nervous too. 
Jane (the precious) Bryan goes in for 
realism. She was positively intrigued with 
the idea of playing a mother in "The Sis- 
ters." Couldn't wait to dress like she was 
going to have a baby! With May Robson 
it's always "Young man, I have a cameo 
brooch at home that will just go perfect." 
Before she leaves, "Muzzle" Robson al- 
ways gathers up a few short ends for her 
Christmas neckties. On account of those 
roles she plays, they refer to Margaret 
Lindsay's wardrobe as "A little white 
around the neck." According to witnesses, 
Dolores Del Rio once got so excited over 
a white fringe costume, she ran up and 
kissed herself in the mirror. Verree Teas- 
dale started the vogue for odd hats. Once 
she wore a lamp shade. And -got away 
with it. 

Ever since Bette Davis tossed discretion 
(and her girdle) to the winds and romped 
off with those Academy awards, all the 
other stars are developing a great yen to 
be earthy and walk with the common folk 
again. Everyone gets a good night's rest 
when Bette is expected in the wardrobe. 
Her enthusiasm causes them to wilt in 
her tracks. Bette does her own research. 
Once and jiist once, they tried to talk 
her out of wearing a bustle when she was 
supposed to wear a bustle. Bette is a 
sentimentalist, too. She likes to wear old 
jewelry she buys at auctions. In "The 
Sisters" she wore her mother's watch and 
hat. So Orry-Kelly had to design the rest 
of her costume around them. 

Robert Kalloch at Columbia has an 
amazing sense of humor. He refuses to 
take the stars as seriously as they take 
their fittings. For Barbara Stanwyck, Kal- 
loch would pop his stitches. Barbara hates 
shoes and hats. She always wears moc- 
casins at fittings. She defies you to slip 

Dick Powell dining with Gracie Allen and George Burns before starting 
on his sensational personal appearance tour in the East. Joan Blondell 
accompanied hubby Dick on the trip, but did not appear in his act. 


Silver Screen 


a slip on her. Kalloch went to great 
lengths to design an elaborate honeymoon 
wardrobe for Barbara. Typical of the 
Stanwyck simplicity, she ended up by 
wearing some of her old stuff. Fittings 
with Barbara are constantly interrupted 
while she listens to sorne favorite radio 

Anyone but Kalloch would have col- 
lapsed designing clothes for Luli Deste. 
The European star arrived with such httle 
ideas as gloves made out of wood. Ear- 
rings out of straw. Kalloch knocked him- 
self out creating for her an ermine-lined 
cape. But Deste insisted on rabbit fur! 
The cape was remade. Deste wanted beige 
rabbit. Production was already delayed. It 
all ended up merrily with the cape being 
sent to the make-up department every 
morning — where it was treated to a nice 
bath of beige grease paint. 

Jean Arthur avoids the fitting room be- 
cause fashions actually bore her. There's 
very little chatter when she does go 
through the ordeal. Accessories get in her 
way, so Jean won't use them. Most stars 
demand everything new. Jean liked the 
corded fowling robe Hepburn wore in 
"Holiday." It was right for a sequence 
in "Only Angels Have Wings." So Jean 
asked for it. Any other star would have 
insisted on having it copied. 

Like Lily Pons, Jean Parker likes gowns 
that expose her mid-riff. When Kalloch 
does clothes for the little Parker he 
throws discretion to the wind. Jean is 

j or January 1940 

happy with such things as turtle neck 
sweaters with spangles. Or a bathing suit 
that is definitely peasant. Jean always in- 
sists on something for her head that "isn't 
quite a hat" — Kalloch has tried every- 
thing, including a palm leaf fan. For 
Jean's personal wardrobe, he designed a 
tennis visor with birds. Jean wore it to 
a barbecue! 

Madeleine Carroll refuses to wear any- 
thing but genuine jewelry. So they rent 
the real stuff and hire two men to guard 
it. Irene Dunne isn't a bit hard to please 
as long as they make everything blue! 
Once Katherine Hepburn surprised every- 
one by announcing she was going to dress 
for a party being given at the end of the 
picture. Hepburn's idea of "getting all 
dressed up," consisted of getting her pants 
pressed for the occasion. For stars who 
have an "imported" complex, Kalloch has 
a collection of foreign labels. Even if it 
comes from the May Company basement, 
the star is made happy with an "im- 
ported" bungalow apron. 

Eddie Stevenson at RKO can handle 
almost any situation — except Mothers 
who think their starlets are still innocent 
babes in arms. Eddie is a firm believer 
in allowing the star to express her own 
individuality. When Helen Broderick turns 
her hats around backwards, Eddie just 
sits there and beams. Eddie still wonders 
about Frances Farmer. Throughout all her 
fittings she just sat there and stared. 
ZaSu Pitts has a phobia about wearing 

any kind of jewelry. She won't even wear 
her own wedding ring and ZaSu has been 
happily married for years. Kay Francis 
was a bit confused when she came in for 
fittings. Originally Kay okayed patterns 
and materials while wearing smoked 
glasses. She was that amazed when she 
saw them with her naked eye. Five hun- 
dred beggar costumes had to be aged with 
acid, then sent to the "cleaners, for 
"Hunchback of Notre Dame." In Holly- 
wood, movie beggars ofttimes smell much 
better than the picture they work in. 

Being a woman, Edith Head has the 
advantage over male designers. She can 
beat the stars on their own ground and 
honestly show them their bad "points." 
Edith started at Paramount fifteen years 
ago, as assistant to Travis Banton. She 
has dressed everyone from Kate Smith to 
Shirley Temple. One of Edith's pet aver- 
sions is movie mamas who want to give 
their twelve-year-old moppets sex appeal! 
She specializes in little jobs like designing 
a hat for Barbara Stanwyck that a cow 
would enjoy eating. Edith finally won out 
over the cow by making the hat of corn 
husks ! 

Edith has to lock the door when Carole 
Lombard comes in for a fitting. Carole is 
so popular everyone finds some excuse to 
drop in to say hello. In the meantime 
everyone has a fit — waiting. With Carole 
it's all completely free and very gay. 
When Gladys George comes in for a fit- 
ting, she can't tell about the clothes until 
she acts in 'em. While Edith waits pa- 
tiently, Gladys moans and groans and 
swoons on the fitting room floor — to see 
if it "feels right." 

Claudette Colbert is allergic to metal 
cloths. Martha Raye is allergic to dog 
hair. Imagine Edith's embarrassment 
when an expensive "Sable" coat rented 
for Martha sent the comedienne home for 
the day. When she draped those famous 
Mae West curves, Edith had to be careful 
never to whistle or sing in the dressing 
room and never give Mae pearls. When 
Dietrich came in for fittings she prac- 
tically lived there for days. To date, Edith 
has designed every kind of a sarong for 
Dorothy Lamour — but ermine. Her latest 
is "cloth of gold." 

"Lucky" Natalie Visart they call her. 
She is the only woman designer in Holly- 
wood who works exclusively on men. It's 
Natahe's job to costume those terrific 
torsos for C. B. De Mille. And she ac- 
tually gets paid for being in the fitting 
room with Gary Cooper, Joel McCrea, 
Freddie March, Robert Preston, Ray Mil- 
land, and the rest. 

Some of the secrets of Hollywood fit- 
ting rooms are too intimate to tell. You'd 
be that surprised to know who is padded 
where. Only the designers know. They 
have trouble enough without revealing the 
little secrets of their trade. There is one 
untold story on the casting of "Gone 
With The Wind." The search was on for 
"Belle Wattling." Never had a producer 
seen so many flat-chested girls in his hfe. 
In desperation they sent for a box of 
sponges. Each new girl was paraded back 
and forth dressed in the "Belle Wattling" 
costume. The sponges helped to "round" 
her out to fit the part. Fortunately for 
all parties concerned, Ona Munson came 
along in the nick of time. The sponges 
were returned to the prop room ! 


It's in the Stars for Paulette 

[Continued from page 27] 

assurance? I'd really like to know." 

"I have a very wise mother," said 
I'aulelte, "I have her to thank for that. 
When I was a child my mother had to 
travel constantly and I had to go to a 
new school sometimes twice a month. In 
one school I would be the head of my 
class, but just as I was enjoying that 
delightful distinction we would move and 
I would enter a new school where, most 
likely, I was the dumbest kid in the class. 
I seemed to be always fighting for posi- 
tion. My mother realized how I dreaded 
these new schools, meeting new children 
and new teachers, and never knowing 
whether I'd be at the top of the class 
or at the bottom, so every time we 
moved and there was a strange school to 
face she would make me a beautiful new 
dress to wear my first day. Nothing gives 
a girl, even though she's little more than 
a baby, more self-confidence than a 
pretty new dress. And as I left for school 
every day Mother would say, 'You may 
not be the brightest, darling, but you're 
the prettiest.' 

"My mother also taught me as a child 
not to worry. 'Nothing is permanent,' she 
would say, 'so you might as well approach 
everything with cheeriness.' " 

Paulette is a very cheery person. She 
loves laughter and gayety. She loves fun. 
And this is probably the real reason that 
Charlie Chaplin fell for Paulette like the 
proverbial ton of bricks. Before Paulette 
arrived in Hollywood, in a $16,000 
Duesenberg, the twice divorced and thrice 
shy Charlie roamed around Hollywood 
like a lonely lost soul, with a face that 
long. But Paulette has changed all that. 
She has taught Charlie, the clown, how 
to laugh. Intimate friends call her "Sunny 
Jim." She likes it. 

"When I feel a melancholy mood 
coming on," said Paulette, "I simply 
lock myself in my room, and stay there 
until it's over. I would never think of 
inflicting myself on other people when 
I am unhappy." Instead of telling you 
her troubles — which is a favorite indoor 
sport with the poor little put-upon 
movie stars in Hollywood — Paulette only 
tells you of her joys. She never asks for 
sympathy. It's indeed a pleasure to bump 
into Miss Goddard. 

"But you can't always laugh," I said, 
"You do get mad sometimes, don't you?" 

"But good, dealt," said Paulette. "I 
have a very quick temper. Tears come 
to my eyes. And then, quick as a flash, 
it's all over. When I see publicity on 
myself that's rather revolting I hit the 
ceiling. I grab the telephone to call my 
lawyer and scream at the top of my 
voice that I will sue. But a few minutes 
later, even before my lawyer answers the 
phone, I begin to laugh at myself. Any- 
way, there's not much you can do about 
bad publicity but laugh it off, is there?" 

I assured her that there wasn't. I was 
never one to encourage suits. 

Paulette admits that she was awfully 
mad, at first, because she didn't get 
Scarlett, and well she should have been — 
especially when a fake announcement 
came out of the studio, or some place, 

that she had definitely been picked for 
the part. She was flooded with congratu- 
lations, wires, etc., and then in the midst 
of all the excitement it was announced 
that it wasn't true. "It made a prize dope 
out of me," she said. She doesn't admit 
it, but it is well known about Hollywood, 
that she eased herself right out of the 
part. There she was, after months of test- 
ing, practically signed, sealed and deliv- 
ered — as a matter of fact everything was 
set for the Goddard agents to confer 
with the Selznick agents about the con- 
tract — when Paulette gave a party. Paul- 
ette likes to give parties for "visiting 
English celebrities" {Charlie's English, 
you know) but this turned out to be a 
party which I bet she wishes she had 
never given. Among the "visiting Eng- 
lish celebrities" that were feted that 
afternoon was one Vivien Leigh. When 
David Selznick got a gander at the Leigh 
girl over the teacups he demanded that 
she be tested immediately— and imme- 
diately she was signed for the part of 
Scarlett. Paulette, good sport that she 
is, bore it with fortitude. She might have 
said, "The English be damned" in pri- 
vate. It is to her credit that she said 
nothing in public. 

It was like rubbing salt in the wound 
when several days later a big box was 
deposited on the Chaplin doorstep. When 
Paulette tore through the wrappings out 
jumped a girl all done up in hoop skirts 
as Scarlett O'Hara. But it wasn't one of 
those cruel Hollywood gags. The girl, one 
of the million candidates for Scarlett, not 
knowing that Vivien Leigh had been 
signed, had thought of this tantalizing 
way of getting herself presented to Pro- 
ducer David Selznick. The Selznicks live 
next door to the Chaplins. Someone made 
a slight mistake. Paulette, mad as hell at 
the time, fairly laughs herself sick about 
it now. "If I could have seen my face," 
she said, "when Scarlett popped out." 

Paulette has one of Hollywood's per- 
fect figures, but I don't have to tell you 
that. You've got eyes. She is five feet 
four inches tall and weighs 110 pounds. 
She has smiling blue eyes, dark hair with 
reddish tints in it, and a fresh, clear, al- 
ways perfectly sun-tanned skin. Like 
Norma Shearer she always looks as if she 
had just scrubbed her face with soap and 
water. Her beauty treatments consist 
largely of getting lots of exercise. If she 
decides to learn something she goes at it 
with vim and vigor and usually masters 
it twice as fast as anyone else. She plays 
a good game of tennis, fences well, dances 
beautifully, and plays golf in the low 
90's {Last year she won the. women's 
state tournament ojt the difficult Pebble 
Beach course at Del Monte, California.) 
She thinks up things to do around lunch 
time so she won't eat lunch. But at din- 
ner she claims she eats "like a condemned 

There are those in Hollywood who say 
that Miss Goddard is as hard as nails. 
But her diction teacher says that she is 
one of the most emotionally sensitive pu- 
pils he has ever had. She will be reading 
Browning and suddenly she will burst 

into a flood of tears. Music can do that 
to her, too. And sunsets. She makes no 
particular claim to being an intellectual, 
but she is really one of the best informed 
of the Hollywood stars. 

Paulette is definitely not one to talk 
about her past. There isn't so much as 
a routine studio biography of her in ex- 
istence. {Even Garbo has a studio biog- 
raphy.) She likes to be known as the 
"girl whom nobody knows." But, unfor- 
tunately, for her mystery pose there are 
those "who knew her when" — and those 
who knew her when don't mind talking. 
According to them Paulette's family set- 
tled down in Great Neck, Long Island, 
when Paulette was fourteen, a knockout 
for looks, and a talented dancer. When 
somebody from Hattie Carnegie's place 
offered her fifty dollars a week to model, 
she accepted the job and for a few 
months was the most languid of Hattie's 
languid models. Somebody there gave her 
a card to the great Ziegfeld, which she 
presented in the due course of time. He 
gave her seventy-five a week and she sat 




Cesar Romero accompanied Joan 
Crawford to "Hollywood Cavalcade." 

on the stage and looked beautiful while 
some tenor or other sang to her. 

But the big excitement of the Zieg- 
feld show was that it went to Florida 
and there Paulette met a whole raft of 
millionaires and married an Edgar James 
— whom soon afterwards she divorced. 

With a hundred thousand dollar settle- 
ment, a Duesenberg, and some snappy 
clothes she arrived in Hollywood, put up 
at the Beverly Hills Hotel, became a 
platinum blonde, and got a job as one 
of the chorus in Sam Goldw\Ti"s "The 
Kid from Spain." The best "catch"' in 
Hollywood at the time was Charles 
Spencer Chaplin. She caught him. About 
her personal affairs, or her association 
with Charlie she refuses to say a word. 
But invariably in the course of a con- 
versation with her she will casually say, 
"That was just before I married Charlie." 

Her great ambition {she claims she 
has no ambition, that she only wants to 
live a full life) is to become an actress, 
not just an actress, but a good actress. 
And a lot of hard work, and a lot of dis- 
appointments aren't going to frighten her 
away from her goal. As she said when 
she lost out on Scarlett, "Of course I'm 
disappointed. But why be sore about it? 
I want to be an actress — and I'm going to 
be a good one." 

A thousand or more fans, plus Blanca 
Holmes, astrologer de luxe, plus yours 
truly, astrologer de trop, are forecasting 
that it won't be long now. 


Silver Screen 

The Inside Info on Jiminy Cricket 

[Continued from page 43] 

were putting on a ventriloquial act. In- 
cidentally, ventriloquism is another facet 
to this most remarkable creature. Snug in 
his little chink on the hearth, one searches 
diligently for the creature on the other 
side of the room. It has been recorded 
that the sound of the cricket can be heard 
at a distance of 400 yards — almost a 
quarter of a mile! That's a lot of distance 
for so small a creature. 

Although the animators working on 
Jiminy claim he was more fun to work on 
than any of the other characters in 
"Pinocchio," they paid for their fun in 
difficulties arising because of Jiminy 's 
small size. In relation to most of the char- 
acters, Jiminy is about the size of your 
thumb-nail. In some of the scenes he is 
shown sitting on the toe of Pinocchio's 
shoe; lecturing to Pinocchio in the best 
oratorical manner from the petal of a 
Jack-in-the-pulpit ; balancing on the rim 

my brother must join us at once, but it 
took several phone arguments to convince 
him he should put his business in order 
and sail for America. We also sent for a 
maid who has been with us many years, 
so we feel our immediate family is safe 
in Hollywood. But it is all very sad, very 
terrible, for we have relatives and many 
interests in Norway, and we shall miss 
our summer vacations in the old home." 

Watching her I wondered how Sonja 
had ever escaped a serious romance. She's 
made for love — so warmly feminine, so 
merry and altogether lovely. Yet through 
all her triumphs she remains heart whole. 
In the beginning, during those strenuous 
years when she was winning champion- 
ships, she had the satisfying comradeship 
of her devoted father, her mother, and 
her brother, Lief, and this shut out the 
demand for other love. Then came Holly- 
wood, with its exciting barrage of rumors 
every time she stepped out to dine and 
dance with a young man. This was dis- 
turbing at first, but she soon learned to 
shrug her shoulders and accept it as a 
part of the Hollywood life. Her friend- 
ship with Tyrone Power, which crashed 
the front pages as a "hot" romance, and 
spotlighted them both, turned out to be 
a very grand friendship and nothing more. 
There have been other rumors of this 
and that heart interest, and recently some 
special emphasis on the handsome agent, 
Vic Orsatti, so I asked, "What about 
romance — love?" 

Sonja greeted the suggestion gaily, say- 
ing, "I still have no time for romance, 
and you'll agree that it takes time to 
manage a love affair. I fiit from here to 
there, and divide my year into four parts: 
three months for a picture, three months 
for a skating tour, three months for an- 
other picture, then, three months for a 
vacation. Now, how could a romance 
flourish on such an erratic schedule?" 

As for the Orsatti rumors, they were 

of a silk-topper; teetering on a whale's 

Jiminy 's diminutive size presented 
great problems in the matter of his ward- 
robe. In the opening of .the picture, he 
appears as a vagabond and his clothes 
are drab and dusty, his top hat battered, 
his spats frayed, but with it all he re- 
tains a certain air of elegance. 

When the Blue Fairy elevates him to 
the exalted position of Sir Jiminy Cricket 
she gives him regal raiment. Jiminy is 
particularly proud of his red umbrella. 
This red umbrella also served another 
purpose. Jiminy is so tiny that he couldn't 
very well be seen to advantage in a num- 
ber of scenes unless he had some color 
on him somewhere. With his brilliant red 
umbrella, therefore, he crawls out of pipe 
bowls, slides down violin strings, hops 
onto flower petals and is visible at once. 

As to a name for the character, sug- 

laughed away, too. They had made a 
pretty story, but they, too, turned out to 
be only rumors. 

Vic is her agent. During the times they 
dined and danced before she went abroad, 
the chief topic of the conversation was 
her business affairs. It just happened that 
he booked passage on the Normandie for 
his vacation in Paris, on which ship 
Sonja and her mother were sailing for 
Norway. As he entered into the ship's 
gaieties, and she spent the time resting, 
they saw each-other just once. They dined 
together the last night. A few weeks later, 
Orsatti phoned her from Paris regarding 
contract matters and Sonja suggested that 
he fly to Oslo for the week-end, and they 
could talk them over. During the three 
days she spent in Paris on her return trip, 
she didn't even see him. So, out of such 
flimsy stuff are rumors made. 

Since her return, she's gone dancing 
with various young blades — "Golden 
Boy" Bill Holden, whom she met through 
mutual friends in New York, Jimmy 
Stewart, a favorite of all the girls, Cesar 
Romero, who holds the prize as the best 
dancing escort in Hollywood, Alan Curtis 
and others. 

Said Sonja, "Someday, if and when I 
fall in love, I shall marry. Then, I'll give 
up everything except the making of two 
pictures a year. I'm old-fashioned when 
it comes to marriage, I want it to be 
successful, and it must include a real 
home and children. Maybe I'll fall in love 
with an actor, and maybe I won't, but 
that doesn't make the least difference, 
just so there is mutual understanding, a 
very deep love, and congeniality." 

She went on, confidentially, "I've been 
too busy, too occupied with my career to 
feel the demand for romance. But I know 
that love and marriage are needed to 
make a woman's life complete, and nat- 
urally I want to experience all Life has 
to offer. I'm in no hurry, though. 

gestions were made from Cedric to Mar- 
madukc, but Walt said, "Why not name 
him Jiminy? Everyone knows that ex- 
pression 'Jiminy Cricket.' " 

In connection with the name Jiminy, it 
has an interesting source. The word was 
originally "Gemini," and was part of an 
oath taken in the Roman-Juslinian courts 
long before the starting of the custom of 
swearing on the Bible. The words, "By 
Gemini" were accompanied by a raised 
arm. This meant that the person taking 
the oath resolved to speak the truth — 
and nothing but the truth. 

Down through the centuries, the orig- 
inal oath has descended to a mild form 
of ejaculation; by word of mouth it has 
changed from Gemini to Jiminy. 

Since Jimlny's role is that of a con- 
science, the name fits him esnecially well. 

With "Pinocchio" completed Jiminy 
has been nagging his boss to purchase 
Dickens' "The Cricket on the Hearth" as 
a starring vehicle for him. So far, Disney 
refuses to commit himself as to his fu- 
ture plans for Jiminy. And Jiminy de- 
clares it "ain't cricket!" 

Alice Faye and Tony Martin have 
blasted all separation rumors. 

For the first time in her life, Sonja 
admits she is vague as to her plans. When 
I asked her what came ne.xt, she hesi- 
tated, then said that probably, when she 
finishes the skating sequence's for "Every- 
thing Happens at Night," she will go on a 
short exhibition tour, returning to make 
another picture after the holidays. Ajid 
here is real news: this may be her last 
tour — her mother is growing tired of 
them, and Sonja, herself, will welcome 
the added leisure this will give her. 

Sonja's mother is Irish. That's where 
she gets her golden hair, and the warm 
brown eyes that can flash fire or twinkle 
with merriment, with equal ease. But it 
was from her Norwegian father that she 
drew her enormous energy and determin- 
ation, for Sonja never stopped until she 
was ten-time^ world figure-skating cham- 
pion, three-times Olympic champion, and 
the rhythm of her silver skates had 
echoed throughout Europe and America. 
Then, there being no more honors to win 
as a skater, she suddenly announced, "I'm 
going to Hollywood!" With her marked 
flair for showmanship, she made a spec- 
tacular entrance into the new world, and 
because of her brilliant talents, her good 
looks and sparkling personality, she 
quickly became the belle of the box- 

Still Laughing at Love 

[Continued from page 37] 

for January 1940 


Every step has been carefully planned, 
every detail mapped out to insure success, 
for she was never satisfied short of per- 
fection. Once, she was asked how it felt 
to be defeated, and she answered hon- 
estl}', '"I've never been defeated!" 

So, today, she admits it is an odd feel- 
ing not to have her dreams diagnosed and 
all framed around with workable plans. 
For three years she's been building up the 
idea of taking her company of 80 experts 
to Europe in the spring, for a series of 
skating exhibitions that would be sur- 
rounded by all the glamour and pictures- 
que trappings of Hollywood. 

"Over there," she explained, "they've 
never seen anything like that, and how 
they would love it. Naturally, we can do 
nothing like that now until peace comes 
to Europe." 

Sonja's interests never flag, and plans 
or no plans, she fills every hour to the 
brim. She's leased the beautiful hill-top 

home, with its magnificent swimming 
pool, that Jean Harlow built in Bel Air, 
and intends to enjoy some leisurely liv- 
ing. Now with her brother, Lief, here — 
and he's a handsome fellow — there will 
probably be more social gaiety. 

"I've been so busy," said Sonja, "and 
refused so many invitations that my 
friends never expect me to accept, and 
there have been evenings when I wanted 
to dress up and go places, but didn't have 
the chance. One just can't pick up the 
phone and ask to be invited. I'm turning 
over a new leaf, perhaps I'll become a 
social butterfly, perhaps there will be a 
romance that will give you a story. Not 
being bound around with plans, there's no 
telling where I'll burst out. Freedom can 
lead you into exciting paths!" 

As I left her, Sonja's gay, contagious 
laughter followed me and kept me smil- 
ing. That, in itself, is a word picture of 
Sonja Henie ' 

Try Anything Once! 

[Continued from page 39] 

asked Jimmy if he could do any acrobatic 
tricks. Once more he pulled the supreme 
bluff and said he could. All the "acrobat- 
ting" Jimmy had done was stooping be- 
hind home plate as catcher on a baseball 
team. But he got busy, learned a few flips, 
fooled everyone, and only had a few aches 
and pains for his efforts. It might be ap- 
propriate to add here that he was never 
much of an acrobat. His muscles seemed 
to get in the way. Consequently, a simple 
split was something — and about the only 
thing — that stumped Mr. Cagney. 
^ Jimmy's next try was once more in 
the dancing field, but in a much more ele- 
vated atmosphere. A big musical was be- 
ing staged in New York, and a call had 
gone out for boys with complete dancing 
experience. So he quit the job in an office 
that he had taken when the vaudeville 
act closed and applied for the dancing 
job. He got it. 

The amusing part of this story is that 
he was in competition with very well 
trained dancers. But Jimmy was not to 
be thrown for a loss. He lied, or rather 
"inveigled" his way into the show, went 
on practicing steps, and was soon stand- 
ing up with the best of them. He had 
fooled everyone just enough by this time 
to be given a specialty dance with the 
ingenue lead. The number was a waltz- 
adagio. And he had done all this without 
ever having taken a single dancing lesson. 
He had done it all on his supreme trick 
of saying: "Sure I can do it!" 

By this time all ideas of becoming a 
doctor — yes, he even thought of trying 
this field once — ^had gone into the discard. 
No matter what came his way now, and 
no matter what demands were placed 
upon him, the mere qualification of ex- 
perience did not bother him in the least. 
Consequently, it was only natural that he 
would try real acting for a while. 

"One day, after I had returned from 
a road tour, I heard of a company which 
needed good dramatic actors," Jimmy con- 
tinued. "So off I went and applied for 
the opening. The woman who was casting 
asked me — as I knew she would — if I 
could act. Naturally, I told her I could. 

She looked me up and down and hired 
me. I mugged through that act somehow 
without any catastrophes. 

"Finally, I even had to claim to be a 
singer. How I ever got by with that is 
beyond me, for I couldn't carry a tune 
if it had handles on it. I might add that 
my abihty as a singer was never featured, 
and that I found myself doing inconse- 
quential patter acts — you know, typical 
song and dance routines. 

"Some people, I know, thought I was 
crazy. They were sure I'd be found out 
some day and that would end my blos- 
soming career. But I figured I had nothing 
to lose. I wasn't working, and I was find- 
ing out just what I should do about a 
future. Besides, I don't believe in letting 
anything throw you, no matter how im- 
possible it may seem at the time." 

After five years of appearances on and 
off the vaudeville circuits, Jimmy had de- 
veloped some proficiency as a song and 
dance man. He was continually trying to 
improve himself, but he still never thought 
it necessary to take a single lesson. How- 
ever, he realized he could not hope to 
make much money in vaudeville. There 
were too many better song and dance men. 
So he cast his eyes toward the dramatic 

One summer, he was in New York 
without a job. "Desire Under the Elms," 
Eugene O'Neill's epic story of New Eng- 
land, was playing to packed houses. Sev- 
eral of the members of the cast were 
leaving for vacations and were being re- 
placed by unknowns. 

A friend of Jimmy's, Victor Kilian, 
who is now a Hollywood character actor, 
told him he thought he could place him 
in the juvenile lead in the show. So, with- 
out waiting for any more information, 
Jimmy went to the producer to read for 

Now, in case you aren't familiar with 
"Desire Under the Elms," it's a dramatic 
tragedy that places every possible demand 
on the most seasoned actors. It would be 
almost unthinkable for an inexperienced 
person to read for even a small bit in 
it. But Jimmy, with his song and dance 

Rosemary Lane is hardly suffer- 
ing from Housemaid's Knee in this 
gay shot on the "Four Wives" set. 
She's tired out from rehearsing. 

patter, his very few sketches in vaudeville 
behind him, went for the reading with 
every confidence. 

The producer looked at him and said, 
"Well, you're hardly the type for this 
play, but I may have a part for you in 
my new show opening next fall. It's called 
'Outside Looking In.' It's based on Jim 
Tully's hfe. You'll be very good, I think, 
as Tully." 

Next fall, without a single bit on the 
legitimate stage to his credit, Jimmy read 
the leading role in the play and was. given 
the assignment. The notices he got from 
the critics were all favorable. 

With success almost assured, Jimmy 
suddenly decided to return to vaudeville 
after the play closed. And here he made 
his one big mistake. This venture cost 
him about a year's setback in his career. 
But he had to work, and he didn't see 
any point of waiting around for a break. 
He'd always made his own breaks. 

One day, Jimmy got a letter offering 
him the job of staging and producing all 
the dance numbers for "Grand Street Fol- 
Hes," a musical revue for the intelligent- 
sia. Jimmy took the job, disregarding 
completely the fact that he had never 
even lined up a chorus, let alone stage a 
whole revue. But instead of backing down, 
as many would, he jumped in and then 
wondered if he could swim. 


Silver Screen 

"I not only staged dances," Jimmy told 
me, ''but I did some tricky specialties 
myself. I can't say that I was always at 
ease in this job, but somehow I pulled 
through. I have always been convinced 
that I must have been born under a lucky 

And so his career, built on a strange 
philosophy of refusing to admit anything 
so remote as failure, went on to greater 
heights. With his success on the stage in 
"Penny Arcade," Jimmy found himself 
on his way to Hollywood. Once more to 
try something strange and alien. But be- 
hind him was his idea: "I'd have been 
a failure if I'd never tried anything, so 
nothing can throw me now." 

"When I came to Hollywood," Jimmy 
said, "I wasn't in the least worried, large- 
ly because I didn't care whether I stayed 
or not. And I didn't try to philosophize 
on motion picture technic. To me, acting 
in pictures was the same as on the stage, 
except that it was, perhaps, more limited. 
I just took my script, forgot about cam- 
eras and other such matters, and tried 
to give the most honest performances I 

"One important thing did happen to 
me in Hollywood, though. I had never 
really believed I was doing a job as well 
as it might have been done until I came 
into pictures. Then, for the first time 
after all the years of floundering around, 
I felt I knew my job — acting — well. All 
the chances I had taken were behind me. 
Hard work was the only answer to suc- 
cess now. Hard work of a much more 
exacting kind." 

In "The Oklahoma Kid," however, 
Jimmy did his first western. And in it 
he had to do some fancy trick riding. 
So, once more, he called on his aged gag 
and said: "Sure I can ride — and good." 
(Of course, he couldn't.) He began to 
learn trick riding, he refused doubles for 
the dangerous parts of the film, and even- 
tually turned out to be an acceptable — if 
not an astounding — horseman. The direc- 
tor wanted him to let someone else do 
the difficult riding, but Jimmy refused 

George Murphy telling Fred As- 
taire a new story during the mak- 
ing of "Broadway Melody of 1940." 

He would not be slumped for the first 
time in his life. He had a record to pre- 

"What's this I hear about your having 
been a ballet dancer," I asked Jimmy, 
abruptly swerving the conversation from 
Hollywood to dancing again. 

"Oh, that. Well, in New York several 
years ago, the Capitol Theatre had been 
featuring ballet on its bill every week. 
It was decided to augment the show, so 
calls were sent out for ballet dancers. I 
was out of work again. So I applied. 

"Now the only thing I had ever done 
that even closely resembled ballet were 
a few gag kicks in my own privacy. When 
I was given the job, I was just a little 
worried, for I was afraid I had bitten off 
more than I could chew this time. How- 
ever, it all turned out very well. I didn't 
have to do a single ballet step. My job 
was in the chorus doing a simple tap 
routine based on Irish jig steps. I don't 
know whether the ballet master ever 
found me out or not, but we became very 
good friends." 

Oh yes, I'm almost forgetting Jimmy's 
proficiency as a musician. 

In his earlier and more tender years, 
one might have seen a red-headed young- 
ster sitting belligerently at a piano and 
pecking away at the keys. A tip of the 
tongue sticking out here, a frown caress- 
ing a furrowed brow, and awkward fin- 
gers getting all mixed up in the mess of 
white and black. And, to complete the 
picture, there was his mother standing 
beside him, beaming with each off-key 
note Jimmy struck. 

His piano playing stopped after a year 
or two, but recently he bought a piano. 
He had never been able to forget that 
he had stopped before he had mastered it. 

"I play the piano to amuse myself," 
said Jimmy indifferently, "and just badly 
enough to annoy my friends. But, after 
all, it doesn't hurt to know something 
about it. The time may come when I 
might have to apply for a job as a pianist 
in an orchestra. 

"Of course, my pride and joy is my 

she can invite a girl-friend to stay over 
with us. 

"She played some pretty tough tikes 
for awhile. But I wouldn't allow her to 
turn into a sophisticated brat. She's been 
accustomed to manners and she doesn't 
know there is any alternative. Only once 
have I suffered from a picture — after 
'Ginger,' which was made several years 
ago, it took me two weeks to cure her 
of the slang she used for that character. 

"During 1939 she's changed from a 
child into an adolescent. She doesn't wear 
bangs anymore. She used to dislike hair- 
dressers, and now she wants a new 'coif- 
fure' every day." When George Ernest 
said, frankly, that he didn't care for one 
of her hair styles she promptly abandoned 
it. "Her tomboy days are through," Ruth 
Withers continued. "It's almost a shock 
to see how feminine she has gone. She 
used to see no sense to fittings, but now 
she stands patiently and offers her own 
ideas on line and color." One of Jane's 

guitar. I've been playing it lor twelve 
years. I'm still trying. Oh yes, I amuse 
myself. But as much as I don't like to 
admit it, I'm still not very proficient." 

A violin also rests in Jimmy's musical 
congregation. He had tried that, too. Bui 
to an outsider, the horrible wailings thai 
he manages to squeeze out with each slide 
of the bow hardly testify to his success. 
With only moderate success as a pianist, 
violinist, and guitarist, he is now taking 
vocal lessons. Man of all trades — or tricks 
— Cagney ! 

Then, too, there is the Cagney of the 
carpenter and stone-masonry trades. Why, 
he even built a log cabin for a friend. 
(Author's note: It's still standing.) Anrl 
at his farm in Martha's Vineyard he is 
always puttering around with stone work. 

Between pictures he spends consider- 
able time working long and hard in his 
position — and a responsible one it is — as 
vice-president of the Screen Actors Guild. 

Jimmy had finished his lunch and was 
just about to leave, so I thought I'd a.5k 
what he'd gained by his impetuous daring. 

"What have I gained?" Jimmy reiter- 
ated as he eyed the remaining tid-bits of 
his dessert. "A lot. First of all, taking 
the chances I have has kept me fed, and 
that was quite an item in the old days. 
Besides, it's made me see the necessity 
of forcing myself to take advantage of 
any opportunity offered, regardless of its 
apparent difficulties The very fact that 
I'm an actor today is due to my deter- 
mination to eat and my insistence at not 
recognizing any pattern that life may have 
mapped out for me at first. 

"I don't feel that my success is so 
unusual. Any person can have the same 
amount of success if he doesn't sit back 
and wait for things to happen to him. 
If he claims experience where he has 
none, it puts him on his mettle. Things 
will happen to him a lot faster. And I've 
found out that breaks of the game seldom 
come to those who don't make them 

"Besides, / never took any chances. My 
bosses did." 

non-professional friends, Jeanie Howlett, 
is a year older and taller. Jeanie's skirts 
are three inches longer, Jane has pointed 
out to 20th Century-Fox executives. In 
fact, she spent an hour pleading for "more 
fashionable" screen attire. There is some 
recompense in that Mrs. Withers has 
okayed a long party dress, some stunning 
hostess robes, and frilly nightgowns in- 
stead of plain pajamas — for personal 

Jane's slimming accentuates her grad- 
uation from kiddishness. In three months 
she has gained five inches in height and 
lost twelve pounds. Now five feet two, 
weighing an even hundred pounds, wil'n 
a twenty-three rather than a thirty-one 
inch waistline, she can argue diet with 
the best of them. She is anxious to be- 
come five feet six, claiming a girl thai 
height looks best in her clothes. She no 
longer eats nine rolls in a row. 

She remains a collector, but of an en- 
tirely different range of "valuables." She 

Mother Confides About Jane 

[Continued from page 45] 

for January 1940 



SiLviiR Screen for January 1940 

has switched from knives to perfumes, 
which she is oflicially forbidden to use 
yet. Her bottle of "Shocking," when last 
seen, was half empty and Ruth Withers 
admits, unofficially, that there have been 
some evenings when Jane has gone to 
bed reeking with perfume. Her dolls are 
now mementoes of childhood. Her zoo has 
been gradually disbanded. She had so 
many pets she had to get a license for 
keeping them all. Her deer, Dot and 
Dash, became too big and rambunctious. 
Cactus, her donkey, twice strolled into 
the house and did considerable damage 
when the phone rang and frightened him, 
on both occasions. But then he jumped 
the fence, meandered over to Westwood 
Village, and kicked a vegetable stand 
over when the owner objected to his ap- 
petite for apples. They called Jane to 
come and get him! Her rooster, dubbed 
Leopold Stokowski, bit too many people. 
Lady Bess, her pure heifer, mooed too 
loudly for the neighbors; but Henry Wil- 
coxon, her good friend, is seeing to it 
that Bess is not becoming beef. 

"She's decided," said Ruth Withers, 
pouring tea for me, "that archery is more 
fun than knife-throwing, that ballroom 
dancing is preferable to tree-climbing. 
Blood-and-thunder games are passe around 
here. If Jane doesn't want to dance or 
entertain at the pool, she's busily embroi- 
dering or knitting." 

They've done over her bedroom to suit 
her. It had been a nautical red, white, 
and blue. Today it's a delicate French 
pink-and-blue, with mirrored, ruffled tables 
in place of knick-knack cabinets. 

"If acting weren't making her happy I 
wouldn't want her to be working at it," 
Jane's mother went on saying to me. "If 
there were anything about Hollywood 
which could hurt her, I'd take her away. 
But I haven't been disillusioned about 
Hollywood. We like it here. JWe've re- 
tained all of our old friends, and made 
so many new ones. 

"Of course I don't want her to be 
superficially sophisticated. I expect to 
prevent such a fate by holding onto our 
family atmosphere, our own aversion to 
'hard' traits. Parents can set a potent ex- 
ample. I don't behave in a way I'd dis- 
approve of for her, nor does her father. 

"W'hat I'm endeavoring to do, you see, 
is raise her to be a success as a person. 
That means being a success in her work, 
and much more. I want to give her all 
the normal pleasures. I'm not making her 
take piano lessons; she's studied both 
French and Spanish for several years, 
though, because she enjoys languages. I 
want her to be sweet, all the things a man 
admires in a girl. I want her to have real 
character, to be capable and self-reliant. 
To be discriminating. 

"Jane is so sociable I think she'll want 
to go to college. She hopes to attend the 
University of California at Los Angeles, 
right over there across the ravine from us. 

"I think she'll go on being_ a career 
woman even if she does go to college. 
I think she'll likely fall in love with a 
man sympathetic to her work. She's just 
becoming boy-conscious now. I notice how 
she diplomatically allows the boy to be 
the leader! But I doubt if I'll let her 
have dates, regular ones, until she's six- 
teen. I don't believe the man who marries 
her w'ill suffer from her career. Mr. With- 

Bandleaders Artie Shaw and Benny 
Goodman finally patched up their 
long standing feud when Benny opened 
at the Waldorf-Astoria. Artie, fea- 
tured in "Dancing Co-Ed," is Betty 
Grable's big moment and they may wed. 

ers and I have discovered many happily 
married couples here. I feel I'll always 
be close to Jane, so far as her career goes, 
because I've helped her build it. But I 
won't interfere with her marrying. 

"I'm training her to be a good wife 
by teaching her to respect personal re- 
sponsibilities. She's often gone to market 
with our cook; she can buy groceries 
economically and get quality. She can sew. 
She is used to doing for herself. I've 
never let her think she just has to ask 
for something to receive it. When she 
wanted a horse for her birthday we de- 
liberately waited a few days after that 
birthday to buy it for her. 

"She is blessed with a talent and she 
has persisted in obtaining the opportunity 
to follow her bent. But she is no better 
than anyone else. She's a human being, 
first of all, and every one of us has an 
obligation to be kind. I started training 
Jane in kindness when she was four. Once 
a month, back in Atlanta, I'd let her go 
to supper at an orphanage. I 'allowed' 
her to stay there all night afterwards. It 
was a treat for her, yet at the same time 
she was learning how other children lived 
and acquiring a democratic, generous out- 

"When she wanted those pets here — 
and at one time we had chickens, dogs, 
cats, ducks, pigeons, a lamb, a pheasant, 
baby alligators, and a monkey and Texas 
red squirrels, besides the deer, donkey, 
and cow I told you about — I appointed 
her chief caretaker of them." 

Flowers appeal to her because she has 
had the privilege of tending her own 

flower bed. She planted it outside the 
kitchen window, figuring that the best 
site, for then she could chat with the cook 
while weeding and watering. Their cook, 
incidentally, is a Georgia import, having 
been Jane's mammy during babyhood. 

Jane isn't washing and ironing doll 
clothes any more, but she is still attend- 
ing to her own room when she isn't on 
studio call, making her bed and straight- 
ening and dusting. 

"I think a child should be raised to 
know that money isn't to be squandered. 
Jane receives an allowance of six dollars 
a week, and we go to the bank where she 
makes out her own deposit slips to save 
most of that for her Christmas presents. 
I let her pick out all her gifts. 

"Jane's religious training has not been 
neglected. She's won the cup at the First 
Presbyterian Church in Hollywood for 
bringing in the most new members to the 
Sunday School. She's sung in the choir 
every Sunday, with nineteen girls who 
have no connection with the movies. I let 
her confer with the pastor and they se- 
lected an orphan to be cared for by 
church benefits she could sponsor, and by 
direct aid from us. Jane enthusiastically 
passes on her clothes to this protege and 
plans on how to advise her. 

"Next spring we're going to bring Jane's 
cousin out from Atlanta, my brother's 
daughter who is the same age as Jane, 
and who's talented in singing and dancing. 
I don't see why she shouldn't have her 
chance, too. We can start her in as Jane's 
stand-in. It is quite possible we may adopt 
her. Certainly if she wants to have a 
career in pictures we shall do all we can 
to help her!" 

Such willingness to share is so rare in 
Hollywood that I particularly point out 
Mrs. Withers' attitude. But then, that's 
why she is the most popular movie mother 
in town, as anyone who knows the "in- 
side" gossip will assure you. She doesn't 
coach Jane in her lines, either; she dis- 
creetly leaves all that up to Jane and 
her director, and always has. 

"I had my bad hours when I was dis- 
couraged about Jane's getting her chance 
to show what she could do," she frankly 
admits, "but how glad I am I didn't give 
in to the blues! Mr. Withers and I were 
apart for av.'hile, but my own happiness 
has been guaranteed by my dream com- 
ing true. 

"Right now I'm trying to temper Jane's 
strong likes and dislikes and it's rather a 
task. I don't want to stop her from having 
a mind of her own. A successful person 
won't be swayed by every opinion, and must 
choose definitely as well as correctly. 

''But if anything should happen to me 
I believe Jane, as she is, could carry on 
wisely for herself! She can be relied upon 
to make decisions of her own. And she 
knows, from hard experience, what makes 
the wheels go 'round out here." 

What Mrs. Withers didn't tell me about 
was how she hired Jane's present stand-in. 
Kay Connor, of Vancouver, didn't know 
what a stand-in was when she knocked 
on the Withers' door. Kay was simply an 
ardent fan, as her collection of eleven 
hundred pictures of Jane testifies. She was 
so sincere, her violin scholarship indicated 
such ambition, that before she left she 
had not only an autograph but a job and 
Jane's friendship! 


Miss Bene Milieir hr]\m] found 
llic KansaK 4 lily tiljajjlcr of Rail- 
way BiiBinoHH Wouxm. The cluh's 
winter danw m a gala function. 

fi?//oiv f/?e same ^maus 

A Southerner, titian -haired Mrs. du 
Pont is very hospitable, and her historic 
old home on the Delaware is the scene 
of many gay social affairs. 


Southern women are famous 
for their complexions, 
Mrs. du Pont. Do you have 
any particular method of 
skin care? 


"Yes. I don't believe in 
taking chances with my 
complexion — I always use 
Pond's 2 Creams. Pond's 
Cold Cream is perfect for 
cleansing my skin — keeping 
it soft and supple at the 
same time. And for powder 
base and protection against 
weather. Pond's Vanishing 
Cream is ideal!" 


Do you feel that using 
2 creams helps keep your 
make-up fresh looking longer? 


"I'm sure it does! That's 
why, before powder, I always 
cleanse and soften my skin 
with Pond's Cold Cream and 
smooth it with Pond's 
Vanishing Cream. This gives 
my skin a finish that takes 
make-up so well it looks 
fresh for literally hours!" 


When a girl works all day, 
Bette, is it hard for her to 
find time to take good care 
of her skin? 


"Not if she follows my 
system. It's quick, thorough 
— and economical! I just use 
the 2 Pond's Creams. First 
Pond's Cold Cream to get 
my skin really clean — give it 
the clear, 'glowy' look that I 
like. And then I never fail to 
smooth on Pond's Vanishing 
Cream for powder foundation 
— it seems to make make-up 
so much more attractive!" 


When you're outdoors for 
hours at a time, don't you 
worry about sun and wind 
roughening your skin? 


"No — why should I? Pond's 
Vanishing Cream smooths 
away little skin roughnesses 
in only one application. 
I usually spread on a light 
film of Vanishing Cream 
before I go outdoors, too. 
Just for protection." 

Off fo work,, hixiiT gradwation from 
high school. Belle got a secrelariaJ job 
in the Gulf. Mobile and NortlbcrD Eail- 
roa<l fm^'lit ofTin:. 



Pond's, Dept. 7SSCV-A. Clinlon, Conn. 

Rush special tubes of Pond''s CoW Cream- Vaui^K- 

iug Cream and Liquefying Cream (quicker-melliu-i 
eleausitig cream) aud five different 
shades of Pond's Face Powder. I 
enclose lOc to cover postage and 

MrSw du Pont arrives by private plane at 
the airport near her New Castle home, 
looking fresh and unwearied after a 
quick shopping trip to New York. 

' .l.H)M)"S. 




Copyright, 1939, Pond's Extract Comiiany 

Beffe ant/ het tompanmm, ^tiare the 
local enthusiasm lor bioycHng. So popu- 
lar is thii 
traffic reg 

thusiasm lor bioycung. Sopopu- A 
bis sport in Kansas City that K 
■egulatK ri» (ii'rarru*' rpcesfaryl B 


Silver S c r h i; n for January 1940 

Lana Turner's Advice to All High School Girls 

[Continued from page 23] 

now, which is what I'd planned to do. I 
never thought of going into pictures, you 

"I guess you know, too, how I ate my 
lunch in the cafe that day and a Holly- 
wood trade paper reporter 'spotted' me 
and arranged for me to make a screen 
test. And just then Mr. Mervyn LeRoy 
announced that he wanted a sixteen year 
old girl for the part of Mary Clay in 
They Won't Forget. He tested me, after 
he'd tested twenty-five other girls, too, 
and I was signed. And now I have a con- 
tract here at M-G-M ... so maybe kids 
will say, 'huh, she should talk!' But 
whether I should talk or not, you asked 
me, Miss Hall, whether High School kids 
ever write to me and ask me questions. 
They do. So I'll just try to remember 
some of the questions they ask most re- 
peatedly and then I'll say what I honestly 

"I'll get up steam first by talking about 
the "Little Things." For instance, lots of 
girls write and ask me what I think about 
High School girls using make-up ... do 
I think they should or do I think they 
shouldn't? Well, my answer is: Have 
your make-up as simple as possible or 
you'll look as simple as possible! I used 
to use a lot of mascara and eye-shadow 
and stuff when I first went to High 
School. Then, one day, I happened to 
get a look in a mirror out in the sunlight 
and I didn't recognize myself! I didn't 
know what That was I. saw reflected in 
the mirror. I looked like something out 
of this world! I realized then that I 
looked, not seductive as I had fondly 
hoped, but plain silly. And in horribly bad 
taste . . . like a Follies Beauty with all 
the works, in a convent. 

"I never used mascara or eye-shadow 
again. I never have used rouge. I did use 
a little lipstick, bright, and that's all. And 
that's all I use now, off the screen. I 
think it's pathetic, really, for High School 
girls to try to look sophisticated and older 
than they are. Because we all have so 
many years ahead of us when we must 
look older, and then old, whether we like 
it or not. And we have only a few years 
in which we can look really young. I think 
girls should play up their youthfulness 
and freshness and dewiness and all that, 
for all they're worth! After all, Youth is 
the most appealing thing in the world, 
and the briefest. I know that, now that 
I'm out of High School, out in the — in 
the World! 

"Girls often ask me how they should 
dress in order to be as attractive as 
possible. Well, I think that High School 
girls should dress as simply as possible. 
Whether a girl is rich and can afford im- 
ported models and fur coats or whether 
she is poor and can afford only sweaters 
and skirts, I think that she should wear 
— sweaters and skirts! And I_ don't think 
there's anything more attractive for a 
young girl to wear than white, clean 
blouses . . . just so long as they're white 
and clean. If a girl wants to wow the 
boys — and what girl doesn't? — she can 
always wear her sweaters a little shorter 
and a little tighter than other girls do. 

her stockings a little sheerer, change her 
sweaters and skirts as often as possible 
so as to avoid looking monotonous or as 
though she's wearing a uniform And / 
thi7ik that girls should always look fem- 
inine. Even if a girl goes in for being the 
Good Sport type and wears mannish 
clothes and flat-heeled shoes and that 
sort of thing, she should tack on a frill 
or two somewhere along the line of march 
just as a reminder that she is a girl. 

'■Lots of girls write me and tell me 
they are not especially pretty, can't af- 
ford to wear smart clothes, and want to 
know what is the best way for them to 
be attractive to boys. I guess I get more 
letters asking this question than any 
other. Well, my advice, for what it is 
worth, is this: Forget the 'being attract- 
ive' thing, at first, anyw^ay, and start out 
in High School life by being a Good 
Friend with the boys. After all, boys are 
shy, too, you know. You've got to re- 
member that. And it's a very good thing 
to remember, too, sort of puts you at 
your ease. I really think that a lot of 
boys are more attracted to a girl who 
puts them at their ease, makes them feel 
comfortable, sort of like their mothers 
and sisters make them feel, than they are 
by girls who act like Vampires. First, and 
most important of all, I'd say, laugh with 
the boys. A good laugh, shared, does more 
to draw a boy and a girl together than 
almost anything I know of. Then join the 
Public Speaking Class, if you can, and 
be able to talk about and discuss the 
topics that are of common interest in the 

"Also, and this is Very Important, be 
able to talk with boys about the things 
they like, football, baseball, car-racing 
and all that. When you go to football 
games, wear the school colors, give it 
enthusiasm ... a girl who takes an in- 
terest in the things that interest a man is 
usually aces with him." 

I said, interrupting, my eyes on the 
lovely diamond on Lana's engagement 
finger . . . "now, you are engaged . . . 
and your Mr. Greg Bautzer is an attorney 
... do you take an interest in the Law, 
Miss T.?" 

"Well," smiled Lana, "I don't go to 
sleep on it . . . 

, "Perhaps the most important thing of 
all, then," continued Lana, "is to be a 
good dancer. For once you get the rep of 
being a hot dancer, you're all set. It 
doesn't matter how you look or how you 
dress, if you can swing it, you're in it. If 
you aren't a good dancer when you enter 
High School take some lessons, if you 
can afford to. If you can't afford to, then 
find some boy who is a good dancer, in- 
vite him over to the house, get him in a 
corner and go to it! 

"I think," said Lana, then, judicially, 
"that if you laugh with a boy, take an 
interest. in his interests and are a good 
dancer, that's just about all you can do 
about it. Then, if he likes you and you 
like him, it will work out into some- 

"Another way to be popular with boys 
is to pretend you're 'in' things, even if 

you aren't. Boys are awfully lierdish, I 
think, they shy away from anyone who 
is sort of out of the swim . . . and as 1 
say. High School is like Life and we all 
know that we have to do a little harmless 
bluffing now and then, just to cover up 
our hearts which might get too badly 
bruised, sometimes, if they were left un- 
covered. So I mean, if some boy says 
to you, 'what did you do Friday night?' 
tell him, 'why, I went to the Grove, of 
course', even if you didn't. When I went 
to Hollywood High, you see, Friday night 
was High School night at the Grove. All. 
the kids went there. In your town, or 
your city, it's somewhere else . . . but 
wherever it is, say that you went where 
the gang went, even if you didn't. Say it 
often enough, and convincingly, yet cas- 
ually enough, and the time will come 
Vvfhen you won't have to bluff about it. 

"I had a letter from a girl the other 
day ... a sad, little letter. She wrote 
that she didn't know what was the matter" 
with her but none of the girls in her class 
would have anything to do with her. She 
sent me a snapshot of herself and I could 
see that she is very pretty. Well, I have 
a pretty keen idea of what's the matter 
with her . . . she probably tried to 
snatch another girl's beau, without know- 
ing that he had an "X" on him! If you 
do that in High School you're black- 
balled as soon as it happens, and even 
before you know what has happened. 

"I know whereof I speak," chuckled 
Lana, "because it happened to me! When 
I first went to High School I saw a boy 
who looked pretty good to me. I began 
to flirt a little and pretty soon the flirt- 
ing became mutual. Next thing I knew I 
wasn't invited anywhere. I sat in my 
classes and the girls' shoulders were not 
only cold, they looked hke a young orch- 
ard of fixed bayonets. I finally got wise to 
it, the boy had a cross on him! Well, I 
soon backed out of that and I learned, 
then, that all girls stick together on this 
one point. Later on, someone tried to 
take a boy away from me and believe 
me, I dished it right back to her ! 

"I can think of lots of Don't's," laughed 
Lana, then, looking a little worried, she 
said, ''you don't think they'll think I'm 
being preachy, do you." 

"No," I said, "not you, they won't . . ." 

"Well, there's this business of driving 
too fast, especially in the rickety little 
jalopies most High School kids have. In 
High School we're apt to think that driv- 
ing fast is Living, it's Youth, it's Speed 
. . . only too often it's death and de- 
struction . . . 

"The 'bath-tub' gin racket is another 
very good thing to keep away from. I 
honestly don't think there's as much of 
this sort of thing going on as the Scare- 
heads would have us believe ... all this 
hysteria about High School kids smoking 
marijuana cigarettes, for instance . . . 
maybe it's so, in some places, all I can 
say is that I never saw it or heard of 
it and I never knew anyone who did. It's 
the same with the 'bath-tub' gin, there's 
some of it going around of course. There 
are kids who chip in two cents, three 

Silver ScRiiiiN for January 1940 


cents, buy a pint of the poisonous stuff 
and think they're pretty smart. And it IS 
poisonous stuff. I honestly believe that 
drinking is the baddest Bad News there 
is where kids are concerned. Compared 
to drinking, I don't think that smoking is 
anything. After all, smoking doesn't make 
you go mad and do terrible things that get 
in the Headlines. Personally, I believe in 
letting kids smoke if they want to. 
They're going to, anyway, and then when 
they're cornered, they lie out of it. And 
it's certainly a lesser evil to smoke. 

"There's the way some kids talk . . . 
it's considered sort of 'smart' nowadays 
to say 'damn' and 'hell' and worse — to 
use profanity sort of casually. I got the 
habit for a time. I'd say, 'oh, damn these 
lessons!' and things like that. Then I 
went to a party one night and heard a 
girl who really swore . . . honey, I was 
never so ill in my life. It was like being 
vaccinated — it took! 

"I think it's a good idea," said the 
lovely Lana, with a sudden, lovely grav- 
ity, "for High School kids to go to 
Church now and then, once a week, any- 
way. I must confess that I didn't go very 
often when I was going to school. But I 
do go now. Sometimes on week-days, 
even. I'll go into a church, often an 
empty church. It's always so peaceful and 
quiet, you get a chance to have all the 
things you've done parade in front of 
you. You can ask yourself, 'should I have 
done that or shouldn't I?' You can't talk 
in church, you're alone with your 
thoughts. When I have been in church I 
come out feeling as though I'd been 

Priscilla Lane has some fun with un- 
suspecting Director Michael Curtiz. 

thirsty and had taken a cool drink of 
water, I'm so cool and quiet inside. 

"Girls write and ask me about 'petting' 
■ — should they or shouldn't they? If they 
do, what? If they don't, what? I can an- 
swer this straight from the shoulder — • 
DON'T! Don't even pet with one or two 
boys. If you do, they multiply like rab- 
bits. And if you do, your reputation will 
be High School property because the boys 
talk about girls like that. Whether they 
like it or not, they do talk. And nothing 

kills your popularity like that. The girls 
despise you for it. The boys despise you 
for it, too, and don't let them kid you! 
It IS just hke Life, you sec, anything 
that is too easy to get is viewed with a 
shrug of the shoulder, a laugh behind the 
back, a certain amount of casual con- 
tempt. You're just not taken seriously, 
that's all. And every girl wants to be. 

"I don't mean that a girl and boy can't 
honestly fall in love when they're in High 
School. I know that they can, and some- 
times do. I really believe that if a boy 
and a girl go through Junior High to- 
gether, then go together through High 
School, too, that's the Acid Test. That's 
apt to be True Love. They Have Some- 
thing there. Something that may last 
straight through their lives. 

"But too often, oh, much too often, as 
I know, they are carried away by some- 
thing so far from True Love it makes 
you shudder. For instance, there's often 
a Post-Graduate hanging around a High 
School, a fellow who's been there for five 
or six years. He's pretty slick, naturally, 
knows all the answers, too many answers. 
Newcomers are apt to be attracted to 
him and . . . well, I'd say to girls, 'Stay 
Away!' He's too wise in ways which are 
not really wise at all . . . 

"So many girls nearly wreck their lives 
before their lives have even begun . . ." 

A few minutes later we left the com- 
missary Lana and I . . . She said, "I 
hope I've been some help to you . . . 
and to the kids . . ." 

I said, "I know you have . . . and 
they'll write and tell you so, I'll bet!" 


sO^^e YOU GET 


Expecting a crov^^d tonight? 
Then stock up with Pepsi- 
Cola. Everybody likes its 
better flavor. And the 6- 
bottle Home Carton is a 
real bargain. Each big, big 
bottle holds 12 full ounces. 


^ cfd^^ its 



Silver Screen for January 1940 

lovolv bands. Willi KICIIARD 
hit, "Little OIJ NcwYork" 

A Story I Couldn't Tell 
Till Now 


(Lovely Hollywood Star) 



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(please print) 


[Continued from page 53] 

even a bird's brain to see it wasn't me 
she was loving, but her own name printed 
in a magazine and a story about her in 
which the others would be just the sup- 
porting company. 

Oh, she had a story, Sally had. All 
about her family being great shakes down 
in Virginia and she talked of befoah de 
wah and deah ol' mammies in cotton 
turbans and darkies playing banjos in the 
cotton fields. And she called me honey. 

Now if there's one thing I can't stand 
it's being called honey by someone who's 
never been south of the Mason Dixon 
ine. And all of the south Sally knew 
about she'd learned from popular songs 
and books. Oh, the accent was pretty good 
even if she did slip up now and then 
and get in a pronunciation that was as 
New York as Tenth Avenue. But she 
didn't know anything about the South, 
not the way it really is, the way I knew 
it when I used to spend vacations down 
there with my grandparents. It was just 
her bad luck that she first tried that 
story on a girl whose mother was a 
southerner and who had learned to 
whistle Dixie in her cradle. 

Of course, I could have taken a crack 
at her in the story. But I didn't. She 
seemed too picayune even to slap down. 
So I gave the others a big play and dis- 
missed her with a line ancl forgot her. 
At least, I thought I did. 

But it seemed Sally isn't the sort of 
girl who'll let people forget her. 

It was just a few months after that I 
went to a preview out in Pasadena. I had 
on a brand new dress that night and a 
hat I'd hocked my soul for, and a beau. 
He was new, too, and I was trying so 
hard to be witty and entertaining that I 
wasn't paying much attention to the pic- 
ture until he said, "Gosh! Look at that 
kid ! Has she got everything or am I 

It was Sally. Wouldn't you know it? 
She only had a couple of scenes, but that 
didn't make any difference. If you've ever 
seen a Grade A, super-special picture 
snatcher, that was Sally. She had all the 
tricks of being noticed that seasoned 
troupers spend years in learning. But that 
predatory little wench had them down to 

Even when she was only part of the 
background you couldn't help looking at 
her. She had a way of teetering on her 
toes, or twisting her hands or just turn- 
ing quickly and smiling that wasn't to be 

When her big scene came the whole 
house broke into applause. She asked for 
it, if you know what I mean. It's what's 
known in old vaudeville parlance as milk- 
ing an audience. Yes, I'm afraid Sally was 
a girl who could make even movie audi- 
ences applaud. 

When the picture was over she made 
a triumphant exit down the aisle on the 
arm of Gregory Trent. That's not his 
name either. Yes, I know I'm an old 
meanie, but what are you going to do 
about it? 

Greg was the glamour boy that season. 
He was six feet two and his bronzed skin 
was an ad for the California sun and he 
had the sort of smile every woman 
thought he meant for her and her alone. 
But that night there was no mistake 
about who his smile was meant for. Not 
with Sally clinging to his arm in that 
completely possessive way only clinging 
vines seem able to achieve. 

Greg wasn't the only one who was 
captivated. The fans went for her the 
way they do for Crawford. Her arm must 
have been tired signing autographs that 

Well, of course, nothing could stop 
Sally after that. Not that anyone tried 
to. She was God's gift to her studio. Her 
name was up in lights in her very next 
picture. I'd never known a rise to star- 
dom so rapid. 

But funny, it wasn't her success that 
gave her publicity, not her success in pic- 
tures I mean. It was her way with the 
men. I've never seen a star so completely 
beguihng to the .boys as she was. She 
hooked every new glamour boy who came 
along. Not that they lasted very long, but 
as soon as one was gone there'd be an- 
other to take his place. You couldn't go 
anywhere without bumping into her 
escorted by some star or leading man 
who was the fan heartbeat of the mo- 
ment. There she'd be dancing at the Troc 
or dining at the Brown Derby or cheer- 
ing the right team at Polo. 

Maybe it was that figure of hers, or 
those wide apart blue eyes or that hair 
that looked as if a tiny golden cloud had 
drifted on her head. Yet I don't think it 
was that. Hollywood is full of girls who 
have one of those things, or all of them. 
It was something else, something even I 
who didn't hke her could see. 

You looked at her and you thought of 
a field on a sunny summer day and you 
could see daisies pushing up in the fresh, 
tender grass and you felt as if you were 
a kid again. And it seemed so real you 
could almost feel the stubbles biting into 
your feet as you ran barefooted through 
the grass. It was that young thing in her. 
It made you feel young, too, watching her. 
And if there's a man alive who can resist 
that feeling I'd like to meet him. 

I'd watch her sometimes and get a 
lump in my throat. Then I'd remember 
I couldn't stand her and I'd be furious 
at myself for letting her get me. 

Like that night in the Hollywood Bowl. 
I was sitting way, way up in back, partly 
because that was the seat I could afford 
and partly because I like the way the 
music just seems to fold around you back 
there and you feel as if you've found a 
corner of Heaven all to yourself. Iturbi 
was playing that night and I sat there 
for a while after it was all -ever just let- 
ting myself go in an emotional orgy. 

When I finally started to go I saw I 
wasn't the only one who had stayed after 
the others. Way down at the end of the 
row I was sitting in I saw a boy and girl 
huddled close together. His arm was 
\_Continued on page 72] 

He's Here....On the Screen....Radio's Rage! 


And His College of Musical Knowledge 
In a Roaring Full-Length Feature 




around her and her face was turned up 
to his and it was all so breathless and 
lender and young. I felt like a heel dis- 
lurliinK them. But I was right on them by 
that time. 

The girl turned sharply as I mumbled 
my excuses in climbing past them and 
suddenly she tensed and held her head 
down as if she were a\oiding having me 
see her. It was the gesture that made me 
look at her, so it really was her own 
fault that I recognized her. Yes, it was 
Sally and she looked as if she had been 

If it had been anyone else I'd have 
wanted to put my arms around her, she 
looked so little and lost and bewildered. 
But that was probably the part she was 
playing that night I told myself. 

"Hello, Sally," I said feeling mean and 
spiteful in wanting her to know I had 
seen her when she so obviously didn't 
want to be seen. "What are you doing 
up here among the rabble. Why aren't 
you down front with the rest of the 

She didn't say anything for a moment, 
just looked at me like a kid I'd snatched 
a lollypop from. I'd never felt like such 
a cat in my life. Then she smiled and 
began talking in that fake southern ac- 
cent of hers and I wasn't sorry any more. 

"Oh, honey, how perfectly marvelous 
to see you all," she said and her voice 
went up and down in little ripples, of 
charm. "This h'yare young man's my 
cousin from Virginia." 

Of course, she wasn't being smart. The 
young man was no more southern than 
she was. Only he wasn't pretending to 
be. He had one of those nice New Eng- 
land voices that make you think of crisp 
Autumn days and Thanksgiving and need- 
ing rugs when you go to football games 
and all the things you miss out here. 

I liked him. Thin and tired looking 
and shabby as he was he had something 
that a lot of the glamour boys out here 
could envy. A quiet sort of charm and 
a dignity that made you forget his tie 
was frayed and his suit shiny. And I 
despised Sally more than ever for the 
way she almost pushed him down the 
aisle and away from me. Smarty that I 
was, I knew she was ashamed of being 
seen with him. 

I suppose it was because I was so boil- 
ing mad at the little snob that I gave 
the item to a Hollywood scandal col- 
umnist. He was glad to use it. Sally 
hadn't made a hit with any of the press. 
So the next morning I read that Holly- 
wood's favorite glamour girl was sneak- 
ing around corners with a studio elec- 
trician. I hadn't said he was an elec- 
trician, but give any story to a writer 
and you can bet that he'll improve on it. 

One of my pals at her studio told me 
of the call-down Sally had gotten in the 
front otfice because of it. And so I was. 
prepared for the ice I got from her when 
I ran into her on the set a week or so 

"Thanks a lot for acting as my per- 
sonal press agent," she said. "Nice of 
you. especially since you're not being paid 
for it." 

She was so mad she'd completely for- 
gotten her southern accent. But I liked 
her better than I ever had before. There 
was a certain force about her. a forth- 

rightness I never dreamed she had. She 
made me feel petty and small and all the 
things I despise. 

"You know darn well he wasn't your 
cousin," I said lamely. As if that was any 
excuse for what I'd done. 

"No, he's not," she said, and there 
really was a kind of dignity about her 

We didn't say anything more. After all, 
what was there to say? And we both 
avoided each other when we met after- 

IL wasn't long after that Sally became 
the target of Hollywood's whispering 
club and God help any one who finds 
herself in that position. The thing 
starts at house parties, cocktail parties 
and dinners, then hints come out in gossip 
columns, and finally if the whispers are 
bad enough and the star is unlucky 
enough it breaks into headlines on the 
front page of every newspaper in the 

Sally was slated for the headlines, no 
doubt about that. There were whispers 
of the little house down in the desert 
somewhere and of Sally being seen in 
shabby clothes that were obviously a dis- 
guise, changing half way from her special 
body limousine to a shabby little cheap 
car she kept in a garage. But no one 
seemed able to find the house or identify 
the man in the case or even actually to 
know if there was one. But of course 
there was. A girl like Sally wouldn't be 
in love with the desert air. 

The feature editor of a newspaper 
called me in. "There's a story there.'' he 
said. "Get it. It'll be worth something to 

And he named a figure that made my 
head spin. Over five times the amount 
one of my stories usually brought. 

Well, I went to La Quinta and although 
I knew it was silly I traipsed through 
the hotels first, having lunch at one and 
cocktails at another and picking out the 
best ones for dinner, and staying over 
night. I wasn't footing the bills; I'd got- 
ten a handsome expense account from the 
paper. It was fun, but I wasn't finding 
Sally. I'd just taken a long chance on 
seeing her at one of them, knowing her 
fondness for the right places. 

I was beginning to think I'd make a 
pretty poor detective, but I stayed a week 
traipsing up back roads and peering into 
the faces of every woman I saw, even 
one in a mother hubbard hanging out the 
wash. Then just when I'd about given up 
I saw her. 

She was coming out of a little country 
store her arms piled high with packages, 
and she was wearing a faded gingham 
dress and no stockings and white sneakers. 
But she had a pink ribbon tied around 
her curls, and she looked just the prettiest 
country girl I'd ever seen. My car trailed 
hers and when it stopped in front of a 
tin)' white house I waited a minute be- 
fore going on the porch after her and 
knocking on the door. 

She had been smiling and the smile 
just seemed to freeze on her face when 
she saw me. She tried to close the door 
quickly, but then she saw I had seen the 
man sitting at the typewriter in the room 
behind her. It was the man she had been 
with at the Hollywood Bowl. 

"Well, come in." she said then and I 

did and I don't mind teUing you I began 
hating myself right then. 

"Well," she looked at me with a httle 
smile, "this is what you expected isn't it? 
You're getting quite a story aren't you." 

The man got up and walked toward me. 

"I'd like to introduce myself," he said 
and his voice was as cold and formal as 
I deserved. "I'm Sally's husband," he 

"No, Don," Sally gave a Httle sob. 
"Don't say that. It isn't true. Let her 
think what she wants to. I can take it." 

"Not any more you're not taking it," 
he said. "You've been doing it long 
enough. Now it's my turn," 

She tried to stop him. But there was 
no stopping him now. He was like a man 
possessed in his frenzy to protect her 
reputation. So he told me about his first ' 
wife and of their divorce, and his voice 
softened when he came to the part about 
meeting Sally when she was dancing at a 
night club in New York and how she 
brought hope back to him and faith and 
all the things he'd lost. And he told how 
Sally had turned down an offer from 
Hollywood, because she was going to 
marry him. 

A newspaper man got hold of the story 
and wrote a feature yarn about the girl 
who had turned down Hollywood for love, 
but when they came back from the min- 
ister's the day they were married a wom- 
an was waiting for him. She was Don's 

She'd been taking alimony from him, 
but now she saw a richer field. She was 
after blackmail now, because she had 
known all the time her divorce wasn't 
worth the paper it was printed on. It had 
been the ace she was holding up her 
sleeve and now she could use it. For Don 
could be arrested for bigamy. 

So Sally had gone to Hollywood know- 
ing it was the only way to make the 
money the woman was demanding. And 
then she soon saw she was on a merry- 
go-round that wouldn't stop, for the more 
money she made the more Don's wife 

All the time Don was telling the story 
he stood with his arm around Sally and 
there was a kind of glory in his eyes 
when he looked at her. And there were 
the things he didn't tell that I could see 
for myself, the typewriter and the batch 
of manuscripts beside it — and you could 
see how he had been driving himself try- 
ing to help and probably not succeeding. 
I looked at his shabby clothes and knew 
that he just couldn't take anything from 
Sally for himself. 

And I thought of Sally and how 
predatory she had been. But it was differ- 
ent now that I knew why she had been 
that way. Just one thing mattered to her ! 
and that was to get ahead just as fast 
as she could. Only it wasn't for her ambi- 
tion or herself that she was trying to get 
ahead. And I thought of the men she 
had been seen with and I wondered if 
maybe it wasn't loneliness as well as the 
need for publicity that had sent her fly- 
ing to all those places and if, when she 
danced, she had been pretending it was 
Don's arms holding her and, when she 
smiled, if it wasn't Don she was smil- 
ing at. 

Oh, it was a story all right. My fingers 
were itching to get at my typewriter. I 

Silver Screen for January 1940 


knew what I could do with it. It was 
the juiciest human interest story that had 
ever come my way. But it would break 
a girl's heart and it might send a man to 

I saw her eyes pleading, but she didn't 
say anything. She didn't even ask me not 
to write it. Sally had learned you couldn't 
trust anyone very much. 

I wrote the story that night. About 
the glamour girl who had built herself a 
little hideaway in the desert where she 
could cook and scrub and keep house to 
her heart's content and how really at 
heart Sally Carruth was just like the girl 
who lived next door to you. 

No, of course you didn't read it. It 
wasn't printed. Editors don't use sap like 
that. And instead of the big check I didn't 
get any check at all. But I didn't care. 
I slept like a log that night. 

And two years later I was the only one 
at the station when Sally and her brand 
new husband were going back East. Holly- 
wood wasn't bothering with her, because 
she had slipped so terribly in her last 
two pictures. Maybe that was because she 

didn't care if she was good or not, now 
that she had finally bought off Don's wife 
and the desperate need to make money 
was gone. 

Maybe when you're happy and con- 
tented you can't act as well as when 
you're driven and afraid. Maybe being 
just married and a bride had something 
to do with it, too. Anyway, it was a long 
time now since anyone had talked of 
Sally as a glamour girl. 

Oddly enough, I never hated to see any- 
one go out of my life as much as I did 
Sally. I had grown to love that girl. I 
was crying partly because she was going 
and partly because I knew they were 
broke for, of course, none of us could 
know then that Don's book was going to 
be on the best seller list that winter. We 
didn't even know then that it was going 
to be published. 

Sally was crying, too, and who could 
blame her? What girl wouldn't be crying, 
leaving all the glory and success of Holly- 
wood behind her! 

Only Sally was crying because she was 
so darn happy she couldn't stand it! 


rContinued from page 46] 

really was at that period in history: a 
proud, vengeful, passionate, high-strung 
woman, by turns merciful and hard- 
hearted, but always the Queen of Eng- 
land. The picture is adapted in Tech- 
nicolor from the Maxwell Anderson 
Theatre Guild play and tells the story 
mainly of the romance between Elizabeth 
and the ambitious Lord Essex, which ends 
in Essex losing his head in the Tower of 
London. Errol Flynn plays handsome, 
swashbuckling Essex, and my, my, he'll 
fairly take your breath away in those 
Elizabethan uniforms. Olivia de Haviland, 
looking like something too beautiful for 
this world, plays Lady Penelope, who also 
loves Essex. Donald Crisp plays Sir 
Francis Bacon, and Alan Hale the Irish 
rebel Tyrone. The chief plotters in the 
court intrigue are 'Vincent Price {another 
fine figger of a man)^ Henry Stephenson 
and Henry Daniell. It's an adult picture, 
as you've probably guessed. And you 
really shouldn't miss seeing Bette Davis 
out-act Bette Davis. 


How Filmland Grew — Twentieth 

WHAT could be more interesting to 
us movie-going folk than a caval- 
cade of the movies? And that's just what 
Darryl Zanuck has whipped up for us in 
beautiful Technicolor with lavish settings. 
The film begins with the early silent days 
and takes us up through the years to the 
first talking pictures. Included in the early 
history of Hollywood, of course, are those 
pie-throwing comedies {with Buster Kea- 
ton playing himself), the slapstick Key- 
stone Kop cycle, and the Mack Sennett 
Bathing Beauty films. Two black and 
white remakes of old time comedies, com- 
plete with piano accompaniment, are alone 
H'orth the price of admission. The plot 
concerns Michael Linnett Connors {Do7t 
Ameche) sl headstrong young Irishman 
who gets in on the ground floor of the 
movies, and brings to Hollywood pretty 

Molly Adair {Alice Faye) just in time to 
get her plastered with pies. Together they 
traverse the history of Hollywood, its joys 
and sorrows, its kicks in the pants, its 
humiliations, and its triumphs, right up to 
the time when Al Jolson sings in 'The 
Jazz Singer" and starts a revolution in the 
cinema. Alice Faye runs the gamut from 
slapstick to intense drama and gives a per- 
fectly grand performance. Alan Curtis, as 
the handsome young leading man who falls 
in love with Molly Adair and marries her, 
gets a break at last in this picture and 
will doubtless get better parts in the fu- 
ture. J. Edward Bromberg stands out as a 
financier. In for nostalgic peeps are Ben 
Turpin, Mack Sennett and Chester Conklin. 


Good and Spooky- — Paramount 

BY FAR the best murder mystery that 
Hollywood has treated us to in a long, 
long time. A good dose of comedy, in the 
shape of one Bob Hope, has been injected 
into this old melodrama, and now along 
with the goose-pimply thrills and chills 
come some of the best laughs of the sea- 
son. Paulette Goddard is co-starred with 
Bob Hope and gives a fine performance 
as the young heiress who is almost scared 
out of her wits. Bob never has been better 
on the screen. The story, which you prob- 
ably remember, takes place in a spooky 
old house down in the New Orleans bay- 
ous. Ten years after his death rich and 
eccentric Uncle Cyrus' will is to be read 
in his home at midnight — and his relatives 
have gathered for the reading of the will. 
By the first will Paulette is made the sole 
heir, but ah, there is a second will naming 
another heir in case anything happens to 
the first heir. What a night she puts in, 
murder, secret passages, spirits, and things. 
Among the heirs — and I won't tell you 
whodonit — are John Beal, Douglass Mont- 
gomery, Elizabeth Patterson, Nydia West- 
wood and Bob, himself. George Zucco 
plays the lawyer and Gale Sondergaard the 
Creole housekeeper. Plenty jittery. 


Help 15 Miles of Kidney Tubes 
Flush Out Poisonous Waste 

If you have an excess of acids in your blood, your 15 
miles of kidney tubes may be over-worked. These tiny 
filters and tubes are working day and nisht to help 
Nature rid your system of excess acids and poisonous 

When disorder of kidney function permits poison- 
ous matter to remain in your blood, it may cause nag- 
ging backache, rheumatic pains, leg pains, loss of pep 
and energy, getting up nights, swelling, pufEness 
under the eyes, headaches and dizziness. Frequent or 
scanty passages with smarting and burning some- 
times shows there is something wrong with your 
kidneys or bladder. 

Kidneys may need help the same as bowels, so ask 
your druggist for Doan's Pills, used successfully by 
millions for over 40 years. They give happy relief and 
will help the 15 miles of kidney tubes flush out poison- 
ous waste from your blood. Get Doan's PiUs. 

Here's a simple pleasant way to win relief 
from the pain and discomfort that many 
women have to face. Just remember that 1 
to 4 tablespoonsful of Doctor Siegert's An- 
gostura bitters (aromatic) in a little water, 
hot or cold, tends to relieve periodic pain. 
It is gentle and non-habit forming. You can 
get a bottle of Angostura in any drug store. 

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Follow Noted Ohio Doctor's Advice 
To Feel "Tip-Top" In Morning! 

If liver bile doesn't flow freely every day into 
your intestines — constipation with its head- 
aches and that "half-alive" feeling often result. 
So step up that liver bile and see how much 
better you should feel ! Just try Dr. Edwards' 
Olive Tablets used so successfully for years by 
Dr. F. M. Edwards for his patients with con- 
stipation and sluggish liver bile. 

Olive Tablets being purely vegetable, are won- 
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Silvi;r Screen for January 1940 


TION — Selznick-Iiitcnuiiioiial 

INGRID BERGxMAX makes her Amer- 
ican debut in this beautiful and pleas- 
antly emotional film that concerns a love 
affair in the life of a middle-aged musi- 
cian. And believe us, Miss Bergman is 
definitely someone to get excited about. 
Not since the arrival in Hollywood of the 
mystery-loving Garbo has there been so 
much excitement over a Scandinavian. 
The Bergman is beautiful in a strong sort 
of way, talented, womanly, and sincere, 
and as soon as Hollywood can lure her out 
of Sweden again she is set for a whole 
slue of pictures. Leslie Howard is cast as 
a world famous violinist who, home from 
one of his tours, meets Miss Bergman who 
is giving piano lessons to his little eight 
year old daughter {Aim Todd). They fall 
in love and when Leslie goes on his next 
tour she goes with him as his accompanist. 
There follows an idyllic Mediterranean 
romance which is interrupted by a lawyer 
with divorce papers. Leslie, deserted by 
the heart-broken Miss Bergman, returns 
to his wife and children. Edna Best plays 
the wife. It's a beautiful picture, elo- 
quently directed by Gregory Ratoff, and 
definitely not for the jitterbugs. 


Cagney Goes to Town — Warners 

IN "The Roaring Twenties," Warner 
Brothers' nostalgic flash-back to the 
prohibition, gangster era, James Cagney 
returns to the hard-hitting, fast-moving 
type of action picture which made him 
famous and popular with motion picture 

Mr. Cagney has occasionally protested 
such roles, but when he is persuaded to 
play one of them he turns in a bitterly 
true and invariably exciting performance. 
"The Roaring Twenties" as visualized on 
paper by Mark Hellinger, might possibly 
have been only another rootin', tootin', 
shootin' gangster film if Jimmy hadn't 
taken the leading role neatly in hand to 
make it a real characterization. 

Priscilla Lane manages very well as a 
young night club singer who, strangely 
enough, does not love gangster Cagney, 
but Lawyer Jeffrey Lynn instead. 
Humphrey Bogart, still unredeemed and 
Frank McHugh, still funny, help ma- 
terially. Raoul Walsh directed the excit- 
ing, bullet-punctuated story with all his 
old-time enthusiasm. This movie really 


JuxTNiLE Jamboree — M-G-M 

NOTHING could be more welcome to 
tired old movie-goers than this 
brightest of musicals which fairly scintil- 
lates with music, comedy, and junior stars. 
The inimitable Mr. Mickey Rooney, who 
is rapidly becoming Box Ofifice Star No. 
One, fairly walks away with the picture 
though he gets some pretty stiff competi- 
tion from Judy Garland. Together those 
two youngsters are really something to 
write home about. Mickey does every- 
thing — he sings, dances, plays piano, mugs, 
and does some marvelous imitations of 
Clark Gable, Lionel Barrymore, and 
Franklin D. Roosevelt. The story harks 
back to the old days when vaudeville was 

in flower {'ooitli a real honest to goodness 
shot of Mickey doing a tap dance in an old 
Educational short), but is quickly brought 
up to date. The children of the old-timers 
do a musical show out on Long Island 
which catches the eye of a New York 
producer and to the amazement of their 
parents they land on Broadway. Of course, 
Mickey is the director of the show and 
there are all kinds of calamities, particu- 
larly when Baby Rosalie {June Prcisser) 
a one time "baby star" in the movies, de- 
cides to make her comeback in Mickey's 
show and buys her way in — thus depriving 
poor Judy of the lead. Betty Jaynes and 
Douglas McPhail share song honors with 
Judy. The standout songs are, "Babes in 
Arms," "Where or When," 'T Cried for 
You," "Good Morning" and "God's 
Country." Among the few adults in the 
cast are Charles Winninger and Grace 
Hayes as Mickey's parents, and Guy 
Kibbee as an understanding judge. It's 
grand fun. 


Hilarious Hodge Podge — M-G-M 

THE Three Marx Brothers, Groucho, 
Chico, and Harpo, use a circus back- 
ground in their newest picture. Kenny 
Baker owns the circus and is trying to 
get $10,000 to pay off .a loan so he can 
keep the circus going. The . Marx boys 
pitch right in to help him, and there are 
some very good gags and amusing situa- 
tions. Highspots in the picture are when 
Harpo plays his harp, aided by a negro 
choral ensemble, and Chico cracks out 
with the Beer Barrel Polka on the piano. 
Florence Rice and Kenny Baker carry the 
love interest and Kenny sings one song. 
Groucho and Eve Arden have a swell 
scene where Groucho has to consult the 
Hays Office as to how he can get the 
money out of the top part of her dress. 

20,000 MEN A YEAR 

A Course in Aviation — 
Twentieth-Century Fox 

THIS picture gets its title from the 
government's project to train 20,000 
young men for civilian flying in schools 
supervised by the C. A. A. The story, 
written by Commander Frank Wead, is 
almost as good as a course in aviation. 
Randy Scott plays a crack pilot who is 
too old for the service and who is enlisted 
by the C. A. A. to teach a course in flying. 
Robert Shaw, a youth who is afraid of 
flying, is his main problem, but of course 
Robert comes through bravely in the end 
with flying colors, thanks to efforts of 
both Randy and of George Ernest, an- 
other student. When Randy isn't busy 
with his pupils he is romancing the lovely , 
Margaret Lindsay. 


Redcoats and Redskins Bite the 

HERE'S another of those outdoor 
action pictures which have been so. 
popular ever since "Stagecoach" rattled 
across the western plains. This story is 
based on fact and tells of the efforts of 
the Allegheny Valley settlers (Pennsyl- 
vania on the eve of the Revolution) to 
protect their homes and property against 
the plunderlngs of the Indians. The coon- 
skin cap settlers are forced to take up 
arms against the British military who are 
illicitly selling firearms and whiskey to the 
marauding Indians, and the capturing of 
a British outpost is the high spot of the 
picture. Claire Trevor and John Wayne 
{of "Stagecoach" fame) are romantically 
teamed again. George Sanders plays a 
British officer, and Brian Donlevy an 
Indian trader. Grand in minor roles are 
Eddie Quillan and Robert Barrat. 

Topics for Gossip 

fContinued from page 21"] 

brought no less than five acquaintances 
whom she believes to have talent to 
CBS studios for auditions. All were de- 
clared to show promise and several may 
S0071 win contracts, studio officials say. 

Constance Bennett left Hollywood this 
month for Eastern key cities on her first 
personal appearance tour following an 
initial appearance in Portland, Oregon, 
where she broke all records. There was 
simply no doubt but what the Portland- 
ites were ga-ga over Bennett. They stormed 
the box-office, threw bits of paper into the 
air, and sent Connie on her way with 
plenty of raves. Interesting that though 
the Bennetts have been associated with the 
theatre for years, this was actually the first 
time Constance ever faced an audience 

from behind the footlights. 

„ — ,,-^„ — „ 

Because a movie brought close to him 
the problems of the "Okies" {California's 
horde of migratory workers) Henry 
Fonda is "adopting" a family. The star 
of "The Grapes of Wrath," who went 
into the "Okie" camps near Bakersfield 
and Kernville to study how the people 
lived so that he might play the film role 
accurately, hired the family to stay on his 
325 acre ranch near San Diego and serve 
as caretakers. They — a father, mother 

and four youngsters^all had been work- 
ing as cotton pickers whenever they could 
find a few days' labor. Fonda plans to put 
other "Okies" on his ranch payroll as he 
develops the property. He bought the ^ 
acreage, which has not been cultivated, 
a few months ago. 

" — — » 

Mickey Rooney. man about town, was 
prevailed upon by his studio to take Judy 
Garland to the premiere of their co- 
starring picture, "Babes in Arms." Mickey 
muttered something about "robbing the 
cradle," but complied. 

After the opening, at which Judy 
looked every curve the glamour girl, 
Mickey was found by a group of his 
friends in the men's lounge in deep 

"Wouldn't it be funny," he mused, "if, 
after all the women I've know7i . . . I 
married Judy!" 

Una Merkel is doing all right in pic- 
tures — what with "On Borrowed Time" 
and "Destry Rides Again" — but she 
wouldn't have to worry even if the 
studios closed down: Hubby Ronnie 
Burla is an executive in the North 
American Airways Corporation, which 
has just received a $10,000,000 order 
from Uncle Sam. 


/ Behold the beauty of 
exotic song-bird llona 
Massey as she hears 
throbbing love-lyrics 
from impassioned 
Nelson Eddy ! (His great- 
esf role since ^'Naughty 

what you want . . . real mildness and better taste, 

G pyright 1940, Liggett & Myers Tobacco Co. YoU CSn't buy a bctter cigarCttC 


THIS prompt and frequent use of full strength 
Listerine Antiseptic may keep a cold from 
getting serious, or head ii: off entirely ... at 
the same time relieving throat irritation when 
due to a cold. 

This is the experience of countless people 
and it is backed up by some of the sanest, most 
impressive research work ever attempted in 
connection with cold prevention and relief. 
Eight Years of Research 
Actual tests conducted on all types of people 
in several industrial plants over 8 years reveal- 
ed this astonishing truth: That those who gar- 
gled Listerine Antiseptic twice daily had fewer 
colds and milder colds than non-users, and 
fewer sore throats. 

Kills "Secondary Invaders" 
This impressive record is explained, we be- 
lieve, by Listerine Antiseptic's germ-killing 
action ... its ability to kill threatening "sec- 
ondary invaders" — germs that breed in the 
mouth and throat and are largely responsible, 
many authorities say, for the bothersome as- 
pects of a cold. 

Reductions Ranging to 96.7% 
When you gargle with Listerine Antiseptic, 
that cool amber liquid reaches way back on 
throat surfaces and kills millions of the 
"secondary invaders" — not all of them, mind 
you, but so many that any major invasion of the 
delicate membrane is often halted and infection 
thereby checked. 

Even 15 minutes after Listerine gargle, 
tests have shown bacterial reductions on 
mouth and throat surfaces ranging to 96.7%. 
Up to 80% an hour afterward. 

In view of this evidence, don't you think 
it's a sensible precaution against colds to gar- 
gle with Listerine Antiseptic systematically 
twice a day and oftener when you feel a cold 
getting started? Lambert Pharipiacal Co., 
St. Louis, Missouri. 



The two drawings at left illustrate height of range in 
germ reductions on mouth and throat surfaces in test 
cases before and after gargling Listerine Antiseptic. 
Fifteen minutes after gargling, germ reductions up to 
96.7% were noted; and even one hour after, germs 
Veie still reduced as much as 80%. 

Her "Teddy Bear" Coat caught his Eye- 
but her Lovely Smile captured his Heart! 

• New "two-faced" coat— 
beige Teddy Bear cloth on 
one side, bright Scotch 
■plaid on the other. 

Your smile is your prize possession— it's yours alone! 
Help guard it with Ipana and Massage. 

THE RIGHT KIND of Sports coat will do 
things for a girl — but where are her 
charms if her smile is tragic, if her coat says 
"Stop" but her smile says "Go!" 

For even the allure of a smart swagger 
coat is shattered if her teeth are dull and her 
gums are dingy. How pitiful the girl who 
spends time and thought on her clothes, and 
ignores the warning of "pink tooth brush." 

Avoid this tragic error yourself! For your 
smile is you-—\o%& it and one of your most 
appealing charms is gone. 

Never Neglect "Pink Tooth Brush" 

If your tooth brush "shows pink"— your 
dentist. It may not mean anything serious. 
Often his opinion will be that your gums are 

lazy— that too many soft, creamy foods have 
denied them the vigorous exercise they need. 
He may suggest, as so many dentists do, 
"more work for your gums — the helpful 
stimulation of Ipana with massage." 

For Ipana, with massage, is designed to 
aid gums as well as clean teeth. Massage a 
little Ipana onto your gums every time you 
brush your teeth. The pleasant, exclusive 
tang of Ipana and massage tells you circu- 
lation is quickening in the gums, arousing 
stimulation, helping to make gums stronger, 
firmer, more resistant to trouble. 

Get a tube of economical Ipana Tooth 
Paste at your druggist's today. Use Ipana 
with massage to help make your smile as 
attractive and lovely as it can be. 


j y February 1940 


Don't you get awfully sick of 
Glamour Girls and all their frou- 
frou and chichi and darling this and dar- 
ling that? I must say that when I am 
choleric and not sufficiently alkaline, 
which invariably happens when Whimsey 
Peter doesn't even show in the third at 
Santa Anita, I have a hard time sitting 
supine and letting them get away with all 
that phoney baloney. Some day Miss 
Poopsie-Pie is going to find herself flat on 
her face, and I'm going to find myself 
on a train going East. But there is one 
Glamour Girl who never gives me any 
trouble. Ann "Maisie" Sothern. When I 
have that squeamish feeling inside and 
just can't take any more artificiality I al- 
ways go running to Ann. She's a swell 
person, with a grand sense of humor, and 
right down to earth. Pretty, too. 

So when I had "Visiting Firemen" to 
show around recently I told them I had 
an extra special treat for them and took 
them over to the "Congo Maisie" set to 
meet Pretty Miss Ann. When we reached 
the set we found Ann covered from the 
tip of her shoes to her ears in mud, dirty, 
filthy, slimey mud. "Mercy, Ann," I whis- 
pered. "I told them you were a down-to- 
earth girl, but don't you think you're 
overdoing it a bit?" Ann wiped a hand 
on page ten of the script and shook hands 
all around. "Believe it or not," I said, 
"she really is a Glamour Girl." The Visit- 
ing Firemen weren't so sure. 

"I look a mess," said Ann, and no one 
contradicted her. "I'm so dirty," she 
wailed, the mud oozing down her arms 
and legs, "that I don't think even Roger 
would love me now. But John Carroll 
loves me. He has to. It's in the script." 

The bell rang. Director Hank Potter 
called "Camera" and my lovely Glamour 
Girl whom I was going to take such pride 
in showing off to my guests, began to 
wallow in a mud hole. She dunked herself 
five times, for a long shot, two mediums, 
and two close-ups. She got drippier and 
drippier and dirtier and dirtier. Frank 
Tanner, the still man, muttered that never 
in all his years as a photographer had he 
seen a movie star go back in a mud hole 
twice — it seems that you have to lasso 
them to get them in once. Finally, Ann 
sneezed so the director gave her time out 
to dry off for a few moments before the 
next take. 

"You'll die of pneumonia," said one of 
the tourists with alarm. 

"I've got rubber panties i on," said Ann.' 
"I feel Hke Baby Sandy." She sloshed 
away to her dressing room with a parting 
remark to me. "I'm not doing this for 
Art," she said, "I'm doing it for money. 
You can quote me." Well, I always said 
she was a down-to-earth girl. 

©CIB 441427 



Silver S 


Volume Ten 
Number Four 


Lester C. Grady 


Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor Assistant Editor Art Director 



One again Ihe stars play an important part in the President' s annual 
Birthday Ball 


Elizabeth Wilson 22 

Not only what makes Clark lick, but how to make your hoy friend tick the 
same way! 


]ane Bryan actually hales herself and frankly explains why 


Adolphe Alenjou is a rebel in a land of Yes-Men 


Mae West is hack again and the censors are hopping 

BETTY MADE IT THE HARD WAY Wjlliam Lynch Vallee 40 

Betty Field won her contract by merit, not good luck 

HER NAME WAS GALATEA Elizabeth Benneche Peterson 44 

Another in the series of untold stories in the private lives of Hollywood 



Wendy Barrie didn't make the mistake of learning about them from other 

GEORGE GIVES HIS SIDE OF IT-AND HOW! .... Robert McIllwain 48 

George Raft clears up a misunderstanding 



Bobby Breen entertains other child stars 

"Blondie" does some acrobatics 

]oan Crawford, Clark Gable and the cast of "Strange Cargo" go in for 




In which Liza writes about her favorite glamour girl, Ann Sothern 

What they're whispering about on the West Coast 

Br'ief reviews of films to see and to miss 

Featuring Rulh Terry, in our Beauty Department, on the care of skin in 
trintry weather 


The stars may say one thing, hut mean another, so let's check and see 


The latest Hollywood happenings in print and pictures 

Our Honor Page salutes Brenda Joyce! 

Direct reports from ihe West Coast on the new films 

Rosemary Lane in fashions for travelers in warmer climes 


News of forthcoming productions 



A fascinating new game about movie stars 













V. G. Helmbucher, President Paul C. Hunter, Vice President and Publisher D. H. Lapham, Secretary and Treasurer 
SILVER SCREEN. Published monthly by Screenland Magazine, Inc., at 45 West 45th Street, New York, N. Y. 
Advertising Offices: 45 West 45th St., New York; 410 North Michigan Ave., Chicago; 530 W. Sixth St., 
Los Angeles. Calif. Manuscripts and drawings must be accompanied by return postage. They will receive 
careful attention but Silver Soeken assumes no responsibility for their safety. Yearly subscriptions $1.00 in 
the United States, its dependencies. Cuba and Mexico; $1.50 in Canada; foreign $2.00, Changes of address 
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered 
as second class matter, September 23, 1930, at the Post Office, New York, N. Y., under the act of March 3, 1879. 
Additional entry at Chicago, Illinois. Copyright 1S)39 by Screenland Magazine, Inc. Printed in the U, S. A. 

Nineteen- forty brings 


story of the Old South 


in TECHNICOLOR itarring 

as Rhett Butler 


and presenting 


as Scarlett O' Hara 

Directed by NlZTOVi. FLEMING 
Screen Play by SIDNEY HOWARD • Music by Max Steiner 
A Metro-Goldwyn-Mayer Release 

j or February 1940 

Above: During an 
early Sunday morn- 
ing rehearsal for the 
radio program of the 
Screen Guild Thea- 
tre, Joan Crawford 
stretches oflf on the 
floor for a nap. Right: 
Ann Sheridan visits 
Paul Whiteman at the 
Hotel New Yorker 
and shows how well 
she likes his music. 
Lower right: Marlene 
Dietrich and Jimmy 
Stewart are a two- 
some. Below right: 
Frolicsome Muriel 
Angelus has a spill. 


The up-and-up on the 
lowdown of what's be- 
ing whispered around! 

AVERY lucky young man is young 
John Arledge. Five years ago John 
acted in a picture for Frank Bor- 
zage. That director was so pleased with 
John's work that he promised to use him 
whenever possible. John worked in six 
Borzage pictures. Then came a time when 
there just weren't any parts. John got so 
discouraged he was on the point of pull- 
ing up stakes and going home to Texas. 
Then his phone rang. It was Frank Bor- 
zage calling in person. He was starting 
"Strange Cargo," with Clark Gable and 
Joan Crawford. There was a part for John 
that would run three weeks. John un- 
packed his bags, then went to church and 
said an extra prayer for Frank Borzage. 

The Fred MacMurrays saved a lot of 
money on Christmas presents this year. 
In his work shop at home, Fred made 
Backgammon boards. He even carved the 
dice cups out of leather and burfied on 
a design. Fred also made beautiful leather 
belts. For Bob Taylor he made a special 
wide western belt, complete with mono- 
grammed buckle and studded stones. 
• — — » 

Ever since John Beal proved he could 
do a sensational impersonation of Bob 
Hope, he has been the life of every party. 
When John was signed to do "Cat and the 
Canary" at Paramount, a mutual friend 
tipped Hope off. The first day on the set 
John felt strange and self-conscious. When 
they called Bob Hope for his first scene, 
Bob remained seated and cracked. "You 
might as well let Beal play my part, too. 
They tell me he's better as me, than / am 
as myself!" John's face turned so red it 
showed through his makeup. Now he 
swears he'll never try to impersonate an- 
other actor again. 


Lucky is little Patrick Wayne to have 
Loretta Young for a God-mother. This 
makes the third child born to the John 
Waynes, who were married in the garden 
of Loretta's beautiful Bel-Air home. Lo- 
retta was also matron of honor at the 
wedding — which makes it look like Loretta 
has a steady job with the Waynes for all 
family occasions. 

Here is still another story to prove 
what a recluse the one and only Garbo j 

really is. Thei 
little stenogra- 
phers on the 
MGM lot never 
get a chance to 
see the famous 
star, as her sets 
are always 
closed. So on 
Saturday after- 
noons the girls 
go over to the 
Jones Health 
Food Store in 
Beverly Hills. 
Garbo always 
comes in there 
to buy her sup- 
ply [Contin- 
ued on page 13] 










Barbara Stanwyck • Fred MacMurray 


S/iek oj "Honeymoon in Bo/i". . . Cxptosive as "Midnight". . . Romantic as "Love Affair" 

Elizabeth Patterson • Sterling Holloway • Directed by Mitchell ieisen 

Original Screen Play by Preston Sturges 



Of Course, 

for February 1940 


.STARTS WITH (^^/s^^^. 

Rinse those beautiful liighlights into your hair with 
Nestle Colorinse. Notice how it makes dull, drab-look- 
ing hair radiant and lustrous. Not a dye or a bleach . . . 
Colorinse is so simple to use. Washes away soap sham- 
poo film. ..leaves your hair soft and manageable. Choose 
your own color from the Nestle Color Chart at toilet 
goods counters. 

for package of 2. rinses at 10(^ stores 

25«! fo 

Midget radio fita your pooket or puree. Weigha 
only 4 oiB. Smaller than cicarette package! 
Receiver Btationo with clear natural tone. 
— only one movine part. TtJBELESS. 

PATENTED DESIGN. H&s enclosed seared luminous dial for perfect 
tuning. Many owners report amazing reception and diatanoe. 


Sent oomolete ready to listen with instructions and Tinyphone for use in 
homes, offices, hoteli. boats, in bod. etc. TAKES ONLY A SECOND TO 
postman only S2. 99 plus postage on arrival or send 52.99 (Check. M.O.. 
Cash) and voure will be sent complete poatpaid. A rnost unusual value, 
ORDEKNOWl MIDGET RADIO CO., Dept. SC-2, Kearney, Nebr. 



Free Examination. Send Your Poems To 

J. CHAS. McNeil 

510-V So. Alexandria Los Angeles, Calif. 


You correct faulty living habits — unless liver 
bile flows freely every day into your intestines to 
help digest fatty foods. SO USE COMMON 
SENSE! Drink more water, eat more fruit and 
vegetables. And if assistance is needed, take 
Dr. Edwards' Olive Tablets. They not only 
assure gentle yet thorough bowel movements but 
ALSO stimulate liver bile to help digest fatty 
foods and tone up intestinal muscular action. 

Olive Tablets, being purely vegetable, are 
wonderful! Used successfully for years by Dr. 
F. M. Edwards in treating patients for consti- 
pation and sluggish liver bile. Test their good- 
ness TONIGHT! 15i, 30j5 and 60$i. 

Tips on Pictures 

What to see and 
what to miss! 

The Three Marx Brothers — Groucho, 
Chico and Harpo — are starred in this hila- 
rious hodge-podge of circus hfe. Kenny 
Baker owns the circus, but needs $10,000 
to keep it going, a sum which the brothers 
immediately try to obtain for him with 
some very amusing results. Florence Rice 
and Kenny furnish the romantic interest, 
while Eve Arden is in for some swell 

those wise guys who say that Youth isn't 
getting a break today should see this de- 
lightful comedy with music in which the 
young offspring of out-moded vaudevil- 
lians get their careers started in pretty 
breezy fashion. There are some fine, lilt- 
ing tunes, good dancing, some priceless 
imitations AND Mickey Rooney, Judy 
Garland, Charles Winninger and June 

BIG GUY, THE (Universal)— Good. 
A meaty melodrama, with a prison back- 
ground, that packs a terrific wallop. 
Jackie Cooper does fine work as the in- 
nocent lad who is so eager for an educa- 
tion he gets himself hopelessly involved 
in a nasty prison break. And Victor Mc- 
Laglen is equally effective as the guard 
who later becomes warden. Edward Brophy 
brings some much needed laughs and Ona 
Munson is good as Vic's wife. 

(20th Century Fox) — Fair. Cesar Romero 
continues in the role of the romantic out- 
law made so popular by Warner Baxter, 
and acquits himself nobly. The plot is 
familiar, of course, just another variation 
of the Robin Hood theme. {Marjorie 
Weaver and Virginia Field.) 

— Fine. Marlene Dietrich switches from 

Brian Donlevy gets a bit o£ charming 
from the voluptuous Marlene Dietrich 
in Universal's "Destry Rides Again." 

Glamour Girl to Frontier Woman in one 
easy stride of those celebrated legs. As 
the hard-boiled entertainer in a saloon, 
she captivates us once again with her 
songs, just as she astonishes us with the 
vital manner in which she pulls out Una 
Merkel's hair during a fist fight. This 
western has plenty of "guts," and you'll 
especially like Jimmy Stewart as the soft- 
hearted deputy sheriff. {Charles Winnin- 
ger and Mischa Auer.) 

(20th Century-Fox) — Excellent. Like 
Allegheny Uprising, this film harks back 
to pioneer days when the Indians and 
the British both were making the Amer- 

Priscilla Lane in a night club scene 
from Warners' "The Roaring Twenties," 
in which James Cagney also appears. 


Silver Screen 

Walter Connolly and Mary Martin in 
"The Great Victor Herbert," a musi- 
cal triumph for Paramount Pictures. 

ican colonists' lives more than a trifle un- 
easy. Photographed in Technicolor this 
is lovely to look at, as well as possessing 
a gripping story and lusty action. Topping 
the cast are Claudette Colbert, Henry 
Fonda and Edna May Oliver. 

Amusing. The incomparable team of 
Laurel and Hardy are at it again in a 
slapstick comedy about two fish peddlers 
vacationing in Paris who decide to join 
the Foreign Legion. There are hilarious 
sequences, especially the one where Hardy 
gets Laurel to join him in a suicide pact. 
Lovely Jean Parker and Reginald Gardiner 
supply the romantic touches. 

(Paramount) — Charming. All lovers of 
Victor Herbert's melodious light operatic 
songs will have a field day when they see 
this story woven around his theatrical 
life. We would have hked to know a Httle 
more of his personal life, but, after all, 
his enchanting music speaks for him. 
Mary Martin, a newcomer who made a 
hit last year singing "May Heart Belongs 
■io Daddy," is lovely in the leading role 
opposite Allan Jones. Susanna Foster, 
who plays her 14-year-old daughter, is go- 
ing to receive a lot of cheers. Walter Con- 
nolly is perfect in the title role. 

Century-Fox) — Good. In which fact and 
fiction are pleasantly mixed. Filmed in 
Technicolor, it is more than pleasing to 
the eye, and should delight all movie fans 
who are interested in films from the pie- 
throwing Mack Sennett silent days up to 
the beginning of the talkies. {Alice Faye 
and Don Ameche.) 

Excellent. One of the most interesting 
quiz programs on the radio, one that has 
captured the attention of the intelligentsia, 
so-called, as well as- the great masses, has 
been transferred successfully to the screen 
for the second time in this short, with 
the radio cast intact. . . . Clifton Fadi- 
man, as master of ceremonies, and John 
Kieran, Franklin P. Adams -and Oscar 
Levant as the question-answerers. Rex 
Stout, the author, makes a charmmg 

INTERMEZZO (Selznick)— Excellent. 
A highly sophisticated screen story serves 
as the introduction to American films of 
Sigrid Bergman, the new Swedish chal- 
lenge to Garbo. Leslie Howard plays the 
[Continued on page 12] ' " 

Don't label yourself 
all winter long — 

Underarms always perspire even in Winter! 
To avoid offending, make a daily habit of MUM! 

No MATTER how cold it is outdoors, 
it's Summer under your arms. For 
underarms can, and do, perspire all year 
'round. In winter as in summer, you 
need Mum! 

Don't be deceived because you see no 
visible moisture. Chances of offending 
others ... of being tagged as "unattrac- 
tive"— are often actually worse in winter, 
for then indoor living and warmer 
clothes make penetrating odors cling. 

So don't label yourself . . . don't rely 
on a bath alone to guard your charm. A 
bath takes care of past perspiration, but 
Mum prevents f uture odor. 

More women use Mum than any other 
deodorant ... in summer and in winter, 
too. You'll find Mum . . . 

SO QUICK! In 30 seconds you're through, 
yet you're completely protected. 

SO SAFE! Mum holds the American In- 
stitute of Laundering Seal as being harm- 
less to any kind of fabric. And Mum 
never irritates your skin. 

SO SURE! You can rely on the protection 
of a daily dab of Mum. And Mum doesn't 
stop perspiration itself (one reason why 
thousands of men have the Mum habit, 
too!) Get Mum at your druggist's today. 

Important to 

Thousands of women use 
Mum for sanitary napkins 
because they knoiv that it's 
safe, gentle. Alivays use 
Mum this way, too. 



for February 1940 

Bud Wcstmore, Beauty Ex- 
pert at 20th Century-Fox, 
applies Wcslmore jnundatim 
cream jor Brenda Joyce. 

gets a WESTMORE make-up! 

This wonderful foundation cream is the "star" of 
the Westmore cosmetics line. Used by Hollywood 
stars for both screen and street wear, because it is 
DTK essential part of perfea make-up. It's lasting, 
water-proof, covers up tired shadows. Gives you a 
lovely, lively look in day or evening light. In four 
youthful glowing tones, with powder to match. At 
drug, department, and variety stores. 25^, 50(* sizes. 

MAKE-UP GUIDE Has measuring 
wheel to show you your face type. 
Tells how to make up each type 
for greatest glamour. If not on 
sale near you send 25^ to House 
of Westmore, Inc., Dept. F-2, 
730 Fifth Ave., New York City. 


ettveC Look 
10 Years Younger 

• Now, at home, you can quickly and easily tint telltale 
streaks of gray to natural-appearing shades — from lightest 
blonde to darkest black. Brownatone and a small brush 
does It — or your money back. Used for 28 years by thou- 
sands of women (men, too) — Brownatone is guaranteed 
harmless. No skin test needed, active coloring agent is 
purely vegetable. Cannot affect waving of hair. Lasting — 
does not wash out. Just brush or comb it in. One applica- 
tion imparts desired color. Simply retouch as new gray 
appears. Easy to prove by tinting a test lock of your hair. 
60c at drug or toilet counters on a money-back guarantee, 
iletaln your youthful charm. Get BROWNATONE today. 


This Old Treatment Often 
Brings Happy Relief 

Many sufferers relieve nagging backache quickly, 
once they_ discover that the real cause of their trouble 
may be tired kidneys. 

The kidneys are Nature's chief way of taking the 
excess acids and waste out of the blood. They help 
most people pass about 3 pints a day. 

When disorder of kidney function permits poison- 
ous matter to remain in your blood, it may cause nag- 
ging backache, rheumatic pains, leg pains, loss of pep 
and energy, getting up nights, swelling, puffiness 
under the eyes, headaches and dizziness. Frequent or 
scanty passages with smarting and burning some- 
times shows there is something wrong with your 
kidneys or bladder. 

Don't wait! Ask your druggist for Doan's PiUs, 
used successfully by millions for over 40 years. They 
give happy relief and will help the 15 miles of kidney 
tubes flush out poisonoiis waste from your blood. Get 
Doan's Pills. 

When Wintry Winds Blow— 

They always bring problems — especially skin 
problems. Here are the answers to the questions 
probably confronting you at this very moment 

By Mary Lee 

WINTER skin should be beautiful! 
Brisk winds can whip a color to 
the cheeks that no rouge can 
duplicate; a diamond-clear atmosphere 
with a brilliant sun dancing on snow can 
reflect a sparkle in eyes equalled by love's 
light alone. But, alas, this is an ideal, a 
castle in the air, indeed. The more general 
situation is that skin is either dry, rough- 
ened and taut, or it has a listless, bogged- 
down look, slightly off in color and tex- 

Extremes in weather cause definite skin 
reactions. And though you may truthfully 
attribute many skin dilemmas to wind 
and cold, you can attribute more to dry, 
indoor heating. Compare the time you 
spend outdoors now with the time 3'ou 
spend indoors, and then you will under- 
stand that good, rousing cleansing, lubri- 
cation and protection should play a 
twenty-four hour role, and not be reserved 
for special occasions. 

Not long ago, I met Ruth Terry at 
a gay cocktail party in her honor. One 
look at Ruth left two lasting impressions 
-T-her fine skin, so clear, so pink and 
white, so young and soft, and her round 
grey-blue eyes, again so clear, shining and 
full of tbe joy of li ing. Talks with these 
younger players always bring to light the 
two important factors of physical beauty 
— good health and good, simple care of 
themselves. Ruth, hke practically all the 
Hollywood actresses, uses cream and soap 
and water on her skin. But her skin 
beauty attests that she goes a little be- 
yond just superficial, usual cleansing. You 
gather that she cleanses frequently; you 
gather, also, that when she washes her 
face, she washes it, that if she uses cream, 
she uses it with more than just a quick 
dab on and a quick half-way removal. 
There is the situation in a nutshell — how 
you use your preparations. If you would 
like to know more on this subject, drop 
me a card or a line, and I will have sent 
to you a grand little book — a simple, clear 
exposition of good skin care. This is with- 
out cost, of course. Just let me know that 
you'd like to have it. 

Our popular brands of soap do a fine 
cleansing job, and I don't think you can 
get along without them, interspersed with 
the use of cream. But balance this use; 
work out ygur own program. For many, 
this will mean a sousing soap cleansing 
at night, followed by a lubricating cream, 
and the use of a cleansing cream in the 
morning and throughout the day, as you 
renew make-up. Once you work out your 
own program, you're on the way to bet- 
ter skin. 

Aside from the good products that most 
of us know, there are many "specials," 
ideally suited to specific conditions. 
Among them are the Kay Special Col- 
loidal Sulphur Soap. Colloidal sulphur is 
a helpful corrective in the treatment of 
surface eruptions, and for skins that break 
out and misbehave, I think you're going 
to find this soap the thing. The lather is 

Ruth Terry, latest Walter Wanger find- 
leaves two lasting impressions — her 
fine skin and her round grey-blue eyes. 


Silver Screen 


Let me send you 12 SHADES of 



Choose your most flattering — 
your lucky nail polish shade — 
without buying a single bottle 
of nail polish! 

Wouldn't you like to be able to take 
the 12 newest, smartest nail polish 
shades and try each one of them on your 
nails at your own dressing table? You can 
do just that . . . and do it with amazing 
speed. For, in a jiffy, merely by holding 
one of Lady Esther's Magic Fingertips 
over your nails you can see exactly how 
each shade of poHsh — the actual polish 
itself— looks on your hands. 

W/iaf are these "Magic Fingertips"? 

They are life-like reproductions of the 
human nail . . . made of celluloid. Each 
wears a true tone of Lady Esther 7-Day 
Cream Nail Polish. Yon see instantly 
which shade flatters yourhands... accents 
your costume colors. 

Choose your lucky shade, then ask for 
it in Lady Esther 7-Day Cream Nail 
Polish at your favorite store. See how 
this marvelous new polish gives your nails 
gleaming, exciting loveliness for 7 long 
days. And just one satiny coat is all 
you need! 

FREE! Send For Your 
12 Magic Fingertips! 

Clip the coupon nowforyour 
12 free Magic Fingertips. Let 
your own eyes reveal the one 
nail polish shade that ■gives 
your hands enchanting grace 
and beauty . . . that looks 
smartest, loveliest with your 
costume colors. 

thick and creamy, the soap is mild, in 
hard, convenient-size cakes that last a 
long time. You'll find this soap at your 
favorite toilet goods counter; or let me 
! know, if you don't. This soap is made 
by the maker of Kay Formula 301, which 
helps restore beauty and smoothness to 
1 skins marred by blackheads, eruptions 
I and other such annoyances. You can use 
it as a powder base, and thus it does its 
fine work constantly. The soap and for- 
mula make an excellent pick-up treatment 
for those skins I mentioned — off color 
and off fine texture. 

If you're just a "dry," then my first 
suggestion is a good, animated cleansing, 
followed by a rich lubricating cream. 
Elmo Special Formula Cream is a good 
friend in this case. You can almost feel 
it softening and smoothing, and I heartily 
recommend it where a good lubricant is 
needed. It is especially designed as a 
super-lubricant, and I think it is just that. 

For those who like a cold cream, there 
is Sitroux Cold Cream that made its debut 
last year, along with Sitroux Finishing 
Cream. Both creams are made of the 
purest oils, and I find this Cold Cream 
ideal as a cleanser, because of its nice, 
light texture, and a fine softener when 
applied at night. In fact, one jar will serve 
these two purposes. You will find both 
creams in your chain stores, reasonably 

You can use quantities of any kind of 
good lubricant, cream or lotion, over large 
areas of yourself in winter and benefit 
immensely thereby in beauty and comfort. 
Use your face cream, or a special eye 
cream, if you prefer, generously about 
your eyes at night. Every 'acial expres- 
sion, every smile or frown "works" this 
tender skin about your eyes, and the 
drier it is, the more prone to little lines 
that in time become wrinkles. The neck 
is another part that weathers badly. How 
disappointing to see a fresh, smooth face, 
but a lined, coarse and darker-toned neck. 
Sweep up and down, with hand palms 
covered with cream or lotion, from collar- 
bone to jawbone, and leave some lubricant 
on over-night. 

Now hand cream or lotion is no luxury. 
You can get the finest for a song, yet 
how many neglect its use. But, as you 
probably know, when you begin to an- 
alyze any girl who isn't popular, or lovely, 
or in demand by the boys, you can check 
off one by one the httle personal neglects 
that build, in total, unattractiveness. Mod- 
ern hand emollients are so easy to use. 
Application takes a few seconds ; they dis- 
appear; they aren't sticky and they don't 
get in your way. They do, however, give 
skin a soft moist quality, one secret of 
preventing dryness. If you are one of the 
good girls who uses a hand preparation 
regularly, then extend its use. Use it all 
the way up your arms to your elbows, 
rubbing extra in there. Use it, in extreme 
weather, from ankles and over knees, if 
you want soft, fair skin to glimmer 
through your sheers. And any time your 
body skin feels dry, after a nice, warm 
bath, a palmful or two rubbed over your 
entire body makes you feel oh so good 
and silky and soft, as you drift off to 
sleep. Pump-roughened heels and chapped 
insteps respond well to this treatment, 
too. By way of news, if you like Hinds 
Honey & Almond Cream, then you might 

{You can paste this on a penny postcard) 

Lady Esther, 7162 W. 65th St., Chicago, III. 

EDEC Please send me by return mail 
• i»t t your Magic Fingertips showing all 
12 different shades of Lady Esther 7-Day 
Cream Nail Polish. (52) 




// yoiilive in Canada, write Lady Esther, Toronto, Ont. 

for February 1940 


New under-arm 

Cream Deodorant 


Stops Perspiration 

1. Does not harm dresses — does not 
irritate skin. 

2. N<5 waiting to dry. Can be used 
right after shaving. 

3. Instantly checks perspiration for 1 
to 3 days. Removes odor from 

4. A pure, white, greaseless, stainless 
vanishing cream. 

5. Arrid has been awarded the 
Approval Seal of the American 
Institute of Laundering for being 
harmless to fabric. 

More than 25 MILLION 
jars of Arrld have been 
sold . . .Try a jar today. 


(Also in 10 cent and 59 cent jars) 

p!c RiiiK NOW. Only r 
siyhi. Take Or.itrs— Mnki 
SIrip of paptr for nnp si/.c 
wilh ting. Send -ISc and w 

i-w niaEiificd photo scllin) 
n'hich K'vcs pirlurt a trui 
Mkcncss. Indcsrrucliltk' 
W.itcrpniof ! Stnd (or Sam 
ladc (rnm Any pholo I'hntn Riiics sell oi 
Moncvf SEND NO MONEY, l^ndo^ 
I'ay f'ostmjn ■ISc plus a Itw ccnis post.ige. E'hoto returned 
■ pay postagi;. Order now! (Canadian orders must send cash.) 


PHOTO WOVmE RING CO.. Depl. S-4, 606 Vine St.. Cincinnati. 0. 

Use your spare lime now to 
train for a jjleasant, profit- 
able Art career. Our proven 
home-study metho<l has been 
training' men and women for 
art careers since 1914. Our 
method mnkes it fun to learn 
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Sent on 

OF ART, 1115— ISth St., N. W., 

like to know this old favorite has a part- 
ner now, Hinds Hand Cream, in a jar, 
made expressly for those who prefer a 
cream in a jar, including all the nice 
qualities of the original Hinds. 

A great believer in keeping skin, in- 
deed nails, brows and lashes, well lubri- 
cated is lovely, blonde Jane Wyman. 
Blondes are more often dry types than 
brunettes. Jane is a faithful user of 
cream, and she offers this extra thought: 
"Don't try to patch up your make-up 
when it has lost its freshness. Instead, 
start all over by removing every trace 
with cream, and carefully removing the 
cream with tissues." Every girl should 
replace her make-up at least once daily, 
preferably twice. Jane keeps her nails 
beautifully groomed by applying cuticle 
oil on fingertip and gently moulding back 
cuticle with the soft finger pad. If you 
follow this practice nightly, you'll be sur- 
prised at what a beautiful manicure you 
can do, because there's no hard or 
roughened cuticle to worry you. When 
Jane is all made-up and ready to go, she 
does this: she dips an eyelash brush in 
mineral oil and then she brushes her 
lashes to remove any particles of powder. 
This is very effective on lashes satis mas- 
cara, as it makes them shine and appear 
darker. While on the subject of lashes, 
let me remind you of an, excellent mas- 
cara, Camille Cream Mascara, which you 
will find in your chain stores. A tube and 
brush are compactly fitted into a cunning 
pink and black plastic case, just the right 
size to snuggle in your bag. You know 
the magic that lies in mascara — of all 
accents, except lipstick, nothing makes a 
greater instant change. Camille Mascara 
is pure and harmless, and you will like 

the silky sheen it gives your lashes. 

So far, our beauty thoughts are all for 
waking you up and keeping you soft and 
smooth against drying winds and atmos- 
phere. This condition is the very begin- 
ning of glamour, of course — soft, lovely 
skin. But I am reminded again of pretty 
Ruth Terry, nibbling her hors d'ouevres 
and telling me some of her own ideas on 
good looks. She uses no colored eye sha- 
dow, but she does use a colorless one, 
which makes the space above her eyes 
luminous, soft and dewey. This is a good 
tip for all who are young and clear-eyed. 
Any cream will work, but Kurlene, a 
Kurlash product, for grooming lashes and 
brows, will also give a lovely lustre to 

Ruth is also a great advocate of a 
brush for shaping hps. She showed me 
her own, there in her afternoon bag. At 
this moment, there is probably some very 
good news around your town or city — 
Cinema Sable Fountain Lip-Brush. Re- 
move the tip, as, you would from a lip- 
stick. There is, a little brush that draws 
a perfect outhne in a color that is fed 
into the brush from the tube. The color 
concentrate is soft, luscious in texture and 
colors, and lasts well on the lips. This, 
readers, is what I think you've been wait- 
ing for. The cream seems very protective 
for lips, too, and you buy refills as you 
need more color. 

If you will choose as many as possible 
of your beauty aids with a softening ef- 
fect in mind, you can outwit Winter any 
old time. Creams, and plenty, remember, 
for cleansing, for lubricating and for pro- 
tecting — the latter meaning powder bases 
and lotions for exposed parts, like face, 
hands, arms and legs! 

Tips on Pictures 

[Continued from page 9] 

famous concert violinist who temporarily 
forgets his wife [Edna Best) and family 
when he meets Sigrid, a student of the 
piano. Their brief, but altogether charm- 
ing love affair, will leave a haunting mem- 
ory in your hearts. 

Fine. This homespun story of a small 
town doctor who sacrificed a brilliant 
career as a surgeon in order to help the 
poor and underprivileged will appeal to 
all lovers of the simple, honest things of 
life. Jean Hersholt is just right as the 
doctor; Paul Harvey properly blustery as 
the flinty mayor; Enid Bennett {remem- 
ber her?) charming as the mother of the 
two incorrigibles, Jackie Moran and Patsy 
Lee Parsons. You'll like it. 

mount) — Fair. Even with such capable 
players as Pat O'Brien and Olympe Bradna 
playing top roles — and with the delight- 
ful assistance of Roland Young — this 
drama of backstage life fails to make the 
grade completely. However, it does have 
its moments. Other interesting players in 
the cast are Reginald Gardiner, George 
E. Stone and Murray Alper. 

NINOTCHKA rA^GMj— Delightful. A 
Garbo film is always a treat, but when 
Garbo goes comedienne it's an occasion. 
Especially with Ernst Lubitsch directing! 

The story is a satirical take-off on a small 
group of Soviet Russians sent to Paris to 
sell some rare jewels confiscated from a 
former Grand Duchess {Ina Clare) whose 
boy friend (Melvyn Douglas) falls for 
Garbo, Soviet Envoy Extraordinaire. 

AND ESSEX, THE (Warner Brothers)— 
Fine. Pomp and pageantry at its best, 
with Bette Davis turning in a beautiful 
characterization of Queen Ehzabeth dur- 
ing the period of her exciting, but emo- 
tionally devastating, romance with the 
swash-buckling Lord Essex (Errol Flynn). 
Fine cast includes Olivia de Havilland, 
Donald Crisp and Alan Hale. 

ner Brothers) — Exciting. The clock is 
turned back for us to the post-War days 
when the world was run ragged by pro- 
hibition, gangsterism and the Great De- 
pression. It all adds up to a fast-moving, 
hard-hitting film with Jimmy Cagney at 
his best as the ex-soldier turned gangster, 
Priscilla Lane as a night club singer, and 
Humphrey Bogart as a ruthless killer. 

— Fine. Once again Lew Ayres plays 
Lionel Barrymore's promising young as- 
sistant in this latest Dr. Kildare film, but 
once again, good as Ayres is, Barrymore 
holds the spotlight. (Helen Gilbert.) 


SiLv-ER Screen 

Hollywood Earfuls 

[Continued from page 6] 

for the week-end. So the little girls get 
healthy and get to see their idol at the 
same time. 

« — — » 

When Ronald Colman's "Light That 
Failed" is released, fans will get their first 
glimpse of Muriel Angelus, who made such 
a hit in the New York stage production 
of "Boys From Syracuse." In the short time 
that she has been in Hollywood, Muriel 
has made such an impression with studio 
co-workers— the gang on the sets have 
nick-named her "Muriel Angel-Puss." 

Their second wedding anniversary was 
indeed a gala occasion for Margo and 
Francis Lederer. When she won out over 
one hundred and fifty actresses and got 
the lead in Sidney Kingsley's "The World 
We Make," Margo flew to Boston to cele- 
brate her anniversary and share her good 
news with her husband. When she arrived 
at the theatre where Francis Lederer is 
breaking feminine hearts in Katharine 
Cornell's "No Time For Comedy," Margo 
was stopped by the stage door man. 

"I'm sorry miss," he explained. "But 
you'll have to wait your turn. Mr. 
Lederer's room is so packed there isn't 
any more room. You'll have to stay here 
until some of the other ladies come out!" 
" — — " 

That was a terrific rib that George 
Murphy pulled on Fred Astaire. Albert 
Morin, an actor who is also a professional 
"instdter" was told to go to work on Fred. 

Right in the middle of one of the big 
"Broadway Melody" dance numbers, Fred 
was stopped by Morin. That annoyed 
Fred to start out with. Morin, posing as a 
new studio designer, informed Fred that 
all his costumes were so terrible, they had 
to be made again. Fred assured Morin that 
he had personally okayed the costumes and 
they were everything he hoped they would 
be. Morin then proceeded to tell Fred that 
his taste was bad, that he didn't know 
anything about costumes or what looked 
good on him. The usually mild-mannered 
Astaire was fit to be tied. Just when he 
was about to explode, George Murphy 
stepped in and exposed the gag. Fred took 
it like a good sport, but heaven help the 
Irish when he gets even with George. 
— " 

Ever since Madame Maria Ouspcnskaya 
moved her famous school to Hollywood, 
Jean Parker had been wanting to meet the 
Russian actress. Finally, a mutual friend 
brought "Mousie" (As George Brent calls 
her) to Jean's house for dinner. Jean was 
so excited and anxious to make the evening 
a huge success. So she sent out and bought 
up all the heavy Russian recordings in 
Hollywood. For hours Madame sat patiently 
and listened to the mournful music. Final- 
ly, Jean turned to her and asked if there 
was any particular piece she wanted to 

"There certainly is," answered Ouspens- 
kaya. "Will you play — 'Sea Food Mama!' " 

Adrian and Janet Gaynor have solved 

the problem of entertaining their mutual 
friends. One evening Janet will have all 
those she is fond of and the next evening 
it will be Adrian's turn. The happily wed- 
ded pair also happen to have many friends 
in common whom both have known for 
many years. So on week ends they have 
them in. 

Anyone but the gallant Gary Cooper 
would have been furious at this fan. Gary 
was coming out of the Chinese Theatre, 
when the fan walked up and asked for an 
autograph. Gary graciously consented and 
held out his hand for the pen. The fan 
flew into a rage. 

"It's your business to carry a pen," he 
stormed at Gary. "Now you won't be able 
to give me your autograph." 

Topper to the story is this. Very much 
concerned, Gary stammered out an apology 
and promised he would never be caught 
in such an unforgivable predicament again! 

At the age of twenty-nine, Douglas 
Fairbanks, Jr., admits that he could retire 
for life if he wanted to lead a lazy man's 
existence. Not so long ago those Holly- 
wood wise heads predicted that Doug was 
all washed up. Today he is one of the 
three highest priced players on the screen. 

Ever since he announced he was going 
to build a house poor Cesar Romero hasn't 
had a moment's peace. Salesmen, solicitors, 
insurance brokers, gardeners and garbage 
men ring his door bell and call him on the 
phone at all hours of the day and night. 
Cesar changed his private number and it 
still keeps up. What he doesn't know is 
that Ray Milland, Franchot Tone, Burgess 
Meredith and his other friends have 
framed him. To make everything perfect, 
Franchot gave Cesar a kitchen shower! 

GETS yoa Dom 


It is always refreshing and restful. Your 
choice of Peppermint, Spearmint, Oralgum 
and 3 flavors of Beechies (candy coated) — ■ 
Peppermint, Spearmint and Pepsin. Below 
is the famous "flavor" town of Canajo- 
harie, N.Y. — known for Beech-Nut quality 
ond flavor. 

for February 1940 




/AMES CAGNEV, in his trench garb 
of "The Fighting 69th," pushed, his 
chair back in his Warner dressing 
room and dictated this note to me. He 
softly chorded his ever-handy guitar as he 
spoke, at least so his secretary wired — 

"The suggestion that I play John Paul 
Jones on the screen came in a rather un- 
usual way. One evening, some time ago, 
I was called to the telephone by my 
friend, Dwight Franklin, the sculptor, who 
had just been commissioned to do a heroic 
group with Jones as the central figure. 
He told me he had made an interesting 
discovery, that not only did I resemble 
Jones very strongly in facial characteris- 
tics, but that our physical measurements, 
general attitude, personality, everything, 
seemed to be identical. He urged me to 
play Jones on the screen. 

"It was a coincidence that, on the very 
next day, Lou Edelman, an associate pro- 
ducer at Warners, called to tell me he 
thought I should do a John Paul Jones 
story, that he would put writers on the 
script right away. 

"I am eager to do John Paul Jones not 
only because he was a fellow of great 
and daring accomplishment, a hero and a 
villain at the same time, but I feel that 
I actually know him. In one great respect 
I think along the lines he did. One phrase 
that repeats itself in most of his writings, 

Often the stars say one thing, 
but mean another, so let's 

practically all of his letters, makes this 
clear to me. He frequently wrote, using 
almost the same words: 'AH I've ever 
wanted is the opportunity for the calm 
contemplation of poetic ease." 

"That's what I've wanted all of my life, 
a quiet little place somewhere where it's 
not crowded. Where there are no worries, 
no jealousies, no fighting, no quarrels, no 
constant striving for something that isn't 
there. But what I've had most of my life 
is a battle. Sure, I know John Paul 

Maybe John Paul Jones was the Jimmy 
Cagney type, even though the famous sea- 
man of the 1770's never knew about gang- 
sters, or gats or grapefruit. It's a com- 
forting thought. Heroes of the Continental 
era tend to appear Hke overstuffed fables. 
It's nice to know that John Paul had the 
nervous Cagney punch. I can see him now, 
pushing his way into the Serapis and 
shooting out the lights of the officers' mess. 
All the time just seeking the calm con- 
templation of poetic ease, 

r\AVID NIVEN vias worried when I 
^-^ encountered him in New York. Hol- 
lywood press agents had made such a 



Frederick James Smith 

to-do about Niven returning to fight for 
the mother country that he finally felt 
he must do something about it. So he 
decided to go to England and see. Would 
his old regiment, the Highland Light In- 
fantry, need him? He didn't know. I asked 
him what he thought an extended time 
out woidd do to his yoting and freshly de- 
veloped career. 

"With my sort of stuff I doubt very 
much if it could matter. It would be fatal 
to a glamour boy to be off the screen 
more than a few months. I'm not a 
glamour lad, thank heaven. 

"I'd hate to lose what I've climbed 
into. People seem to think I casually 
dropped into success. Not a bit of it. I 
had my tough spots. I remember trying 
to get a chance on the other side in the 
London Films' production of 'Henry 
VHL' They took a lot of photographs 
and then handed them to me. 'There are 
the stills,' they sighed politely. 'Judge for 

"Then, over here, I did a bit in 'Bar- 
bary Coast' at United Artists. They threw 
me out of a window into the mud — and 
later spelled my name Nevins in the cast. 
Then I said, 'Goodbye, my dear' to EHssa 
Landi at Paramount in 'Without Regret' 
— and it was goodbye. Nobody asked me 
to come back for another role. Edmund 
Goulding, the director, helped me get 

"That's what I've wanted all of my life, a quiet little place somewhere 
where it's not crowded. Where there are no worries," says Jimmy Cagney. 

"Heaven knows," exclaims Dorothy Lamour, "I'm thankful I was given the opportunity 
to wear six inches of Polynesian print and thereby become a movie star." Right: States 
Orson Welles, "What I don't like about Hollywood is the gang movie — and I don't mean 
the Dead End Kids. I mean the assembly Hne. method of manufacturing entertainment." 



started more than anyone else. Ronald 
Colman fought to get me into 'The 
Prisoner of Zenda' cast two years ago. I 
owe a lot to Ronnie for that. 

"I'd hate to lose my little Hollywood 
spot. But I doubt that England wants, 
or needs, any of us now. Or that I'd be 
forgotten in films if she called me." 

Don't bank too much on the memory of 
the public, Davy. Look at all the idols of 
yesteryear playing bits in the background 
of 1940 films. It's all very well being a 
playful, youthful edition of Ronald Col- 
man but keep at it, or look out. The pub- 
lic's memory is as short as a forgotten 
star's bank account. You have to stay in 
there and keep punching, or else. 

(JRSON WELLES, the Mercury Thea- 
ter actor who scared part of America 
half to death with a radio broadcast about 
men from Mars landing in New Jersey, 
is out 171 Hollywood to make a movie. The 
RKO officials are putting up a sizeable 
sum to let him have a free hand in direct- 
ing, producing and editing a Joseph Con- 
rad story sans all studio supervision. 

"Ever since I came out here Hollywood 
people who know what they're talking 
about have been telling me what's wrong 
with motion pictures, and none of them 
agree. As far as I can see, the medium 
itself is almost limitless. My guess is that 
the men at' the top are not as much to 
blame or, let's say, they're not as un- 
necessary as the men in the middle. 

"Any big business, I suppose, has to 
support its quota of executives, but sell- 
ing a movie isn't the same thing as mak- 
ing it, and the two fields of endeavor 
should logically be separated one from the 
other. A publisher contributes almost in- 
evitably to the delinquency and degrada- 
tion of literature when he interferes with 
the writing of the books it's his business 
to market. Now selling motion pictures is 
a business, but making them is a profes- 
sion. I suggest that, since books are writ- 
ten by writers and not by their publishers, 
motion pictures should be made by direc- 
tors and not by their producers. 

"What I don't like about Hollywood is 
the 'gang' movie — and I don't mean the 
Dead End Kids. I mean the assembly line 
method of manufacturing entertainment 
that has developed in the last fifteen years 
or so, and I share this prejudice with prac- 
tically everybody whose craft is the actual 
making of a movie and not the job of 
'supervising' it, or this business of selling 
it. When too many cooks get together 
they find usually the least common de- 
nominator of dramatic interest. And what 
does the consumer get out of the huddle 
system? He gets the double feature." 

It is apparent that we have the big stu- 
dio production muddlers reeling — now that 
outspoken Orson has taken a few cracks. 
But the bearded Mr. Welles is treading 
on dangerous territory. He doesn't know 
picture 'technique, which is poles apart 
from stage technique. He's to do a big film 
without anyone intruding upon his schemes. 
And all Hollywood is waiting on the side- 
lines, enchanted by his beard and his 
temerity. Laying odds on his chances, too. 
We shall see, we shall see. 

T^OROTHY LAMOUR has ridden to 
success in a sarong. Like all humans, 
[Continued on page 60] 


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for February 1940 


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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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looks punk. 

It takes those good, old Carter's Little Liver Pills 
to get these two pounds of bile flowing freely and 
make you feel "up and up." Gentle, yet amazing in 
making bile flow freely. Ask for Carter's Little 
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Stubbornly refuse anything else. 

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with the amazing new MOTION PICTURE TEL-A-FAN 
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dial, and all of this information is yours — AT ONCE! 

There is nothing else like this co'pi/righted new TEL-A- 
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your name and addi-ess. 

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507 Fifth Avenue New York City 

A Helping Hand 
From Hollywood 

WHEN the S8th birthday of Presi- 
dent Frankhn Delano Roosevelt 
is celebrated on January 30, Hol- 
lywood will play an important part in 
the celebration, just as it has in the past 
four years. As dances and entertainments 
are held all over the United States, a 
group of your favorite movie stars will 
give liberally of their time and talent to 
aid in the fight against infantile paralysis. 

Since January, 1936, when Ginger Rog- 
ers took off her shoes and danced for 
the President in the Oval Room of the 
White House, stars of the silver screen 
have been invited to Washington for the 
birthday celebrations there — and have 
been White House guests at a birthday 
luncheon. For a few days, Pennsylvania 
Avenue takes on the aspect of Hollywood 
Boulevard, with stars such as Errol Flynn, 
Robert Taylor, Frederic March, George 
Brent, Annabella, Janet Gaynor and nu- 
merous others liable to pop out from be- 
hind the nearest diplomatic car. 

But do not think for a moment that 
these visitors from Hollywood receive 

Above: Andrea Leeds watches Mrs. Roose- 
velt cut the President's birthday cake. 
Left: Errol Flynn with the President at a 
horse show, in Washington, D. C, in 
which Errol rode the President's horse. 

presidential honor and reams of publicity 
for nothing. They must give lavishly of 
themselves in order to make certain the 
success of the Washington celebration, 
which annually adds more than $50,000 
to the national fund to combat the dread 
disease — poliomyelitis. 

The official round of activities in the 
Nation's Capital includes, besides cocktail 
parties, receptions, broadcasts, dinners 
and visits to Capitol Hill, personal ap- 
pearances at the balls held in seven lead- 
ing Washington hotels and at the midnight 
stage shows in two downtown theaters. 
In addition, one or two of the stars at 
least must drive over to Baltimore, Mary- 
land, or Alexandria, Virginia, to add ap- 
pearances at dances there to the hst of 
chores for the evening. 

"It's like playing a week of vaudeville 
in one night," a theater-wise star once 

He was right. Playing ten shows in one 
short evening is a full schedule indeed. 
A star who makes the rounds needs all 
of the energy he can muster, for the trek 
has been known to tire even the inde- 
fatigable Mrs. Roosevelt, who makes ap- 
pearances everywhere the stars do. 

Many of cinemaland's brightest figures 
have made the jaunt, however, delighted 
to honor the President and happy to do 
their bit in the fight against paralysis. 
They grin and bear up under the strain 
of the night's activities, which begin at 
9 P.M., and continue until 4 A.M., or 


Silver Screen 

Ever since Ginger Rogers took off 
Iher shoes and danced for the Presi- 
dent, movie stars have played an 
important part at his Birthday Ball 



A complicated schedule that would 
baffle a train dispatcher routes the stars 
from hotel to hotel, and from theater to 
theater. Each star has a special limousine, 
complete with police escort, honor guard 
from a Marine Regiment, a newspaper 
writer to act as host, and a studio or 
theater representative to act as buffer. 
Each of the distinguished visitors makes 
an individual appearance; when Errol 
Flynn, for instance, is appearing at one 
ball, Andrea Leeds is taking her bows 
at some other hotel. 

The personal appearance is little more 
than that — an introduction, a few words 
of greeting, a bow — and then off into the 
car and, with sirens screaming, bound full 
tilt for the next stop on the lengthy 

At 11 P.M., in the midst of their vari- 
ous appearances, all of the guests of honor 
assemble at the White House, where they 
fill the Oval Room to watch the President 
broadcast his birthday message to the na- 
tion. After that, he shakes each one's 
hand and expresses his thanks. With this 
interlude of quiet over, the star is whisked 
to the next stop, and the evening is in 
full swing again. 

The cHmax comes at 1:30 A.M., at the 
Gold Plate Breakfast at the Carlton Ho- 
tel. There a select few hundred pay $25 
a plate to see all of the stars — by this 
time a weary group of troupers compar- 
ing notes on their evening's journeys. 
There is music, dancing, champagne — and 
it is 3 or 4 A.M. before Mr. or Miss Star 
can disappear to the sanctuary of his 
or her own hotel. 

Of course, it was all much simpler in 

Right: The President's mother with 
Sonja Henie. Below (I. to r.) : In 
Washington for the celebration, Joe E. 
Brown, Eleanor Powell, Mrs. Roose- 
velt, Fredric March, Maria Gamberelli 
and (front) Ann Gillis and Tommy 
Kelly. Each year there's a new group. 

1936, when Ginger Rogers inaugurated 
the custom of Hollywood participation in 
Washington's celebration. Ginger hap- 
pened to be spending a six weeks' vacation 
seeing shows in New York when it was 
suggested that she come to the Capital — 
and come she did. 

On her arrival, Washington drama edi- 
tors were surprised to discover that 
Ginger was not a redhead, but a blonde. 
She startled fans, too, many of whom 
thought it was Jean Harlow who was 
greeted with such ceremony at Union 

Most astounding of all was Ginger's 
confession, at a press luncheon, that she 
got blisters on her feet from dancing so 
much in pictures. 

"I'm afraid I never was cut out for a 
dancer," she declared. 

But when she visited the White House, 
the President did not seem to beheve 
her denials. 

"How about a little dance?" he asked. 

Whereupon Ginger pulled off her slip- 
pers and danced — to the applause of the 
President, other [Contitiued on page 62] 

isnH enough 

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City and State 

jor February 1940 


THRILLINGLY ON THE SCREEN! Those stirring days of 
minstrels and river boats . . .when a great and stormy love put America's joys 
and sorrows to music and gave us the songs we took to our hearts forever ! 


The Story of Stephen C. Foster, the Great American Troubadour 






Directed by SIDNEY LANFIELD . Associate Producer Kenneth 
Macgowan • Screen Play by John Taintor Foote and Philip Dunne ^\^^^ 

DARRYL F. ZANUCK in Charge of Production ^^^^ 

" Gentlemen, be seated ! ^^'^imAmatmJLmaAmmAmi^lkmJkmSmi^^m^mm^^ 


Silver Screen 

For Gossip 

OLIVIA De HAVILLAND is still blushing. It seems that she and the 
Brian Ahernes and several members of the English colony were gath- 
ered at dinner, and as usual were discussing the war, mines, sub- 
marines, etc. "The safest way to go to Europe now," said OHvia with great 
aplomb, "is on the Countess de Frasso." Dead silence. "I — I — mean," stut- 
tered OUvia miserably, "the Conte di Savoia." She'll never live that one down. 

The Nelson Eddys are denying those stork rumors. And everybody says, 
except the Tyrone Powers, that the bird is flapping its wings over the Tyrone 
Powers. And the Douglas Fairbanks, Jr., heir arrives in April. 

Curious Hollywood has been trying for weeks to discover the identity of 
Linda Darnell's boy friend. At last — he's discovered! His name is Jaime Yorba, 
he was bom in Spain, and has been in Mexico City studying to be a civil 
ei^neer. He and Linda used to have dates in Dallas, Texas, when Linda was 
in high school there. According to Linda he was, and is, her number one boy 
friend, and he's coming to Hollywood soon to visit her. 


Constance Bennett is simply melting them to their shoe-tops with glamour 
on her present personal appearance tour in the East. She does twenty-eight 
appearances a week and wears a different gown at each show. The stage-door- 
johnnies are so generous in their adoration that Connie's dressing-rooms don't 
begin to hold the orchids. Anyway, Connie is having some experiences. She 
was arrested in Cleveland for holding up traffic when she made her chauffeur 

Left: Night-clubbing is un- 
usual for Bing Crosby and the 
missus (Dixie Lee), but they 
did it recently at the Beverly- 
Wilshire when Herbert Mar- 
shall (left) tossed a party in 
their honor. Below: Martha 
Raye gets her legs powdered 
for a scene in "The Farmer's 
Daughter." Lo-wer right: Andy 
DevLne reads the right sort of 
stuff. Lower left: Ann Ruther- 
ford bestows a kiss upon Di- 
rector George Sidney as Lynn 
Carver and Sidney Kahn gaze. 

upper Uft: Director WUliara KetgKley ditcMtes a (ceoe for "Tke Fight- 
ing 69th" with Jame* Cagney. A6ov«: At a cocktail party before the 
opening of the Lot Aagele* Opera teacoa. Gene RaynMnid tells a atory to 
Walter Pidgeon, Mrc Raymond (Jeanette MaeDomaU), Lily Pona and 
hubby Andre Koatalenetz. Left: Brian Aheme with hii bride, Joan 
Fontaine, at the Cafe Lamaze. L«u>er left: Henry Fonda and Claodetto 
Colbert take time out for a drink of water during a reheanal for 
their recent Kate Smith broadcast of "Drums Along the Mohawk," 




stop in order to sign autographs for four kids who had been dogging her ■"i,^ 
car for blocks. In another city, sixty-three high school girls stormed the l^^i 
hotel where she was staying, bribed their way up to her suite, and tried "'I 
to sell the maid on letting them take a peek at her while she was sleep- 
ing. According to intimates, Connie is getting the kick of her life out of 
this tour — ^and, according to critics and press notices, so must everyoiie|l(fmi 
who sees her. 


Virginia Field is never without her mad money. Imtead of the pro- 
verhial charm bracelet, "Ginnie" wears one containing varied sized framesi 
into which may be slipped nickels, dimes and quarters. She keeps the' 
coins highly polished, and the effect is completely novel — and practicd. 
Richard Greetie, of the dimples, is still head m<in in her Ufe. Fotih 

— 4»— ' lid 

Well, really now, George Brent can't be everything to every woman. tl^ii 
But one week-end recently, mind you just onS ■week-end, he was reported 
visiting Olivia de HaviUand at Coronado Beach, beauing Greta Garbo at uliioii' 
Palm Springs, and welcoming Bette Davis home in Hollywood. Well, 
really, he's not that good. 

The fans pile into the Florentine Room at the Beverly-Wilshire these, 
evenings to see Marlene Dietrich and Jimmy Stewart dancing every^ 
dance. ' 

/ f Tyrone Power shows you an old tin can that looks like a megaphone 
and asks you pathetically if you don't think it would make a wonderful 
lamp, for heaven sakes don't agree with him. He's only kidding, he's one 
of the best kidders in Hollywood. "You'd be surprised," says Annabella, 
"how many people agree with him when he shows them that horrible old 
tin can." Well, Annabella, don't forget it's a yes-tovon, full of yes-people. 

From a clipping in a Hollywood newspap^*, anent the War: **No longec 
can Irene Dunne have her Czecho-Slovakian filets of anchovies. Or Joan 
Bennett her pate de foies gras, with truffles or Perigord. Or Wally Ford his 
favored Polish hams. Even Dorothy Lamour's Norw^ian herring and 
Isabel Jewell's Russian caviar may be war casualties." 

Mercy now, doesn't it just bresd^ you up! Those poor, poor, movie stat*,. 

The most embarrassed man we have ever seen sat next to us at the 
Shrine Auditorium recently when the San Francisco Opera Company gave; 
out .with "Rigoletto." AH the music lovers and movie stars were gather©" 
in worshipful sflence. It was just as the curtain vras parting and the mai 
next to me leaned over to pick up his program. The buttons of his coai 
caught in Jeanette MacDonald's hair — ^and caught good. For awhile il 

li you're curious cdx>ut the intimate doings of yo\ 



iOIB d 

Above: W. C. Fields gets a bit affectionate on die Universal lot where 
he's making "My Little Chickadee" with Mae West. Upper right: Direc- 
tor Raool Walsh, Hedy Lamarr and her hubby, Gene Markey, at the first 
Hollywood showing of "The Roaring Twenties," which Walsh directed. 
Higbt: Alan Marshall, the Englishman who plays opposite Anna Neagle 
in "Irene," with Edgar Bergen and Jean Arthur, who rarely permits 
candid photo*. Lower right: Linda Darnell, with Robert Shaw, give* an 
autograph at a sneak preview of her latest picture, "Day-time Wife." 

emed that nothing would ever release him from Jeanette outside of a 
)od snipping with scissors. In all the confusion and fuss we are delighted 
1 report that Jeanette, a devout music lover, kept her sense of humor. 

Although Joan Fontaine was twenty-two years old on her last birthday 
tere were only twenty-one candles on her birthday cake. 

Frank, her Filipino butler, who is an avid student of American etiquette, 
'.mained serene when the. error was called to his attention. 

"But I'm twenty-two, Frank," Joan protested. 

"Sorry, missy," was Frank's reply. "Blue Book says American ladies 
ke only twenty-one candles on all birthday cakes." 

For the first time since she made her debut at the age of three, Jeanette 
facDonald will appear in Philadelphia, her home town, during her concert 
>ur this Spring. The citizenry wasted no time proving how they felt about 
eanette. Four months before her schedtiled appearance the town's largest 
uditorium, where her concert occurs, was completely sold out. 

Speaking of movie stars, says Mark Hellinger who did aU right by "The 
loaring Twenties," two female movie youngsters sat in the Brown Derby 
lie other night and discussed a woman star with whom they were working. 

"What do you think of Miss X?" asked the first. 

"Some people think she's awful catty," the second youngster snorted. 

"Catty!" screamed the first. "Why she's so catty that they're afraid to 
save her in the same room with a canary." 

Rumors persist that Dolores Del Rio and Cedric Gibbons are going to 
■all their marriage off. Anyway, Dolores returns to the screen in the 
fewest Wally Beery picture at Metro, and according to> those who have 
een the "rushes" she is even more glamorous than ever. 

Best lad crack of the month: Robert Montgomery's three year old son 
;ot angry with his nurse who wanted him to eat something he didn't want, 
iaid Skipper: "I'm mad with you. I'm going on a diet and you can't come 

Ever since she worked with Marlene Dietrich, Una Merkel refers to 
lerself as "Legs" Merkel. She even had a sign made for her dressing 
room door. In typical Merkel fashion, Una cracked: "The difference be- 
tween Marlene and me is — she doesn't have to put up signs.** 

Ann Sothern tells this one on herself. She has been under contract at 
MGM since last June. Because she always [^Continued on page 7<j\ 

favorites, here are items of particular interest 

How To Bring Out THe| 

The author, a personal friend of Clark's, not only tells, 
in her gay and amusing way, what makes him tick, but 
also how to get your boy friend to tick the same way! 

By Elizabeth Wilson 

To MY way of thinking, and it's 
pretty good way, though I hav, 
never been done by Rodin, whs 
this country needs is definitely fewe 
politicians and more Clark Gables. Lit 
can be as dull as ditch-water, when sue 
denly I see What-A-Man Gable an 
immediately have a strange feeling in mi 
tummy, my heart goes flutter-flutter i 
two-four time, and my spirits, which wej 
lolling in the gutter, are catapulted t 
the thrilling heights of Mount Olympu; 
Yes, let's face it. I get a lift out c 
Gable. I — and thousands of other gali 
Worse luck. 

I didn't have to be a Philo Vance tl 
discover that there are droves of womel 
in the United States, all the way fron 
Maine to California, who fairly swopi 
with ecstasy at the very mention of Mil 
G. And I didn't have to have the loni 
beak of a hoopoe bird (^something 
picked up in a cross word puzzle, n, 
doubt) to dig up all the discouragim 
facts about his universal s-e-x (funic 
might be listening) appeal. That two 
fisted guy with the handsome mug is th 
Dream Boy of three-fourths of thi| 
women of America — and of the womei 
of other countries too, perhaps, but I'd 
an isolationist so we won't go into that! 
But don't let him catch any of yoi 
jealous males calling him a Dream Bo> 
He'll kick you in the Francis. 

Alas, there is nothing private about m 
romance with Gable; so come on in 
everybody else has. 

Clark Gable as Rhett Butler in "Gone With thi 
Wind," is actually a Command Performance bel 
cause, when David Selznick announced he woulil 
make the picture, he was flooded with letters frpcl 
women all over the country demanding that Clarll 
Gable play the part of Rhett Butler or else! 
Below: Clark with Vivien Leigh who plays Scarletl 
O'Hara in "Gone With the Wind," most talkeiF 
of film in years. Their love scenes are exceptional! 



iil! 1 







In Any 

When I read in the newspapers that 
)avid Selznick had bought "Gone With 
he Wind" and was in the process of cast- 
Z ng it I gathered up my sledge harnmer, 
i^hich I have found to be far more effec- 
ive in asserting the power of the press 
han my typewriter, and rushed out to 
2ulver City to tell Mr. Selznick that 
riark Gable should play the part of 
ihett Butler or else. But Mr. Selznick 
lad already been told. And good. His 
ask was covered with thousands of let- 
ers from women who assured him in 

plain and fancy English that they 
wouldn't go near his old picture unless 
Gable played Rhett Butler. That made 
DOS wince. Gable is the hardest -to-bor- 
row actor in Hollywood. Metro has him 
under one of those steel contracts with 
iron bindings that nothing less than a 
mint can open. 

Poor Mr. David had to shell out plenty. 
He also had to let Shylock Metro release 
the picture and cut in on the profits. And 
all because the women of America — my 
competition — wouldn't let anyone play 
Rhett Butler except Clark 
Gable. Talk about your com- 
mand performances. The King 
and Queen have nothing on us 
gals. Incidentally, this is the 
first time there has been a 
command performance on this 
side of the Atlantic. Mr. Selz- 
nick agrees with me, and 
heartily, when I say that there 
should be more Clark Gables. 

And I'll tell you something 
else too that I found out while 
snooping around. Do you know 
that two-thirds of the scripts 
and scenarios submitted to the 
studios are written by women, 
and invariably are written with 
Gable in mind? Just in case 
the producers are dopes the 
authors usually mark their 
scripts: "Hero to be played by 
Gable." It seems that when 
women sit down to write they 
may dream up an oil man, 

Left and below: Clark and 
Vivien in love scenes from 
"Gone With the Wind." The 
qualities which make Clark so 
popular are not unusual, but 
present in every man. Bringing 
them out is far from impossible. 

an aviator, a newspaper reporter, a 
racketeer, a Great Lover, but he's 
always the Gable type. {The psycho- 
analysts call it Wishful Thinking.) And 
pardon me for pointing, but it does seem 
to me that even Margaret Mitchell had 
Mr. G. firmly in mind when she was run- 
ning off "Gone With the Wind." Rhett 
Butler, as Mr. Selznick found out to his 
expense, is Clark Gable. 

So what with all this dreaming and 
Wishful Thinking going on, and all these 
gals having to take it out in writing, I 
realized more and more that what we 
really need in this country is a whole 
flock of Clark Gables. If we girls could 
get together and bring out the Clark 
Gable, if any, in our boy friends we'd 
have something. When we've brought out 
a few Clark Gables we can go "Y-an, 
y-an," at Miss Lombard, we hope. But 
it's not so easy to make a What-A-Man 
out of Any Man. 

First, what makes the Great Gable 
tick? I talked it over with Miss Lombard, 
but she didn't seem at all interested in 
bringing out any more Gables, and why 
should she be, so I talked it over with 
the We Want Gable girls — ^waitresses at 
Carpenter's drive-in, salesgirls at Majg- 
nin's. Junior Leaguers at Perino's, and 
several top Glamour Girls who would 
give their eyeteeth for a crack at C. G- 
— and they seemed very interested. I 
must admit that a few of them went a 
bit catty on me and suggested that per- 
haps it would be easier to do something 
about Lombard — arsenic or ground glass 
or something similar — ^but I have been 
very fond of Carole ever since we ar- 
rived simultaneously in New York on a 
milk train five or six years ago. No movie 
star had ever done that before. After such 
a heart -warming experience I couldn't 
exactly bring myself to do her in. 

Well, it seems that the things that 
make Mr. Gable tick, the things that 
make him so desirable to us gals, are 
his naturalness, {^Continued on page 70) 

It looks as if Warner Brothers definitely have 
another Bette Davis in Jane Bryan after her 
excellent performing in "The Old Maid" and 
"We Are Not Alone." Nevertheless, Jane is 
quite dissatisfied with herself and doesn't 
mind telling you just what her reasons are. 

"Now why can't I be a combi- 
nation of Hedy Lamarr, Jetta 
GoudaL with Garbo's eyes . . . 
Marlene D^trich's legs!" la- 
ments Jane Bryan. "I want to 
be exotic! ... I get so tired of 
people saying 'a frank, open 
face' when they describe me. 
I have no style, no person- 
ality. And I hate my temper!" 


Gladys HaU 

W LOOK in the mirror," said Jane, stabbing savagely at 
I the heart of a rose or a doe or whatever the deuce it 
" was in the complicated piece of petit-point she was doing, 
[ look in the mirror and what do I see? Not what I'd like 
I see, you can bet! I see a too-round, peculiar face, with 
eckles on it. I see a too-wide smile. I see a too-peculiar 
;)se. I see drab hair. I see eyebrows which are just eyebrows, 
jst there, not arched or questioning or bird-wingy Or any- 
^ling. I take a few short steps away from the mirror and ..." 
.f ! Jane threw down the pretentious petit-point. She got up 
J om her chair (in which she had been sitting tailor-fashion) 

Jnd, in brown slack suit and scarlet leather slippers, scorn 
f herself zinging the air like those sparklers children play 
ith on Fourth of July, she executed a few steps around her 
ressing room in which we were sitting. As a matter of fact, 
e were using Jane's dressing room for a confessional, wherein 
aney was to tell the truth, the whole truth and nothing but 
ae truth about herself. 

She was saying: "Please notice the grace about me. I love 
ly grace ... I never enter a room or leave one without 
nocking over a chair, a piece of priceless bric-a-brac or a 
elebrity. I never enter the Green Room here on the lot for 
jnch that I don't collide with someone, head on. One day I 
anged plunk into Zorina. It would be Zorina." (Jane, who 
dores ballet, particularly adores Zorina, and is an ardent fan 
f hers.) "Into Zorina," groaned Jane loudly, "who wouldn't 
ang into anyone, not even if she walked 
brough a deck of cards. I must have a 
Dt of calcium in me," she added. "I never 
reak any of my bones! 
"Now, why, why can't I have natural 
ed hair like — well, like Greer Garson. 
Hair like a flame,' boy, if that could only 
>e said about me! I've heard that when 
)eople have accidents or sudden shocks 
heir hair sometimes turns white. I'd throw 
nyself over a precipice if I thought that 
)y doing so my hair, old mouse that it is, 
night turn red! 

"Now, why," Jane continued to demand, 
'why can't I be a combination of Hedy 
Lamarr, Jetta Goudal, with Garbo's eyes, 
ih, those eyes, and Marlene Dietrich's legs ! 
[ want to be exotic. I want to be tall and 
jvillowy and sort of emaciated. I want to 
je the type who wears wonderful clothes 
md_ drapes and jewels. I want to be five 
Feet eight inches instead of my stubby lit- 
\lle five feet three. I get so tired of people 
raying 'a frank, open face' when they de- 
jicribe me. I loathe being called an ingenue. 
il like to be young, I know the value of 
ibeing young, and the brevity, but I don't 
like to be ic^y-young. 

"I want to have shadows on my cheeks, 
hollows," moaned Jane. "I want to look 
as though I might have come from French 
Indo-China and meant no good by it! I 
want to have a voice Uke Margaret Sulla- 
van's, sort of husky, sort of a 'fog' quality. 
I want to sing husky French songs, the 
way French girls sing them, the way Jean 
Sablon sings them. I want to look intrigu- 
ing. I want to have a sort of Mata Hari 
sinisterness about me. 

"But I guess," sighed Jane, "I guess I'm 
doomed to janiness. Not for nothing, I 
fe^, was I born Jane O'Brien, bom right 
here in Hollywood, a girl with three kid brothers who would 
probably tear her limb from limb if she even suggested French 
Indo-China in the back-yard, a girl whose first appearance 
on any stage was as a bouncing snowball in a school play, a 
girl who likes hot fudge sundaes and dill pickles, a girl who 
can cook and sometimes does, a girl who is described in her 
own studio biography: 'as genuine a sample of Irish-American 
girlhood as you could find anywhere.' Such a girl," groaned 
Janey so loudly that Eddie Albert, passing by, called out. 
"Girls, Girls, anything wrong in [Continued on page 60] 

Her studio's de- 
scription of Jane 
is "as genuine a 
sample of Irish 
American girlhood 
as you could find 
Above: Studying 
her role between 
scenes. Right: 
With Paul Muni 
'We Are Not 
Alone." She didn't 
like herself in it. 


Teaming Gary with Rosalind . 
Russell in "My Girl Friday" is | 
gaarancee of sprightly comedy / 
throughout this interesting re- / 
make of "The Front Page." / 

Bora ia Dublin, Maureen 
O'Hara, wlio has the feminine 
lead in "Tlie Hunchback of 
Notre Dame," which star* 
Charles Laughton, is a typical 
Irish lass, with a wealth of 
chestnut hair, flashing green 
eyes an4 a q>arkling perstmal- 
ity. She is a protege of Charles 
Laughton who cenaders her 
osc of the finest actresses now 
to be seen en stage or screen. 


k:ay kyser 

HoUywood gobbled up anotker 
outttandiag radio favorite 
wkea RKO-Radio signed Kay 
Ky*er, professor of the College 
of Musical Knowledge, to star 
in it* production of "That's 
Right, You're Wrong." It's 
the expression Kay uses when 
anyone gives him the wrong 
answer. Ginny Simms, Kay's 
vocalist and - girl friend, 
also appears in the' film. 



Laurence and Joan are cast as Mr. 
and Mrs. Max de Winter in the 
Selznick Production of Daphne Du 
Maurier's "Rebecca." Joan is the 
second wife who is continually 
haunted by "Rebecca," the first 
Mrs. Max de Winter, a character 
who never appears in the film. It is 
the best role Joan yet has had, 
whereas Laurence is expected to 
surpass his fascinating character- 
ization in "Wttthering Heights." 




The first of the series of Cisco Kid 
pictures which Cesar Romero will 
make for Twentieth Century-Fox 
is called "The Cisco Kid and the 
Lady." Virginia Field is featured 
prominently. In stepping into 
Warner Baxter's boots as the Cisco 
Kid, Cesar has a difficult assign- 
ment, but his past performances 
merit it and undoubtedly he will 
prove equally as popular, if not 
more so, in this romantic role. 

de '^AVlLLAm 

Olivia's latest offering is "Raffles," a Samuel 
GoUwyn Production, in which she appears 
with David Niven. Olivia, on loan from War- 
ners, had a merry time making "Raffles" since 
she and David have so grand a sense of humor. 


T^Ae Four Daughters* are now tlie 



(It'll a four Belle Picture) 


Jeffrey Lynn* Eddie /lUiert 


Scrc«n Play ky Julius J. and Philip G. Epstein and Maurice 
llanline • Su^^sted by the Booh, "Sister Act," by Fannie Hurxt 
Music by Max Steiner'A Warner Bros.- First National Picture 

IHmliKl by 


Tlic Cliaraclcr <>f 
'Mickey Borden' 
as I~lc Appeared in 
'Four Dau^iiterR,' 
i* Portrayed by 




Photos by Gene Lester 

WHEN Bobby Breen i-ecently turned 
thirteen he gave a party. All the kids 
invited had to come in the costume 
of their favorite comic page character. In 
clockwise fashion: Sliding down the ban- 
nister are Bobs Watson, who came as "Prince 
Valiant" and Delmar Watson, dressed as 
"The Little King." Gloria Jean, as Wilma 
from "Buck Rogers," is watching and host 
Bobby Breen is waiting to catch the sliders. 
Gloria and Bobby sang a duet together, as 
one of the highlights of the party. Virginia 
Weidler was togged out as "Olive Oyl" and 
Bobby Mauch as "Popeye." They played 
games, one of the most popular being a 
horse race which had 'em all cheering, espe- 
cially Bobby and Virginia. Looking at the 
"funnies" are Gene Reynolds, as a Keystone 
Cop, and the Watson kids. Virginia did an 
"Olive Oyl" dance. The refreshments, as 
expected, were well received. Lined up are 
Gloria Jean, Terry Kilbourne and Edith 
Fellowes. The finger sucker is Bobs Watson. 

j r February 1940 





Adolphe Menjou is Hollywood's iconoclast who re- 
fuses to bow down before traditions, superstitions 
and beliefs — a rebel in a colony of Yes-men! 

By Ed Sullivan 

DAPPER, shrewd, talented, he is the 
iconoclast of the motion picture 
industry. As you read this piece 
on Adolphe Menjou, his wife Verree Teas-, 
dale will be preparing to light the candles ■ 
on his 50th birthday cake, because his 
birthday falls on February 18. Of those 
fifty years, he has spent twenty-five of ' 
them, a full quarter of a century, making 
pictures. He has made ninety-six of them 
and plans to run his string up to ISO 
before he checks out. 

I said that Menjou is Hollywood's, 
iconoclast. The dictionary points out that 
an iconoclast is an individual who "breaks 
images," refuses to bow down before tra- 
ditions, superstitions and beliefs just be- 
cause they are aged-in-wood. Menjou is 
a rebel in a colony of Yes-men. He dis- 
agrees with quite a few of the sacred 
Hollywood traditions. 

In particular, he disagrees with the age- 
old belief of actors that "billing," the size 
type in which an actor's name is spelled 
out in programs and in advertising, is im- 
portant to the player's professional career. 

"In 'Woman of Paris,' which Chaphn 
directed," says Menjou, in a crisp, stac- 
cato voice, "I wasn't even listed in the 

'Left: With Mrs. Menjou, better known as Verree Teasdale, 
at the Hollywood preview of "The Roaring Twenties," 
not so long ago. They are extremely devoted to each other. 
Below. Going over the script of "That's Right, You're 
Wrong," the Kay Kyser picture in which he's featured, 
with its rotund director, David Butler. Directors like 
Adolphe because he never takes himself too seriously. 

of mi 




is to 






iB. . 




program credits. There was no mention 
of me in any form, and yet my role in 
that picture made me important over- 
night. I learned then that the only im- 
portant thing in this business for an actor 
is to get a good part and give a good 
performance in it. If the public hkes your 
v/ork, they'll find out who you are. If 
they don't like your work, it's better that 
you're not identified." 

In twenty-five years in Hollywood, 
Menjou has had ample opportunity to re- 
gard the passing scene and the principal 
actors who have paraded across the cellu- 
loid horizon. 

"The amazing thing to me," he re- 
flects, "is how few people in this business 
can handle success. I've known a lot of 
actors, writers, directors and producers 
when they were poor and were nice peo- 
ple. Shortly after they acquire fame, 
wealth and all the rest of it, they become 
Napoleons or Don Juans and retain the 
worst features of each. They become self- 
mesmerized and delusions of grandeur set 
in. A case in point was the late Rudolph 
Valentino. I worked with him and despite 
all of the nice traditions about him, I 
found him to be absolutely impossible. 
He really had come to believe his pub- 
licity. There are hundreds of others who 
have reacted in just such asinine fashion. 
Success seems to get a half-Nelson on 
people and throw them for the full count." 

I asked him to tell me 'something about 
his personal and family background. 

"Well, my father was French. My 
mother was Irish, from Galway. Dad was 
a famous Parisian chef. I think that he 
knew more about food than any person 
I've ever met, and he had a great affection 
for it. I mention [Contimied on page 71] 

Adolphe has earned over $3,000,000 in 
movies, and is world famous. Below. Dor- 
othy Lovett seems quite amused at 
Adolphe's nonchalance during scenes of 
the film, "That's Right, You're Wrong." 

for February 1940 


She Still Has 

Sex Appeal! 

Mae West is back and will 
have the censors hopping, be- 
cause she hasn't changed a bit! 

MAE WEST sat gingerly on the edge of her dress- 
ing-room chair, so as not to crush her bustle. 
She sat bolt upright, so as to keep those stays 
where they belonged. And with that caressive Westian 
drawl, she said, "Funny thing. Six years ago, I predicted 
the return of corsets and bustles. It got a laugh. The 
wisecrackers said, 'If everybody wore 'em, where would 
Mae West be?' Here I am, and" — she tilted one eye- 
brow — "I still have something the other girls don't have." 

Practically everything Mae says has a suggestion of 
some sort tucked away in it. This remark opened up 
some promising possibilities. 

She was in a good, provocative mood. She had just 
come from the set of the opus tentatively titled "My 
Little Chickadee" — the first West picture in two years, 

Left: Mae wore a black wig as Milt'. Fifi in "Every Day's 
a Holiday." Below. Says Mae, "I still have something the 
other girls don't have . . . theirs is their looks and looks 
change. Mine isn't just my looks. It's something special." 



Silver Screen 


By James Reid 

and something of a natural. It not only offers Mae as 
a sultry torch singer of the ISSO's, on the loose in the 
Great Open Spaces, where men were men and women 
were something to fight over. It also offers, as her mate 
in misadventure, that bombastic Timid Soul, W. C. Fields. 

The set had been the interior of the little red school- 
house in the he-man town of Greasewood City. The local 
editor, convinced — after one buggy ride — that Mae was 
an Eastern damsel of culture, had asked her to try to 
teach the younger generation of Greasewood City some- 
thing. {The regular teacher had had a nervous break- 
down, trying.) So here Mae was, and her largish pupils, 
all male and all agog, had asked her to teach them some 
arithmetic. With a casual undulation of her bustle, she 
had strolled to the nearby blackboard, intimating, en 
route, that she had some ideas about figures. By the time 
she reached the blackboard, three steps away, they also 
had some ideas. 

That bit of business was to be only a brief flash in 
the picture. But, even in the briefest flashes, Mae is 
irrepressible. Other sirens turn on the sex appeal to fit 
a situation. No matter what the situation, Mae can't 
turn hers off. 

Censors say that she has too much sex appeal. And 
every time they say so, look at what happens. The masses 
—-men, women and children — rush to see her. Why should 
she try to stop the rush? 

Some women have sex appeal some of the time, and 
some of them don't have it any of the time. Mae gets 
charged with having it all the time. That doesn't hurt 
her feelings. (P. S. It doesn't hurt the gate receipts, 
either. All forty-eight states are strewn with the box- 
office records she has broken.) 

Anyway, year in and year out, Mae keeps right on 
being provocative, bhthely ignoring the bluenoses. She 
can afford to, being the only actress who ever has re- 
ceived $300,000 for one picture, plus a percentage of 
the profits. She must have something besides corsets that 
the other girls don't have. 

Having made an insinuation to that effect, she leaned 
one elbow on the dressing-table behind her and smiled — 

"The other girls and I," she said, "are selling the same 
thing. Glamour. Sex appeal. Whatever you want to call 
it. Only we aren't selling the same brand. They're all 
offering one brand; I'm offering something special. Theirs 
is kind of perishable. Mine isn't. 

"Theirs is in their looks, and looks change. Mine isn't 
just in my looks. It's in my eyes, my voice, my hands, 
my walk. Things I'm going to have as long as I can • 

"You know what happens when most girls get movie 
chances. Studios take them aside and say to them, 
'You've got to have more sex appeal.' They're told what 
to wear and how to wear it. They're given new hair-do's 
and lessons in make-up. They're hustled into the gallery 
to make some snappy leg art. They're told to go out 
with this romantic-looking gent or that. Studios do every- 
thing they can think of to bring on the sex appeal. But 
what's been happening to me ever since I came to Holly- 
wood? Studios have been saying, 'We've got to hold 
Mae back.' " 

She even has to hold herself back. 

"Off the screen, I have to change my voice, and watch 
every little thing I do, so people don't get the wrong 

"Now that line — 'Cm up 'n' see me sometime' — is 
an example of what I mean. Those are six pretty ordinary 
words. They've been said millions of times by millions 
of people. But the way I said them in 'She Done Him 
Wrong' started something. 

Ever since, people have 
been looking for sex in 
anything I might say." 

Most of the glamour 
girls don't have to struggle 
{Continued on page 68] 

"Off the screen," admits 
Mae in her Westian drawl, 
"I have to change my voice 
and v/atch every little thing 
I do, so people don't get 
the wrong impression." 

for February 1940 


Betty Made It 
The Hard Way 


MISS BETTY FIELD is no rela- 
tion to Mr. W. C. Fields, who 
spells his name with an "s." Nor 
is she any relation to, let's say, Greta 
Garbo or Joan Crawford — unless it's that 
she's a movie star, too. 

But our Miss Field has something that 
they have not, and that is a crackerjack 
record in the legitimate theatre — estab- 
lished before she was the twenty-one that 
she is now. 

You probably saw her at the Bijou 
Movie Palace the other night as the 
ingenue in "What A Life," opposite Jackie 
Cooper. Or at the Star in "Seventeen," 
again opposite Master Cooper, who does 
seem to get around. Maybe it was "Of 
Mice And Men," with Burgess Meredith. 
You must have seen one of the three if 
you're a half-way movie fan and it's al- 
most a certainty that you found her a 
more-than-competent actress. 

Many of the newer crop in 
Hollywood got there thru 
good luck, but Betty Field 
deserved her chance in films 


William Lynch Vallee 

As for the stage — boasted of herein — 
her record reads well. She was in the Lon- 
don company of "She Loves Me Not," 
{she was sixteen and it was 1934) "Page 
Miss Glory," "Three Men on A Horse," 
"Boy Meets Girl," "Room Service," 
"Angel Island," "If I Were You," " What 
A Life" and "The Primrose Path." A 
pretty neat record. 

What inclined the young lady toward 
the stage, back in Boston where she was 
born, isn't any clearer to her than it is 
to any young girl who wants to act. One 
printed story about Miss Field gives this 
credit to the Massachusetts' Priscilla, a 
relative of hers. Priscilla, as you • 'ill re- 
call, is the one who told John Alden to 
speak for himself. But that brings us no 
nearer to a reason for the terrific longing 
for the sock and buskin in the heart of 
Betty Field. 

She is also related, the story goes on to 

Although only 21, Betty's stage experience 
is amazing. She plays any type of role 
well. For example, you wouldn't think the 
Betty {left) in "Seventeen" with Jackie 
Cooper is the same Betty {right) in "Of 
Mice and Men" with Burgess Meredith. 


Silver Screen 




Betty was only 16 
when she went to 
England to appear 
in the London 
company of "She 
Loves Me Not," a 
big hit in 1934. 

say, to Cyrus Field, the man who laid the 
Atlantic cable. That was an extremely 
worthwhile job for which Mr. Field 
eventually received due credit — but was 
it good theatre? 

"Maybe it's the Irish from mother's 
side," said Betty over a tremendous salad 
bowl. "Or then again, maybe it's because 
mother took me to a lot of kid plays. 
Things about bad boys ending up as lemon 
pies — not very strong stuff but a start in 
the right direction." 

Mrs. Thomas Mitchell took Betty and 

her own daughter to see the capable Mr. 
M. act in a play called "Night Stick," 
vintage of 1Q27. Little Betty was so over- 
come by it all that the sight of Mr. M. 
lumbering on stage snapped something in- 
side and she yelled, "Oh ! There's your 
father!" Mr. M. still thinks it's pretty 

In her back-yard plays Betty co-starred 
herself with a mop. The mop was always 
handsome and never stole scenes or missed 

cues. And it was easily transportable from 
city to city as the girl and her mother 
moved from Boston to Forest Hills to 
Porto Rico to Morristown, New Jersey. 

"By the time we had reached Morris- 
town I was going to high school," Betty 
explained, now well into the salad and 
going great guns. "Mother would take me 
to the Saturday matinees of the Roland 
G. Edwards' stock company. After the 
show we'd wait in the alley to see stars 
like Florence Reed and Bert Lytell corne 
{^Continued on page 64] 

for February 19 



Silver Screen 

Pictorial Profile of 

PENNY was Dorothy McNulty on the musical comedy stage . . . had 
few equals as an acrobatic dancer . . . you can see from the photos 
ihe hasn't lost the knack . . . she loves to clown around, as you can 
notice . . • Penny's now divorced from Dr. Lawrence Singleton . . . has 
1 three-year-old daughter named Dorothy . . . Penny likes to do all 
lier own housework and marketing . . . Her "Blondie" pictures are 
sensational box-ofBce attractions . . . Penny's one of the best natured 
people in Hollywood . . . has never been happier since she became a 
blonde . . . said she never enjoyed posing for pictures as much as for 
these ... it gave her a chance to exercise . . . and work up an appetite. 


for February 1940 


Her Name Was Get 

Another of the untold 
stories in the private Uves 
of Hollywood personalities! 

"This is Alice Crane," introduced 
Tania. "At least, that's what ' she 
thinks her name is. But it isn't. Her 
name is Galatea." She was awk- 
ward, but Tania would change that. 

Tania's husband was a director. 
They loved each other dearly. He 
wanted her to give up work, but 
she kept refusing. "Someday I'll 
give it up and we'll have a baby." 

THERE were six of us, all girls, at 
Claudette Colbert's that evening. 
And we were having so much fun 
that I was giving silent thanks for the 
town meeting my husband, as a civic- 
minded citizen and a tax payer in more 
or less good standing, was attending. 

"Look at her!" Liza Wilson laughed 
as she nodded towards me. "Having the 
time of her Hfe, isn't she? Don't you 
think, my pet, it's about time you stopped 
romping around as a farmerette, or what- 
ever it is you're doing, and came down 
more often to the goings on down here 
in Hollywood. I hate to admit it, but 
we've missed you." 

Oh, it was fun being missed and having 
a grand friend like Liza say so. And it 
was fun getting knee deep in girls' talk 
again and lolHng in one of Claudette's 
luxurious sink-down-deep chairs and hear- 

ing about the people who had been my 
lite for ten years, and having that feeling 
of being in the know again. 

Tania Corey, who was sitting next to 
me, smiled. She has a smile that begins 
in her eyes and hardly ripples her gen- 
erous mouth and is all the sweeter because 
it has a touch of sadness in it. Tania is 
one of my favorite girls in the whole 
world and one of the loveliest. She has 
hazel eyes flecked with gold that look 
like bits of star dust, and her smooth 
black hair folds around her small head 
hke dark wings. But for all the smallness 
of her and for all her appealing femininity 
Tania is one of the most successful career 
girls in Hollywood. No, she isn't a star. 
But she is the answer to a star's prayers. 
Tania is tops as fashion designer out here. 
She is the reason for the glamorous 
clothes the stars under contract to her 
studio wear. 

Tania Corey isn't her real name. But all 
the other things I've said about her are 

"I miss you, too," she said looking at 
me. "But I envy you from the bottom 
of my heart. You're riding your luck. 
Hang on to it." 

That's almost exactly what she told me 

morning, and spent the day on them too.i 
But I didn't grin because I know why;i 
Tania feels like that. And I remember 
the awful day that made her feel thati 
way too. You see, Hfe began hurting hen 
a long time ago when revolution came toi' 
Russia. Tania has a title of some sort., 
I heard it once, but I've forgotten it. 
Maybe that's because Tania wants to for- 
get it. After all when a girl of six has 
seen her father shot because of his title: 
she would want to forget that once she 
was a countess or a princess or whatever 
it was Tania was called. And then, too,, 
when a woman loves a man the way Tania 
loves Bill Corey I guess she prefers his 
name to any title in the world. 

Tania and Bill had been married a year 
when I first met them. They had every- 
thing two people could want, love and I 
good looks and youth and success. Bill 
was a top flight director and Tania was 
first assistant to the fashion head of the 
same studio. 

When you saw them arriving at the 
studio together chuckling over some httle 

Tania spent weeks transforming Alice, 
supervising the exercises that began to 
give her grace. Teaching her to walk 
evenly by the "book balance" method. 

the morning I was getting married. Tania 
was practically the only one of my friends 
who approved of my giving up my career 
and doing as my husband wanted, learn- 
ing to bake and cook and feed chickens 
and take care of a garden and be there 
when he left mornings and when he came 
home at night instead of streaking off to 
Arrowhead or the desert or any other 
place an editor's idea for a story might 
send me. It's funny about Tania. For a 
career girl she certainly leans towards the 
old idea of a woman's place being in the 

Liza grinned, for Tania is the last per- 
son in the world to spout a theory like 
that, Tania who is off to New York or 
Paris on a moment's notice, Tania who 
has spent many a night at the studio 
pouring over a tricky set of designs, and 
then has sent out for black coffee in the 


Silver Screen 

There were unexpected consequences when 
Tania, a Pygmalion-minded fashion designer, 
created a Galatea who was far too alluring 

joke they had between them, holding 
hands absolutely unabashed and kissing 
each other goodbye outside of Tania's 
office and not giving a darn who was there 
to see them, they made you think every- 
thing you'd ever heard about love was 
true. They were head over heels in love 
and didn't care who knew it. 

Only once did I hear anything that 
could be vaguely described as a quarrel 
between them. And even when I say 
vaguely I'm exaggerating. For though 
their words came furiously, their eyes 
were shining with the excitement that al- 
ways lay there between them. 

"And do you know what that Bill wants 
now," Tania said as I walked in on them. 
She has a quick way of talking, her hands 
moving as fast as her lips and she was 
shrugging her slender shoulders in make- 
believe annoyance. "He wants me to give 
up my work." 

"Why not?" Bill said in that lazy voice 
of his that was such a contrast to Tania's 
jmpetuousness. "I love this gal and I'm 
selfish. I want her home when I'm there. 
D'o you know what? She was at the studio 
until three this morning." 

"Listen, Bill," Tania leaned forward 
and her eyes were shining. "Some day I'll 
give it up. And then we'll have a baby," 
she checked herself laughingly. "No, we 



Exclusive photos 
ty Hanley Studios 

One day Alice broke and 
suddenly ran from the set 
in tears. Bill went after 
her, pulled her back and 
then put his arms around 
her and held her close, as 
if he couldn't help it. 

"There now!" said Tania 
triumphantly, "what do 
you think of Galatea 
now?" The transforma- 
tion was breath-taking. 
But you couldn't help but 
feel she was a shell and 
not a human being at all. 

won't have a baby. We'll have a dozen 
babies and we'll have enough money so 
that none of us will ever starve or be 
cold or afraid." 

"Listen to the gal!" Bill scoffed. "My 
salary isn't exactly peanuts, you know." 

"No," Tania said gravely. "But we have 
to spend so much of it. Hollywood is so 
wonderful but it is so expensive, too. And 
what about the time when maybe you 
won't make it any more. Hollywood is 
full of people who thought that it would 
always rain gold pieces for them. I want 

"Lucky young American that you are, 
you haven't wandered up and down the 
streets clutching your mother's hand and 
crying because she is crying and because 
you are hungry. And you haven't shivered 
with cold in a room without heat and sat 
up all night helping your mother em- 
broider for the fine dressmakers and 
knowing the money when it came would 
only take care of a, few days' food and 
there wouldn't be any left over for coal 
or clothes. And being afraid all the time, 
you don't know what that means either. 
No, Bill, when we've saved enough so that 
we'll never have to worry again for the 
rest of our lives I'll stop. But not before." 

Bill took her in his arms and his blonde 
head was pressed close against her small 
dark one. And I could have told Tania 
something then, for I saw his eyes. And 
they were hungry eyes. People don't starve 
for food alone. [Continued on page 76] 

for February 1940 


What Wendy 
Learned About 
Men From Men 

"Too many women try to learn about men from other 
women," confides vivacious Wendy Barrie, who's a 
real menace to masculine peace of mind in Hollywood 

Left: Wendy has a dance rehearsal with 
Edward G. Robinson on the Columbia lot. 
Below: Wendy with Reginald Gardiner, 
whose name was linked with Hedy Lamarr's 
before her marriage to Gene Markey. 


Helen Louise 


SiLVER Screen 

hPHTENDY BARRIE had been in 
I If If Hollywood for two or three 

■ months when suddenly the femi- 
inine contingent began to sit up and take 
notice — bristling slightly the while, one 
noted. It wasn't that she was — yet — an 
immediate menace to those in the very 
top spots of the profession. It wasn't just 
her beauty or her smart clothes. We'd 
known about those from the beginning. 
It was simply that practically overnight 
she had calmly assumed first place on the 
list of Young Ladies Young Men Want 
to take Places. She had become Holly- 
wood's first belle. And this during a sea- 
son when there weren't nearly enough 
eligible men to go round anyhow. No one 
had suspected her of these talents at first. 
What in the world had happened? 

Wendy says, with a twinkle, "You can 
learn a lot about men and how to get 
along with them — from men, if you'll pay 
attention. I began learning almost before 
I got here." 

You see, she had met a man on the 
ship coming from England. He was Brit- 
ish and handsome and he was on his way 
to Hollywood, too. There were, one sup- 
poses, the usual moonlit nights and the 
two of them with enormous plans for 
fame and fortune and excitement 
and, oh well, yoii know! And 
pretty soon they were both here 
in Hollywood and, among the sea 
of new faces, his looked to 
Wendy like a familiar and trusted 
one. So they saw a lot of each 
other and Wendy introduced him 
to the new people she was meet- 
ing because, somehow, he didn't 
seem to be making new friends 
as fast as she was. It was all 
great fun. 

"And then, d'you know," she 
says, with real horror in her eyes 
even now, "I found that he had 
been exploiting my friendship, 
trying to make money because 
of it, here and there! He had 
even said unkind and untrue 
things about me. He had es- 
tranged some of my new women 
friends. It was really a dreadful 
blow! He had warned me not 
to trust women too far. I wound 
up not trusting anyone." 

Wendy withdrew into a bitter little shell 
and brooded. It wasn't fun meeting new 
people any more. She went into her first 
Hollywood picture, "It's a Small World," 
so tense, so taut that she could scarcely 
work at all. Spencer Tracy was the star. 

"He was so kind to me," she recalls. 
"I couldn't see why — then. He helped me 
to relax by making me laugh, making me 
talk and forget my self-consciousness. He 
encouraged me and advised me and 
coached me. I began again to feel that 
there were nice people every- 
where. ... 

"Then something else hap- 
pened. An old friend of the 
family who was aware of 
what had been happening to 
me, gave me a real lecture. 
'If you're wise you'll save a 
lot of heartache by learning 
one mascuhne trait,' he told 
me. 'Learn to take people, 
especially men, at their face 
value and keep matters on 
that basis for a long time. 
Enjoy them. Try to make 
them enjoy you. But don't 
give your heart away or your 
close [Continued on page 72] 

Below: Wendy with Chester Morris in a 
scene from "Pacific Liner." Wendy believes 
that you can learn something about how to 
attract men from every man you meet. 
Lower left: With Otto Kruger in "I Am 
the Law," a Columbia Picture. Her latest 
is "Day-time Wife," with Ty Power and 
Linda Darnell, for Twentieth Century-Fox. 

for February 1940 


George Gives His 

Side of It 

George Raft, who's been 
accused of being far too 
temperamental to get along 
with, denies the accusation. 

By Robert Mclllwaine 

THERE are three sides to every ques- 
tion — your side, the other side and 
the truth! You've never" heard 
George Raft's side of things. His studio's? 
Yes. In fact, heretofore, everyone's but 
his, including casual bystanders on Holly- 
wood Boulevard. They all know how 
difficult George Raft was. They hadn't, 
however, ever heard of George's reasons 
for acquiring such a reputation. 

Even among writers Mr. R. wasn't too 
well thought of, because he'd give no in- 
terviews. Well, that was Raft's way of 

Through no fault of his own, 
George Raft found himself on the 
spot in Hollywood. So he fought. 
And won out! But for a while 
it didn't look as if he would. 

trying to keep peace. He couldn't pan his 
own studio and, with things as they were, 
he certainly couldn't be complimentary. ( 
So, he kept silent. 

But there's an old saying — "Never 
trouble trouble, till trouble troubles you." 
Well, George, until going to Hollywood, 
always had adhered to this and seemed 
to get along fine. He'd always set his own 
routines and no one criticized. But the 
minute he donned make-up and stepped 
in front of a camera every- 
one told him what tc do and 
how to do it. Now this was 
fine, too, until they started 
steeriiig Raft the wrong way. 
Then it was time to call a 
halt. George is a good busi- 
ness man and knew it would 
ruin his career in pictures if 
he didn't speak up. 

No one can deny that Raft, 
after a promising start, had 
more than his share of me- 
diocre movies. When no 
change was forthcoming, 
that's when the fun really 
began, or, to be more ac- 
curate, the fireworks started. 


Silver Screen 

Usually a man of few words, and those 
simple ones, George wasted no time in 
clearly speaking his piece. 

And then, began his "A.W.O.L." de- 
partures from the studio sets which be- 
came more and more frequent. For, at 
the slightest provocation, George would 
lace up his shoes — with the famous heels 
— throw in a couple of suits that have 
been reputed to make Jacob's "coat of 
seven colors" blush with shame, and be 
off. Was it any wonder that his studio 
dubbed him unruly? No more so than 
his jefusing to be washed up by a series 
of unsympathetic parts in bad stories. 

"Why, you know, it was bad enough 
to play the worst kind of guys," ex- 
plained George, "but then they began 
giving me every unknown cuitie on the 
lot to try out as a leading lady. I'm no 
miracle man and how they expected me 
to carry an inexperienced actress and 
myself, too, is beyond me. 

"I begged them to lay off and give me 
a break. If I had to play with amateurs, 
the least the studio could do was give 
me parts where I could justify my bad 
actions. I pointed out that in my most 
successful pictures I had a sympathetic 
role. That's why the public liked me. Be- 
cause I was a bad guy who eventually 
went straight. But they'd hear none of 
it. They knew best. They wanted me to 
be a guy that had no good qualities at 
all. An out-and-out thug. I don't like 
that. It was something that had to be 
corrected or George Raft wouldn't be in 
pictures much longer." 

And George was determined to stay in 
pictures. He'd come a long way from his 
lowly start in a Tenth Avenue tenement 
district in New York City. He'd been a 
prize fighter, a baseball player and a 
dancer. As a boxer he fought for two 
years without startling success. As a ball 
player he was an outfielder on the Spring- 
field (Mass.) Eastern League team, but 
was dropped after two seasons because 
his batting average didn't compare favor- 
ably with his fielding average. But as a 
dancer George did go places. Literally 

and figuratively, because he not only 
danced in the leading cities of the United 
States, but in all the capitals of Europe. 
He was one of the world's fastest 
dancers. Director Rowland Brown con- 
vinced George he could be just as suc- 
cessful in motion pictures as he was as 
a dancer. So George gave up his dancing 
shoes and went to Hollywood. And 
eventually found himself on the spot, 
through no fault of his own. So he 

"Why, I remember," continued George, 
"having a friend send me the print of 
a French film called 'Algiers.' Not just 
the script, mind you. The completed pic- 
ture. I was interested in the role of 
Peppy La Moca and had taken an option 
on the American rights, hoping I'd have 
a chance to do it for my studio. I took 
it into the projection room and showed 
it to the powers-that-be. Well, they 
couldn't see me in 'Algiers' for high hell. 
Said it wasn't my type role. Can ya tie 
that? I was plenty burned. I didn't 
speak to them for quite a while after 
that. I was afraid of what I might 
say. But finally I figured it was 
pretty silly to be always fighting 
and dropped in to see them again. 
The first thing they did was tell 
me I'd been assigned to appear in 
a sea picture with Gary Cooper. It 
was called "Souls At Sea." I read 
the script and could see immedi- 
ately that as usual my part was 
awful and would do me nothing but 
harm. Why they had me ruining the 
girl and stealing pennies from 
Gary's pockets while he was out for 

Right: George, former boxer and 
ball player, still keeps in tiptop 
physical shape. Below: At the 
races with his favorite girl, the 
wealthy Virginia Peine. Norma 
Shearer is 
just a friend, 
he insists, 
whenever the 
gossips link 
their names. 

the count. I refused to play the part and 
again we agreed to disagree. They de- 
cided to get someone else to do the part. 
That was okay with me. It was a gentle- 
man's agreement. If I didn't want to play 
it that was okay with them, too. Next 
thing I know the publicity department 
sends out the news that I've deliberately 
walked out on the picture at the last 
minute and seem to be just as temper- 
amental as ever. Then I really went to 
bat with them! They finally agreed to 
make drastic revisions in my part and 
change the ending. So I did the picture. 

"If you remember there was a kid in 
it named Olympe Bradna. I discovered 
her for them and what did they do to 
her? Gave her roles she wasn't suited for. 
And she was a kid who could have gone 
places in the right roles." 

With a sigh of despair. Raft continued, 
"The next thing I did was take twenty- 
five grand of my own money and buy the 
screen rights to 'The Earl of Chicago.' 
I begged them to do it for me. 'It's not 
right for you, George,' they said. But, 
honestly, the story was 
a natural for me. And 
there's a million laughs 
in it, too. Natural situ- 
\_Continued on page 73] 

for February 1940 


Boris Karloif is 
at it once again in 
creepy "Tower 
of London'' 

Direct from the 
West Coast 


Cinderella Comes To Town — Universal 

DEANNA DURBIN is growing up. 
In this picture she successfully 
hurdles the jump from adolescence 
to sub-deb age. She has a real first love 
and a real first kiss. It's all quite Cin- 
derella-ish, but it's with such freshness 
that you have to be a mean old sourpuss 
to complain. Deanna plays the poor rela- 
tion of a rich and insuffer- 
able family of society snobs. 
When she graduates from 
finishing school she has to 
make her home with this in- 
sufferable family who are 
very nasty to her — but, in 
the good old tradition, she 
wins the love of the servants 
who proceed to get her to a 
big party where she meets 
Robert Stack, who gives 
Deanna her first kiss. Helen 
Parrish plays her snooty 
debutante cousin, and Leatrice 
Joy (who got a big welcome 
back at the preview) her 
snooty socialite aunt. Eugene 
Pallette plays the gruff old 
uncle who softens under 
Deanna's wholesome young 
charms. In the course of the 
picture, Deanna sings "Home 
Sweet Home," "Amapola," 
and "One Fine Day" from 
Puccini's "Madame Butterfly." It's her 
sixth successful picture. Which is quite 
a record for a star in HoUywood. 


Marital Discord a la Mode — Twentieth 

TYRONE POWER, America's Heart 
Throb Number Two, departs from his 
weighty historical characterizations in this 
picture and becomes once more a gay, 
carefree and amusing young man. And a 
mighty handsome one, too. Teamed with 
him in this sprightly comedy is Linda 
Darnell making her second screen ap- 
pearance — remember her debut in "Hotel 

for Women?" Linda has beauty and fresh- 
ness and proves herself a good trouper. 
The story is the one about the wife who 
decides to do something about her hus- 
band and his secretary. So she gets a 
job as secretary to another business man, 
who just happens to be one of her hus- 
bands chents. Of course, the foursome 
turn up in a night club and complications 
follow, as well as some gay dialogue. A 
crack on the husband's head eventually 
straightens everything out beautifully. 
The picture is well cast, with Binnie 
Barnes playing a snoopy girl friend, 
Wendy Barrie Ty's secretary, and Warren 
William Linda's boss. 

[Continued on page 75] 

Right: Gale Page, Rosemary, Lola and 
Priscilla Lane in "Four Wives." Belotv: 
Deanna Durbin and Helen Parrish in 
"First Love." Lower right: Linda Dar- 
nell and Ty Power in "Day-time Wife." 


Silver Scr 

Finagling Among 
* * the Stars * 


George Amon 

A marvelous new brain teaser 
which will have you frantic if you 
don't know your stars very well 

WRE you a "finagler?" In the words 
M\ of Funk & Wagnalls, do you "like 
" ^ to achieve your purpose by artifice 
or trickery?" If you are the kind of per- 
son who peeks when playing sohtaire, then 
this game is for you. And your conscience 
need not bother you, for in this game of 
hidden stars, it's legitimate to chisel! 

You need not start these puzzles at 
the beginning and go through the various 
stages to the answer. Just pick up your 
clues anywhere that's convenient, then 
piece them together to get the solution. 

Here's the way it goes: 
EXAMPLE: Begin with half of a child's 
cry for its father; add a view, as of an 
avenue; subtract half of a child's ex- 
pression for "thank you" — to get the little 
lady who has been many times called the 
screen's best dramatic actress. 

SOLUTION: DA plus VISTA gives 
DAVISTA minus TA equals DAVIS 

That's all there is to it. But if the 
going gets too tough, you may fall back 
on the last resort of all finaglers — just 

peek on page 79 for the right answers. 

1. Begin with a reddish-brown color; 
subtract an injury from scalding; and 
add an effort — to get the singing star 
who was discovered by the late Will 

2. Begin with the way you serve hen's 
fruit on toast; subtract what your 
bad tooth did before the dentist 
pulled it; and add the state of your 
health when you're not sick — to get a 
suave gentleman of the screen. 

3. Begin with what a creditor will do to 

you if you don't pay up; add some- 
thing that is trim and shapely; then 
subtract the word meaning to or 
toward — to get the actress who played 
a waitress in "When Tomorrow 

4. Begin with a cog-wheel; subtract the 
organ of hearing; and add a synonym 
for competent — -to get the he-man 
star who lives with his wife on their 
14-acre farm. 

5. Begin with a word meaning an ap- 
prehensive mood; subtract an offer 
to buy; add two verbs of action; then 
subtract a conjunction — to get the 
comedian who is beloved for his 
charming, hesitant manner. 

Extreme Upper right: William Powell. 
Above: Hedy Lamarr. Upper left: 
Gary Cooper. Left: Irene Dunne. Up- 
per right: Gene Autry. Right: Leslie 
Howard. Better remember these names! 

6. Begin with what a brave man is noted 
for; subtract a word for else; and 
add the first name of that Tracy 
fellow — to get the singing Yankee 
who recently played in a picture with 
an ex-Olympic winner. 

7. Begin with an enclosure for small 
animals; add a luxurious white fur; 
and subtract something belonging to 
me — to get one of the male stars of 
"Beau Geste." 

8. Begin with the sixth tone of the dia- 
tonic scale; add the first name of a 
comedian by the name of Herbert; 
subtract a letter in the alphabet that 
an English cockney is always drop- 
ping; and add 2000 pounds — to get 
the name of a famous Enghsh 
actor. [Continiied on page 79] 

for February 1940 



Silver Screen 

TEFT: Rosemary adores bright colors and this plaid gingham play 
dress is carried out in red, yellow, blue and orange. The full 
skirt is shirred at the waist and tied with a matching gingham sash, 
while the short blouse exposes a bare midri£E. Left center: A dark 
blue and white checked cotton skirt with slit pockets and suspenders 
is worn with a casual white linen shirt and a short-sleeved flag-red 
linen bolero. Bcloiv: The very latest in tennis dresses is white silk 
jersey with a full flared skirt and comfortably loose blouse. Right: 
Knee-length culottes are the thing this season. These are slate blue 
sheer wool and have a wide band of lastex shirring directly in front, 
giving them a full-skirted appearance. The long-sleeved tailored 
blouse is striped in slate blue, plum and white. (See next page.) 

for February 1940 


Rosemary is one of the vivacious 
Lane Sisters now starring in 
Warner Brothers' "Four Wives/' 
a sequel to the popular "Four 
Daughters." She is the one 
who sang so beautifully, and 
planned for a brilliant career 


TEFT: A simple day-time dress of the 
■'— ' type so necessary for resort wear when 
active sports are out for the moment. The 
flared skirt is of black and white checked 
silk taffeta, and the fitted white over- 
blouse is of heavy white linen trimmed on 
the tiny collar, cuffs and peplum with 
handmade Irish lace. Truly very attractive. 

Silver Screen.. 

"D OSEMARY lets her great love for bizarre 
color combinations run riot when it comes 
to slacks' outfits. Left center: Her full slacks 
and kid playshoes are of white which contrast 
strikingly with the hip-length blouse of light- 
weight wool jersey in a zig-zag design of 
green, red, orange, blue, yellow and white. 
Her miniature pillbox with its graceful back 
drape is of the same zig-zag material. Below: 
A smart slacks costume of silk seersucker with 
the trousers and trim bolero striped in oxford 
grey and white and worn with a bright green 
silk jersey blouse and sash. Right: For motor- 
ing or sight-seeing Rosemary likes this suit, the 
skirt of which is light weight navy blue 
gabardine striped in dusty pink, matching her 
pink gabardine tailored jacket. A tailored pale 
grey silk shirt is worn with this and a pink 
bandeau of the gabardine, instead of a hat. 

or February 1940 


WHAT a month! I get back from 
a vacation, that wasn't a vaca- 
tion; only to find "The Rains 
Came" in Los Angeles when they weren't 
supposed to and the Chamber of Com- 
merce is having conniption fits, having 
practically guaranteed to tourists that it 
only rains here in January and February. 
Everj'one had been writing me the studios 
were dead and they're simply humming 
and, most treacherous of all, the James 

"You see them?" asks 
Dr. Paul Ehrlich of 
Emil, who answers, 
"Of course, I see 
them. The little red 
rod-like shapes are the 
tubercle bacilli." The 
doctor is Edward G. 
Robinson; Emil is Ot- 
to Kruger. It's a 
very important scene 
from "Dr. Ehrlich." 

Cagneys, who were supposed to go to 
their farm in Martha's Vineyard while I 
was away, so I could visit them there 
{but didn't) are leaving almost as soon 
as I get back. The only consolation is 
that the Pat O'Briens haven't yet got 
into their new home so I'll be here for 
the house warming. None of this, how- 
ever, has anything to do with the pictures 
that are being made so we'll get on to 
that and start with — 


Dick Mook 

Watching them film im- 
portant forthcoming pro- 
ductions, giving you 
actual dialogue from in- 
teresting scenes and 
chatting with the players 
who are featured in them 

Above: Clark Gable and Joan Craw- 
ford in a spicy scene from "Strange 
Cargo." Right: Douglas Fairbanks, Jr., 
Madeleine Carroll, Tullio Carminati 
and Lynne Overman in a scene from 
"Safari," a Paramount Picture, about 
life and love in the African jungles. 


Silver Screen 



MR. CROSBY, Mr. Bob Hope, and 
Miss D. Lamour are still engrossed 
in "The Road to Singapore." I've already 
told you about that one, but I drop on to 
the set to say "hello." "Hi, S.R.," Bing 
calls, spotting me. "I can't come out to 
shake hands as I'm trapped in here with 

"Well, what are you kicking about?" 
I argue. "Many a man would sell his soul 

to be in your seat, and you're even being 
paid for it." 

Miss Lamour squeals with delight and 
the rest of the cast and crew haw-haw so 
I retire on that one and proceed to the 
next set where — 

GOOD Old Siwash" is shooting. When 
I was a kid {gosh, I can't be that 
old!) the Siwash college stories were all 
the rage and here, after all these years, 

Eirol Flynn and Ran- 
dolph Scott in a tense 
scene from Warners' 
"Virginia City." Er- 
rol is saying to Randy, 
"You may have me 
hanged or shot — if 
the South lasts that 
long. In fact, you'd 
better. Because if I 
ever run into you 
again, anywhere, any 

time I'm going to 

collect for that tun- 
nel, every foot of it!" 

Paramount is bringing them to the screen 
with "Golden Boy" Holdcn as the hero. 

This scene is right at the beginning of 
the picture where Holdcn is on his way 
to Siwash College. It's on the train and 
James Seay (pro7iounced Shay), captain 
of the track team, is trying to pledge 
Holden to his fraternity. But Philip Terry 
(of another jraternity) has had a wire 
from a "brother" telling him to nab Hol- 
den as Bill's old man has plenty of dough. 
So Terry and Richard Denny are brows- 
ing through the train looking for Bill 
when they spot him with Seay. They go 
back into the next car {where Seay's 
berth is) and strew the clothes out of 
his suitcase all over the aisle, then send 
the conductor looking for Seay to tell him. 
As soon as Seay leaves Holden to see 
about his clothes they slip into his empty 

"You know who that man is you were 
just talking to?" Terry demands. 

"Sure," says Bill cockily. "Name's An- 
drews, captain of the track team. Mighty 
good fellow, too!" 

"It's not really our affair," Denny whis- 
pers confidentially, "but he's one of the 
slickest confidence men in these parts. 
Works the same game every year." 

"Gets hold of new students," Terry 
takes it up, "offers to take them to his 
house, borrows money and skips to work 
another college." 

"He's a smooth article all right!" Denny 
rushes on. "Why [^Continued on page 80] 

Above: Jeanette MacDonald as she ap- 
pears in "New Moon," in which she's 
again co-starred with Nelson Eddy. 
Left: Robert Young, Lee Bowman are 
berated by Irina Baronova in a scene 
from "Florian." Florian's the horse. 

for February 1940 


On Location" with Joan 

Exclusive Photos by Gene Lester 

Joan Crawford, Clark 
Gable and other players in 
"Strange Cargo/' went to 
great discomfit in order 
to bring you vivid realism 




These location scenes were taken on the 
beach at Pisino, California, which is 200 
miles from Hollywood. The cast reported 
for work at 7 a.m., but had to wait around 
an hour until a wintry fog lifted. Above: 
In front of the portable, roofless dressing 
rooms ( rvhich can be assembled in a few 
minutes) are seen Clark and Joan, the 
former surrounded by a few of the local- 
ites and Joan busy knitting, with a script 
girl and a secretary. Right: Clark had 
plenty of duckings during the day's work. 
Below: Joan gets a rubdown from Ab- 
dullah, Clark's masseur. Lower right: 
Clark, John Arledge and Director Frank 
Borzage discuss the big fight scene. 


Right : Only two 
"takes"were required 
for the fight scene, 
but for the close-up 
Clark had to fall into 
the water eight more 
times! Some fun, eh? 


Silver Screen 

and Clark 

Belotv: The fight scene in which Clark gets 
knocked into the water by Albert Dekker. 
Joan has back to camera. John Arledge is 
inside boat. J. Edward 
Bromberg stands at side. 
Clark is in water at left. 

for February 1940 


Silver Screen for February 1940 

Checking on Their Comments 

[Continued from page 15} 

s/ic isn't satisfied. She wants to do Serious 
Things. You know, act. When and if she 
acts now, nobody notices. But let Dorothy 
tell you — 

"I hope people won't misunderstand 
what I'm about to say about sarongs. 
Heaven knows, I'm thankful I was given 
the opportunity to wear six inches of 
rol>-nesian print and thereby become a 
movie star. Because of my sarong I can 
wear mink and gold lame gowns now in 
private life, but secretly nobody knows 
how tired I am of wearing a sarong. I've 
been wrapped up in one of those darn 
things so many times I'm beginning to 
question my ancestry. Things have come 
to such a pass that whenever I'm cast in 
a picture, the studio immediately begins 
searching the local zoos for the meanest, 
nastiest ourang to follow me about the 

"Just for once I'd like to go through 
a whole film dressed like Park Avenue. 
Sacheting around in one primitive print 
after another certainly makes a girl ap- 
preciate those little numbers Hattie Car- 
negie whips up. But things are looking 
up, because in 'Disputed Passage' I got 
as far as a pair of long, slinky, Chinese 

there?" "Such a girl," groaned Janey 
again, "hasn't much chance of being a 
Mata Hari, either in real life or on stage 
or screen. The deep, dark heart of me," 
grinned Janey, "doesn't photograph!" 

Eddie Albert had just passed by, and 
Janey had referred to her "heart." I 
hastily added two and two together and 
made one, and said to Janey: "I read 
that you and Eddie are romancing, are 
going to get married, are . . ." 

"Married?" screamed Janey . . . she 
yells things at you, yells (/ am sorry to 
say this, Jane), just like school-girls do 
when they get excited, "Married? Me? 
Oh, Heavens, no! Gosh, no! I know it 
was printed in the movie columns and it's 
so embarrassing. There I am, working 
on the sets with Eddie all the time, in 
Invisible Stripes, in Brother Rat and the 
Baby, and how do you suppose it makes 
me feel? Ridiculous, that's how. I feel 
a fool. And there's not a word of truth 
in it. We've gone out together several 
times and that's that. Why, even if I 
wanted to get married, which I don't, 
not yet, not by a long shot, I wouldn't 
be worth any husband's board and keep." 
I wouldn't have time to say T do.' Do 
you realize that since last February I've 
made seven pictures?" Jane ticked them 
off on her fingers, "Man Who Dared," 
she said, "Each Damn I Die, The Old 
Maid, Glamour Girls, We Are Not Alone, 
Invisible Stripes, Brother Rat and the 
Baby . . . well, really," she sighed, "the 
things people can think of . . . 

"I didn't like myself a bit in We Are 
Not Alone in spite of all the kind things 
that were, incredibly to me, said about 

pajamas and, since I'm not the type that 
gives up easily, I'll just wait around and 
some day I'll get my chance. 

"In the meantime, I'm seriously con- 
sidering going to court to obtain an in- 
junction to protect my rights to the 
sarong. I've found a gold mine in my little 
Malayan wrap-around. The other movie 
girls can have their Oomph, but I'll keep 
my sarong." 

There, there, Dottie, it's all sarong. But, 
when you stop to consider, how many can 
act (more or less) and how few can wear 
a sarong (more or less). Stick to your 
South Sea step-in and let the ladies with- 
out lyric knees wrench our hearts. Dottie, 
you're our idea of a double feature. 

T_tOW does it feel to be married to a 
screen idol when you yourself are a 
film luminary, up close to the top in your 
own right? Does jealousy get mixed with 
the order of the day? I asked Barbara 
Stanwyck, married to Robert Taylor, a 
couple of days after they arrived in New 
York on a long delayed honeymoon. Said 

"I like it — so far. It's like having a — a 

me. I saw the sneak preview. That face 
up there, that accent, I was so disap- 
pointed in me I could have died! 

"I could go on about my faults so long 
we'd be here until doomsday . . . but 
they are such sapoy little faults, not sins 
that are scarlet, not burning temptations 
which have not been resisted. One of 
my worst faults is my vagueness. About 
time, for instance. I have no more idea 
of time than a humming bird. About 
people, too, their names and faces and 
where I have met them and all that. I'm 
so vague, I'm almost rude at times. I 
have no style, no personality. That's a 
fault in any girl, one which should be 
corrected. I suppose that my very worst 
fault is my fear of people. A fear which 
is getting worse and worse when, with 
experience, it should be getting better 
and better. When I have to enter a room 
full of people I never know what to do 
or what to say, never know what to do 
with my feet and hands, never know 
whether to stand up or sit down. All I 
can think of is — quick, a razor and a 

"I'm supersititious only about bears 
and rain. I mean, I believe that bears 
are good luck for me. that's why I sleep 
in a room full of Poohs. I just have to 
have them around. And I know that all 
good things happen to me in the rain. 
The first time I ever rode on a train, 
which, at the age of six was my dearest 
ambition, it rained. The first time I re- 
member knowing that Santa Claus was 
coming, it rained. The first day I went 
to high school in a new red sweater and 
skirt it rained. The night I appeared in 

— a lightning rod. No indeed, I don't! 
mind. Not even when the girls crowd^ 
around, push me aside and demand hisi 
autograph. Besides they ask me now and! 
then, too. 

"Our real problem lies in adjusting out' 
home life to our work. We never see each; 
other until 7:30 o'clock at night — if we're' 
lucky, and there's no night shooting oni 
either of our schedules. 

"I'm up at 5 or 5:30 in the morning,, 
at the studio by a quarter to 6. Bob is^ 
asleep then. He needs all he can get. I'm 
off at dawn because an actress has to go 
through a long period of make-up. And 
a hair-do. Bob doesn't get up until 7 or 
7:30. He can sleep on the powder and 
grease paint. And just comb his hair. 

"Then, when we meet at dinner, we 
have a rule against discussing studio prob- 
lems. But afterwards we have to learn 
our parts for the next day's shooting. Bo"b 
absorbs his easily. It's harder for me. I'm 
a slow study. So we can play but little, 
unless we both happen to be between pic-, 
tures. That's just happened. Can marriag^ 
survive all this? We're working hard a" 
it and hoping." 

Maybe that lack of breakfast table do-! 
mesticity has its good points. Matrimony^ 
and marmalade mix with difficulty. As fo 
the rest, marriage in Hollywood probabl" 
has as good a chance as anywhere. It a 
depends on the folks involved, the breaks, 
the real honesty on both sides. 

Green Grow the Lilacs at Jean Muir's 
workshop, where I studied drama, it 
rained. And, as I think you know, it was 
when I made my debut in that play that 
a talent scout from Warner Brothers saw 
me and asked me to come to the studi 
to make a test. 

"The day I made the test it rained.. 
The day I signed my contract with War- 
ner Brothers it rained. It rained all the 
time we were making Marked Woman. 
It rained the day I made my most difii- 
cult scenes with Bette Davis in The Old 
Maid. It rained the day I first met Bette 
Davis which was, of course, gosh, yes, a 
day in my life! The first day we were 
on the set of We Are Not Alone, and 
I was scared almost speechless because 
I knew that part was going to challenge 
everything in me, we had a freak rain, 
right in the middle of summer it was. 
I took it for a good omen, that rain. 

"When I found out that I was going 
to New York last year, my first trip to 
New York, it rained. I expect that when 
I fall in love, when I know that this is 
love, there will be a deluge. If there 
isn't," laughed Janey, "I'll run like sin. 
This is as good a time as any, I guess, 
to further denude myself of glamour by 
saying that I have no ideal man. You 
know, the way girls picture him in their 
minds, in their hearts. I haven't the 
vaguest idea what he looks like or even 
what I want him. to look like . . . but 
I do say," said Janey, raising her head 
proudly, "I do say that I have intuitions 
and sound instincts about people and so 
I think I'll know him when we meet . . . 

"Oh, I forgot to mention two other 
things I hate about myself. I hate my 
stubby, junky little fingers. They're so 
little they're no good for anything. Why 
[Continued on page 74] 

Her Own Worst Enemy 

[Continued from page 25] 

riii lttrillilliii -m If- III 11 

Miss Margaret Biddle, 

attractive young 
daiighter of Mrs. 
Henry C. Biddle of 
Philadelphia, enjoys 
one of society's smart 
indoor polo matches. 

The younger social set 

loves skiing. To Margaret, a 
"spill" is just part of the fun, 
and she has a good laugh at 
her companion's expense. 


Miss Biddle, does a girl looking for- 
ward to her thrilling debut year take 
any special care of her complexion? 

ANSWER: "Oh, a good, regular 
beauty routine is terribly important! 
I use both Pond's Creams every 
day of my life — Pond's Cold Cream 
to cleanse and soften my skin night 
and morning, and freshen it during 
the day. It's all wrong to put new 
make-up on top of old, so I always 
give my skin a good Pond's cleansing 
before fresh make-up." 

QUESTION: Doesn't an afternoon of 
skiing make your skin rough and 
difficult to powder? 

ANSWER: "No, it really doesn't. 
You see, I spread a film of Pond's 
Vanishing Cream over my skin before 
going outside — for protection. When 
I come in, I use Vanishing Cream 
again. It smooths little roughnesses 
right away — gives my skin a soft 
finish that takes powder divinely I" 

Why should Phyllis worry aliout 
General Chemistry and English 
themes when Brcnclihrook Pond 
is frozen over and she got new 
hockeys for Christmas? 

After an exciting summer in 

Europe, Margaret is now back 
in the whirl of sub-deb gaiety. 
Season's high spots are exclu- 
sive Saturday Evening dances. 


What does a good complexion mean 
to a high-school girl. Miss Boarman? 

ANSWER: "It means plenty! No 
inferiority complex — and loads more 
fun! And it's so easy to help keep 
your skin in good condition! Pond's 
2 Creams seem to be all I need- 
Pond's Cold Cream to make my 
skin clean and fresh looking, 
and Pond's Vanishing Cream to 
smooth it for powder." 

QUESTION: Miss Boarman, your 
make-up looks as fresh as if you 
were just starting out for a dance, 
instead of just going home! 
How do you do it? 

ANSWER: "I have a system! Before 
even touching a powder puff, 
I cleanse and soften my skin with 
Pond's Cold Cream. After that, 
I ^mooth on Pond's Vanishing 
Cream for make-up foundation. 
Then comes powder. It goes on 
like velvet and clings for agesi" 

With the last strains of "Home 
Sweet Home" at the DeMolay 
"formal," Phyllis and her date 
Lurry to be "first come, first 
served" at Pal's Cabin. 


KIT i 


POND'S, Depi. 7SS-CVB, Clinton, Conn. 
Rush special tube of Ponxi's Cold Cream, 
cuou$i;h for 9 irealineuts, with generous 
suitiples of Pond's Vanishing Cream, 
Pow<l 'b Liquefying Cream (quicker-melting 
cleansing cream) and 3 diflerent shades of 
Pond's Face Powder. I enclose lOp to 
cover postage and packing. 


Copyright, 194U, Pond's Extract Company 


Silver Screen for February 1940 

A Helping Hand From Hollywood 

[Continued from page 17] 

members of the official family, newspaper 
writers and radio men. 

So successful was Ginger's visit that 
in 1937 Washington urgently requested 
more stars from Hollywood to swell the 
attendance at the birthday balls. They 
sent Jean Harlow that year to captivate 
official and unofficial Washington with 
her charm and personality. 

Robert Taylor came, too, and so did 
Marsha Hunt. Mitzi Green, and John 
Trent, the latter a handsome air pilot 
newly seltcted for the Hollywood build- 
up. Sir Guy Standing arrived for the 
ceremonies, too, but before his first ap- 
pearance he caught fiu and was forced 
to spend a week in a Washington hospital. 

Also on the guest list was Joe E. Brown, 
but he never arrived. Flying East, his 
plane was downed by fog. He came a few 
miles farther toward Washington by char- 
tering a private plane, but that, too, was 
forced to land. It was reported that Joe's 
yells of disappointment rang through the 
Midwest, for he had brought with him 
a real birthday cake and a special horo- 
scope for FDR. 

Those who arrived and stayed out of 
the hospital had a hectic visit. Both Jean 
Harlow and Robert Taylor had bad colds, 
but both managed to stay on their feet 
to take the lead in the round of events. 

The day before the birthday, they at- 
tended the usual round of press luncheons, 
receptions, dinners, and so on. At mid- 
night, they were taken to the Federal 
Bureau of Investigation for a tour per- 
sonally conducted by John Edgar Hoover. 
At 12:40, Jean Harlow was missed by 
the rest. The G-Men found her curled up 
in a big chair in Hoover's office — sound 

1937 was the year that added a new 
hazard for feminine guests visiting Wash- 
ington. At the Capitol, Miss Harlow was 
kissed by Senator Reynolds. Immediately, 
a photographer suggested that Robert 
Taylor visit the House of Representatives 
and kiss a Congresswoman. Taylor re- 
fused — but firmly. 

That night all of the stars laughed when 
President Roosevelt, about to be photo- 
graphed by newsreel cameramen, spoke to 

"Is my hair on straight?'' he asked. 

When the flying visit was completed, 
all of the stars left Washington with 
pleasant memories. But perhaps Washing- 
ton's most pleasant recollection was of a 
grand girl refusing to be licked by a cold 
or a tough schedule. That was why many 
a Washingtonian felt a deep personal loss 
a few months later when gallant Jean 
Harlow died. 

In 1938 the President was 56, and the" 
largest group of stars yet to attend his 
birthday party arrived in Washington. 

Janet Gaynor, who had just made "A 
Star Is Born," won the presidential favor. 

"Cute as a button," the President de- 
scribed her. Immediately, sage showmen 
at United Artists announced that Miss 
Gaynor would appear shortly in a new 
picture. The title? "Cute As A Button." 
But it has never been made. 

This was the year that Eleanor Powell 

joined the celebration. She assumed some- 
thing of the glamour girl mantle and was 
soundly kissed, not by one, but by two 

Belle of the ball was Zorina, dancing 
lovely who had just completed "Goldwyn 
Follies," which marked her film debut. 
She charmed feminine writers by her per- 
sonality and her accent; male writers just 
gaped at her beauty. 

One of the most popular visitors was 
Louise Fazenda, whose appearances won 
warm applause everywhere. 

The invalid of 1938 was Fredric 
March, just recovering from a siege of 
grippe. But, accompanied by Florence 
Eldridge, his wife, he made every sched- 
uled appearance. 

Ray Bolger tapped merrily through the 
celebration that year, causing several 
critics to wonder (in print) why Metro- 
Goldwyn-Mayer didn't give him a dancing 
role in pictures. Now, two years later, 
they are still wondering. 

Joe E. Brown, who had started twelve 
months before, finally arrived in 1938— 
by train, and minus cake and horoscope, 
which had expired. Brown squired Louise 
Fazenda during the stars' tour of the 
White House. A photographer snapped the 
pair of them inspecting the President's 
private bathroom. 

"Goodness, I hope they kill that pic- 
ture," Louise squealed. 

In 1938 the younger element of Holly- 
wood was represented by Tommy Kelly 
and Ann Gillis, stars of "Adventures of 
Tom Sawyer." FDR grinned at Tommy, 
gave Ann a big hug. 

At the Capitol, Eleanor Powell and Ray 
Bolger gave lessons in the Susie-Q and 
Big Apple to Senators Carraway, Pepper 
and others. A newsreel photographer sug- 
gested they come out on the steps and 
Big Apple for the camera. 

When they got there, they found the 
lens being monopolized by Lady Nancy 
Astor. The two dancers waited. 

"Anyhow, I bet she hasn't got rhythm," 
said Eleanor to Ray. 

The celebrations that year ended as 
usual with the Gold Plate Breakfast. The 
Secretary of War danced with Zorina, 
much to the envy of lesser males, and 
everyone in sight tried to win a dance 
with Eleanor Powell. 

The celebration of 1939 goes down in 
history as the year Errol Flynn stole the 
spotlight and lost his pants . . . fortu- 
nately, not at the same time. Besides 
Errol, the visitors included George Brent, 
Andrea Leeds, Annabella, Ralph Bellamy, 
Lili Damita, Bruce Cabot, Lionel Stander, 
and two repeaters — Eleanor Powell and 
Mitzi Green. 

Some 27 officers and 225 men of the 
5th Marine Regiment aided police in 
keeping autograph hunters in line. The 
President was 57, and the celebration, as 
always, was a mad rush for the guests 
of honor. 

But about Errol Flynn 's pants: 

The trouble began the minute Flynn 
arrived in Washington. He was scheduled 
to ride the President's horse in the Birth- 
day Horse Show, at Ft. Myer two hours 

Madeleine Carroll chatting with Rosa- 
lind Russell's boy friend, Richard 
Halliday, at the Beverly-Wilshire. 

after his arrival — ^but a hasty check-up 
failed to reveal any riding breeches. The 
pants were lost, strayed or stolen. 

While Flynn charmed the press and ate 
a hasty supper, a worried major tele- 
phoned the cavalry post at Ft. Myer. At 
the last minute, a courier dashed into 
Flynn's suite with borrowed breeches. 
Miraculously, they were a good fit. And | 
the star of the horse show arrived on ' 

But Flynn's trouser trouble was only 
beginning. That night, when he was pre- 
sented to Mrs. Roosevelt, the First Lady 
invited him to dinner at the White House 
Sunday evening. 

Came Sunday evening, half an hour 
before time for the dinner, and it was 
discovered that the Flynn evening trou- 
sers were badly mussed. They were dis- 
patched to a presser immediately, but 
the minutes began ticking away. 

Five minutes before he was due at the 
White House, the star of "Robin Hood" 
was nonchalantly sitting in his hotel room, 
beautifully decked out in white tie, tails, 
even a top hat — but no pants. Again, only 
a last minute arrival saved the schedule. 

Outside of his difficulties in assembhng 
a complete wardrobe, Flynn was the 
favored star of all those who attended. 
But there were plaudits too — and plenty 
of them — for all of the rest. 

Andrea Leeds was asked by one inter- 
viewer if she planned to marry Edgar 
Bergen during 1939. Her answer might 
disconcert her new husband, Mr. Howard. 
For she said: 

"If I marry anyone this year, it will 
be Charlie McCarthy!" 

Luise Rainer was 1939's representative 
on the sick list. Her visit to Washington 
was halted in New York, where she went 
to the hospital with a high fever. 

Zorina's honors for accents were as- 
sumed for the season by Lili Damita, who 
was quoted by a staid Washington news- 
paper as having charmed dancers by an- 
nouncing "So oppy to mit you all." Lili 
had other difficulties than accents, how- 
ever. The year seemed a dangerous one 
for the Flynn wardrobe, for Lili's gown 
\_Continued on page 64] 

Silver Screen for February 1940 


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Silver Screen for February 1940 

A Helping Hand From Hollywood 

[Continued from page 62] 

had a train — and at one hotel, a heavy 
masculine foot descended on it. 

When Lili took a swift step, off came 
the train. So while Errol told stories to 
the crowd, Lili {behind a screen) had her 
train replaced by a busy maid. 

At the White House, Annabella's dewy 
loveliness made a sure impression. A so- 
ciety writer found only one person to 
whom she might be compared— the beaute- 
ous Ethel DuPont Roosevelt, who was 
present with her husband, Franklin, Jr. 

George Brent amazed Washingtonians 
with his love for fresh air. A radio inter- 
viewer, revising a script for a broadcast 
with Brent, conferred with the star in 
his hotel room. Washington is cold and 
damp in January, but Brent had a win- 
dow as wide open as. it would go. The 
radio man had difficulty writing, he was 
shivering so much. 

One of the most appealing of all the 
stories of this most recent celebration 
concerned Eleanor Powell. Returning for 
her second year, she missed a motorcycle 
policeman who had been her special escort 
the year before. 

She was told that he had been hurt 
and was in the hospital. Whereupon she 
found time, in an already overloaded pro- 
gram, to pay a visit to the hospital and 

out. They were dream people to me. 

"Someone told me that Mr. Edwards' 
secretary lived in the hotel next to the 
theatre. I peppered her with letters that 
ran the gamut of entreaty." 

The letters did a lot of fast springing, 
apparently, until they had chased the hap- 
less secretary up a tree — from which she 
was, however, able to phone little Betty 
to appear before the impresario, ready to 

"I showed up early with all the makeup 
I owned in a shoebox. The play was to be 
the stock company's version of 'Shanghai 
Gesture,' with Miss Reed playing her 
original part. With Miss Reed there I 
didn't expect to star but neither did I ex- 
pect to end up as a Chinese girl behind a 
screen! " 

She got lots of the same, after that. 
Any play that had a part where someone 
was glimpsed between eye-blinks and 
heard even less, was sure to require the 
services of our heroine. All of which is 
more than fair to a theatrical newcomer. 
And, besides, she did finally achieve fame 
in the Edwards' troupe as a hysterical 
maid who rushed into the drawing room ' 
to find Sir Montague Bagglesnaggs lying 
flat and as cold as a bottle of pop. Her 
scream was the best thing heard this side 
of Bangkok, India. 

The scream did it. High school was al- 
right for sissies who didn't adore mops 
that looked Hke Cyrano de Bergerac, but 
for Betty Field, star extraordinaire of 
the Edwards' Theatrical Titans, well. . . . 

"I enrolled in the American Academy 
of Dramatic Arts, in New York City. We 

make a surprised cop very, very happy. 

Perhaps the funniest story concerns a 
male star whose name is best not re- 
vealed. When the middle of the evening 
arrived, and he drove up to the White 
House for the presidential broadcast, he 
noticed there was a little time to spare. 

Then he made a suggestion to one of 
his escorts, the escort told the chauffeur, 
the chauffeur told the motorcycle cop, 
and the cavalcade (which had already en- 
tered the White House groimds) moved 
out again. 

With sirens screaming, the party rushed 
through the streets to an all-night restau- 
rant on the waterfront. It was probably 
the first time in Washington's history that 
a hmousine and police escort dashed 
across town in order that a tired Holly- 
wood star could grab a quick one. 

Names of the Hollywood headliners 
who will come East for the 1940 cele- 
bration had not been revealed when this 
article was written. But it is an axiom 
in show business that you must not let 
down — and that each succeeding show 
must top the last one. So it is that Wash- 
ingtonians are looking forward to an influx 
of celebrities in a few weeks. And the 
fight against infantile paralysis will re- 
ceive another big contribution — from 
Washington and from Hollywood. 

acted out plays, accepted criticism and 
were packed off to see the right people 
act. Are such schools of real help? I don't 
really know." She paused to remedy a bad 
situation. There was no salad on her plate, 
some in the bowl. 

'T don't think play producers pay much 
attention to the schools but some agents 
do. I do know that I'm the only girl in my 
class who's working. One of the boys, 
Garson Kanin, is directing movies; he did 
"A Man To Remember," which was a 
picture to remember. My teacher, Charles 
Jellinger, is lionized by people like Rosa- 
lind Russell and Jimmie Stewart when he 
visits Hollywood. Did you know I didn't 

She didn't graduate because she was 
busy learning an understudy part in "Sing 
And Whistle," which had Ernest Truex 
for its star. When they were passing out 
diplomas and speeches she was sitting in 
the wings of the theatre, hoping bad things 
for a certain actress. Nothing happened. 

Miss Field had finished the salad bowl. 
She searched hopefully for a few spears 
of chives or lettuce, gave up and ordered 

"I was sixteen and thrilled when I was 
sent to London to work in 'She Loves Me 
Not.' It was fun but I was dying to get 
home to the fat parts waiting for a girl 
with continental experience." 

The fat parts, however, were just 
around the corner for her, prestige to the 
contrary. She took a few lines in '"Page 
Miss Glory," and then accepted grate- 
fully the understudy jobs that turned up. 
This was a trying period. She Hved in 

Peter B. Good, who's featured in "Brother 
Rat and a Baby," seems rather skep- 
tical about it being a Happy New Year 
as he winds up a hilarious celebration. 

cheap hotel rooms, she washed her stock- 
ings out every night and she ate at the 
Maison Nedick, an eating place well 
known to beginners in every profession in 
New York. 

"At one time I lived with a girl and her 
two brothers in two rooms," Miss Field 
was now engaged seriously with a piece of 
cake. "The girl and I slept in the bed- 
room and the boys in the living room. 
They got up at 5:30 to go to work in 
New Jersey while we slept a proper late 
theatrical sleep. Then they'd come in tired 
and ready for bed and we'd be in the 
living room entertaining. So the boys 
would troop into the bedroom and go to 
sleep. After our guests left we'd wake up 
the boys, they'd go to their living-room 
beds and we'd take over the bedroom. It 
was fun. . . ." 

Meanwhile she was the perennial under- 
study, disappearing in three or four shows 
at one time. But not once did colic or 
housemaid's knee, or any of the other 
maladies she dreamed up, inconvenience 
those she understudied. 

And she had to know all of the lines 
and business correctly and not go stale in 
any of them even though she never got a 
chance to play them. Twice people were 
sick enough for a rehearsal to be called 
{for Field) but each time they recovered 
enough to come limping in just in time 
to go on. This shows what prayer will 
not do. . . . 

But this acting in the dark was not to 
last forever. She tried out for a road com-^ 
pany George Abbott was forming to put 
[Continued on page 66] 

Betty Made It The Hard Way 

[Continued from page 41] 


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Silver Screen for February 1940 

Betty Made It The Hard Way 

[Continued from page 64] 

on "Three Men On A Horse" in Boston. 
"I tried out for one part/' she says, "and 
got another. A better one, it was the femi- 
nine lead, the wife of the greeting-card 
Longfellow. Joyce Arling created the role 
in New York and when she left the com- 
pany they shifted me into that spot." 

When "Three Men On A Horse" closed 
she fell into the part of the girl in '"Boy 
Meets Girl" for four weeks in New York 
and a whole season on the road. Then, in 
succession, she appeared in "Room Serv- 
ice," "Angel Island" and then "What a 
Life," opposite Ezra Stone, himself one 
of the theatre's up-and-coming. After six 
months with this she was cast as the 
ingenue in "The Primrose Path," an ef- 
fort very slightly related to primroses. 
Paramount's director, Tom Reed, saw her 
■'n it playing opposite Russell Hardie and 
signed her up quickly. {Richard Watts 
Jr., the acidulous critic, said she was 
humorous, engaging and even touching in 
this) . 

If you stop to consider that this girl is 
only twenty-one now and that she has 
forged up without benefit of agents (ex- 
cept for movies), you're apt to hear your- 
self doing a low whistle of astonishment. 
Miss Field, though, is not the pushing 

For more specific statistics, let it be 
known that she is the daughter of George 
and Katherine Kearney Field. She stands 
five feet five inches tall and weighs in at 
110. She really does ride, and often. Her 
present apartment once belonged to an 
artist and he painted the bathroom full 
of nudes. She says she wants to wash the 
nudes too, everytime she bathes. 

At the interview she was wearing a 
brown tailored suit and brown hat. She 
wore little makeup and practically no 
jewelry — only a leather bracelet and 
leather cuff links in the cuffs of her waist 
or shirt, or whatever a shirt is called when 
it finds itself on a woman's back. Sud- 
denly she remembered that two other in- 
terviewers had seen her in the brown 
ensemble and gosh, people would think 
that she didn't have another suit, a blue 
one, at home in the closet. Miss Field has 
a blue suit at home in the closet — advt. 

She loathes walking and the subway, 
but has a passion for sightseeing buses 
wherever she goes. She loves Helen Hayes 
and collects all the Hayesiana floating 
about. One cute bit concerns Monte Wool- 
ley, the star of "The Man Who Came To 
Dinner," currently on Broadway. Woolley 
was seated in the office of a throat special- 
ist, exhibiting a sore throat. "Oooooh," 
bellowed Woolley in his upper register to 
show the doctor how he felt and at the 
same time occupy the center of the stage. 
"Wooooonh," he roared from his lower 
register, "you see. Doctor, I accompHsh 
nothing today." With that a door flew 
open and a mousey-cute creature popped 
her head in from the next office, saying 
pertly, "Mebbe not, but you've broken 
three windows in here!" Naturally it was 
Helen Hayes. 

At this writing Miss Field was in New 
York on a six month's leave from Holly- 
wood and rehearsing with the ill-fated 

"Ring Two," a play concerning an old 
actress who moves to the country and has 
servant trouble. Backstage to visit her 
was Hollywood's Louise Campbell. They 
worked together in stock once, in Ivory- 
ton, Connecticut. 

Some time before the Ivoryton busi- 
ness, Betty was learning more about stock 
and acting in upstate New York. Perhaps, 
the best part of the engagement was that 
they had time to study the different stars 
who appeared with the company. One 
afternoon, watching Miss June Walker 
work onstage, she became so absorbed in 
Miss W's performance that she uncon- 
sciously drew her knitting from her bag 
and started the sleeve of the sweater she 
was making — and she was sitting in the 
front row. "Young lady," Miss W. inter- 
rupted the play, "if you must knit, I in- 
sist that you do it in the privacy of your 
home!" Miss F. was mortified, to say the 
least ! 

It was this unashamed enthusiasm, plus 
her youth, that made them call her "The 
Kid." Then when she went to London 
she found that she was older than most of 
the young crowd in the theatre and so 
she lorded it over them and no one men- 
tioned the odious nickname. Hollywood 
isn't quite sure whether to take it up or 

"Paramount is so big," she confessed, 
"that I felt lost for a long time. After 
all, I was used to the intimacy of the 
theatre, where a small group sits on the 
stage and works out problems. I think 
that maybe I liked the Hal Roach lot a 
little better because it's smaller." 

Vastness isn't the only surprise she en- 
countered in Hollywood. For over a year 
and a quarter she had played the part 
of Barbara Pearson in "What A Life" 
without any noticeable complaint from 
anyone. Naturally she thought she knew 
Barbara pretty well, at times almost too 
well. So you could have knocked her down 
with a studio cobweb when the makeup 
man handed her a dental brace and said: 
"Hook it on, Honey." She thought he had 
mistaken her for someone else but one look 
at her script told her the awful truth — the 
beauteous Barbara of the stage was the 
homely Barbara of the screen! Shades of 
Adolph Zukor! 

"But," and she grinned, "everything 
worked out alright by the time they 
loaded the second reel into the camera. 
Off came the brace — I wore one once my- 
self — and they waved the hair they had 
kept straight, and what a relief! 

"But I like the movies. I enjoyed mak- 
ing 'Seventeen' better than 'What A Life.' 
And while 'Seventeen' was officially a 'B' 
picture, I think Paramount did an 'A' 
job on it. Perhaps it's because everyone 
loves the story of Willie Baxter and Lola 
Pratt. I wish I could have seen Ruth Gor- 
don do the original Lola, twenty years 
ago. . . ." 

At the age of one, Miss Field would 
most likely have registered her approval 
of the goings-on on the stage with violent 
chirpings. Now at twenty-and-one she her- 
self was playing Lola in "Seventeen" but 
she was not the Lola Pratt Mr. Tarking- 

Lovely Rita Johnson, whose latest is 
"Congo Maisie," starring Ann Sothern, 
believes in simple backyard sports. 

ton wrote about nor the one Miss Gordon 

In this 1Q39 streamlined edition, auto- 
mobiles, radios and false eyelashes on 
Miss Pratt figure into it. Genesis, the 
colored servant, is briefly in and out, and 
the bread-and-butter-and-applesauce of 
little sister Jane is seen but not referred 
to. Willie's "Ye gods and little fishes" has 
lost the "and little fishes." Willie's 
father's tails are too big for him he says 
but they fit the much smaller Jackie 
Cooper perfectly — but that's Hollywood 
for you. 

As Lola, Betty introduces something 
that Mr. Tarkington, for sure, has never 
even remotely heard of. It's a method of 
talk called, variously, "ski-talk" or "de- 
layed-talk" and it goes like this: "Where'U 
it get you — in the end?" The dash indi- 
cates a pause and the voice goes up on 
what follows the dash. Some more of the 
same: "What are we having for dinner- 
mother?" and "What's that in the road — 
ahead?" and "What should I do when 
my wife drinks — likker?" Colonel Stoop- 
nagle is reputedly the originator of it. 

Floppit, the dog, is not Miss Field's 
own, really. Her mother has a kennel full 
of Irish water spaniels in Morristown and 
she shows them at all of the best shows, 
including Mrs. Hartley Dodge's annual 
dog show. No, if Betty had a dog it 
would be an Irish water spaniel. 

But Betty Field's success is her own, 
definitely, and it seems more than likely 
to be a growing and ever-growing thing. 
She will have three movies about and she 
will be back in Hollywood working on 
other productions. 

You could do worse than make book 
on Miss Field. . . . 

Silver ScanKN for February 1940 


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Silver Screen for February 1940 


The action of Ex-Lax is thorough, yet 
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next time you need a laxative. It's 
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lOfi and 25^ 

She Still Has Too Much Sex Appeal! 

[Continued from page 39] 

1.0 be less sexy in private life. But Mae 
does. She has more than her share of sex 
appeaL She always has had. 

She was a saucy blonde of six when 
she first felt stage boards under her feet. 
The boards were in a vaudeville house in 
her native Brooklyn. The occasion was 
an Amateur Night. She sang, danced and 
did imitations. And she had something, 
even at the age of six. She vamped the 
judges into giving her second prize. The 
next week, she won first prize. The third 
time she appeared, Hal Clarendon, who 
had a Brooklyn stock company, went 
backstage, met her father — prize-fighter 
Jack West — and talked him into letting 
little Mae delight the customers of the 
stock company. 

Clarendon changed his whole repertoire 
to include plays with child parts. Weeks 
when he didn't have parts for her, she 
went on solo between acts, doing songs, 
dances and imitations of Eva Tanguay, 
George M. Cohan and other headliners of 
the day. She had talents as a mimic. Later, 
those talents were to make her a writer. 
She could visualize personalities, picture 
what they would do in any situation, what 
they would say and how they would say it. 

She was the wonder child of Brooklyn 
for five years. By that time, she was 11, 
too big for child parts, and not big enough 
for ingenue parts. She passed the next 
two awkward years in pubhc school and 
dancing school. Then she started haunting 
vaudeville agents. She finally got a book- 
ing — as a shimmy dancer, with Harry 
Richman as her pianist. Shimmy-dancing, 
if you remember, required an eloquent 
chassis. That, Mae had. Age 14. 

When she was 16, she played her first 
Broadway role. The character was a baby 
vamp. Sex appeal was demanded — and 
delivered. When she was "about 19," she 
wrote and starred in her first play. It 
was titled "Sex." Just that. No more — 
and no less. And did Mae live up to the 
title? The play ran two years. 

She earned her reputation so young 
that, by the time she got around to Holly- 
wood and picturing the Gay Nineties in 
"She Done Him Wrong," there were those 
who thought she had lived and loved in 
the Gay Nineties, herself. 

Hollywood didn't have to manufacture 
a personality for Mae. She already had 

"I play myself," she told me, "a little 
exaggerated. That's why I write my own 
stories. I don't hke writing. I'd like to 
find someone who could do my scripts 
and let me sit back and just be the star. 
But I know my own personality as no 
one else does. I know what's natural for 
me to do and say, and what isn't. That's 
important. If you want audiences to enjoy 
vvfhat you're doing, you've got to enjoy it, 
yourself. You've got to be natural. You 
can't be forced. 

"I won't do a scene unless I can feel 
it. I won't say a word unless it fits me. 
So they call me 'the most temperamental 
woman in Hollywood.' I can take it. I've 
got experience behind me, backing me up. 
I know that when you strain for an effect, 
you usually don't get it." 

When June Lang returned to Hollywoaj 
from personal appearances in the midd! 
west Hal Roach, Jr., dated her right away, 

Few stars have screen personalities that 
are unique, individual. Charlie Chaplin is 
one. W. C. Fields is one. And Mae West 
is another. And what is the secret of being 
the only one of a kind? It seems to elude 
the other glamour girls. In fact, it seems 
to elude practically everybody. You see, 
practically everybody is trying to become 
something he isn't, and the secret is: Be 
yourself, as much as possible. 

People may have said a lot of things 
about Mae, but they've never been able 
to say she isn't herself. 

She was born with a lusty sense of 
humor. What did she do about it, when 
she discovered she was also born with a 
large supply of sex appeal? Did she try 
to put a check on the sense of humor, so 
people would take her more seriously? 
She did not. "What was the fun of having 
sex appeal, if I couldn't get any laughs 
out of it?" Mae wanted to know. 

She kids about having more sex appeal 
than the censors are wilhng to allow- 
but it isn't this sex appeal that draws ii 
the customers half so much as the zei 
she gets out of it. That's what mak 
her human. Which most screen sire 
aren't, for most of them are putting oi 
an act. 

On the screen, Mae drops wisecracks;, 
and double-meanings by the gross — but; 
it isn't an act because her characters don't 
say anything that she wouldn't be capable 
of saying, herself, under similar circun^ 

Her characters, for example, don't us| 
slang. Mae doesn't, herself. They don* 
use big words, either. "I know a few, 
says Mae, "but they don't become me| 

Mae, herself, doesn't say "ain't- 
though her characters do because Mae hi 
fun expressing her personal belief that a 
girl can know all the answers, even if 

Silver Screen for February 1940 


she doesn't know her grammar. 

One of the funniest things about Mae 
on the screen is that, in her brashest mo- 
ments, she still has elaborate dignity. That 
isn't an act, either. Off the screen, she 
has even more dignity. With sex appeal 
hke that, she has to have — in self-defense. 

Most sirens are all ahke. They operate 
on the theory that all they need to get 
their men is sex appeal and a thorough 
knowledge of feminine wiles. Mae's sirens 
are different, because they're realistic. 
They operate on the theory that the men 
may also have some wiles, and it's a good 
idea to keep a sharp lookout. Mae, her- 
self, is a realist. Business deahngs with 
men have made her that 'vfvay. 'T have 
my tricks, and I feel as if they must 
have theirs, so I kind of watch them." 

Mae's sirens are franker than most. 
But, then, Mae is franker than most 
women. Being a business woman has made 
her that way, too. Taught her that you 
get results faster, dealing with men, if 
you don't beat around the bush. 

Her big ambition is to play Catherine 
the Great. She was to do so last year, 
but the picture would have cost a fortune, 
and business conditions were sour — so it 
was called off until some future date. 
(That's why you didn't see a West picture 
last year.) The reason for her interest in 
Catherine is: "She went down in history 
as a woman who always got her man. 
And she had a lot of them. Smart men. 
I'd like to show how she must have done 
it. She couldn't have done it on looks 
alone. She must have been smart, herself." 

Mae's sirens have an unusual attitude 

I T 

It's nice work if you can get it and Director George Fitzmaurice has it as he 
talks over an intimate scene with Isa Miranda for "Diamonds Are Dangerous." 

for sirens. Their attitude toward any man 
is: "When I want you, I'll call you." 
They put across the idea that they're in 
no hurry to be won. They'd like to look 
around a little longer. Mae is like that, 
too. She says she has never married be- 
cause: "I've never met the man who made 

me feel 'This is the last man I want!' " 
Her sirens aren't jealous of other wom- 
en's attractions. Neither is Mae. Let the 
other girls have all the glamour they can 
get. She will still have something that 
no other woman alive has — that Mae 
West personality. 





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S I L V i; R S c; R i: i: N for F n B R Li A R Y 1940 

How to Bring Out the Clark Gable in Any Man! 

[Continued from page 23] 

Eddie Albert looks as if he's just about to do the unusual thing of man bit- 
ing dog, but he's merely trying to give an impersonation of King, the Eng- 
lish bulldog, who appears with him in Warners' "Brother Rat and a Baby." 

his hc-manness, and his sense of humor. 
That's what we've got to bring out in 
our boy friends. Now I don't wish to 
crow it over you other dames too much, 
but for the past few years I've had a 
'.hance to know Clark pretty well — dur- 
ing his courtship of Carole and now out 
on their ranch in 'Van Nuys where they 
are so happily married. And I must 
say I've never met a more natural guy 
in all my life. There isn't the slightest 
bit of movie star chi chi about him, not 
a single affectation. None of this "now 
you've been admitted to the Royal Pres- 
ence and aren't you impressed!" stuff. 

He doesn't feel that he's the greatest 
actor God ever made, not by a long shot, 
he feels that he has just gotten a string 
of good breaks, and what a lucky guy he 
is. He's the first to tell you that he was 
"lousy" in such and such a picture, that 
he "hammed it up good," and that he's 
"just a farm guy at heart." He definitely 
isn't Little Theatre, and he isn't acting 
for Art, he's acting for money with which 
to stock his ranch and buy knick-knacks 
for his little bride. 

As a guest in his home you are made 
welcome, and comfortable. If you want 
to prop your feet on a chair and drop 
ashes on the floor and let your glass make 
rings on the table it's all right with Mr. 
G. and the Missus. The Gable ranch is 
certainly no mausoleum, and neither is 
it a pig sty, it's simply a gay, friendly, 
comfortable home, where guests can be 
as natural as their host and hostess. 

Dogs and cats are all over the place. 
Clark is fond of both. In the course of 
the visit you'll have to see his collection 
of guns, his saddles, and his new tractor. 
If you stay for dinner you'll probably 
have delicious hominy grits, fried chicken, 
and biscuits with gravy. You won't hear 
any Hollywood gossip about what Glam- 
our Girl so and so said to Glamour Boy 
so and so at the Trocadero Saturday night 
{the Gables are homebodies) , but you'll 
hear plenty about the hunting trip he 
and Carole took over the week-end, and 
how Carole's a better shot than he is. 

All man — that's Gable. None of that 
Pretty Boy stuff and nonsense. Unlike the 
other leading men at his studio (/ won't 
call names) he isn't at all fussy about 
his publicity and never re-touches his pic- 
tures. "Okay," he says, "so I look like 
a mug." Virile, adult, and handsome, he's 
been toughened plenty by the years of 
hardship that preceded his success, years 
in lumber camps, side shows, and pound- 
ing the sidewalks looking for a job. He's 
no softie. E.xcept when it comes to his- 
heart. He has a great understanding of 
people. There's no sloppy sentiment there, 
and no affections are worn on his sleeve. 
His fists are as agile as his brains. No 
wonder women in every walk of life go 
mad about him. 

He doesn't believe in that old cobwebby 
adage that woman's place is in the home. 
Carole's place is anywhere she wants it, 
and it doesn't hurt his pride at all that 
often she makes more money than he 
does. The main idea is not to be so darned 
serious about things, but to get fun out 

of life, which is over much too soon. And 
believe me, he and Carole get it. His 
grand disposition, aided by a sense of hu- 
mor second only to Carole's, certainly 
makes Mrs. Gable's lot an easy one. 
There's never a dull moment with those 

Now that we know the secret of Gable's 
fatal fascination — his delightful natural- 
ness, his rugged masculinity, and his love 
of fun — all we've got to do is bring it 
out in our boy friends, and maybe we'll 
have a new crop of Gables. (// you hit 
gold, do let me know, and I'll be right 

Strangely enough, men don't resent 
Gable the way they do the other Great 
Lovers of the Screen. "That Nelson 
Eddy," they'll say, "Phooey." Or "That 
Robert Taylor, he stinks." "V^et they seem 
to have great respect and admiration for 
'What-A-Man, they call him a "regular 
guy," and they crowd in to see his pic- 
tures just as eagerly as women. I'm sure 
a lot of them would like to be Clark 
Gables themselves. They probably jancy 
themselves Gables already. So all you 
have to do is drop a subtle hint here and 
there. "Mr. Gable," you might say when 
your George, who is quite a show-off, 
orders an elaborate dinner in French at 
the Brown Derby, "Mr. Gable always 
orders steak and potatoes." Or when your 
Louis who is inclined to be a sissy {his 

mother's fault, no doubt) insists upon go- 
ing to fashionable Palm Springs to coddle 
a fancied cold you might say, "Clark 
Gable spends his week-ends fishing in the 
snows of the High Sierras." Maybe you'll 
bring out a latent Gable. {Or maybe you 
just won't see George or Louis again.) 
But honestly, with all the boys just dying 
to be Gables you shouldn't have any 

But me now — I never get a break. I 
chose Henry for the Great Experiment 
and I exposed him to all the Gableisms 
for weeks. I had him smoking a pipe in- 
stead of cigarettes in a long holder, I had 
him riding horses, planting alfalfa, and 
riding on the roller coaster at the "Venice 
Pier — when he'd so much rather have 
been dancing at the Trocadero. I had him 
eating grits, collecting guns, mending sad- 
dles, and dashing off to the County Fair 
with a picnic lunch. I had him wearing 
turtle neck sweaters, letting a lock of hair 
fall across his forehead, and turning in 
his beautifully tailored slacks for dunga- 
rees. I made him stop boasting, stop being 
sentimental, and stop admiring girls who 
talked baby talk. But still he wasn't a 
Gable. "I've tried hard enough to bring 
out the Gable in you, goodness knows," 
I said dejectedly one day, "but, honey, 
you're no Gable." 

"Maybe," he said brightly, "it's because 
you're no Lombard." 

I think he's got something there. 

Silver Screen for February 19 10 


It Certainly Pays To Be 
Different ! 

[Continued from page 37] 

his because it explains how I came to 
lave been born in Pittsburgh. Steel mil- 
ionaires in that city, who had met my 
ather in New York, established the 
Duquesne Club in Pittsburgh on con- 
lition that he would go there and super- 
vise their food." 

It was as an indirect result of his 
ather's culinary interests, too, that Men- 
iou went on the stage. From Pittsburgh, 
he elder Menjou was lured to Cleveland 
act as chef for Cleveland millionaires, 
5ut the project floundered and Adolphe, 
ivho was chen attending Cornell, decided 
;o leave school and contribute some 
nioney to the support of the family. He 
ilways had been interested in the theatre 
50 he joined up with vaudevillian Ernie 
Carr and made his stage debut in a vaude- 
ville theatre at New Britain, Conn. 

'That was in 1912," he tells you, "and 
the movies then were one-reel novelties. 
Vaudeville acts were sandwiched in be- 
tween the one-reelers and I remember 
standing backstage and watching the 
images on the screen, in reverse. In our 
dressing rooms, we discussed this new- 
angled medium of entertainment. A few 
thought that motion pictures would be- 
come important ; most of us ridiculed this 
infant apprentice of the arts. I certainly 
never thought the movies would earn me 
$3,000,000 in the next quarter of a cen- 

tury, make me famous all over the world 
and enable me to gratify all of my am- 
bitions. I often think back to that New 
Britain stage." 

If there was one person who looms 
more importantly in Menjou's recollec- 
tion than any other, that person would 
be the late Louis Wolheim. 

Menjou, at Cornell, not only studied 
under Wolheim, who was a professor of 
mathematics; he also enjoyed the dubious 
distinction of being hit on the chin by 
the irate professor and knocked down a 
flight of university stairs. It originated in 
the decision of a group of undergrads to 
play a practical joke on Wolheim whi'e 
he was making his toilette. Menjou, unfor- 
tunately, was the one elected to open the 
door and shout ribald insults. Wolheim, 
who was a giant in stature, lost his tem- 
per and smacked Adolphe on the button, 
sending him head over heels. 

Twenty years later, curiously enough, 
Wolheim was again to affect Menjou's 
career in a manner much more dramatic. 
Wolheim had turned from a college pro- 
fessorship to the stage as a protege of 
the Barrymores and he had won wide 
acclaim. As a result of his popularity, 
Wolheim had been picked to play the role 
of the managing editor in "Front Page" 
for the movies. 

On Feb. 18, Menjou's birthday, Wol- 

Judy Garland plants a kiss on Bob 
Hope's fatherly forehead as Bob looks 
to see if the missus is watching. 

heim's death shocked the country. As a 
direct result, Lewis Milestone, who was 
to direct the picture, selected Menjou to 
take over the role which his ex-professor 
was to have played. It was a startling 
substitution — the dapper Adolphe taking 
the role of the burly Wolheim and the 
movie industry guffawed at the incon- 
gruity of such casting. 

[Continued on page 74] 




Silver Screen for February 1940 

What Wendy Learned About Men from Men 

[Continued from page 47] 

friendship, or your trust, don't come to 
depetid on someone until you know some- 
thing about him. You'll be more interest- 
ing to men, believe me, if you don't trust 
too easily.' 

"I thought about his advice a good deal. 
I had been hurt. But I was feeling much 

It was just about then that Wendy be- 
gan to blossom and that Hollywood 
became increasingly aware of her as a 
real menace to masculine peace of mind. 
She began to be seen at all the smartest 
parties, in all the gayest clubs, escorted 
by a succession of the most desirable men 
in Hollywood. 

"And I found out," she says, "that you 
can learn something about how to attract 
men from every man you meet, if you'll 
pay attention. One of the first things — 
especially for an actress — to learn is to 
share the spotlight even if there are only 
two of you in the room!" 

There was one man who had baffled 
Hollywood's brightest sirens. The ones 
with the emeralds, the sable coats, the air 
conditioned limousines and the peach- 
satin-and-silver drawing rooms. He was 
handsome, well-to-do and had made a bril- 
liant start on a distinguished career. But 
the best efforts of orchidaceous beauties 
left him looking embarrassed. He went 
to parties occasionally and sat in corners 
looking miserable. Wendy annexed him 
placidly one afternoon at a garden party. 

"The poor dear wanted to talk!" she 
said. "Everyone had talked to him and 
none of it had made much sense. He 
didn't understand the Hollywood jargon 
about contracts and good and bad roles 
and who knew what about what producer. 
He thought the women were all beautiful, 
but he didn't understand much of what 
they were saying. He was simply starved 
for talk." 

One gathers that once he had started, 
Wendy didn't understand too much of 
what he was saying, either, if indeed she 
bothered. But she looked bright and in- 
terested and after a time she made an 
effort to understand. She didn't posture 
or show him her profile or try to make 
him an effective background for her white 
satin dress. She didn't gush at him nor 
did she give him haughty stares to make 
him realize how important and desirable 
she was. She listened to him and implored 
him to tell her more. And the next thing 
anyone knew, the catch of the season 
was dogging her footsteps. 

"I don't mean that a girl should read 
up on the price of London tweeds or try 
to understand prize fiihts if they don't 
interest her," she exclaimed. "But any 
woman worth her salt can stir up a little 
curiosity about life in Timbuctu or the 
signs of the Zodiac if she wants to flatter 
a man and those are the subjects which 
happen to interest him. As a matter of 
fact, your curiosity may grow and you 
may really learn something," she added, 
thoughtfully. "I wasn't so interested in 
what this particular actor had to say at 
first. But later I was . . . 

"I learned something about being com- 
pletely natural, too," she went on, "from 
another man. He had invited me to the 
opera. I was tired and feeling a little 
perverse. I announced suddenly that I 
didn't want to go to the opera. T want 
to go to the beach and eat a hot dog 
and ride on some silly thing and throw 
rings at canes and then come home.' 

"He was delighted. We had a lovely, 
silly evening. Later when he invited me 
to a symphony concert and I said I really 
wanted to go, he sighed with great con- 
tentment. 'Now I know you really want 
to hear it,' he said. 'You never know 
whether women go to hear good music 
because they want to hear it or because 
they want to be seen hearing it or because 
they want to wear the kind of clothes 
they wear to hear it. Now if I take you 
somewhere, whether it is to hear good 
music or eat a hot dog, I'll know you 
are going because that is what you will 
enjoy doing.' 

"So what I learned from him was a 
lesson in sportsmanship. If a man invites 
you to go somewhere, asks for the privi- 
lege of sending you flowers and spending 
money for your evening's pleasure, you 
ought to repay him by enjoying it gen- 
uinely. If you don't enjoy it, you shouldn't 
accept — just to impress other people or 
show off your new clothes or any other 
silly reason like that. You're cheating." 

'W'endy hasn't experimented with mar- 
riage as yet, so she doesn't have any pon- 
derous theories upon how to make a 
success of that hazardous state. But she 
has some ideas. 

She is pretty young but she has learned 
how to take direction on stage and screen 
from sometimes irascible gentlemen; she 
has learned to listen to advice from busi- 
ness men and she has learned how to get 
along with temperamental leading men 
without too much friction. Add to that 
the fact that she has been undisputed 
belle of the Hollywood younger scene for 
a long time now and you'll have to adrnit 
that she knows her way around! 

"Little things are so important — the 

tiny things that you might overlook, " sh:] 
opines. "When I was first in Hollywooi) 
I wondered why men here paid so littll 
attention to the small courtesies whicll 
are made an art in Europe. The singll 
red rose to celebrate the date on whicll 
he met you, or things like that. 

"A man once told me, 'Not only mei] 
but women are too busy to keep tracl] 
of things like that. You might send he[ 
a rose and her house would be filled witlj 
flowers she had bought herself. Besides! 
she might have been working on the sel 
all day and she wouldn't know the datel 
and would wonder what the rose was for] 
That is too disconcerting to risk." 

"Well, if you are too busy to remembel 
things like that then you're too busy t(| 
be alive at all. No wonder the men don' 
pay you those small compliments whicll 
every woman loves. Maybe modern wometl 
don't care enough about pleasing men t(| 
work at it." 

It takes some thought, you see. Ami 
some understanding and imaginationj 
Wendy thinks it would take the sam(| 
things, only more of them, to make 
success of marriage. If you can learn t(l 
play badminton to please a man, therl 
you should be able to learn to make ail 
omelet with the same object in view. Ill 
takes time and money and a myriad of fit I 
tings and hairdressers and furriers anoj 
jewelers to make you ready for an ev&[ 
ning on the arm of one of Hollywood'.*! 
glamiour gentlemen. Perhaps it takes onljl 
a gay house coat and a cozily arrangecl 
living room to make you ready for ail 
evening at home with a husband. But thel 
tact, the honesty, the humor and th«| 
sportsmanship required must be almost|j 

"I only know what I've learned aboutl 
men — from men," she repeats. "Too manyl 
women try to learn about men from othei| 


If Wendy can make the success of mar-| 
riage that she has made of being a bellel 
in Hollyv^•ood, the man for whom she saysl 
"I do" should certainly consider himselfj 
a lucky man. 

Director Dave Buter and his wife are greeted by Kay Kyser and 'Virginia 
S-mms in New York City. Dave directed Kay's "That's Right, You're Wrong." 

Silver Screen for February 1940 


George Gives His Side 
Of It- And How! 

[Continued from page 49] 

ation comedy that's right down my alley. 
I even went to Dave Selznick and made 
a proposition to him. I offered him the 
story if he'd let me do it. The only con- 
dition I made was that if it was a big 
money-maker I felt he ought to give me 
back my twenty-tive thousand. If it 
wasn't, it wouldn't cost him a dime. He 
wouldn't make it, either. Didn't think it 
was a money-maker. So I gave up and 
let it go. Now the pay-off is that Metro 
is making it with Bob Montgomery and 
I'll wager it will be a territic success. 

"Naturally, I was pretty disheartened 
after that experience and cou'dn't get 
excited about things. That is until the 
studio called me in and handed me an 
assignment which called for my being a 
master of ceremonies, with a leading lady 
who was brand new to pictures and a 
director who'd never directed a picture 
in his hfe. The role would have been 
tough enough with an experienced girl op- 
posite and with a director who knew his 
stuff, but with these amateurs I knew that 
I or the picture didn't stand a chance. 
That was the last straw. Although my 
contract had two years to run, with a lot 
of money involved, I asked them to tear 
it up. 

"Sam Goldwyn heard of the bust-up 
and asked me to go into his 'Dead End' 

picture. I told him I didn't want the role 
because it was just the sort of part that 
was making me unpopular with movie- 
goers. I wanted something with sympathy 
attached to it. He said he'd let me make 
two pictures with sympathetic roles if I 
first made 'Dead End.' I wanted to make 
the pictures with the good roles first, so 
naturally we never did get together. 

''For seven months I kept turning down 
rat parts. I was beginning to get worried. 
Wasn't there some studio which could 
appreciate that a sympathetic role for me 
would do them just as much good as it 
would me? Well, Warners came along 
with a proposition. The sort of thing I'd 
been waiting for. They offered me a 
gangster part, true, but there was sym- 
pathy and reason behind the role. And 
I could justify myself before the final 
fade-out. That's more than I got before. 
The picture was 'Each Dawn I Die,' with 
a swell cast, headed by James Cagney, 
with expert direction, besides. 

"My latest picture is 'Invisible Stripes' 
and that's going to be well received, too, 
because it's darn good entertainment. 
Next I'll do 'The Patent Leather Kid' 
for Warners. I'm plenty happy. I'm now 
getting the kind of roles I like, and the 
kind that the pubHc hkes, too. 

"Can you blame me for squawking 

before? At least, I kept my peeves to 
myself until the big blow-off. Maybe if 
I had given the public my side of the 
picture it would have been smarter. But 
the way things have worked out for me 
now I'm perfectly satisfied. And I hold 
no grudges. Bygones are bygones." 

So far as romance is concerned, George 
had httle to say except that 'Virginia 
Peine is still the loveliest girl in the 
world to him. He discounted the stories 
about himself and Norma Shearer. 

"We're just good friends." 

George lives a comparatively quiet life. 
Although he spent a good many years as 
a night club entertainer, he now avoids 
such places. 

The mantel of his spacious suite in 
Manhattan's famed Warwick Hotel was 
lined with a varied array of the finest in 
whiskies. Every kind and class, besides 
two huge bottles of choice champagne. 
But they were strictly for the use of his 
guests, because George never drinks. For 
that reason he claims his friends omit 
him from many of their parties, unless 
they just intend to play bridge. 

Now that his battling days are over, 
George seems quite different. The chip 
on the shoulder is gone. He smiles more 
readily and doesn't mind being inter- 
viewed. His clothes have become much 
more subdued, too. They're quite in 
keeping with his mild-mannered self. 

In fact, the George Raft who refused 
to play roles he knew would be harmful 
to his career, and had the courage to fight 
it out till he won, is definitely a much 
nicer person because of it. 


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Silver Screen for February 1940 


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Her Own Worst Enemy 

[Continued from page 60] 

can't I have hands like Bubbles Schinasi, 
Wayne Morris' wife, long, willowy fingers 
and such nails! And I hate my temper. 
It comes so hot and hard and fast that 
it makes me ill, makes me sick all over 
when, just as hot and hard and twice 
as fast, it goes away again. 

"I'm not temperamental, darn it. You 
have to be sort of sultry and smokey to 
be temperamental. I just get mad, Irish- 
mad, about things. And I am stubborn. 
If I think I'm right about something I'll 
talk and argue and argue and talk until 
I've either been proven wrong or proved 
that I am right. 

"I haven't any of the frivolities that 
make other women entrancing, unpre- 
dictable, fascinating, inscrutable and all 
that. I don't go out very much, on dates 
and things, you know, I don't like to 
go out. I do love to dance, but you have 
to dance in a room full of peoj^le and 
that stops me. Now and then I go to the 
Beverly-Wilshire to dance because Ray 
Noble has a wonderful orchestra and my 
desire to dance to his music occasionally 
overcomes my fear of all the others who 
will be dancing to it, too. 

"My hopes," said Janey, ruefully, "are 
these; I hope I can travel all I want to 

travel. I hope I can read all the books 
I want to read. I hope I can go on the 
stage and do the kind of things I want 
to do. I hope tliere will be time for all 
of this . . . 

"This is the truth, the whole truth 
about myself, as I see it," sighed Janey, 
"if I said one other thing, I'd be making 
it up, I'd be telling a lie. I suppose," 
she added, bitterly, but ordering some 
cokes at the same time, "I suppose if 
I'd just handed you my studio biography 
with the words 'as genuine a sample of 
Irish-American girlhood as you could find 
anywhere' underhned, it would have saved 
us both a lot of time. I suppose that is 
the description of me, poor me . . ." 

{But it isn't a description of you, 1 
thought to viyself, and what you have 
told me, so honestly, isn't the whole truth 
about you, either . . . not with what can 
be seen in those gray eyes, not with the 
quality you gave in We Are Not A'one, 
not in those full lips. But I won't te.l 
you what I'm thinking, I thought, for 
why disturb so li^npid a well of truth 
when truth is the mystery, the strength 
and the allurement you have, but do not 

It Certainly Pays To Be Different! 

[Continued from page 71] 

"They called me 'the French dancing 
master,' at that time," recalls Menjou, 
"and the jibes flew thick and fast. It was 
predicted that the picture would be a 
terrific flop because of my, miscasting. I 
don't think that any success on the screen 
ever gave me such a swell sensation, be- 
cause everyone had turned thumbs down 
on me in advance." 

I asked him to tell me the picture 
which in liis estimation was the most 
significant in Hollywood history. " 'A 
Woman in Paris,' directed by Charhe 
Chaplin in 1923," he answered quickly. 
"The day after that picture was com- 
pleted, the moving pictures started on a 
new cycle. It revitalized an industry that 
had run out of ideas. Chaplin took an 
old formula and attacked it from a mod- 
ern viewpoint. Charlie has done a lot for 
movie fans as a comedian; but I think 
his direction of that picture was the most 
important contribution he ever made." 

I asked Menjou to tell me his most 
amusing recollection. 

"It was a football game, rather than 
a movie," he grinned. "Cornell was play- 
ing Amherst at Ithaca. Barney O'Rourke 
was one of the Cornell ends, a huge fel- 
low. He intercepted a kick, fell on the 
ball and there was a tremendous explo- 
sion. In falHng on the ball, O' 
capsized it. Stunned by the accident, he 
scrambled to his feet, picked up the flat- 
tened bladder and ran thirty yards with 
it, in one hand. I've never heard such 
an uproar. The officials, puzzled by this 
precedent case, called time out for de- 
liberation and finally ruled that the home 
team must supply a new ball and that 

Mr. and Mrs. Fred MacMurray were 
among the celebrities attending the first 
showing of "Drums Along the Mohawk." 

the 30-yard gain must be cancelled. We 
yel'ed ourselves blue in the face, from 
the stands, but the ruling stood as issued." 

Menjou, nearing his 50th birthday, to- 
day is one of the top semi-stars of the 
movies. At present, he is attempting to 
get Hollywood stars to dress correctly. 
His last picture was with Kay Kyser, the 
radio band leader. Kyser's sloppy attire 
flabbergasted Menjou. Before Kyser left 
town, Menjou had him wearing- decent- 
looking suits. 

"Clothes don't make the man, of 
course." agrees Menjou, "but they cer- 
tainly help." 


SilverScreen/o;-February19 4 75 


[Continued from page 50] 


Charming Sequel To Four Daughters 
— Warner Brothers 

F" OUR WIVES" takes up where "Four 
Daughters" left off and is a grand 
family picture with plenty of heart ap- 
peal. The Lemp family are all there, 
Claude Rains as Adam Lemp, May Rob- 
son as Aunt Etta, and the four attractive 
daughters, Priscilla, Rosemary and Lola 
Lane and Gale Page. Lola has married 
banker Frank McHugh and Gale has mar- 
ried florist Dick Foran. Priscilla is about 
to marry sjniiphony conductor Jeffrey 
Lynn when she learns that she is going 
to have a baby by her former husband, 
Mickey Borden. {Mickey Borden, you re- 
member, was John Garfield who was killed 
in automobile accident in the first pic- 
ture.) The thought of her first husband 
clings in her mind and almost destroys 
her marriage with Jeffrey until he, sen- 
sible guy, orchestrates Mickey's sym- 
phony and thus frees her from the past. 
Of great interest is Eddie Albert's en- 
trance into the series. Eddie, who was 
such a sensation in "Brother Rat," plays 
a young doctor who eventually gets 
hooked by Rosemary, and such a pleasing 
personality has Mr. Albert that he easily 
steals every scene he is in. There are 
perfectly wonderful bits of humor and 
plenty of heart-tugs. You'll be crazier 
than ever about the Lemps. Three of the 
daughters end up as mothers in this pic- 
ture, and Rosemary gets a husband — so 
where do we go from here? 


For Your Darker Moods — Universal 

ENGLAND during the bloody reign of 
the ambitious Richard III. Brilliant 
pageantry, royal intrigue, bloodshed, gal- 
lantry and romance. Direct from the 
pages of history is this medieval drama 
without benefit of any softening up for 
those of us who are inclined to be 
squeamish. That superb actor, Basil Rath- 
bone, gives a great portrayal of the ruth- 
less Richard whose lust for power stops 
at nothing, and certainly not at a little 
thing like murdering relatives who might 
stand in the way of the throne. Splendid 
performances are given by Ian Hunter as 
King Edward IV, Vincent Price as the 
Duke of Clarence, Frances Robinson as 
the Duchess Isobel, Barbara O'Neil as the 
Queen, and Miles Mander as the elderly 
King Henry. John Herbert Bond and 
Ronald Sinclair play the little princes in 
the Tower {remember how you used to 
cry over them in your history book) and 
John Sutton and pretty Nan Grey look 
after the romance. Boris Karloff as a 
ghastly, sinister executioner is not the 
type of person you'll want to meet in a 
dark alley. 


Hilarious Mystery Yarn — Columbia 
TJERE'S one good long loud and lusty 
laugh for you. Wait — just wait — 
until you have seen Melvyn Douglas all 
done up in a woman's clothes and acting 
[Continued on page 82] 

"LOVE Is your friend 

when your HANDS 

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LVF. R Screen for February 1940 

Her Name Was Galatea 

; [Continued from page 45] 

76 Si 

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See your local newspaper for exact time and station. 

It was a couple of years after that 
Tania hailed me as I was coming from 
one of the sets where I'd been interview- 
ing Hollywood's latest contender to the 
title of Valentino's successor. 

"Oh that Bill! He's as blind as a bat," 
she said. But her eyes were saying, 
'isn't it wonderful?' "Do you know what, 
a girl just took a test for a part in his 
new picture. And Bill looks at it and 
says, 'She won't do. She hasn't got a 
thing!' And she has. She's marvelous. 
She's just the girl he needs and he can't 
see it. Come with me, I'll show you." 

We found a projection room that wasn't 
being used and Tania asked the operator 
to run off the test for us. "There," she 
said as the girl walked into the scene. 
"Don't you see what I mean?" 

I had to admit I couldn't and that I 
was entirely in agreement with Bill. The 
girl was awkward and unsure of herself 
and she was full of \' 'acious httle man- 
nerisms I couldn't stand and she wasn't 
even pretty. Her face was too square and 
her eyes set too close together and she 
was so thin that her height was ungainly. 
She could act. I had to admit that. But 
she didn't have another thing. 

"But look at her with your imagination, 
not your eyes," Tania insisted. "Now what 
do you see?" 

"The same girl I saw the first time," 
I laughed. "No, Tania, for once I think 
you're dead wrong. That girl would have 
no more chance of getting anywhere on 
the screen than I would." 

"I'll show you." Tania got up as the 
lights flashed on and walked excitedly 
around the room. "Some day both Bill 
and you will know I'm right." 

When Tania gets an idea no one in 
the world can shake her out of it, espe- 
cially when that idea is centered on help- 
ing someone. Tania has helped more 
youngsters get on their feet than any 
other one person I know. Maybe it's be- 
cause her own girlhood was so full of 
want that she's determined to make life 
easier for everyone else. 

The next afternoon when I stepped in 
to see Tania for some hints on Holly- 
wood's new style trend that I needed for 
a story I was writing, the girl was there. 

"This is AHce Crane," Tania introduced 
her. "At least, that's what she thinks her 
name is. But it isn't. Her name is 

Then she laughed at the girl's surprised 

"Haven't you heard of Pygmalion," she 
said. "He took a piece of cold marble 
and out of it he carved the most beautiful 
woman in the world. And when he had 
finished his statue he couldn't bear to 
think so lovely a woman should be with- 
out, hfe so he prayed to his gods and a 
miracle took place and she hved. And he 
called her Galatea. That's why I say your 
name is Galatea." 

But Alice Crane still looked bewildered. 
For all the imagination or understanding 
she had, she might as well have been 
carved out of marble, too. 

It made it easier for Tania that the girl 
was under contract to the studio, one of 
those thirty-five dollars a week contracts 

that usually end with the girl or boy gc- 
ing back to the oblivion they came from'. 
But don't forget, you fans have Robert 
Taylor now because of one of those con- 
tracts. And every studio hopes that a new 
shining star may come from one of the 
youngsters under contract to them. So 
when Tania went into the front office she 
didn't have to fight very hard to get per- 
mission to take Alice under her wing. 

The first thing Tania did was to design 
a dress for the girl and I had to admit 
when I saw her try it on that she was 
beginning to have possibilities. She had 
been too thin before. Now, under Tania's 
magic, her thinness had become slender- 
ness and there's a world of difference be- 
tween those two descriptions, even if they 
do sound like the same thing. 

Funny how a few tucks flaring into full- 
ness above them could give that soft, 
rounded look to Alice's flat breasts and 
how the neckline draped under her chin 
in a soft cowl effect added fullness to 
her throat that had looked . . . well al- 
most scrawny before. 

"Now pull your shoulders back and 
stand straight," Tania told her. "No girl 
yet has ever looked shorter by slouching 
although most tall girls have tried it at 
one time or another. And why should you 
want to look small when it's the tall girls 
clofhes are really created for?" 

The dress was only the beginning. Tania 
spent weeks on that girl, supervising the 
exercises that began to give her grace, 
showing her how to walk with that long 
swinging step and how to talk and how 
to move slowly instead of in those quick 
nervous gestures. 

She hadn't told Bill what she was doing. 
That was going to be her surprise. "I 
want you to be there when he sees my 
Galatea," she giggled. "Can't you see his 
face? Come early tomorrow. I'm taking 
her to the make-up department then and 
. . . well you just wait until you see her. 
I know exactly what I want them to do."*i 

It was breath-taking watching the trans-J 
formation of that girl. A new hair-do piledj 
softly on the top of her head, with her 
small ears showing, and her face that had 
been too broad became a gentle oval. 
Eyes penciled at the outer corners and 
outlined in violet shadow suddenly became 
wider as they were pulled away from the 
centre of her face and drew attention to 
her delicately moulded cheek bones that 
had seemed too broad before. 

But it was her mouth that brought the 
greatest change. 

"I want it full and tender and yielding," 
Tania had demanded and looking at the. 
thin, straight line of the girl's mouth iti 
was impossible to beheve that it couldj 
be accomplished. But it was. Lipstick ap- 
plied with a brush instead of a lipstick 
can work wonders. And it worked wonders 
now as it widened the thin outlines of her 
mouth so that it became generous and 
sensitive and lovely. 

"There now!" Tania looked at me 
triumphantly. "What do you think of 
Galatea now?" 

I couldn't say what I really thought, 
not with that girl looking at me. Oh, she 
was lovely enough standing there but I 

Silver Screen for February 1940 


couldn't help feeling it was a shell I was 
looking at and not a human being at all. 
I knew Alice Crane wasn't any of the 
things she seemed to be. I thought of her 
eyes as they really were, predatory and 
shrewd and I saw them now wide with 
an innocence I don't think that girl had 
the day she was born. 

"You see it now, don't you?" Tania 
said exultantly. "Look! This is what I 
mean !" 

She picked up a doll that had been lying 
on one of the chairs, a baby doll with a 
short dress that showed two tiny feet so 
lifelike that you couldn't beheve it wasn't 
real, and she put it in Alice's arms. 

The girl looked down on the doll. She 
didn't have any emotion of her own, I 
am sure of that, but she could simulate 
other people's emotions so that there was 
a brooding loveliness about her that made 
me think of a madonna I had seen once 
in a church in Italy. 

And it didn't make any difference that 
the baby wasn't real or that the girl 
wasn't real. They seemed real even to me 
, who had seen the miracle performed. And 
when Bill came in and saw the girl I 
knew that they were very real to him. 
He looked at her and suddenly I was 
afraid. Afraid for Tania and afraid for 
Bill too and for love and all real things. 
For Bill looking at that girl wasn't a di- 
rector looking at an actress. He was a 
man looking at a woman. 

Maybe it was the baby in her arms. 
Bill had always wanted babies. But I 
don't think it was that alone. It was her 
face with its really lovely planes coming 
into their own at last. It was her eyes 

wide and childlike. But most of all I 
think it was her mouth with its promise 
of tenderness and understanding. 

I looked at Tania and wished I hadn't. 
Something was dying in her eyes as she 
looked at him. Sometimes I think she 
really said goodbye to Bill in that mo- 
ment. Tania wasn't an actress. The things 
she felt were real. And she had no subter- 
fuge with which she could cover up her 

"There Bill, didn't I tell you," she said. 
But there was no exultation in her voice 
at all. Only that dull, flat pain that for 
once Bill did not hear. 

It was a month later that Bill gave 
Tania the diamond bracelet for their wed- 
ding anniversary. Tania had always teased 
him about forgetting anniversaries and 
birthdays and for not being the type to 
give unexpected presents or send flowers. 

But now it was as if Bill couldn't give 
Tania enough presents. He was always 
sending big, expensive bottles of perfume 
and hngerie and flowers. But they didn't 
make her happy. Her face became a tragic 
mask as she tried to be happy over them. 
You see, Tania wanted Bill's love, not 
his conscience. 

And the thing that made it all the more 
heartbreaking was the way Bill tried to 
combat his feehng for the girl. It was 
as if he were holding his emotions in leash, 
as if he were driving himself to hate her 
so that he would no longer love her. 

He drove Ahce as the most hard-boiled 
director in Hollywood would have hesi- 
tated to drive anyone. And Bill had al- 
ways been loved for his patience with 
everyone, especially newcomers. Nothing 

she did could please him. He was merci- 
less in his criticism and sometimes he 
stormed at her and sometimes he laughed 
at her. 

But I was there the day she suddenly 
broke and ran from the set in tears. I 
saw Bill go after her and pull her back 
and then as if he were doing something 
he couldn't help doing he put his arms 
around her and held her a moment. And 
I saw his eyes and there were tears in 

He didn't say a word when he came 
back to the set again. He looked mad 
and muttered something under his breath 
about httle fools who couldn't take it. 
Maybe he was fooling himself. But he 
wasn't foohng me. I had seen his eyes. 

Tania called me soon after that and 
asked me if I'd go to dinner with her. 

"At the Troc," she said, "I'm going to 
be a free woman again and I'm celebrat- 
ing." And it was all the more heart- 
breaking because she tried to be so gay. 

I've never seen Tania so vivacious as 
she was that evening, calling gay little 
greetings to everyone she saw and laugh- 
ing so much and so hard that I knew 
she was afraid if she didn't laugh she 
would cry. I wished myself miles away. 
It was awful seeing her reach down in 
her heart and pull up the pride she was 
holding to so desperately. 

And then the thing happened. A girl 
was singing and the song she was begin- 
ning was "My Bill!" 

You know the song from "Showboat," 
the song Helen Morgan sang in that heart- 
breaking voice of hers. And you remember 
the words of that song, don't you? 


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And you know too how songs can tear 
at your heart the way nothing else in this 
world can and smash it into pieces. 

Tania reached for my hand under the 
table and held it so desperately that it 
hurt. And I thought of the little girl who 
had clung to her mother's hand and who 
had been afraid. I'd have given anything 
I owned to stop that song. For I knew 
the words and I knew what was coming. 

Tania couldn't take any more. She got 
up and ran from the room and I followed 
her, hating the knowing looks and the 
little buzz of conversation that followed 
us as we went. 

We got into Tania's car and neither of 
us said anything. Then she began to cry 
and I put my arms around her knowing 
all the time that any comfort I could give 
didn't mean a thing and that I didn't 
mean a thing either. That nothing at all 
mattered to Tania but Bill and that Bill 
was gone forever. 

"It's over," she whispered at last. "It 
was so beautiful but it was only a dream. 
Bill tried, but he couldn't stand out 
against her. Oh, it's funny, isn't it, think- 
ing I was creating a Galatea and all the 
time it was a Frankenstein monster that 
destroyed my love. I should be laughing, 
shouldn't I?" 

Hollywood wasn't surprised when Tania 
went to Reno. But I don't think the break- 
up of any marriage out there caused more 
real concern than this one. Everybody 
loved Tania and Bill. And I think they 
still loved Bill and felt sorry for him, for 
anyone could see that he wasn't happy, 
even though he would sit looking at Alice 
as if he could never stop looking at her 
again. But everybody despised Alice. I 
think all of them knew her for what she 
was. For no matter what one hears, there 
is loyalty in Hollywood and don't think 
there isn't ! . 

Bill and Alice were seen everywhere to- 
gether at first, and then after a while we 
began to see Bill alone and he looked like 
a man who was seeing ghosts. There were 
whispers of the two of them having words 
when they were together and rumors of 
another man in the case and all the other 
odds and ends of things you hear when 
two people seem about to split. 

And it was strange that it was at the 
Troc their break-up came, just as it had 
been there Tania's break-up had come 

They were quarreling and suddenly Bill 
got up and left. And he didn't turn even 
when Alice called something after him. 
The doorman said afterwards that Bill 
looked as if he had suddenly gone crazy 
when he got into his car and drove off. 
But then people are always saying things 
like that after something has happened. 

Anyway it wasn't more than a quarter 
of an hour after he had left that Bill's 
car smashed into a tree and went rolling 
over the canyon edge. 

We read about it in the papers the 
next morning and for a day or two we 
didn't know if Bill would live or not. 
Tania called me from Reno and I met 
her at the airport when she came and I 
stayed with her all during that awful night 
when we thought Bill was going to die. 
And Tania told me things that night she 
has never told another living soul. The 
sort of things any editor would love to 
print in a story, even if Tania wasn't a 

One of Ann Sheridan's favorite boy 
friends definitely is Jean Negulesco, 

star. But I couldn't write that story. I 
couldn't use Tania's tears for ink. 

And I was with Tania that morning in 
the hospital room when she became Bill's 
wife for the second time. She had gotten 
her divorce decree the day before the ac- 
cident, but that wasn't important. She 
had never really stopped being 'Bill's wife. 
And somehow it didn't even make any 
difference that Bill would be an invalid 
for years, maybe for life, when you knew 
Tania was there to look after him. 

One of Tania's best friends was in tears 
when she talked to me about it after- 

"How can she take him back now that 
he is helpless and is only there because 
he needs her so desperately? How can she 
take another woman's leavings?" 

You see, she thought what the rest of 
Hollywood was thinking that Bill was so 
crazy in love with AHce that it was losing 
her that had made him drive so recklessly 
that night. 

But I know how it really was, for that 
was the story Tania sobbed out to me 
the night we thought Bill was dying. You 
see, she felt it was her fault. For Bill 
had called her on the telephone an hour 
after she had gotten her decree and told 
her he was breaking with Alice that eve- 
ning. And because Bill is a soft guy, with 
a heart that can pity even a woman he 
has grown to hate he asked Tania what 
he could say to the girl so that he would 
not hurt her too much. And Tania had 
told him what everybody knew and what 
Bill really knew now, too, that nothing 
could really hurt Alice very much, that 
maybe her pride could be hurt but never 
her heart. 

And then she had said, "Hurry Bill. 
Hurry and get it finished and done with. 
And then come to me just as fast as you 

The doctors say now it is only a mat- 
ter of months before Bill will be working 
again and that he'll be as strong as ever. 
And I'm the only person outside of Tania 
and Bill who know of the nursery they've 
furnished and that they've even picked 
the name for the baby they are planning 
to have as soon as Tania can give up her 
position. That won't be long now, with 
Bill getting well so fast. 

Tania is going to save again for the 
future. Only this time it won't be money 
she is planning to put away. She knows 
how little that can mean now. No, the 
things Tania are saving are the things she 
can keep in her heart and not in a bank. 

Silver Screen for February 1940 


Finagling Among the Stars 

[Continued from page 51] 

9. Begin with an alcoholic liquor distilled 
from wine; subtract the first name 
of that Devine person; and add a 
solid condition of water — to get the 
comedienne famous as an infant on 
the radio. 

10. Begin with a word meaning remote; 
add a loud, prolonged sound; subtract 
a device for propelling a small boat; 
and add an Enghsh measure of 45 

' inches — to get the actress who plays 
wise-cracking parts. 

11. Begin with an Indian's greeting for 
"hello;" add an intensity of passion 
or affection; and subtract a word for 
either — to get an English star who is 
also an associate producer. 

12. Begin with a head and neck-guard of 
chain mail; subtract what Uncle Sam 
allows no one to trifle with; and add 
the 7th letter of the Romanic alphabet 
and a French Marshal under Napoleon 
— to get a "tough guy" of the films. 

13. Begin with everything; add a syn- 
onym for embrace; subtract a string 
composed of two or more strands 
twisted together — to get a real smart 
girl who has a screen reputation for 

14. Begin with the last three-letter word 
of the slang expression "to take it on 

the ;" add a mihtary force (all 

lined tip) ; and subtract an affirmative 
vote — to get the star who recently 
played opposite Robert Taylor. 

15. Begin with something larger than a 
twig but smaller than a limb; subtract 
a place where cattle and horses are 
reared; and add what you might say 
if someone stepped on your toes — to 
get the name of a silent glamour star. 

16. Begin with a word meaning merry; 
add the pole discovered by Peary; 
and subtract the sound made by one 
who lisps when saying "S" — to get 
the star who recently married a fa- 
mous studio dress designer. 

17. Begin with a source of artificial light ; 
subtract a distressed or complicated 
condition; and add something per- 
taining to us — to get a languorous 
star who is noted for her abbreviated 

18. Begin with a red-breasted bird; sub- 
tract the opposite of out; and add a 
male offspring — to get a grand old 
lady of the screen who can be tragic 
or funny at will. 

19. Begin with a word meaning the legal 
profession; add that which means to 
convey; subtract a vehicle for use 
on a railroad; and then add a greater 
quantity — to get one of a family of 
noted actors. 

20. Begin with a person other than me; 
add the best way to hold stocks in a 
rising market; and subtract an inter- 
jection for "Behold!"— 4o get the 
actress who is one of the prettiest 
and most popular in the screen colony. 


1. AUBURN minus BURN leaves AU 
plus TRY equals AUTRY (Gene). 

2. POACHED minus ACHED' leaves 
PO plus WELL equals POWELL 

3. DUN plus NEAT gives DUNNEAT 
minus AT equals DUNNE (Irene). 

4. GEAR minus EAR leaves G plus 
ABLE equals GABLE (Clark). 

5. MORBID minus BID leaves MOR 
plus GO and RAN gives MORGO- 
RAN minus OR equals MORGAN 

6. VALOR minus OR leaves VAL plus 
LEE equals VALLEE (Rtidy). 

7. COOP plus ERMINE gives COOP- 
ERMINE minus MINE equals 
COOPER (Gary). 

8. LA plus HUGH gives LAHUGH 
minus H leaves LAUGH plus TON 
equals LAUGHTON (Charles). 

9. BRANDY minus ANDY leaves BR 
plus ICE equals BRICE (Fanny). 

10. FAR plus ROAR gives FARROAR 
minus OAR leaves FARR plus ELL 
equals FARRELL (Glenda). 

11. HOW plus ARDOR gives HOW- 
ARDOR minus OR equals HOWARD 

12. CAMAIL minus MAIL leaves CA 
plus G and NEY equals CAGNEY 

13. ALL plus ENTWINE gives ALLEN- 
TWINE minus TWINE equals 
ALLEN (Grade). 

14. LAM plus ARRAY gives LAM- 
ARRAY minus AY equals LAMARR 

15. BRANCH minus RANCH leaves B 
plus OW equals BOW (Clara). 

16. GAY plus NORTH gives GAY- 
NORTH minus TH equals GAYNOR 

17. LAMPLIGHT minus PLIGHT leaves 
LAM plus OUR equals LAMOUR 

18. ROBIN minus IN leaves ROB plus 
SON equals ROBSON (May). 

19. BAR plus CARRY gives BAR- 
CARRY minus CAR leaves BARRY 
plus MORE equals BARRYMORE 

20. YOU plus LONG gives YOULONG 
minus LO equals YOUNG (Loretta). 

Topics for Gossip 

[Continued from page 21] 

brings her lunch from home and eats in 
her dressing room, Ann has never been in 
the studio commissary. When they decided 
to make "Congo Maizie," Director Henry 
Potter was assigned to carry on for Ed 
Marin, who did such a wonder ftd job with 
the original "Maizie." Potter called Ann 
on the phone and asked her to meet him 
in the commissary for lunch. At the ap- 
pointed time, Ann walked in to get ac- 
quainted with her new director. The po- 
liceman at the door stopped her. 

"Have you a pass, lady?" he inquired. 

"Why no," said Ann very surprised. 
"I'm supposed to meet Mr. Potter." 

"You'll have to go to the front office 
and get a pass," replied the policeman. 

So Ami went to the front office and got 
a pass. When she related the story to Pot- 
ter and his assistants, they did a burn. 
Ann, herself, thought it was very funny. 







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Silver Screen for February 1940 


Exclusive in the February issue of Screen- 
land — now on sale at all newsstands! 



Mysterious Muni deserts Hollywood for 
Broadway after seven years! What strange 
story lies behind this news? Ida Zeitlin, 
celebrated filmland writer gives you the 
answer to this question and many others. 



Eleanor breaks down and tells you all 
about herself and her famous partner. 
Fred! Did Fred have a fued with Ginger 
Rogers? What happens when the King 
and Queen of dancers teamup? Who's 
boss? February SCREENLAND! 



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Pictures on the Fire! 

[Continued from page 57] 

lie hasn't been arrested is a mystery. Some 
sort of pull, I guess." 

Holden is incrcdnlons. "I don't believe 
it! You fellows think I got field mice in 
my hair?" He looks off in the direction 
Seay has gone and while he is looking 
over his shoulder Denny leans over and 
lifts Bill's watch out of his beautiful plaid 
vest. They did?i't have wrist watches in 
those days. He quickly pockets the watch. 

"He offered to introduce you to some 
big men, didn't he?" Terry puts it up 
to Bill. 

"Yes," Holden acknowledges. "They're 
all friends of his — he — " 

"Thought so," Terry cuts him off. "I 
won't say any more. My imme's Ransom." 
He indicates Denny. "This is Briggs. If 
you want anything we'll be glad to do 
what we can for you." 

"Always like to help the new boys at 
Siwash as much as we can," Detiny offers 
generously. "You'd better look and see 
if you've still got your money. That fel- 

Bill searches his pockets for his money 
and looking down notices his watch is 

"My watch," he yells, jumping up. "My 
watch is gone!" He got my watch!" 

Den7iy also jumps up atid lays a re- 
straining hand on Bi'.l's shoulder. "I'll get 
it back for you. I've been wanting to take 
a shot at that pidgeon! He got fifty dol- 
lars and a suitcase from a friend of 
mine !" 

I 'D LOVE to park on this set, but there 
are others to be covered so off I go to 

Don't ask what this one is about be- 
cause I don't know beyond the fact that 
Madeleine Carroll is heading a safari into 
the African jungles. Just now, though, she 
is on a boat, heading up the Nile. Tullio 
Carminati is wooing her with a vengeance 
while just inside are Lynne Overman and 
Doug Fairbanks, Jr., playing billiards and 

"There's a new moon, which is as it 
should be," Tullio remarks to Madeleine. 
"It will be ftdl for us to share on the 
high plateau. If you could see through 
the blackness, darling, you would see a 
stretch of sand redder than cayenne pep- 
per, then the barrier of the mangroves." 
He waxes more ardent. "Breathe of the 
night, darling. Take Africa into your 

"Fifteen-eight an' a double run o' six- 
teen, blast yer gizzard," Overman shouts 
from the room where he and Doug are 

Madeleitie has to smother a smile as 
she hears his voice blasting through the 
romantic picture Tullio is painting. 

"Is it necessary to shout your way 
through that gatne?" Carminati demands 
with dignity. 

"I — have — a run — of — tliree. No more," 
Doug whispers with a griti to Lynne. He 
listens, hears the buzz of a mosquito, 
automatically reaches for the flit gun, sud- 
denly squirts it and smiles as he watches 
the mosquito fall to the floor. "They let 

one in the door," he whispers to Overman, 
"but wait till the stabbing little devils 
see them in the night!" 

But Tullio hasn't heard all this and he 
is really pouring on the oil. "I'll show 
you the beauty you have never known 
. . . on the high plateau . . . the lightning 
flashing in the night . . . the pound of the 
tom-toms like hearts beating in the dark- 
ness . . . you in my arms. . . ." There is 
the sudden higJi sound of a mosquito 
hitting. "Ouch!" gasps Tullio slapping his 

THE last picture on this lot is "Buck 
Benny Rides Again," starring — and he 
not I, will be the first to tell you — JACK 

But in this scene, Mr. B. plays second 
fiddle to his new tenor, Dennis Day, for 
Mr. Day is singing "My Kind of Coun- 
try" and Jack, two girls whom I don't 
know, and Beau Brummel Harris and 
Andy Devine are listening. They're on 
Andy's ranch and they're playing cow- 
boys! But such cowboys you never saw 
and I hope never to see again. Any self- 
respecting steer would shudder at the 
thought of being roped by one of these. 
'Why, they're got up in bedford cord 
breeches and satin shirts! I can only hope 
they're on a dude ranch and it's a gag. 
Nevertheless, gag or no gag, it'll be funny 
— whether they mean it to be or not. 

And that takes care of Paramount. 
From here we go to — 

Warner Brothers 

TWO pictures going here — "Virginia 
City" and "Dr. Ehrlich." 
The former stars Errol Flynn. It's dur- 
ing the Civil War and Flynn with a couple 
of his buddies — Alan Hale and Big Boy 
Williams — have almost completed a tun- 
nel under the prison where they're in- 
terned when Randolph Scott (the coni- 
mafidant) comes upon them at work. The 
three prisoners face him with hatred in 
their eyes. 

"That tunnel wasn't a bad idea," Randy 
tells them evenly. "But I happened to 
learn you were digging it three days after 
you started last spring." Big Boy and Hale 
exchange glances, but Errol's face is im- 
passive. "Three months, twelve days, 
and — " glancing at his watch — "eleven 

"And you let us go on working — hoping 
— killing ourselves to get out of this rat- 
hole?" Flynn demands slowly. 

"You've led two other attempts to-'-^ 
break out of this prison," Randy reminds 
him, "one of which may cost the lives of 
some of my men. Arid, since solitary con 
finement means notliing to men like yon — 
except to make you worse — I thought this 
time I'd let you work out your own pun 
ishnient. You know the peiialty for a third 
escape try." 

"Do you think death isti't better tha\ 
rotting in this fever-hole under a ma 
like you?" Flynn retorts. 

"Everyone to his owji taste," Randy re- 
joins indifferently. "Meanwhile," looking 

Silver Screen for February 1940 


around, "I'll leave you to amuse your- 
selves. That's all." 

"No, Irby," Errol says slowly, "that's 
not quite all. You may have me hanged 
or shot — if the South lasts that long. In 
fact, you'd better. Because, if I ever run 
into you agaiti, anywhere — any time, I'm 
going to collect for that tunnel, every last 
foot of it!" 

It seems funny to see Flynn and Randy 
glaring at each other during the take and 
then, as soon as the director calls "Cut" 
to watch them, Flynn with his arm around 
Randy's shoulders as they discuss the 
scene with the director. 

HE other picture over here is "Dr. 
EhrHch," starring Edward G. Robin- 

Eddie, as the doctor, has discovered the 
tuberculosis bacillus. His friend, Otto 
Kruger, is looking at the germs under a 
microscope, when Robinson, in one of the 
most bewildering make-ups I have ever 
seen, rushes in. He looks like Muni in 
a combination of Zola and Pasteur and 
he acts like Muni in all of his pictures 
put together — grunting and wheezing and 
smacking his lips. But he's gone Muni one 
better: he's added a cough. 

To my mind there aren't two duller 
actors on the screen than these so I heave 
a sigh of relief when the scene is over 
and set sail for — 


SEVERAL pictures going here. The 
most important is "Not Too Narrow, 
Not Too Deep" {tentative title) starring 
Joan Crawford and Clark Gable. 

Just at present, Clark has escaped from 
the prison. Joan is a cafe entertainer who 
is forced to live in durance vile with a 
horrible character named Marfeu {Ber- 
nard Nadell). Gable comes to their shack 
.and is stealing some food when Nadell 
spots him and is about to knife him. Joan 
is heartily sick of Mr. Nadell, sees her 
chance and bangs him on the wrist with 
a heavy iron pot. He drops the knife and 
Gable drops him. 

"Do I say 'thanks' baby — -or were you 
just wavin' at someone?" Clark mocks. 

"Don't thank me," she rejoins quietly. 
"I didn't give you a thing. All I want is 
to get out of here and you're goin' my 
way. So I played you. The minute I find 
somebody goin' faster than you — " 

"You won't," he interrupts. "Come on." 

They're making a close-up of Clark, 
and Joan oSers to sit outside camera range 
and cue him, but he says he doesn't need 
to be cued — that he can re-act without 
it. "Then I can go knit," she, says hap- 
pily. It was pretty swell of her to offer. 

On her way to her dressing room she 
sees me. "Dick!" she says warmly. "When 
did you get back? Did you have a good 
time in New York?" 

"I had a horrible time in New York," 
I tell her. "Katharine Hepburn is in a 
hit play." 

"How awful for you," Joan murmurs 
in mock sympathy, well knowing my aver- 
sion for Miss Hepburn. 

"Oh, I had my revenge," I remark air- 
ily, "by visualizing Madge Evans in the 

part and thinking how much better she 
would have been. 

"Tchk, tchk," says Joan noncommil- 
tally. - 

I take a close gander at Joan and gasp. 
She's all done up in checkered gingham 
with frizzy hair, etc. "Why," I exclaim, 
"you're back to Sadie Thompson." 

"The set is now closed to visitors," she 
announces firmly. "Good day." 

Sadie Thompson is a lady Joan tries 
valiantly to forget, but she's only kidding 
about the set being closed. 

NEXT comes "New Moon." Probably 
all of you have heard the unforget- 
table "Lover Come Back to Me." Well, 
here it is, folks. The scene they're doing 
today is unimportant. Jeanette MacD'on- 
ald has just arrived in New Orleans to 
look over a plantation left her by an 
uncle. Her over-seer, John Miljan, has 
been showing her about the place. Except 
for Florence Rice, there is no one in pic- 
tures who wears colonial and ante-bellum 
costumes as becomingly as Jeanette and 
she is really beautiful. Nelson Eddy, who 
plays opposite her, isn't working today. 

NEXT comes "Florian." Florian is a 
horse and not the Florian Slappey 
of Mr. Octavus Roy Cohen's short stories. 
Florian is a Lipizzan horse — a breed that 
is born black, changes color and turns 
white when four years old. 

"IJIHE Earl of Chicago," featuring Rqb- 
A bert Montgomery, has just finished. 
"Congo Maizie," featuring Ann Sothern, 
has just started so that can wait until 
next month. So can "Young Tom Edison," 
starring Mickey Rooney. And that winds 
up M-G-M for this month. But there's 

20th Century-Fox 

"TITTLE Old New York," starring AHce 
■■J Faye, Fred MacMurray and Rich- 
ard Greene, is on a closed set today so 
that'll have to wait. But we still have — 

EVERYTHING Happens at Night" 
{tentative title), starring Sonja 
Henie. I'm in luck because Sonja is doing 
a skating routine. I don't know what the 
set represents, but it's 'oeautiful ... a 
sort of colonnade with dark blue hangings 
and silver stars dangling on strings in 
front of the curtains. In the centre is 
Sonja skating by herself. Poetry of mo- 
tion, physical poetry, symphony in rhythm. 


GINGER ROGERS is just starting a 
new picture so that can wait. "The 
Marines Fly High" is suspended on ac- 
count of the death of Director George 
Nichols. So that'll have to wait. Left is 
"Mexican Spitfire" starring Lupe Velez. 

Turning to the telephone to find where 
all else I have to go I find "The West- 
erner," starring Gary Cooper, at the 
Samuel Goldwyn Studio is on location so 
that'll have to wait for that. Ditto the 
two pictures at Universal — "Charlie Mc- 
Carthy, Detective" and the W. C. Fields- 
Mae West epic. And I think you'll agree 
that the last three mentioned are well 
worth waiting for. So long, now. 

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[Continued from page 75] 

like a sissy. Not that he-man Douglas 
has become a female impersonator, mercy 
no. but it's the only way he can catch the 
"phantom slugger." You'll roar with 
laughter. This is another of those mystery 
comedies that Joan Blondell and Melvyn 
Douglas, directed by Al Hall-, have made 
famous. This time Joan, who certainly 
knows her comedy, plays the secretary to 
the Mayor, and she is out to snare detec- 
tive Douglas. She has him just at the 
point of marrying her when a snake 
charmer gets murdered. From then on it's 
nip and tuck between duty and love with 
Detective Douglas. The murders and the 
laughs pile up quicker than you can count 
them, and there's one hilarious episode 
after another. Helping out with the fun 
are Ruth Connelly, Edward S. Brophy, 
Clarence Kolb and Donald McBride. It's 
a field day for the comedians. 


Just "Plain Folks" — Paramount 

HERE'S a story about a small town 
and small town people that will 
fairly wrap itself right around your heart. 
Frank Craven plays "Doc Carter," a small 
town druggist, who has been run out of 
business by big chain stores and their cut 
rates. The "Doc" has a wife and five 
children and he puts up a proud fight to 
keep his little family together. Just when 
he, a heart-broken middle-aged man of 
48, has made up his mind to surrender 
one of his children for adoption in a 
wealthy family, an old-time friend comes 
to aid him in his struggle with the chain 
stores, and saves the day. There are a 
lot of "D'oc Carters" in this world. There 
are laughs, and tears, and a terrific per- 
formance by Fay Bainter who begins to 
act where all other actresses leave off. 
Also in the cast are Edmund Lowe, 
Genevieve Tobin, and a little kid named 
Mary Thomas who is simply grand. 


The Indians Are Coming! — Paramount 

HERE'S an action picture with all the 
grand sweep of pioneer history in the 
Apache country of the Southwest. It's the 
story of the last great Indian campaign 
when the famous Apache Chief, Gero- 
nimo, defied the United States Army and 
terrorized the pioneer settlers of Arizona 
and New Mexico. The picture tells how 
General Grant appointed a trusted general 
to make peace with Geronimo, how the 
peace efforts failed, and how Geronimo 
massacres the Army when the general 
leads it out of the safety of its encamp- 
ment to rescue his son who is being held 
captive by the redskins. There's plenty 
of torture, massacre and destruction. And 
if it's Indians you like, honey, this is 
your dish. Ralph Morgan plays the gen- 
eral and William Henry his son. Gene 
Lockhart is excellent, as usual, as an In- 
dian agent and Andy Devine makes a first 
rate Indian scout. Preston Foster is the 
hero, and Chief Thundercloud, a real 
honest-to-goodness Indian, is Geronimo. 


A Screwy Comedy — M-G-M 

GREER GARSON, the famous "Mrs. 
Chips," is co-starred with Robert 
Taylor and Lew Ayres in this, her first 
American-made picture. The story is on 
the whimsy side and is all about two 
young men, Bob and Lew of course, who 
are in love with the same girl who, 
naturally,, is Miss Greer. Lew is engaged 
to marry her, but she elopes with his pal 
Bob. They are happy for about six months 
of married life, and then they quarrel 
over Bob's business hours. Then good old 
Lew has to give them a potion {don't 
ask me the ethics on that) which makes 
them forget everything and start their 
romance all over again. There are many 
bright episodes that will have you in 
stitches, and, unfortunately, some episodes 
that are more bumpy than bright. Bob 
Taylor, in a rather silly role, proves an 
excellent comedian and rates much, much 
better opportunities. Miss Garson sort of 
gets lost in the goings-on. 'We who love 
our womanly Mrs. Chips are a bit aghast 
to find her floundering around in a mud 
hole. Billie Burke plays her vague mother 
role, and Laura Hope Crews a slightly 
screwy aunt. Also in the excellent cast are 
George Barbier, Henry Travers, Reginald 
Owens, and Richard Carle. Lew Ayres 
gets some kind of an award for being the 
Best Boy Scout of the year. 


A Treat For Swing Addicts — RKO 

THIS is the picture in which Kay Ky- 
ser brings his famous radio program, 
Kay Kyser's College of Musical Knowl- 
edge, to the screen. And when Kay's 
College of M.K. is on the screen it is 
top-notch entertainment that will delight 
you no end, but before he goes into his 
radio broadcast there is a long stretch 
that's a bit on the dull side. However, 
the ending makes up for everything, and 
the Kay Kyser fans will be hysterical 
with joy. Kay plays himself, and the story 
tells how he happens to bring his band 
to Hollywood, how his band, swell guys 
back home, "go Hollywood" in a big way, 
and how the producer of Kay's picture 
gives him the well known run-around in 
order to break his contract. But here the 
picture does a switch, and swings into 
some swell comedy and first rate enter- 
tainment. In a grand supporting cast are 
Adolphe Menjou as the producer, May 
Robson as Granny, Eddie Everett Horton 
and Hobart Cavanaugh as a screwy writ- 
ing team, and Lucille Ball as an ambitious 
Glamour Girl. Ginny Simms of the Band 
sings several songs most pleasingly, one 
of them called "Chatterbox" in the hit 


For Your "Must See" List— Warner 

PAUL MUNI tries a new characteriza- 
tion in his latest picture, that of a 
kind-hearted, humanity-loving, impractical 
EngHsh doctor, and proves once more that 
he is nothing short of a genius when it 
comes to acting. The picture, adapted 
from the James Hilton novel of the same 
title, has all the dignity, warmth and 
heart appeal of the book, which, under 

Mr. and Mrs. Louis Hayward (Ida 
Lupino), handholding at Cafe Lamaze. 

the excellent direction of Edmund Gould- 
ing, it has faithfully followed. The 
atmosphere of the snug English village 
is admirably recreated and against this 
background is told the story of the little 
Austrian dancer who innocently brings 
tragedy to the quiet, compassionate doc- 
tor. Jane Bryan plays with genuine sim- 
plicity and sincerity little Leni who gets 
such a bad break out of Hfe. Flora Rob- 
son is magnificent as the doctor's neu- 
rotic wife. Excellent are Una O'Connor 
as the German-hating mahcious maid, and 
Raymond Severn as the doctor's nervous, 
precocious, young son. It's a picture that 
is bound to move you considerably. 


Bill Powell Returns — M-G-M 

CLAP hands, here come those dehght- 
ful people the Nick Charles' again, 
and never were we so glad to see anyone. 
William Powell, after a long absence from 
the screen, once more plays that charm- 
ing super-sleuth Nick, and Myrna Loy is 
his sophisticated young wife who doesn't 
want to miss out on any of the fun, no 
matter how dangerous it is. Asta is along, 
of course, and does his usual scene-steal- 
ing, and this time he is aided by young 
William Poulsen, still in diapers, who 
plays the healthy offspring of Mr. and 
Mrs. Charles. There's a mystery to be 
solved, naturally, and quite a few people 
get knocked off before Bill, closely pur- 
sued by Myrna, gets enough clues to run 
down the murderer. There are grand 
comedy sequences, one in which Myrna 
finds herself having to rhumba with a 
passionate young Latin, and another in 
which Bill pretends to "pick her up" in 
a cheap rooming house, much to the de- 
hght of a raucous landlady who's never 
seen such a fast worker. The mystery is 
indeed a mystery. Adding to the com- 
plications are Sheldon Leonard, 'Virginia 
Grey, Ruth Hussey, Muriel Hutchinson, 
Harry Bellaver and Abner Biberman. 
Marjorie Main is excellent as a landlady. 
Otto Kruger plays the assistant district 
attorney, Nat Pendleton the dim-witted 
detective, and it's poor C. Aubrey Smith 
who gets murdered. 


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U. S. Gov't methods have made crops better 
than ever... and Luckies always buy the choicer 
grades," says James Walker, 19 years an in- 
dependent tobacco buyer. 

Here's a 30-second interview with this veteran 
tobacco expert . . . 

Q. "What are these methods of Uncle Sam's?" 

Mr. Walker: "They're scientific ways of improv- 
ing soil and plant food . . . that have helped 
farmers grow finer tobacco in recent years." 

Q. "And that's what has made tobacco better?" 

Mr. W: "The best in 300 years . . . even though 
crops do vary with the weather." 

Q. "You say that Luckies buy the 'Cream of the 


"They sure do. The best proof is that 
they're the 2-to-l choice of experts not 
connected with any tobacco company — 
warehousemen, auctioneers and buyers. 
For my part, I've smoked them 10 years." 

Try Luckies for a week. You'll find that 
the "Toasting" process makes them easy 
on your throat — because it takes out 
certain harsh throat irritants that are 
found in all tobacco. 

You'll also find out why. ..WITH MEN WHO 

Have you 



V lately ? J 


A Doctor Tells 


The first authentic, "inside" 
revelation of the cloistered, 
code-bound world of woman's 
most intimate profession — 
probing deeply and dramati- 
.cally the souls of those bitter 
women who know men too 
well, yet must somehow find 
love in the midst of terror, toil 
and disillusionment 


Bares the Heartache 
and Despair of Women 
the World Calls Callous 

in a story even more search- 
ing and absorbing than his 
first great success — made 
trebly vivid and exciting by 
three brilliant stars. 






a ANNE 1 


Mqil In TkE Niqht 

From the Brilliant New Novel by A. J. CRONIN 

Produced and Directed by GEORGE STEVENS 

PANDRO S. BERMAN In Charge of Production 
Screen Play by Fred Guiol • P. J. Wolf son • Rowland Leigh 


Her Pinafore Frock said ''Linger'^ 
but her Lovely Smile added ''For Keeps''! 

Your smile is your own priceless "exclusive" — 
Help guard it with Ipana and Massage! 

A DRESS Straight out of Vogue or a hat 
, from Harper's glamorous pages can 
give a girl the proper start. But there's noth- 
ing like a lovely smile to complete the jour- 
ney—straight into a man's heart. 

For not even a "sixth sense" in style can 
win for the girl who lets her smile become 
dull and lifeless . . .who doesn't take proper 
care of her teeth and gums . . . who ignores 
the warning of "pink tooth brush." 

Take a leaf out of her book— and profit 
from it! For your smile is you— lose it and 
you lose one of your most appealing charms! 

Never Ignore "Pink Tooth Brush" 

If your tooth brush shows a tinge of "pink" 
—see your dentist! It may mean nothing seri- 

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will be that your gums need exercise— need 
the chewing that soft foods deny them. Like 
many dentists, he may advise "the healthful 
stimulation of Ipana and massage." 

For Ipana is designed not only to clean 
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stimulating gums — helping to make them 
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Get a tube of economical Ipana today. 
See what Ipana and massage can do to add 
more lustre, more charm to your smile! 


for March 1940 


JAN 26 191*0 I 

©CIB 444064 


Movie stars are the cwaziest 
people. (Or is that lifting too 
much from Lew Lehr?) But I love 'em. 
I don't think I'd know how to attend a 
perfectly respectable dinner party now 
where the service was impeccable, the 
guests behaved, the host and hostess were 
dull, and nothing happened. Imagine sud- 
denly glancing at your finger bowl at 
dinner and finding a live gold fish swim- 
ming around in it, with a hey nonny and 
a swish swish! Well, that's exactly what 
happened at Tyrone Power's and Anna- 
bella's the other night. I was that sur- 
prised I choked on my vino and had to 
be slapped on the back by Dick Powell 
{that was all right, too). Barbara Stan- 
wyck and Joan Blondell did double takes 
that were better than anything they have 
done on the screen, and Barbara turned 
white and nearly fainted dead away. 
"Gold fish," I thought, "are rather un- 
expcted at the dinner table to be sure. 
It isn't Yale. But why should Barbara 
let it throw her." I soon found out. Bar- 
bara's Httle fish had chosen just that 
moment to have itsy bitsy fishes! 

Tyrone was delighted at our confusion. 
He is such a tease. He admitted that he 
and Anabella had sat up nearly all night 
trying to figure out a gag that would 
startle us. He hadn't exactly counted on 

Several nights later at the Dick 
Powell's, Jack Benny upset a glass of 
water in Barbara Stanwyck's lap (every- 
thing happens to Barbara) and Barbara 
had to remove her Hattie Carnegie and 
finish dinner in a crash towel, which gave 
quite a South Sea Island effect. Dtiring 
coffee in the living room later Fannie 
Brice decided that her foot hurt so she 
slipped out of her slippers and Robert 
Taylor gave her a foot massage. You can 
be quite sure that my foot immediately, 
but immediately, began to hurt, too. I'm 
no sluggard. 

And of course, there was that wonder- 
ful night that Claudette Colbert slid a 
half broiled chicken accompanied by little 
peas into the lap of a very formidable 
foreign ambassador. And that never-to- 
be-forgotten night ax the Walter Lang's 
when Bill Powell waltzed in quite gaily, 
lifted the turkey and its silver platter 
right off the table, and disappeared into 
the night. The next day the platter was 
returned with a ham on it — and pinned 
to the ham was a note which read, "Few 
people indeed can do what I have done. 
I have turned a turkey into a ham. Bill." 

Never a dull moment among the movie 


MARCH, 1940 


Volume Ten 
Number Five 

Silver S 


Lester C . Grady 

■y. Editor 
Elizabeth Wilson Lenore Samuels Frank J. Carroll 

Western Editor 

Assistant Editor 

Art Director 


BEAUTY AND BRAINS DO GO TOGETHER! ...... John R. Franchey 22 

Ilona Masiey's inlelligence is just as much in evidence as her beauty 
VILLAINY AS YOU LIKE IT! William Lynch Vallee 24 

BeitiR a screen villam is Charles Laughton' s specialty, hut in private life 
he' s a jolly good iellow 


It's difficult for Hollywood to understand Barbara Stanwyck and 
here' s why 


Errol had a holiday taking the outdoor scenes for "Virginia City" 


We all make mistakes and Hollywood celebrities are no exceptions 

WILL NORMA MARRY GEORGE? Elizabeth Wilson 38 

You've heard many reports about Norma Shearer and George Raft, hut 
this is the most accurate 

All of Hollywood already is talking about Maureen O'Hara 


Garho and Dietrich have changed the old reliable formula 

MOTHER KNEW BEST! Robert McIllwaine 44 

Niary Martin can thank Heaven for taking her mother' s advice 


Elizabeth Benneche Peterson 46 

Continuing the series of private-life stories of screen celebrities 



Liza writes about the crazy tricks movie stars pull at parties 


What' s being buzzed around about your favorites 


What to see and what to miss! 


The stars may say one thing and mean another, so let' s check and see 


Invaluable hints about allure from Lupe Velez 


The latest doings of the players in print and pictures 


Again we honor Shirley Temple! 


Last-minute reviews on current important pictures 


Advance Spring fashions, modeled by Joan Bennett 


Inside info on films being made and the players appearing in them 

6 " 

8 .1 

,„ \ 


19 ? 








V. G. Heimbucher. President Paul C. Hunter, Vice President and Publisher D. H. Lapham, Secretary and Treasurer. 
SILVER SCREEN. Published monthly by Screenland Magazine, Inc, at 45 West 45th Street, New York, N. T. 
Advertising Offices: 45 West 45th St., New York; 410 North Michigan Ave., Chicago; 530 W. Sixth St., 
Los Angeles. Calif. Manuscripts and drawings must be accompanied by return postage. They will receive 
careful attention but Silver Soeebn assumes no responsibility for their safety. Yearly subscriptions $1.00 in 
the United States, its dependencies, Cuba and Mexico: $1.50 in Canada: foreign $2.00. Changes of address 
must reach us five weeks in advance of the next issue. Be sure to give both the old and new address. Entered 
as second class matter, September 23, 1930, at the Post Office, New York, N. T., under the act of March 3, 1879. 
Additional entry at Chicago, Illinois. Copyright 1940 by Screenland Magazine. Inc. Printed in the U. S. A. 



What's being buzzed 
around about the gayer 
activities of your favorites 

WHAT'S this about Lana Turner 
and Greg Bautzer ducking in and 
out of previews? At "The Hunch- 
back of Notre Dame" preview the other 
night one of our spies reported that Lana 
and Greg arrived at the Pantages Theatre 
along with the other stars, posed in the 
foyer for the photographers, and then 
slipped out by a side door before the pic- 
ture started. {Maybe they just can't stand 
Charles Laughton, we thought, giving 
them the benefit of the doubt.) But ac- 
cording to the pubUcity boys it's an old 
stunt with Lana and Greg. They get a 
lot of pictures taken of themselves, and 
don't have to see a preview. Tut, tut, 
Lana, is that nice? 

Sonja Henie and Alan Curtiss, still a 
tireless twosome. Below: Paulette God- 
dard and Bing Crosby as a team lost to 
Ruby Keeler Jolson and Bob Hope in a 
recent charity golf match. 

Tyrone Power has recently bought an 
amphibian plane which lie pilots himself. 
He and Annabella plan to fly to New 
York in it as soon as Ty finishes work 
in "Dance With the Devil," the picture 
he is making with Dorothy Lamour. 
Whether Dotty cuts her hair or not seems 
to be no concern of Ty's — but Twentieth 
and Dotty are having quite a feud over 
those long locks. 

Shirley Temple is as thrilled as she can 
be because she has a bit to do in the 
school play at the Wcstlake School for 
Girls — where she is going to school for 
the first time in her life. Before she's al- 
ways had a private tutor at the studio. 
Shirley brought a "boy friend" to the 
school dance the other night. The girls 
agreed that he was "nice," but not tall 
enough to dance with. Shirley will have 
to find some taller boy friends. 

When he read the script of "Shooting 
High" Gene Autry promptly vetoed the 
scene in which he was supposed to kiss 
Marjorie Weaver, his heart interest in 
the picture. One of the columnists ran 
a story to that effect in a newspaper, so 
when it came time to take advance stills 
on the picture, Marjorie Weaver walked 
into the portrait gallery, and without 
waiting to be introduced to Autry kissed 
him smack on the mouth, and said, "So 
you won't kiss me, huh?" 

Autry gagged that he didn't deserve the 
kiss. But he still insists that he will do 

Above: Deanna 
Durbin with her 
sister, who's 
married. Right: 
Alice Faye and 
agent Vic Orsatti 
at latter's recent 
birthday party. 

no kissing on the screen — says he's not 
the type and all his kid fans want him 
riding and singing, not romancing. 

Alice Faye has just received a letter 
from a former waiter who used to take 
great delight waiting on her at the Victor 
Hugo in Beverly Hills. The waiter, a 
Frenchman, is now on the Maginot Line. 
"We have named one of the big guns 
after you," he wrote Alice, "We call her 
La Petite Alice. Because when she goes 
into action she will slay them." 

Deanna Durbin and Vaughn Paul have 
already bought property in Bel-Air on 
which to build their home when they are 
married. Contrary to rumors their engage- 
ment was not announced on Deanna's re- 
cent birthday — but it will be announced 
any minute now. 

And now it's Eleanor Powell and Rand" 
Scott. Randy gets about almost, as muc 
as that Rooney boy. 

Isabel Jewell's steady escort at lat 
supper at the Beverly Brown Derby i 
Crilly Butler, eastern socialite and writer 
Following the "Balalaika" preview, Isabe 
wore a diamond-studded mistletoe hai 

«— «<!>■— » 

Cesar Romero has been dividing his time 
between beauing Ginger Rogers (she's go-, 
ing social again after a year of beingi 
Hollywood's number two hermit), Loretta 
Young, Nancy Kelly and Roberta Moli- 
neaux Cooper, He and Ann Sheridan are 
\_Continued on page 65] 

Silver Scree 




"Laugh, you little fool, 
laugh. ..for I'm giving 
you something you've 
never had before . . . 


o those who believe in romance, Paramount dedicates 
this glorious film re-creation of Kipling's never-to-be- 
forgotten story of Dick Heldar, artist, adventurer, 
gentleman unafraid. For this is romance, the romance of 
far places, Abu-Hamed, Khartoum, Port Said, London, 
and of the men who fought for glory beneath the 
desert sun . . . but more than that o . . the romance 

of that strange wilderness which is the heart of man. 

A Paramount Picture with 


Ida Lupino • Muriel Angelus • Dudley Digges 

Produced and Directed by WBLLIAM A. WELLMAN 

Screen Play by Robert Carson 
Based on the NoveS by Rudyard Kipling 

joy March 1940 


Tips on Pictures 

The ones to see and 
the ones to miss! 

Above: Lon Chaney, Jr., and Betty 
Field in the tragic "Of Mice and Men." 

Brothers) — Fair. While Geraldine Fitz- 
gerald and Jeffrey Lynn turn in fine, sen- 
sitive characterizations, the atmosphere 
and theme of this yarn hurt it almost 
from the start. The scene is a maternity 
ward of a city hospital, and practically 
all the feminine characters are just about 
to become mothers. Distinctly not for the 


(Columbia) — Amusing. One of those 
light, comic mystery yarns in which the 
blithe and nonchalant detective is for- 
ever on the verge of marrying the girl 
of his dreams when his interest is once 
again focussed on a new "case." The two 
charming people in this case are Melvyn 
Douglas and Joan Blondell. 


Goldwyn-Mayer) — Good. Although we're 
happy to say How-de-do to Bill Powell 
again as Nick Charles, and Hi There to 
Myrna Loy as the Perfect Wife we can't 
say that this sequel to that mystery yarn 
par excellence, "The Thin Man," catches 
up with it in pace or charm or story. It 
does make a gallant effort, though, .and 
you won-t go away too disappointed. 

Right: Saucy Lucille Ball 
and Kay Kyser in the tune- 
ful "That's Right, You're 
Wrong." Below: Ann Soth- 
ern, William Gargan and 
Lewis Stone in "Joe and 
Ethel Turp Call on the 
President," an unusual yarn. 

DAY-TIME WIFE (20th Century-Fox) 

— Good. One of those inconsequential, but 
amusing plots {no matter how often re- 
peated) about the wife, jealous of her 
husband's secretary, who decides to get 
a job and a new heart interest of her 
own. Well played by Linda Darnell, 
Tyrone Power, Binnie Barnes and Warren 

NIGHT (20th Century-Fox) — Fair. Here 
we have two rival reporters, an English- 
man and an American, searching for a 
missing Nobel prize winner in Switzer- 
land. They run into vivacious Sonja Henie 
instead and she amazes them with her 
wizardry on skiis and skates. Also, her 
father turns out to be the man they're 
seeking. Plenty of action and romance 
in this. {Ray Milland — Robert Cum- 
mings.) I 

FIRST LOVE rC/mVcrsa/;— Excellent. 
Deanna Durbin's first grown-up role is a 
Cinderella one with a fairy-tale charm 
that makes one hate to see it end. Again 
she delights us with her beautiful sing- 
ing voice and wholesome personahty. 

[^Continiied on page 14] 

Silver Screen 

shows you 
how to take an 


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for March 1940 




FOLKS expected W. C. Fields and 
Mae West to battle on sight when 
they began to co-star in Uni- 
versal's "My Little Chickadee." Accord- 
ing to rumor, they haven't. Mae has hud 
her own way rewriting her lines to suit 
herself, Fields forgets all his own and 
those of everybody else, anyway. And im- 

provises as he goes. To be positive about 
what Mae and W. C. thought of each 
other, I put the question to them. 

Fields, I suspect, punned a bit when 
lie replied: "The public thought I was 
going to fight with Miss West about our 
picture but, on the contrary, I regard 

Claims Jeanette MacOonald, 
"The path of a singing star in 
films is more difficult than that 
of a dramatic actress because 
the singing star must be equal 
to a two-fold career. She must 
be able to act. She must sing." 



Frederick James Smith 

her as my bosom friend." Then he went 
on, "After what I've been through in my 
life, wrestling with a mere goat for a 
scene in 'My Little Chickadee' was a 
cinch. Why,. I've done things which make 
that look like sissy stuff. Like the time 
I had to let a lion chase me and was 
supposed to duck out a side door. But 
when I got there the door was nailed 
shut. That really gave me a few uneasy 
moments. But a goat — poof!" 

Said Mae: "Too many people spend 
too much time thinking about the past. 
I am still living for the future. What 
happened yesterday, or even two minutes 
ago, doesn't matter. It's tomorrow that 
counts. The only way to get ahead in 
this work is to plan v;hat you're going 
to do, not think about what you've done. 
"I am sure that 'My Little Chiackadee' 
{Continued on page 15] 

"The public 
thought I was 
going to fight 
with Miss West," 
says W . C . 
Fields, "but on 
the contrary, I 
regard her as 
my bosom 
friend." Wow! 

The stars may 
say one thing 
in an inter- 
view and in- 
wardly mean 
another, so 
let's check 
back and read 
t h e - 1 i n e s 

"I hadn't played in enough pictures 
during my four years at Metro to beat 
my fear of the camera," admits Allan 
Jones. "You can't succeed, you can't 
do anything, until you lick the camera." 


Silver Screen 

HEN you've got the snifEes, a chill, 
and your throat feels irritated, it's 
a sign that germs are probably at work in 
mouth and throat. 

Sometimes they can be killed in suffi- 
cient numbers or kept under control so 
that Nature can halt the infection . . . 
throw off the cold. 

If you have any symptoms of trouble, 
start gargling with full strength Listerine 
Antiseptic and keep it up. Countless peo- 
ple say it's a wonderful first aid and 8 
years of scientific research back them up. 
Tests during this period actually showed 
fewer and milder colds for Listerine Anti- 
septic users . . . fewer sore throats, too. 
Listerine Antiseptic reaches way back 


on throat surfaces to kill millions of the 
secondary invaders — germs that many 
authorities say help to complicate a cold 
and make it so troublesome. 

Actual tests showed germ reductions 
on mouth and throat surfaces ranging to 
96.7% even 15 minutes after the Listerine 
Antiseptic gargle. Up to 80% one 
hour later. 

In view of this evidence, don't you 
think it is a wise precaution to use Lister- 
ine Antiseptic systematically during fall, 
winter, and spring months when colds 
are a constant menace to the health of 
the entire family? 

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The two drawings at left illustrate height of range in germ 
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veO' 8' 
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are tv 
on y«' 

By Mary Lee 

Make-up and costumes shoulc 
add to your natural beauty anc 
personality, thinks Lupe Velez 


lEAUTY with a bang" is the best 
description I know for Lupe Velez, 
currently starring in "Mexican 
Spitfire." There is a pleasantly startling 
and awakening quality in Lupe that 
makes you open your eyes and take 
notice. On my very first visit to Holly- 
wood some years ago, Lupe was the first 
star I met, and I recall lunching with her 
in the M-G-M restaurant and marveling 
at her exotic beauty. There is a cameo 
quality to her skin, a fire in her eyes 
that glows and dims like live coals, and 
an amazing vivacity to her lips that re- 
veal white, even teeth. 

The instincts of the designer and creator 
are strong within Lupe. Had she not 
achieved fame and fortune in Hollywood, 
undoubtedly her career would have been 
that of dress designer. She turns this de- 
signing instinct toward beauty, too. When 
I first met her, she was causing much 
comment and admiration by her luminous 
make-up. Lupe was one of the first to 
leave her skin au naturel in its pristine 



beauty — indeed, polishing her skin by 
rubbing it with a Turkish towel to make 
it shine — and concentrating make-up on 
eyes and mouth, alone. 

For those with beautiful skin, this fasb 
ion is still good. Beautiful skin is truly 
rare, and those blessed with it shoulc 
reveal it to the utmost. This means 
faint, faint use of rouge and a powderi 
very fine and light of texture to accent] 
the natural quality of that skin rather' 
than conceal it. A powder that answers: 
these requirements, in my opinion, is 
Coty's "Air Spun" Face Powder, light as 
mist, because of the terrific spinning anc 
mixing through which this powder goes in; 
huge cylinders long before it reaches yoU' 
in the famihar and cunning powder pu: 
box. The use of a light weight powder 
also gives a younger, softer effect to the 
face. It will stay fresher looking longer, 
too, and when you must, you can re- 
powder more frequently without giving 
your skin a dull, dead look. The whole 
art of using powder lies in applying it 

Silver Screen 



a sill 






of c 

very generously, evenly over the whole 
face, then dusting away most of it. You 
can use a powder brush or a piece of 
fresh cotton for this. 

Lupe has another strong point for 
beauty — one that girls pray for — long 
lashes. Very glossy they are, too, without 
benefit of mascara. This brings up an 
idea for brow and lash allure that we 
seldom see — brows and lashes that shine 
with vitality, as does beautiful hair. There 
are two ways to achieve this special 
beauty point. One is to use a lubricant 
on your brows and lashes at night, and 
apply it with the eyebrow brushes that 
come for this purpose. Lacking the special 
brush, a mascara brush will substitute, 
though not so well. When your face is 
nice and clean at night, give your brows 
a good brushing with some "vaseline" 
white jelly, olive oil, castor oil or one of 
the branded brow and lash lubricants. By 
brushing your brows, you can train them 
into a more interesting and even line, and 
you can keep the tiny hairs of both brows 
and lashes in better condition. The second 
is to brush both brows and lashes with 
a similar lubricant after your make-up is 
on. Even if you have beautiful brows and 
lashes without benefit of art, powder 
clings and dims their color and lustre. 
Use a tiny bit of lubricant only. Lupe 
says, "Always brush the upper lashes 
upward, the lower downward, so that you 
form a frame for the eyes." I've seen 
girls move their mascara brushes back 
and forth on lashes, which only gives a 
made-up, matted effect, and is not for 

Flashing, white teeth, like Lupe's make 
any mouth charming and expressive. They 
make a smile a smile, and they, somehow, 
add conviction to the words a mouth ut- 
ters. Everyone cannot have those decid- 
edly white teeth, any more than everyone 
can have blonde hair. But everyone can 
make teeth sparkle, for that is a matter 
of cleanliness. Thorough night and morn- 
ing brushings, of course, with a good 
dentifrice. In-between brushings increase 
cleanhness and certainly add that assur- 
ance of mouth immaculacy. Just as I al- 
ways advise soap and water and cream 
for skin cleanliness, I feel that we might 
well balance our tooth cleaning, by using 
alternately perhaps a paste, powder or 
liquid. If you like the hquid method, -you 
are going to like Cue, a new liquid tooth 
cleanser. It's deep ruby, foams delight- 
fully, cleans thoroughly and leaves your 
mouth fresh as a flower. It may be had 
in chain stores and drug and department 

The girl with real mouth beauty in 
mind will keep on hand dental thread and 
a good mouth wash. When teeth are 
crowded or crooked, the use of dental 
thread is advisable for removing food 
particles, particularly at night. Dentists, 
however, ask that you use the thread 
carefully and do not let it cut the gums. 
A mouth wash needs no urging, I am 
sure. It should be as much a part of 
one's grooming as a bath. Listerine, of 
course, gets a big bouquet from this de- 
partment for its splendid mouth refresh- 
ing and breath corrective results. 

To further enhance mouth appeal, ap- 
ply lipstick carefully, and be sure the 
tone is right for you, regardless of whims 
in color fashions. Better a lovely mouth 
[Continued on page 17] 

No Job for Nancy 
but a big Job for Mum 

Why risk underarm odor — when Mum every day 
so surely guards your charm? 

SHE TRIES SO HARD — goes everywhere 
—but somehow for Nancy it's a brief 
"no opening now!" For business is busi- 
ness. And it never helps to have a girl 
around who neglects to use Mum! 

Constant personal daintiness is a busi- 
ness asset ... as much in demand as cheer- 
fulness, ability, and speed. 'Why does any 
girl risk it? "Why don't all girls play safe 
with Mum— every single day? 

For it's a gamble to depend on a bath 
alone to keep you fresh and sweet. A bath 
merely removes perspiration that is past 
. . . but Mum prevents odor— keeps you 
fresh and sweet for the hours to come. 

More business girls prefer Mum to any 
other deodorant. Mum is— 

QUICK! A daily pat under this arm, un- 
der that, and through the longest work- 
ing day you know you're fresh! 
HARMLESS! Apply Mum after dressing 
. . . fabrics are safe. Mum has the Ameri- 
can Institute of Laundering Seal as being 
harmless to any dress. Safe for skin, too. 

LASTING! Hours after your bath has 
faded, Mum still keeps underarms sweet. 
And Mum does not stop perspiration. 
Get Mum at your druggist's today. Be 
wise in business ... be sure of charm! 
Make a habit of Mum every day. 



Important to Yov — 

Thousands of women use 
Mum for sanitary napkins 
because they know that it's 
safe, gentle. Always use 
Mum this way, too. 


for March 1940 



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Tips on Pictures 

[Continued from page 8] 

Prominent in the cast are Robert Stack, 
Helen Parrish, Eugene Pallette and 
Leatrice Joy. 

FOUR WIVES (Warner Brothers) — 
Fine. Babies provide the leitmotif of this 
successor to the popular Four Daughters 
film, and, while it is not as spontaneously 
gay and diverting, it combines a pleasing 
mixture of fun and pathos all its own. 
Cast again includes: Priscilla, Rosemary 
and Lola Lane, Gale Page, May Robson, 
Claude Rains, Jeffrey Lynn, Frank Mc- 
Hugh, Dick Foran. Eddie Albert is a wel- 
come newcomer. 

HIS GIRL FRIDAY (Columbia)— 
Fine. A remake of the famous Front 
Page — best remembered of all news- 
paper films — is bound to draw criticism 
from those who dishke having Hildy 
Johnston's role metamorphized into a 
woman's role. But the plot has been 
altered cleverly to meet the change of 
character and, as played by Rosalind Rus- 
sell, you're bound to be entertained. Cary 
Grant, Ralph Bellamy and Gene Lock- 
hart make up the excellent cast. 

THE PRESIDENT ( Metro-Goldwyn- 
Mayer) — Amusing. The rather unusual 
idea of a couple of "average citizens" 
actually getting admitted to the sanctum 
of the president of these United States 
in order to present the sad case of an- 
other ''average citizen" forms the plot of 
this yarn authored by Damon Runyon. 
As played by Ann Sothern, William Gar- 
gan, Lewis Stone and Walter Brennan, 
we can assure you plenty of fun. 

Brothers) — Fair. Adapted from the play 
Minick, by Edna Ferber and George Jay 
Kaufman, this tells the somewhat weepy 
story of an old veteran who leaves a 
soldier's home in order to live with a 
wealthy son. After many amusing and 
some heart-rending episodes, he decides 
to go back to the home. Fine cast includes 
Fred Stone, Dennis Morgan and Gloria 

Artists) — Not for the squeamish. Al- 
though the censors have modified the 
ribald boldness of the original book and 
play of this title, it can be said that John 
Steinbeck's story of migratory laborers 
in California has been transported faith- 
fully to the screen. Burgess Meredith 
plays the dreamer, Lon Chaney, Jr., the 
half-wit, Betty Field, the rancher's wife 
and Charles Bickford, the mule skinner. 
It is not exactly pleasant entertainment. 

(Paramount) — Good. Small town people 
always seem to find a warm spot for 
themselves in our hearts — and the Car- 
ters are no exception. Frank Craven plays 
"Doc," a druggist whose business has 
collapsed after the advent of chain drug- 
stores. There are plenty of laughs, some 
tears and a number of grand perform- 
ances. (Fay Bainter, Edmund Lowe, 
Genevieve Tobin.) 

REMEMBER? (Metro-Goldwyn-Mayer) 
— Fair. Greer Garson (the famous Mrs. 
Chips) is co-starred with Robert Taylor 

Anna Neagle, whose next is "Irene," 
dines with Dance Director Leonidoff. 

and Lew Ayres in this somewhat screwy 
farce about married fife. Bob and Greer 
marry and when they start "straining at 
the leash" Doctor Lew Ayres prescribes 
a love potion which, apparently, starts 
them off on the right track again. (Billie 
Burke, Laura Hope Crews.) 

ROLL, 'WAGONS, ROLL (Monogram) 
— Good. Made to order for lovers of the 
Great Open Spaces is this newest western 
starring Tex Ritter. It has two Indian 
fights, plenty of action via the pioneer- 
covered wagon route, and romance, of 
course — the girl in the story being at- 
tractive Muriel Evans. 

(RKO) — Amusing. Swing addicts, and 
that means Small and Big Fry, will have 
a time for themselves at this film in which 
Kay Kyser, the popular exponent of this 
type of music, leads off with his famous 
band. There's a plot, too, but if you don't 
like swing, better choose another film. 
{Adolphe Mejijou, May Robson, Lucille 
Ball, Edward Everett Norton, Ginny 

TOWER OF LONDON (Universal)— 

Fair. "Off with his head" seemed to be the 
favorite phrase used by those in command 
during the dark and bloody reigns of 
medieval English kings. The famous 
Tower, in those days, was not only a 
prison, but the home of the ruhng house 
and this film gives you an idea of how 
Richard the Third gratified his lust for 
power. {Basil Rathbone, Ian Hunter, 
Boris Karloff and Nan Grey.) 

Fine. The poignant story of an orphan 
boy and the motherless foal he nurtures is 
told in such a sensitive way that, for all 
its simplicity, this is one of the stand-out 
films that has come along unheralded and 
unsung, like A Man To Remember. Little 
Jimmy Lydon is perfect as the boy. 
{Joan Brodel, Marjorie Main.) 

Brothers) — Splendid. W^hen you feel that 
you can stand facing the realities of life, 
see this, but not when you're in an es- 
capist mood. It is a simple, beautiful but 
heart-breaking tale of a charming Eng- 
lish country doctor whose compassionate 
interest in a lonely Austrian dancer 
brought tragedy down upon their heads. 
Excellently played by Paul Muni. Jane 
Bryan, Flora Robson and Una O'Connor. 


Silver Screen 

Checking On 
Their Comments 

[Continued from page 10] 

will be my best picture, because it is the 
eighth one in which I have starred. And 
eight has always been lucky for me. I 
never have gone after this number, but 
whenever it comes into my life I know 
everything is going to be all right." 

But not a word from Mae about Mr. 

The result of the West-Fields co-starring 
effort will be interesting. I suspect that 
Miss West has outlived the garish shock of 
her first sexsational success, that Fields is a 
little hard to get down to scheduled, pre- 
meditated comedy. And it's practically im- 
possible to catch unpremeditated funmak- 
ing in films. Still .... we'll see. Film 
postmortems are dangerous. You never 
can tell. 

Tr\ ID you ever think of the problems 
/ J of a singing star in the films? 

They're double - barreled. Ask 
Jeatiette MacDonald. According to Jean- 
ette, it's a cinch just to act in films. You 
merely get out in front of the cameras 
and do what the director tells you. But 
if you're a singer — Listen to what Miss 
MacDonald says: 

"The path of a singing star in films is 
more difficult than that of a dramatic 
actress because the singing star must be 
equal to a two-fold career. She must act. 
She must sing. She spends double time 
on every screen role. In addition to act- 
ing before the cameras, recordings and 
sound tracks must be made. She is called 
upon to rehearse, not only her dramatic 
scenes before the cameras, but her various 
songs away from the studio. During the 
making of a film she has little, if any 
time to herself. Rehearsals and record- 
ings, coupled with the regular duties of- 
the screen including costume fittings, in- 
terviews, pictures and the like, make 
twenty-four hours a day much too brief 
a time to cover the required territory. 

"As far as roles are concerned, there 
are two which I am anxious to portray. 
One is already in the offing, as a matter 
of fact it will be my next picture. That 
/is the character of Moonyeen in 'Smilin' 
Through,' a story which always has been 
my favorite. In the operatic category my 
choice falls upon 'La Traviata,' a role 
which I someday hope to do." 

Think twice before you criticize a sing- 
ing star after this. Think of the problems. 
But I'm not for opera on the screen, if 
that's what Jeanette is contemplating in 
regard to "La Traviata." Opera stories 
usually are mildewed melodrama with the 
characters bursting into lovely melody now 
and then. No, no, Jeanette, not "La Tra- 
viata." Tell us 'taint true. 

TJ'ENRY Koster has directed five of 
the seveji Deanna Diirbin successes 
under Producer Joe Pasternak. The 
Pasternak-Koster combination has be- 
come something of a Hollywood tradi- 
tion. Koster is a 34-year-old Berlin 
newspaper man who took to writing 
scenarios, sold one to Pasternak, fol- 
lowed that producer to Paris, Budapest 
and on to Hollywood. Becoming a direc- 

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You never know when or where 

tor, he shot with an interpreter at his 
side, learning new languages as he moved. 
And now he's breaking away from direct- 
ing Dcanna to try a different type of 
story. Listen to him: 

"I don't want to get typed. It's as 
dangerous for a director as an actor. 
Hollywood is dangerous enough. You get 
pushed into a groove, you shoot all day, 
you sit at story conferences, you watch 
rushes, you chat with your producer be- 
side a swimming pool — and you stop see- 
ing life. You use up your little stock of 
experiences. You get out of touch with 
reality. That's why Hollywood wears out 
directors in three or four years. It wrings 
them dry, throws them in the alley. 

"To me there are just four notable 
American directors who have weathered 
that: King Vidor, Gregory La Cava, 
Frank Capra and Leo McCarey. They 
haven't been shunted into machines. 
Hollywood hasn't burned them out. 

"I don't believe, for instance, that 
movies should grow out of Hollywood or 
out of a newspaper. One is a big calcu- 
lated machine, the other is a daily pano- 
rama of the world's tragedy. Audiences 
want to smile, to be touched gently, most 
of all to forget their miseries for at least 
two hours. 

''Don't misunderstand me about Holly- 
wood. It's been magic to me. But it is 
a great walled city producing the world's 
entertainment. Its demands keep you 
away from things. Away from life. I'd 
hke to make pictures in New York where 
you have a chance of keeping your sense 
of values. A great city puts you in your 

Mr. Koster has been doing a graceful 
job of dramatizing Deanna Durbin as 
Deanna Durbin. Let's see what he can do 
with one of those other things that avoid 
the heartaches of hfc. Maybe that's the 
function of films — dodging life. But some- 
how I have my doubts. 

JET'S turn front Director Roster's 
^ theory that Hollywood walls its 
workers from life and the world. Veteran 
Lewis Stone says Hollywood is perfect for 
the actor, who, since the beginning of 
time, has beeti a mountebank traveling 
from town to town, a homeless ad- 
venturer. Listen to what the Judge Hardy 
of the films writes me: 

"Hollywood is the ideal place in which 
to work and to live, because the two 
are so perfectly combined. It is all right 
to spoof about the Cahfornia climate, 
but where would you find one more con- 
ducive to normal living? Motion pic- 
tures, being a high pressure business, re- 
quire adequate relaxation for balance. We 
actors find that, not in outside interests, 
but in our homes, for in Hollywood the 
actor has found a permanence he never 
has known before, an opportunity to 
settle down to a quiet and entirely every- 
day hfe. 

"As for myself, I never have been 
more completely satisfied as an actor. 
The character of Judge Hardy, who is 
a daily surprise to me, has given me a 
feeling of achievement in doing a job 
that I feel is worthwhile. I was on the 
verge of retiring when the part bobbed 
up, a simple and innocuous role on the 

surface. Now I can't quit, nor can I dis- 
associate myself from the judge, even if 
I wanted to. The greatest personal 
pleasure, from playing an American 
father in a scene so typically American, 
has come in the sentiment of my fan 
mail. It has given me something to live 
up to. Rather than flattering, this has 
been a humbling experience, and the most 
memorable in a career which to me has 
had many compensations." 

Nice for a veteran, say I, but highly 
dangerous for a young actor. That quiet, 
everyday life beside a bathing pool breeds 
complacence, kills initiative. Witness the 
players and directors who fade out so 
quickly. No, I string with Director Koster 
on that point. Hollywood is a habit form- 
ing drug. It gets you before you know 
it. And there's no cure. 

ryjTSIDE of the National Theater in 
New York City is an electric sign 
indicating that Tallulah Bankhead is play- 
ing "The Little Foxes." The play — of a 
hard, strange Southern family — is one of 
the big hits. I caught Tallidah on a 
Wednesday between matinee and evening 
performance. She talked rapidly and can- 
didly of herself and her hopes. 

"Sometime I want to do motion pic- 
tures again. Soon, too. I didn't take them 
seriously enough before. It was just fun. 
a lark. I was younger than I am now, 
less experienced, too. Hollywood was a 
new game, I'm afraid. I want to go back, 
knowing what I know now about acting, 
and take another shot. 

"I can't right now, of course. 'The 
Little Foxes' is a hit, one of the dramatic 
successes of the season. I've had my 
flops, but this is a real hit. It will take 
me on tour next season. After that, God 
willing, I want Hollywood and my new 

"I've worked intensively, furiously all 
my life. And I have nothing to show for 
it, except my name in lights. Not even 
a home. After I put a portion of my 
salary away to meet income taxes, after 
payments are made on an annunity, I'm 
strapped. All I have to show for my 
career are two Augustus Johns paintings 
that I adore, one of myself and one of 
Gerald du Maurier, one of the great ac- 
tors of our generation. And a diamond 
ring which usually is in hock. Sometime 
— and soon — I want a home in the coun- 
try. A httle place, if I can keep my 
head. Yes, Hollywood could be very 

I doubt if La Bankhead would be happy 
in a little home in the country. It's loo 
far from Broadway and life. Even her 
marriage to John Emery hasn't changed 
her so much. Tallulah likes to take up 
causes. Tallulah lives hard — and Holly- 
wood needs more players who work in 
frenzied, uncalculated fashion. 

A LLAN Jones broke away from Metro 
to move over to Paramount. At 
Metro he was under the shadow of Nel- 
son Eddy. Nelson got the choice singing 
roles. Jones was a sort of spare tire used 
jiow and then. Studios often hold promis- 
ing young actors in reserve, just in case. 
But it's tough on the young actor. Jones, 
for instance, wanted to do bigger things, 
got restless — and secured a release from 


Silver Screen 

"Vigil In The Night" is serious, but 
Carole Lombard has fun between scenes. 

his contract. Came his hit in Paramount's 
"Victor Herbert." Listen to what Jones 
told me in his Paramount Theater dress- 
ing room during his New York personal 

"I hadn't played in enough pictures 
during my four years at Metro to beat 

my fear of the camera. You can't suc- 
ceed, you can't do anything, until you 
lick the camera. It stands there grinding 
at you — and it's petrifying, believe me. 
I hadn't made a picture in eighteen 
months when I landed on the Paramount 
lot. One single shot cured me in 'Honey- 
moon in Bali.' A great camera swung at 
me on a long boom, ran right up into 
my face — and I was cured. I'd lost rny 
fear. I suddenly discovered that I could 
be myself. 

"I want to sing more roles. I'd like 
to do a South American gaucho in a 
musical play of the pampas. Sure, roman- 
tic, charm stuff. No costume pictures, 
though. They're dangerous — and usually 
slow. People, I think, want songs, but 
they want them in fast tempo films." 

Allan Jones hit upon one of the danger- 
ous things of Hollywood when he summed 
up the problems of the second-string 
player held in reserve, in case the star 
kicks up in his contract, gets sick or 
starts to slip. These spares are on every 
lot, drawing salaries and getting nowhere. 
Jones had courage enough to buck the 
system. More power to him! 

Beauty by a Designing Lady 

[Continued from page 13} 

any day, than a new, smart color, but one 
not suited to your face. And try to have 
your mouth color tie in with your general 
color accents, like rouge and nail tips. 
Revlon has recently done a grand job 
for girls who can't decide between nails 
and lips, for there is a new and extra- 
satisfactory Revlon lipstick to match 
every Revlon shade of polish. You can 
create a lovely picture by these har- 
monized or matched lips and nails; or, 
no matter how lovely the tones you use 
individually, you can create a confusion 
of color when you don't use them in har- 

Back now to our designing lady, Lupe, 
for a moment, to see how else she turns 
her designing instincts. This time it is to 
clothes. "The right wardrobe should flat- 
ter, express and build up the wearer," 
says Lupe. And there is a rule to be 
guided by in choosing your clothes. Lupe 
says she has " 'ondreds" of evening gowns, 
because these she loves best of all. Well, 
maybe she hasn't that many, but so they 
look to her. 

Here is an idea that clever girls might 
duplicate. A blue crepe of street length 
has a square cut bodice, caught with 
crystal and sapphire clips. So far so good. 
But this frock has another life, for Lupe 
has designed a floor length, wrap-around 
skirt to be shpped over the frock for 
gayer moments. Now, that is designing! 

There's also a day outfit that might 
give you some ideas. A black velveteen 
bodice is cut on vest lines and fastened 
with a double row of brass buttons. A 
circular, peasant skirt is made of red 
and white gingham checked wool, with 
bag and tiny neck scarf to match. A 
similar outfit, as to the black velveteen 
bodice and checked skirt {only the skirt 
was black and white) was worn recently 
by thirteen-year-old Jane Withers when 
I talked with her in New York. The idea 
is smart, whether you're thirteen or 
twenty-six ! 

While Lupe keeps on designing in her 
own bright way, let's see what some of 
the good manufacturers have recently de; 
signed for our beauty. 

Last year there was introduced a new 
perfume, Franciska Gaal, by name, after 
the player. It was lovely and such a 
success, that now there is a new perfume 
by the makers, called Joan Blondell, in an 
effervescent, lilting mood, like Joan, 
herself. It is a scent that earns you many 
compliments, and it costs but a song. 
And that goes to show that fine manufac- 
turing need not necessarily mean that 
you pay and pay. Joan Blondell perfume 
is in your chain stores, and it is truly 
lovely and lasting. 

Recently, I saw a smart fashion show 
but regret that the models' backs were 
not up to the costumes they wore. 
Frankly, too many had poor back skin. 
That is one of the most disillusioning of 
sights — beautiful clothes, but not the 
skin to show them off. A very new pro- 
duct is Miner's Patti-Pac Cake make-up. 
You simply dampen cotton, rub on 
the cake and apply to your face, neck, 
arms or back. Then facial make-up is 
applied and a light dusting of powder 
over the rest of you. You wonder at the 
appealing smoothness Patti-Pac creates, 
and you bless it for hiding those little 
irregularities, and you bless it also for 
remaining on so well and creating the 
illusion of a fine, smooth skin. This is 
really something to try, and, I'm glad 
to say, the trying does not hurt your 
pocketbook, for you'll find this in chain 

Correct, so far as possible, every 
beauty deficiency you have, like a poor 
skin, or dry hair or breaking nails. Mean- 
while, be sensible and use the fine aids 
that are provided for remedying the con- 
dition temporarily. They save the situa- 
tion for the moment, and it is on precious 
moments that our future fortunes often 
hang! This, all wise girls know. 

The action of Ex-Lax is thorough, yet 
gentle! No shock. No strain. No 
weakening after-effects. Just an easy, 
comfortable bowel movement that 
brings blessed relief. Try Ex-Lax 
next time you need a laxative. It's 
good for every member of the family. 


j r March 1940 



C4 s^>i^^^^^.:^ater- 

B^obett ^^^^ . 

''^^ his bea^^ 

"^11 if***" ■ 




yoyKida Johnson Young 


Spectacular entertainment from the producer and director of "In Old Chicago", 
"Alexander's Ragtime Band", "Stanley and Livingstone", "Jesse James" ! 


Silver Screen 

^aove: Director Frank Capra 
and wife try to get Adolphe 
Menjou to look at our camera 
at the Victor Hugo. Upper 
right: Herbert Marshall chats 
with sad-eyed Ann Sothern 
at the smart Beverly- Wilshire. 


For Gossip 

Below: Radio executive Bud Ernst looks big 
enough to kid around with Errol Flynn at La 
Conga. Lower right: Director Anatole Litvak tells 
a gag to ex-wife Miriam Hopkins and Bruce Cabot. 

FOR the second successive year Joan Crawford has been 
awarded the title of "the most co-operative star of the 
year" by the Hollywood Press Photographers, and at a 
luncheon at the Metro studio where she is now working the 
flashlight boys presented her with a silver cigarette box. Bette 
Davis was runner up. And not far behind was Rosalind Russell. 
Good for Joan and Bette and Roz. They know a guy lias a 
job to do and they don't consider themselves too important 
to help him. 

And speaking of Rosalind Russell, when she dropped into 
the Brown Derby for a bite of lunch and a story conference 
with Director Howard Hawks, the photographers gathered 
around for a picture. But Rosalind pointed to her hair in 
curlers and promised to come in the following evening and 
pose as long as they wanted her to. Which she did. And that's 
why the camera boys are crazy about Roz. 

»— «4>. — . 

In "Strange Cargo," the Crawford-Gable flicker now in pro- 
duction, Paul Lukas, who is one of the neatest and most 
fastidious actors in Hollywood when it comes to clothes, has 
to look like something that has been washed up out of the sea. 
They've started calling him "Filthy Lukas." 


Candidly presenting the latest Hollywood items and photos of unusual interest 

Is this a romance between Greer Garson and Lew Ayres? They've 
been constant diners at the Beverly Brown Derby lately. And there's no 
prettier girl in town than Greer, with that lovely red hair {arid natural, 
too) and beautiful complexion. 

Miriam Hopkins is jollowing the Hollywood tradition and has been 
out dining and dancing frequently of late with her ex-husband, Tola 
Litvak. When she isn't with her "ex" she's usually with Bruce Cabot, 
one of the foremost men^about-town. 

Ever since Hedy Lamarr stepped out to a Navy Ball last fall with a 
diamond that big in the part of her hair Hollywood has become diamond 
conscious. Paulette Goddard wears a diamond hair clip that is something 
out of this world, and both Dorothy Lamour and Joan Bennett have 
rings that practically bUnd you with their briUiance. 

Dorothy Lamour has shifted from Robert Preston back to WjTin 
Rocamora, which seems to be the real thing. And Madeleine Carroll, 
Rosalind Russell and Pat Morrison are all fighting over tall dark and 
handsome Richard Halliday, story editor at Paramount, who recently 
arrived in Hollywood from New York. 

With the public asking for more Hedy Lamarr pictures, Metro has 
decided to take "I Take This Woman" off the shelf and remake about 
65 percent of it. To the original cost of $600,000 they will now add 
$300,000. So it had better be good. In it Hedy tosses aside her "glamour" 
which did well by her in "Algiers" and "Lady of the Tropics" and plays 
the domesticated wife of Dr. Spencer Tracy. 

When we stopped by the set to visit with Hedy Lamarr the other day 
we found ourselves practically knee deep in make-up. Hedy had decided, 
while she was waiting for her scene, to make-up the script girl, the hair- 
dresser, the wardrobe girl, and someone from Kansas who was just visiting 
the set. This is one of Hedy's weaknesses. She feels that she just must 
improve everyone's looks. But she's so naive about it that you really can't 
resent it. So don't be surprised when you are introduced to Miss Lamarr 
to hear her say, "How do you do. You have the wrong lipstick on." 

It is said that Paul Muni was offered $2500 weekly for playing the 
lead in Maxwell Anderson's New York play, "Key Largo." But Mr. 
Muni decided that $750 would be quite sufficient for him and informed 
the management that they could spend the rest on hiring other actors. 
When a movie star turns down money that's news! 

, — — 

One of Jack Benny's favorite gags on the radio is to invite 
a lot of celebrities to a party and have none of them show up. 
He has pulled this gag on his radio program several times lately, 
and the other night it snapped back at him. Just as he and Mary 
Livingstone were sitting down to a quiet little dinner at home 
the doorbell rang and in galloped Tyrone Power and Annabella, 
Barbara Stanwyck and Robert Taylor, [Continued on page 56] 

Peggy Moran, featured in 
Universal's "Oh, Johnny 
How You Can Love," 
takes a cute little spill 
during her roller-skating. 

Top: Phil Harris expressing elation 
over the news that he's to appear 
with Jack Benny in "Buck Benny 
Rides Again." Center: Speaking of 
Benny, here he is (wearing glasses) 
with his wife Mary and the Ray 
Millands at the swanky Hollywood 
premiere of "The Great Victor 
Herbert." Bottom: Smiling Pat 
O'Brien sits between his wife and 
Brian Donlevy at the same premiere. 

Left: Spencer Tracy, with an 
unidentified companion, do- 
ing a bit of niglit-clubbing. 
Left center: Johnny Weiss- 
muller lends an ear as Rosa- 
lind Russell warbles a ditty 
at the Rudy Vallee opening at 
the Victor Hugo. Lower cen- 
ter: Richard Greene chatting 
and dancing with his girl 
friend, Virginia Field. Below: 
Loretta Young, obviously en- 
joying herself, with Cesar 
, Romero, who's 
certainly the 
most popular 
man - about- 
town. Lower 
corner: Allan 
Jones and his 
lovely wife, 
Irene Hervey, 
at the Holly- 
wood premiere 
of his new film, 
"The Great Vic- 

Photos by 
Gene Lester 

eauty and ! 

If you don't believe so, then you, 
must read the story of Ilona Mas- 
sey, the screen's newest singing 
sensation, whose intelligence is 
just as much in evidence as 
her captivating blonde beauty 

By John R. Franchey 

Ilona Massey was born in Budapest, Hungary, 
of humble parentage. Says she, "I wish I 
could tell you I'm the daughter of a Hun- 
garian count or, at least, a baronet. But 
actually I'm a peasant." Below: A gay scene 
from "Balalaika" and Ilona in the garden of 
her Hollywood home. As yet, she's unmarried. 


z? Go Together ! 

Ilona Massey is as natural as 
rain and just about as great a 


In a profession where hocus-pocus and 
the grand manner are as taken-for-granted 
as Hollywood's heavenly climate, the lady 
whose dramatic high-voltage did so much 
to make "Balalaika" fairly crackle, stands 
out hke cynical Mr. Shakespeare's "good 
deed in this naughty world." 

She loathes display, has a downright 
dislike for giving or receiving flattery, 
abominates gossip and insincerity, refuses 
to exhibit bad manners or lack of con- 
sideration and is bored with gadding 
about so's to be seen. 

What makes her resist going the way 
of all flesh {or Hollywood) is the fact 
that she remembers her' unromantic and 
drab yesterdays when she wasn't the ob- 
ject of such unabashed sighing and swoon- 
ing as critics and fans are showing her 
today. Not only that. She also realizes 
that a celebrity's perch is a precarious 
one and that all that distinguishes a star 
from a has-been is a lightning toboggan 

I*; With Nelson Eddy in "Balalaika." Her 
ags were hurt when a newspaper critic 
her more praise than Nelson in the film. 
erne right: Ilona is an excellent horse- 
an and carries a riding crop which has 
in the family since 1594. Below: Aside 
riding, her favorite sport is swimming. 

slide down the wrong side of the hill. 

You see, Ilona Massey was cradled in 
poverty and shot skyward only because 
she had made up her mind that nothing 
short of the pinnacle would content her. 

"I wish I could tell you — if it would 
make you happier — that I'm the daughter 
of a Hungarian count or, at least, a 
baronet. But actually I'm a peasant." 

It's a fantastic story. Will you hear it? 

Budapest is the wraith of a wonder city 
which shakes its head and refuses to be- 
heve that yesterday was yesterday and 
that a World War has reduced a city of 
gaiety and beauty and music to a memory. 

It was here that Ilona Hajmassy was 
born, the daughter of a humble citizen 
who had hardly more than time to watch 
his blond moppet make her first solo 
flight across the room before he was 
called to the colors to take part in a 
Putsch of the Austro-Hungarian empire 
against the Russian legions. He was cap- 
tured and held a prisoner of war for three 

He was a broken man when he returned 
and was sent to convalesce in a local 

sanitarium. Meanwhile, down from the 
North blew the icy winds. The Haj- 
massy's, like helpless robins, shivered in 
their httle flat and wondered about the 
morrow. Ilona's older sister hit upon an 
idea. They would make dolls and sell 
them to a jobber. It sounded swell. Mrs. 
Hajmassy made the plaster torsos and 
sewed the miniature garments. Her two 
offspring stuffed the dolls and did the 
beauty work on the faces and hair. 

The wolf was staved off. But in a photo 

Come spring and Ilona had become a 
demon with a needle. Not long afterward, 
Mrs. Hajmassy, back to the wall, ap- 
prenticed Ilona to a dressmaker. It was 
a drudge's job and nothing more. Ilona, 
blithe and bouncing, traipsed around town 
toting garments, chasing errands and 
stitching dummy get-ups. 
It was a woeful existence for all hands. 
"I could never forget those days," she'll 
tell you today. "I saw mother working 
twelve and thirteen hours a day. She 
never had any pleasures, nor did she have 
any recreation, [Continued on page 58 \ 

As You Like II 

Although a jolly good fe 
low in private life, Charle 
Laughton's screen spec 
alty is villainy. He's co 
vinced it serves as an ot 
ject lesson of what not to d' 



There have been many arguments 
as to which of the Lane Sisters is 
the most beautiful. At the mo- 
ment our vote ^oes to Rosemary, 
who gets prettier every day and 
is soon to be seen with her sis- 
ter, Priscilla, in "Three Cheers For 
the Irish" — which the Lanes are! 


Although rather over-shad- 
owed by Marlene Dietrich 
and Jimmy Stewart in "Des- 
try Rides Again," neverthe- 
less, Irene's loveliness was 
not to be denied. Irene's a 
grand bet, capable and de- 
serving of better roles than 
the small ones she's getting. 

One Day Soon 

they'll all be saying 




Let's see 'THi FIGHTING 69TH'! Because if ever a movie moved 
this is the one! There Ve been exciting films before— but not 
this kind of excitement! YouVe laughed loudly and long in 
the theatre before, but never louder nor longer than this time. 
And there will be a teardr(^)p too . . . but the kind of tears that 
bring cheers when it's over! 

Let's see THE FIGHTING 69TH' and see grand screen stars like 
to their parts from their hearts; for of all the roles they've 
portrayed, of these they'll be proudest ever! ^-^^ 

Let's see THE FIGHTING 69TH' 

because 'The Fighting 69th' 
brings you history's heroes 
— the story of their glory, 
which, once seen, no girl can 
help but cherish. 

A new Warner Bros, success 






Original Screen Play by Norman Reilly Raine, Fred Niblo, Jr., 
and Dean Franklin • A Warner Bros.-First National Picture 


We've paid tribute to 
Shirley Temple before 
on this honor page, but 
once again, because of her 
performance in "The Blue 
Bird," she is more than de- 
serving of it. Being honored 
is nothing new for Shirley, 
having been acclaimed over 
and over throughout the 
world. Yet, with all the glory, 
she still remains a lovely little 
girl who likes to play jacks. 
In growing up she has lost none 
of her sweetness or naturalness 
and never played a role more 
convincingly than she does 
throughout "The Blue Bird." 

Leona Roberts with 
Shirley Temple in a 
scene from "The Blue 
Bird," a Twentieth 
Century-Fox Picture. 

"On Location 



Errol, who loves the 
great open spaces, felt 
the making of the des- 
ert scenes for "Virginia 
City" was a vacation! 

^^Sii^^ Jit. ' 

Above: Humphrey Bogart's wife, 
Mayo Methot, visits with her husband 
during the location trip. Right: One 
night Errol Flynn was guest of honor 
at Arizona State Teachers' College 
ball and selected, crowned and 
danced with their queen, Alice 
Moore. Below: Randy Scott chats 
with Errol while awaiting a scene. 

TN MAKING "Virginia 
City," it was necessary 
for Warners to send the cast 
"on location" to Arizona's fa- 
mous Painted Desert, and its 
Hopi Indian Reservation. 
Errol Flynn, Randolph Scott, 
Humphrey Bogart and the 
rest of the players were tre- 
mendously thrilled by it all, 
though it meant roughing it. 
Above: Director Michael 
Curtiz describes how he 
wants a certain scene played 
between Errol Flynn and 
Humphrey Bogart. Right: 
Big Boy Williams uses the 
glass plate in a camera as a 
shaving mirror. Loiver right: 
Make-up Artist Ward Ham- 
ilton gives Errol Flynn a 
dirty neck. Extreme loiver 
right: Alan Hale, Errol and 
Big Boy Williams show no 
concern for superstition! 

for March 1940 



OF Hollywood 
Stars ! 

NOTHING is more hidden in Hollywood than a movie star's 
bad blunders. 
For a very specific reason, too. You, their dear public, 
might be disillusioned ! And if you are no longer an admirer, another 
idol's profitable box-office draw goes prematurely boom and the 
studio has to start making one more little one into a big one. 

But don't the big shots of the screen world ever stumble? 
Haven't they ever been guilty of committing foolish errors? You 
bet! Sometimes they've behaved downright stupidly. And then 
they've found themselves in a situation you wouldn't envy. Conse- 
quences keep bobbing up to haunt them. They may try to laugh 
it off, but when they were on the spot they determined to conduct 
themselves differently thereafter. 

But you seldom learn of a star's lapses because, according to 
the tradition, Hollywood people must be carefully glamorized so 
you'll conclude they have never sHpped and done the wrong thing. 

Silver Screen 

We all make mistakes from time to time and screen stars are By 
no exceptions as you can see from some of the inexcusable 

things they've done and for which they ai'e now terribly sorry Dickson Morley 

This is the kind of news only completely 
honest and courageous players want 
printed far and wide and not too many 
picture names come under this category. 

Still I think it's a person's mistakes, no 
matter who or where he is, and how he 
manages to maneuver out of the un- 
favorable pickle, that gives you the really 
true idea of what he's like. Press agents 
have to protect; pals, naturally, are loy- 
ally defensive. Actual facts, however, do 
speak loudest and they needn't be mis- 

To jump right into some surprising 
actual facts, did you know that Clark 
Gable wasn't always the way he is to- 
day? Perhaps you supposed everything 
about his past had been brought to light 
by now. But no. What's been unmen- 
tioned is that he was Conceited Actor 
Number One. He had such a swollen 
opinion of himself, put on such an act, 
that he was a thorough pain! 

And it's a pretty safe bet you haven't 
read reams about the unforgivable man- 
ner in which Mickey Rooney snubbed 
Wally Beery. There's the closed chapter 
in Madeleine Carroll's life; it concerns 
the days when she was on the direct road 
to failure, definitely, because she was 
busily copying Marlene Dietrich's tricks. 
Any girl who has chased a man, and has 
had to cover up her interest when he 
didn't reciprocate in the same degree can 
appreciate the predicament the otherwise 
smart Sonja Henie walked smack into. 
Lana Turner, unintentionally, talked too 
freely at her second interview and she's 
going to remember that always. 

Ray Milland didn't hesitate to break up 
his marriage, like a spoiled child, when 
he encountered job trouble. Joan Blondell 
has an every-day fault which she hasn't 
conquered yet, though it nearly ruined 
her chance to get to Hollywood. 

Irene Dunne, the spirit of graciousness, 
let her temper go at a hair-dresser's swank 
establishment; she little realized how her 
voice was carrying and how her impa- 
tience had threatened her legend. Mar- 
garet Lindsay, on the other hand, hurt 
her career by being too much of a lady. 

The astonishing story of Clark Gable's 
almost disastrous case of swelled-head- 

j or March 1940 

edness is not mere gossip. For it came to 
me straight from Clark's own lips. Since 
he has the reputation of being the most 
regular star in all of Hollywood, I couldn't 
have been more amazed. I have never 
heard anyone refer to Gable except with 
genuine liking — from fellow stars, who 
could easily be jealous, to the lowliest 
workers, who have to grin and bear many 
a delusion of grandeur. So when Clark, 
one recent afternoon in his dressing-room 
at M-G-M, said, "Sure, I've made most 
of the mistakes in the book, but the worst 
one was when I figured I was the greatest 
guy who ever lived!" I was all attention. 
He smiled from ear to ear, in that charac- 
teristic way of his, leaned back in the 
comfortable chair he's partial to. and con- 
tinued frankly. "There's nothing worse 
than a rank egotist, the bird who pre- 
sumes he knows it all. I know — for I was 
Exhibit A! It got so they ducked when 
they saw me coming. Seriously, it was 
'Here comes that ham again — let's scram!' 

"You see, I'd finally stepped into the 
leading man's shoes in a stock company 
in Texas. I'd been on the ragged edge 
so long that when I clicked with the cus- 
tomers out front I felt I was the long- 
awaited answer to everybody's prayers. 
I became the magnificent gesture. I pulled 
all the personality plugs out at once. They 
clapped, they thought I was exciting. Be- 
lieve it or not, so did I — in short order! 
I was ready to take on New York at the 
end of that season. Mr. Gable, the McCoy 
hot stuff from Texas and parts West, 
landed a lead in a Broadway play which 
was a hit./ That was all I needed to make 
an ass of myself. I was wonderful, from 
any angle, and I conducted myself ac- 
cordingly. You can get away with that 
for awhile. Then comes the awakening. 
IContinued on page 60] 

Top: Mickey Rooney didn't treat Wal- 
lace Beery very nicely on a certain 
occasion. Right: Madeleine Carroll 
thought it would be a good idea to look 
like Marlene Dietrich. Above: Margaret 
Lindsay was too much of a lady. Left: 
Joan Blondell has an every-day fault 
she hasn't conquered yet. But she will. 



Marry George? 

Here's the answer by one who 
knows, not h'om hearsay or specu- 
lation, but h*om actual observation 


Elizabeth Wilson 

IN HOLLYWOOD these nights, along 
with your squab stuffed with wild 
rice, you get a generous helping of 
Norma Shearer and George Raft. Wh_y, 
there hasn't been so much excited chit- 
chat under the silver candelabras with 
the no drip candles since the good old 
days when stars became red in the face 
and screamed at each other like harri- 
dans over who-will-play-Scarlett. 

Whether Norma Shearer will marry 
George Raft or not is nobody's business, 
really. No one should be even vaguely 
concerned, except Norma Shearer and 
George Raft. But that isn't the way we 
do things in Hollywood. I should say not! 

W^e're just one big happy family, loving 
as the day is long {the next time I see 
Miriam Hopkins I'm going to paste her 
one right in the puss), and intensely in- 
terested in each other's private affairs, 
especially those affairs which involve le 
coeiir. And if we can give each other 
a good going over at the dinner table, 
don't think we won't. It's the small town 
in us. 

The consensus of opinion (/ haven't a 
Gallup poll, but I do all right) seems to 
be that Norma Shearer will not marry 
George Raft, this month or any month. 
Of course, there were a few Individualists 
who said "oh yes she would, lucky girl," 

and a couple of Communists who said 
George wouldn't marry an aristocrat — 
they were hopelessly confusing Norma 
with Marie Antionette, which is a pity. 

I didn't say anything and I didn't get 
invited back. 

As far as I can gather from dinner 
table talk it all works down to being a 
matter of tradition. Norma Shearer has 
long been acknowledged not only "the 
first lady of the screen," but also "the 
first lady of Hollywood." They say that 
Norma is very proud of being "a first 
lady" and wouldn't jeopardize her posi- 
tion in any way. Marriage to George Raft, 
a former hoofer, would definitely be a 



Silver Screen 

Left: They say 
that Norma 
Shearer is "soci- 
ety" in Holly- 
wood and that 
George Raft def- 
initely is not. Is 
this hazardous? 

jeopardy, as they quaintly call it. 

They say that Norma is "society." 
and belongs to that exclusive little group 
presided over by producers' wives, a 
group that many a social climbing star 
has tried in vain to crash. George Raft 
is not "society" {what a dreary word, but 
you'd be surprised how important it is 
in Hollywood) , and he doesn't know any 
producers' wives, in fact he doesn't meet 
the producers themselves except when he 
storms in to their offices to tell them 
what they can do with their lousy pic- 

They say that Norma likes a bit of 
swank, you know, finger bowls, white tie 
and tails, long dull dinners with visiting 
English playwrights. But good old George 
likes his steak and French fried at the 
Brown Derby, without any fuss or bother. 
And they say that Shearer is Shearer, 
and Raft is Raft, and the twain might 
meet, but they'll never marry. In fact 
"they" can't figure out how Norma and 
George even met. 

Well, now that I've told you, in a nut- 
shell, what "they" {you know, those 
Hollywood people picking Shearer's bones 
along with the squab's) say, I might as 
well tell you what Norma and George 
say. Which isn't much. And extremely 
cautious. Norma and George prefer to 
call their romance friendship. {"Friend- 
ship" is a pain in the ?ieck to us Jan 
writers. How often, oh, how often, have 
we been handed: "We are only friends, 
really," and the next day Miss Tootsie- 
pie and her boy friend elope to Yuma.) 
Anyway, Norma has told the Press, when 
cornered into having to tell them some- 
thing, "I met Mr. Raft casually in Holly- 
wood. I know of no one who has nicer 
manners. I admire Mr. Raft for his 
spirit of humility." 

And George has told the Press, under 
duress to be sure, "Miss Shearer and I 
are just good friends." 

Well, I have told you what Hollywood 
is saying, which is too much, and I've 
told you what George and Norma are 

No matter what 
they say about 
George Raft, he 
is no phony and 
has more real 
friends in Holly- 
wood than has 
any other actor. 

saying, which is too Httle, and now I'll 
tell you what I am saying. And after 
a little scene I witnessed the other night 
I think I have plenty to say. 

Me — I'm not easily taken in by Holly- 
wood romances. I know too much about 
them. It's generally pour la publicite 
{Remember Mary Boland in "The 
Women?") But one nig-ht, not long ago, 
I was seeing a friend off to New York 
on the Chief at Pasadena. Claudette Col- 
bert was there, and Gregory Ratoff, and 
the fans were crowding around for auto- 
graphs, so I sort of strolled away looking 
for the lily cups and water fountain. I 
ran right smack into Norma Shearer giv- 
ing George Raft a fond farewell, and 
fond, too. They didn't see me and I didn't 
think it exactly the right moment to ask 
them if they were enjoying their beauti- 
ful friendship. George was leaving on the 
Chief for a personal appearance at Cleve- 
land, and then on to New York for a 
few days, and Norma looked as if she 
[Co?itinued on page 72] 

for March 1940 


"All The World Will Be Talking 

THE Irish women, connoisseurs al- 
ways have said, are the most beauti- 
ful women in the world. They 
always add firmly "bar none." 

Never having visited Ireland to check 
the connoisseurs (my sex being what it 
is, I'd probably be looking for Errol 
Flynns, if I did go) and having a second 
generation dash of Irish blood myself, 
I've never contradicted, nor even argued 
the point. Maureen O'Sullivan always 
stopped me, anyway, whenever I felt like 
protesting a bit in favor of a Swedish 
miss, i.e., Miss Garbo or Miss Ingrid 
Bergman; whenever I had a mind to men- 
tion an Austrian killer-diller like Hedy 
Lamarr; a French savoury like Danielle 
D'arrieux; an English beaut' like Mad- 
eleine Carroll; or one of our own Rosebud 
Garden of Girls, Virginia Bruce, say, or 
Loretta Young. For Maureen O'Sullivan, 
far lovelier off the screen than she is on, 
is as shiningly beautiful as a bit of Irish 
Lake dropped from Heaven. 

I'm glad, now, that I never did con- 
tradict the pedants of pulchritude. For 
I hadn't seen nothin' yet. I hadn't seen 
Maureen O'Hara. And not until Ireland 
sent us this one of her indescribable 
daughters did the term "bar none" take 
on meaning and fact. For bar none, 
Maureen O'Hara is the most beautiful 
thing in female form these beauty-blinded 
eyes have ever seen. And when you earn 
your daily bread, as I, do, looking upon 
the Dietrichs, Masseys, Lamarrs and 
other divinities, you do become sort of 
jaded,, if you know what I mean. You 
sort of welcome a Kate Smith, a Patsy 
Kelly, an Edna May Oliver — plain girls 

Right: Maureen as she appears in the 
feminine lead of "The Hunchback 
of Notre Dame," starring Charles 
Laughton. Below: Between scenes of 
the gigantic production, Maureen 
chats with Edmund O'Brien, who is 
also prominently cast in the picture. 

and women who permit you to take off 
your blinkers. 

It really takes something to make you 
break out in a rash of adjectives, superla- 
tives and exclamation points, living the 
life I live. Well, I've broken out! For 
you can bar all the extravagant beauties 
I have mentioned, and throw in one or 
two of your own, and you'll still be lag- 
ging along in an effort to describe the 
beauty of the nineteen-year-old Laughton 
protege, Maureen O'Hara. 

Leopardine is the adjective that first 
occurred to me as I watched Maureen. 
I don't think there is any such adjective. 
Or rather, there wasn't, but there is now. 
For Maureen has tawny, golden-tawny 
hair which springs from her head, lux- 
uriant, like a mane. Maureen has golden, 
tawny golden eyes. I've read about tawny 
eyes and golden eyes, in books. I've never 
actually seen them before until I saw 
Maureen's. She has a golden skin, strong 
white teeth, a carved and chiseled mouth. 

All I can say is, it's just as well for 
coherence that a woman is trying to write 
this story of Maureen because if a man 
attempted the description he would be 
bogged down, his blood pressure up to 
250, his temperature flirting with the de- 
lirium point. 

No wonder, I was to think, when 
Maureen told me the story of her life. 

no wonder she has always got what she 
wanted, when and how and as she wanted 
it. No wonder gods and men stand by, 
with nothing better to do than cater to 
the will and wishes, the ambitions and 
dreams and desire of the young O'Hara. 
For there isn't a mortal man, worthy the 
name of man, I'd wager, who wouldn't 
rip the moon out of a stormy sky for 
Maureen. There isn't a woman who 
wouldn't step aside for Maureen, if she 
knew what was good for her. No wonder 
Charles Laughton didn't waste any time 
signing her to a contract, once his eyes 
beheld her. No wonder Hollywood isn't 
wasting any time. No wonder an ace di- 
rector said to her: "After The Hunchback 
of Notre Dame is released all Hollywood 
will be talking about you, after you've 
made Bill of Divorcement, all the world 
will be talking about you!" 

In three words: She is beautiful. 

". . . banshees," Maureen was saying, 
"I beheve in banshees, of course I do. 
I've heard them. I should say I've heard 
her. For there is only one banshee, you 
know. And do you know the definition 
of the' word banshee?" 

I said that I did not. I did not even 
know how-come she had got started talk- 
ing about banshees, of all unlikely topics. 
She must have got around to it while I 
was lost in contemplation of the tawny. 


Silver Screen 

About Her!" 

golden eyes and matching hair . . . nor 
was I to discover that the beauty which 
is more than Helen's has a spiritual side, 

"Ban," Maureen was enlightening rne, 
"means 'woman.' And 'shee' means 'fairy.' 
So, a fairy woman is the literal definition 
of a banshee. She is white in appearance 
and with very long hair. You hear her 
scream when there is to be a death in 
the family. One Christmas, it was, when 
I first heard her scream. 

"Now, everybody spends Christmas at 
our house, outside of Dublin. It is the 
meeting place of the clans, our home. 
On this Christmas night there were fifteen 
of us in the house, mommie and daddy, 
us six children, my grandmother and sev- 
eral aunts and uncles. I was upstairs just 
going to bed when I heard this most 
blood-chilling, loud, frightful scream 
which no mortal ears could help but hear 
if it had been mortal itself. 

"An instant later, my dad rushed up 
the stairs and into my room. My sister 
and I were just getting into our beds. He 
said, 'Did you hear that, now?' And I 
said, 'Yes, I did,' and my sister said. 
'No, / heard nothing.' Then we knew, 
for sure, what our frozen blood had al- 
ready told us. Then we knew it was the 
banshee. For {Continued o?i page 70] 

Maureen O'Hara's natural beauty is unequaled 
in Hollywood. She is to be starred in a re-make 
of RKO's "Bill of Divorcen.ent." Below: Taking 
it easy on the huge set of "The Hunchback of 
Notre Dame," her first American picture. 

Already all of Holly- 
wood is acclaiming the 
beauty and talent of 
Maureen O'Hara, who's 
name is destined to be 
famous all over the world 


Gladys Hall 

for March 1940 


GLAMOUR, like the Graf-Spee, was 
scuttled in the closing months of 

From the cinematic days of Theda 
Bara up to the last days of 1939, the 
motion picture conceived and projected 
Glamour along lines that were fairly 
stereotyped, and which had two speeds. 
In first speed, the glamour girl slunk 
across the screen as a slinky addition to 
an all-star cast. In second speed, the 
glamour girl became an ethereal, wraith- 
like person who was detected moving up 
and down winding staircases casting 
glances full of meaning at the male mem- 
bers of the cast. 

The projection of glamour reached 
such a stage, about 1937, that the process 
of photographing a glamour girl became 
a highly-specialized industry. To get the 
proper effects, the cameramen diffused 
the lighting and used "scrims" and silks 


and other hocus-focus so that the 
heroine's soft features became almost 
gelatinous. So removed from contact 
with the common herd were the glamour 
girls that M-G-M actually built advertis- 
ing campaigns around such a phrase as 
"Garbo T.A.LKS." Now it has been estab- 
lished rather conclusively that the mere 
act of talking more or less routine, 
but so well had the glamour girls been 
ballyhooed that such an advertising cam- 
paign actually got results, and very 
ordinary actresses were so well exploited 
that the industry and the world stood in 

Had this conception of glamour en- 
dured, by this time an amazed world 
would have been regarding billboards that 
read: "GARBO EATS," — "GARBO 
BREATHES." But just as the bottom 
fell out of the stock market in 1929, the 
bottom fell out of the glamour market 
in 1939. With a world crisis at hand and 
the country more engrossed in "Grapes 
of Wrath" than the memoirs of Sally 
Smirk, there developed suddenly the most 
profound and complete don't-give-a-damn 
about glamour and glamour girls that this 
industry ever experienced. All of a sud- 

Above: Marlene Dietrich as "The Blonde 
Venus," when glamour really counted. Risht: 
Marlene in "The Devil Is a Woman." Below: 
Greta Garbo decidedly let her hair down in 
"Ninotchka" and gave her best performance. 


Silver Screen 

Down Its Hair 

den, and apparently overnight, movie fans 
at large didn't give a whoop whether 
Garbo talked or forever stayed mute. This 
is not an academic conclusion, but a fact 
revealed by diminishing box-office re- 
ceipts. On another front, the pubhc 
apathy toward glamour was indicated by 
the inability of Marlene Dietrich to get 
a job in any picture studio. 

This was a fine how-de-do to the movie 
makers. A staple product no longer was 
wanted by John Pubhc, which finally had 
come of age and was more interested in 
pop-eyed Bette Davis, who could act, 

than in girls who struck beautifully sexy 

The movies have survived disasters 
such as this because in a pinch the studio 
bosses and their laborers know that if the 
public suddenly loses a taste for straw- 
berries and cream, the economic solu- 
tion may be to serve strawberries with- 
out cream. So the movie producers, see- 
ing that the bottom had been ripped out 
of the glamour market, determined that 
the alternative sales policy was to make 
the glamour kiddies let down their hair 
and romp. It was the success of this 
right-about-face that prompts this article. 

Consider the [Continued on page 68] 

Marlene Dietrich, Greta 
Garbo and other queens of 
allure have found that the 
old order has changed and 
what was once considered 
overwhelmingly intriguing, 
no longer seems to appeal 


Above: Marlene would like to get another 
script like "Destry Rides Again." Left: The gay 
Marlene who laughed at glamour in "Destry." 
Below: Garbo as the overly exotic "Mata 
Hari," famous spy during the World War. 

for March 1940 


Mary Martin left Hollywood for suc- 
cess on Broadway and then was be- 
sieged to return to Hollywood for 
greater success. Left: As Mary appears 
in Paramount's melodious operetta, 
"The Great Victor Herbert." 



IF IT hadn't been for her Mother 
Mary Martin would probably be 
baking bread and teaching the Texas 
tiny tikes the buck and wing. But Ma 
Martin had vision and a little yen to see 
beyond the horizon of Weatherford (in 
habitants 500) and a big yen to see her 
Mary famous. She knew her beautiful 
baby had something — as did the picture 
producers later on — but just what or 
where it lay lurking, Mother didn't take 
time out to ponder, for, as you've prob- 
ably already gathered, Mrs. E. M. is a 
"woman of action." 

Even when it seemed to Judge Martin, 
that his favorite daughter was well estabj 
lished with her dancing school, it w; 
Mother who conspired with Mary tS 
make a trip to Hollywood each summer 
Then later, it was these same two who 
talked Mary's father into letting her re; 
main in the film capital for at least t 
months, in which time they felt suri 
she'd land a big job. 

"I was pretty well satisfied with mj 
dancing school at first," Mary explained 
as we marveled at her close resemblano 
to Claudette Colbert. "I guess the things 
that intrigued me was to make a success 
of it — or anything — in a town like Weath- 
erford. You see, it's a small place and a 

Silver Screen 










Instead of being a screen star, 
sprightly Mary Martin might 
still be a small town dancing 
teacher in Texas, if it hadn't 
been for her mother's advice 

By Robert Mclllwaine 

Upper left: Judith Bar- 
rett, another Paramount 
beauty from Texas, 
drops into Mary's dress- 
ing room for a neigh- 
borly visit. Above: Mary 
with Dr. Louis A. 
Fleischmann, noted dia- 
logue coach, and George 
Brent. Right: With her 
mother, who knew best. 

church-going one. They don't hold with 
too much frivolity. So, after beginning 
with a few small children, I was more 
than pleased to enroll some of the adult 
members of the community. The school 
actually flourished. In fact, I had three 
branches established when Mother sug- 
gested I give it up for a career in the 
theatre. However, if we'd known the strug- 
gle ahead I'm sure I'd be right in Weather- 
ford now countin': One, two, three, kick!" 

But, she's not and that's what makes 
her story a good one. It was this same 
home of Mary Martin's that played host 
to the premiere of her first cinematic ve- 
hicle. The Great Victor Herbert. A town, 
Mary says, where the "four hundred" are 
really only five hundred — which is the 
seating capacity of the local theatre! But 
listen to Mary's account of the way things 
stacked up. 

"Anyway," she began, flashing a smile, 
"when Mother and I persuaded Pop to 
let me have a crack at pictures, a friend 
and I drove to Hollywood and pitched 
tent. Then I began job sleuthing, and was 
I a mean Sherlock! Why, there wasn't a 
casting director on the coast who was safe 
from me. In fact, I was often tested 
after breakfast, rejected by lunch and 
completely forgotten by dinner! Every 
studio in the gol-derned town felt I was 
a prospect. But evidently they weren't 
prospecting that season. 

"Somehow, I wasn't discouraged 
though," Mary explained seriously. "For 
each day would bring a promise of some- 
thing in the near future. And each week 
I'd write home saying, 'Next week I'll 
have a good job lined up so you won't 
have to send me any more money.' This 
went on for months, until Mother finally 
came out to see just what was going on. 
She arrived to find practically nothing 
was happening. It was then she decided 

that maybe, after all, it would 
be all right for me to sing in one 
of the hotel bars. Before this, 
she'd cast her eyes heavenward, 
secretly thinking anyone doing 
this was going to the dogs — but 
fast ! Well, I began in the Roose- 
velt Cine Grill and, after my 
opening night. Mother packed 
up and headed for home. If I was going 
to rack and ruin, she wasn't going to 
stick around and watch it." 

Laughing as she reminisced, Mary 
paused to explain that we shouldn't under- 
estimate Mom. For this sagacious lady 
had seen the manager before departing. 
Indeed, they had a perfect understanding, 
it later developed. 

"Each time I sang the manager stood 
nearby with his arms folded and watched 
me. Gee, at first I thought the guy was 
protecting the patrons from me! I wasn't 
permitted to sit at any of the tables or 
drink with the guests. It suited me per- 
sonally, but it did irk the star performer 
in me that I wasn't given the chance to 
refuse. Well, later on I found that it was 
Mother's idea — not his!" 

Mary's next payin' assignment was ar- 
ranged with Mother away off in Texas. 
Here she didn't fare so well and frankly 
admits that she was bored stiff having to 
sit with the cash customers and appear 
gay and sparkling-eyed far into the night. 
For it seems the Club Casonova operated 
while gentle folk slept. An all-night jernt, 
as it were. Anyway, Mary thought she 
was doin' okay till one Christmas eve, 
while waiting for the late show. 

"I was sitting in my dressing-room and 
got to thinking of Christmas away from 
home. It was my first experience and I 
was frankly homesick," Mary confessed 
with a grin. "On the spur of the moment 
I decided to shoot the works and phone 

home. Mother answered. 'Mary,' she said, 
'what in the world are you doing up at 
this hour?' Before I thought I'd told her 
I was waiting to go on in the last show. 
She exploded, 'It's seven o'clock here and 
five there , and, you're still working? 
Where?' I told her and — that was all! She 
hung up the receiver with one hand and 
reached for her hat with the other. Mom 
collected a pal, hopped in the car and 
drove all night ! 'California or bust' was 
her slogan. You can bet she yanked me 
out of that club and put me back into 
'society' — looking for a job!" 

What Mary didn't say was that Mother 
is a grand gal, of the gay May Robson 
school and was nabbed for speeding by 
the law, en route. She didn't mind the 
experience a bit; in fact, thought it was 
fun. Why, even the officer who made the 
pinch seemed that friendly! And, too, they 
had a darn pleasant chat and broke the 
monotony of the long drive. 

Anyway, shortly after Ma's arrival, 
Mary was back pounding the pavement 
and chanced upon her voice teacher from 
her school days. It was this gentleman 
who advised Mary to study seriously for 
six months before looking for another 
job. After talking it over, her Mother 
suggested they tackle Pop. He was shown 
the light and agreed it might be a good 
idea. He'd at least have Mary settled and 
his wife at home for the next half year, 
so the deal was on. 

Her next [Continued on page 73] 

'for March 1940 


The Girl Who Looked 
Like A Star 

It actually happened in Hollywood, 
this private-life story of a girl who 
learned to her sorrow that it is fatal 
to resemble another already a star 
— yet it brought her happiness 


Elizabeth Benneche Peterson 

On the set, she made him run errands for her and 
hold her make-up box while she lingered over the 
sacred ritual of touching up that lovely face. 

Something happened 
to Jack then. An 
expression, almost 
of disgust, came 
i'nto his eyes. 

"Right then and there I saw that 
Glenda resembled Lyda, but really was 
the things she looked, honest and 
brave and tender, just as Lyda, who 
looked those things, too, wasn't . . ." 

JT'S a long drive from Encino to Hollywood when the car 
that's taking you is a few thousand miles or so the worse 
for wear, and you've got to go slow because the rear 
tires are apt to go pop any minute. But it's worth it when 
it's a gala Hollywood evening that's waiting at the other end. 

We could have managed the new tires if it hadn't been 
that our first wedding anniversary had coincided with the col- 
lapse of the old ones and Ken, that's the man I married, 
thinks an orchid corsage and a dinner at the Victor Hugo 
are a more fitting commemoration of the first milestone than 
a couple of rubber hoops for the car. 

And I'll have to admit that I didn't lay a straw in his path. 
It was like old home week walking into the Victor Hugo and 
seeing everybody again. There were Joan and Dick Powell 
grinning over something one of them had just said, and look- 
ing like a couple of kids off on their first date instead of an 
old married couple of three years standing, and there were 
Priscilla Lane and Oren Haglund pretending not to see all the 
curious, "I wonder if they're married or not" glances flung 
in their direction, and Loretta Young and Jimmy Stewart so 
engrossed in each other that it was enough to make anyone 
believe in Hollywood rumors. 

"Do you miss it terribly?" Ken asked, a little guiltily I 
thought since he was the one who had taken me away from 
it all. 

I laughed and shook my head. But I couldn't tell him how 
nostalgic it was, hke hearing an old song heavy with memory 
or going back on a visit to the home town or coming into a 
room where a lot of pleasant things have happened after being 
away from it a long time. 

For I saw Glenda Olcutt and I thought of the story I had 
stumbled on once and how I had hated to let it go unwritten. 
But there hadn't been any choice. Not with a sweet kid like 
Glenda sobbing out her heart to me. 

It was funny how I first met Glenda. It wasn't long after 
"It Happened One Night" had made every studio in Holly- 
wood wish it could happen to them, too, and everybody out 
here thought they'd only have to board a bus to ride high 


Silver Screen 

"And for once 
Lyda wasn't able 
to mask her emo- 
tions. I could see 
she hated Glenda 
for daring to look 
like her. Yet there 
wasn't a thing she 
could do but agree 
with everyone that 
Glenda was her 
perfect stand-in." 

wonderful, isn't she? I suppose you know her very well." 

I couldn't tell the kid what I really thought of Lyda so 
I let that go. But I couldn't let the other thing go. I couldn't 
let her go on thinking she had Hollywood clutched in her 
hand because of her resemblance to one of its most glitter- 
ing stars. 

"Listen," I said, feeling as if I were murdering Sania Claus, 
"you do look like Lyda Crane and that's the worst thing that 
could have happened to you if it's a screen career you're after. 
There are girls who look like Girbo and Joan Crawford and 
Carole Lombard working behind soda fountains and waiting 
on tables here in Hollywood but you won't find any of them 
in the studios. The front office doesn't want them and the stars 
don't want them and the fans don't and that makes it unani- 
mous. The best thing you can do is to hop the first bus going 
home and stay there." 

But Glenda only shook her head. [Continued on page 76] 

Only a man at once tor- 
tured and exalting in his love 
could put so much feeling 
in the way he held Lyda's 
small pointed face in his 
hand, in the way his mouth 
first found her forehead, 
then her eyelids and mouth. 

It was enough in that mo- 
ment to be held in his arms, to 
feel his lips on hers, even 
though Glenda knew that it 
was Lyda he was really hold- 
ing close, that it was her lips 
he thought he was kissing. 

Pliotos ly Hanley Studios 

with adventure. Everybody was taking bus trips those days 
and so, of course, copy cat that I am, I had to take one, too. 

I took one coming from New York, fifty miles or so from 
Hollywood, and the first person I saw when I clambered aboard 
was Lyda Crane. That's not her name, of course. I'm choosing 
it because it's the one name I can think of that is most unlike 
her own. 

It didn't surprise me to see her there. Of course, Lyda 
would be snatching at anything that smacked of adventure. 
She is the greediest human being I know. She's greedy for 
money and fame and possessions and love, or rather the emo- 
tion that passes for love with her. All of which adds up to 
the fact that she's greedy for life and I don't think she would 
stop at anything to make it more complete. 

So if a bus trip had given Claudette Colbert a bang up 
screen romance with Clark Gable, what couldn't it give Lyda 
m the way of a real adventure? 

She had dressed for the part, too. I've often thought the 
main reason for her sensational success is the attention she 
gives to details. So here she was in a shabby little suit and 
a hat that couldn't have cost more than two-ninety-eight in 
any bargain basement and a suede bag that had begun to 
rub off in patches. But, and this was funny, she hadn't bothered 
to disguise her appearance at all. Her hair was fixed the way 
she always wore it and if she had changed her makeup at all 
it was only to make her look more the way she did on the 
screen than she usually does away from it. That was like 
her, I thought, unwilling to give up her identity for anything, 
even an adventure. 

I took the empty seat beside her. 

"Caught in the act, Lyda," I laughed. "You might as well 
admit what you're up to, my gal." 

She looked as if she were going to hug me. 

"Oh, do you see it, too?" she asked exuberantly. "Do you 
think I look like Lyda Crane? I'm so crazy about her and 
everybody tells me I'm her image. That's the reason I'm 
going to Hollywood." 

It wasn't an act. The girl was not Lyda. She was Glenda 

"It'll make it easier for me looking like her, won't it?" she 
went on excitedly. "You know, I almost feel she's my sister. 
Oh, I try so hard to be like her in every way. She's so 

for March 1940 


Above: Ronald 
Colman and 
Muriel An- 
gelus in the 
effectively pro- 
duced, "The 
Light That 
Failed." Left: 
Cesar Romero, 
Virginia Field 
and Robert 
Barrat are in 
"The Cisco Kid 
and The Lady." 

Direct from the! 
West Coast 


The Sensation of the Year — Selznick- 

WELL, here it is at last, the long 
awaited "Gone With the Wind." 
And, thank heavens, you can't possibly 
find fault with it. It really is the most 
wonderful, magnificent, and truly marvel- 
ous picture that you can ever hope to 
see — why it fairly takes your breath away 
it's so good. And no sourpuss can say 
that Hollywood messed up Margaret 
Mitchell's superb novel of the Old South 
because the picture is Margaret Mitchell's 
book right down to the last comma. The 
film runs about four hours long, and is 
divided into two parts, with a brief in- 
termission so you can stretch your legs, 
but even with all that footage you hate 
to see the end. Judging from the number 
of books that have been sold since it was 
first published everybody has read "Gone 
With the Wind," so there is no point in 
even mentioning the story here. The at- 
tractive and English Vivien Leigh, as 
everybody also knows, won out in the 
heated who-will-play-Scarlett contest, 
and gaves a flawless performance of the 
conniving, selfish, rebelhous, loving, hard- 
hearted Scarlett which is Margaret 
Mitchell's heroine to the life. Clark Gable, 
the people's choice for Rhett Butler, also 
gives a performance that is nothing short 
of brilliant. We who drool over Gable, 
will drool more than ever after seeing 
his Rhett Butler. A third magnificent per- 

Left: Vivien Leigh as Scarlett O'Hara 
and Hattie McDaniell as her mammy in 
"Gone With The Wind," just about th; 
best film ever produced. Below: Olivia de 
Havilland about to plant a kiss on David 
Niven's lips in "Raffles." But look — 

Silver Screen 

formance is given by Olivia de Havilland as the gentle 
and long suffering Melanie — in fact, there are those who 
will insist that Olivia steals the picture. Fourth in fine 
performances in the picture, in our opinion, is that of 
Hattie McDaniel as Scarlett's Mammy. Raves should 
go to everyone in the cast — you have to be awfully fussy 
;o pick flaws — with some kind of extra special raves to 
Ona Munson as Belle Watling, Leshe Howard as Ashley 
Wilkes, Laura Hope Crews as Aunt Pitty Pat, Harry 
Davenport as Dr. Meade, Butterfly McQueen as Prissy, 
Thomas Mitchell as Gerald O'Hara and Barbara O'Neill 
as Scarlett's mother. The Technicolor is better than 
Technicolor has ever been before. David Selznick, the 
producer, and Victor Fleming, the director, can well af- 
ford to take bows. 

Above: Don 
Ameche and 
Andrea Leeds 
in the tuneful 
production of 
"Swanee Riv- 
er" which also 
boasts of Al 


E r ro 1 , 


Spectacular Pageantry — RKO 

VERY much on the heavy side is this re-make of 
Victor Hugo's immortal classic. If you like majesty, 
immensity, and Old World pageantry this 
will be right down your alley, for it is 
spectacular to the nth degree. Mainly, it 
is the story, as you know, of the deformed 
bell ringer of Notre Dame Cathedral in 
Paris in the Medieval Ages. Of the strange 
tenderness that comes into his life when 
a gipsy girl gives him water after a public 
flogging, and how later he saves her from 
being hanged as a witch. If it was only as 
simple as that. Charles Laughton appears 
in his muchly publicized make-up and is 
quite the most grotesquely horrible thing 
that you ever laid your eyes on. People 
who don't like Charles Laughton will have 
a wonderful time not liking him in this 
role of Quasimodo. The bright spot of the 
picture is beautiful Maureen O'Hara's in- 
terpretation of Esmeralda, the gipsy girl. 
Maureen, fresh from Ireland, makes her 
Hollywood debut in this picture, and 
proves herself as fine an actress as Mr. 
Laughton said she was. Harry Daven- 
port plays the king. Sir Cedric Hard- 
wicke the king's high justice, Walter 
Hampden the archbishop, Edmond 
O'Brien the poet Gringoire, Alan Mar- 
shall, Captain Phoebus; Thomas Mitchell 
the king of the beggars, and Minna Gom- 
bell his queen. 

'[Continued on page 75] 

Hodgins in 
Spitfire. ' ' 
which is slap- 
stick in the 
most enjoy- 
able manner. 

Below: Darned if David didn't up and 
plant a kiss on Olivia's lips instead. 
Olivia is also one of the big hits in 
"Gone With The Wind." Right: Charlie 
McCarthy does a bit of snooping on 
Edgar Bergen and Constance Moore in 
the film "Charlie McCarthy, Detective." 

for March 1940 


Inspired by The South 
American Way, Joan is 
all ready to go into a 
rhumba or something 
in this brilliant flow- 
ered silk evening gown 
showing a bare mid- 
riff. The abbreviated 
shirred bodice is of 
ivory vtousseline de 
soie bordered with the 
exotic print that fash- 
ions the full shirred 
skirt. Her ornate neck- 
lace, bracelets and ear- 
rings add a gay note, 
as does the sleek red 
silk headband with its 
twisted, jeweled knot. 

In the classical Grecian 
mode is the black crepe 
dinner dress modeled by 
Joan above. The black 
cord girdle is finished 
with gold tassels to cor- 
respond with her distinc- 
tive gold novelty neck- 
lace. Long sleeves make 
this suitable for many gay, 
but informal occasions. 


Silver Screen 

When Noel Coward wrote this lovely 
song for his operetta "Bitter Sweet" he 
must have had someone like Joan 
Bennett in mind. For she looks as 
young and h*esh as the spring in 
these costumes designed for her in 
her new film, "House Across The Bay" 

71 LTHOUGH the month of March actually heralds in 
■** the Spring, cold weather sometimes has a habit of 
sticking around with us a while longer making "what to 
wear" a problem. Joan Bennett's in-between-seasons' ward- 
robe {shown on these and the jollowing two pages) should 
help solve it for us, though. For street wear she has 
chosen the type of tailored suits that, in a cold pinch, 
could be worn under loose fur coats, and, for evening, one 
long-sleeved dinner gown that is as practical as it is chic. 

For that quiet hour or two 
before dressing for dinner, or 
for just relaxing for the 
evening, it is nice to have a 
graceful housecoat like this 
one designed for Joan. It is 
of soft white flannel and is 
worn with a canary yellow 
chifFon scarf. An interesting 
addition is the yellow suede 
make-up kit which snaps 
onto the belt. Handy when 
unexpected visitors arrive. 

for March 1940 

Some boudoir ensembles are 
so entrancing these days they 
are often mistaken for eve- 
ning gowns and (at right) 
Joan is wearing one of them. 
The nightie is of nude col- 
ored crepe lavish'y lace 
trimmed and over it is fas- 
tened an exquisitely cut 
negligee of white marquisette. 



(Left) For the first really warm days this 
two-toned suit of Joan Bennett's is ideal. The 
skirt is black wool cut with only a slight flare 
and is topped with a short, fitted jacket of 
mustard colored wool piped in black. It is col- 
larless and worn with a black wool scarf. Her 
draped turban is of mustard wool and her 
gloves, shoes and handbag are black suede. 

(Right) Tailored house pajamas of wool are a 
"must" when the calendar says it is Spring 
but the cold winds of March still blow through 
the house. Joan's are the very last word in trim 
smartness. The trousers are cyclamen and also 
the scarf, while the jacket is yellow, mono- 
grammed in cyclamen, two colors which con- 
trast beautifully with Joan's interesting new 
coi£Eure. They say she's brunette for keeps, now. 


Silver Scree 


(Below) Recalling the frock-tail coats of sev- 
eral years back is this rose beige wool that is 
dressy enough for swank luncheons or cocktail 
parties. The cutaway has one button and is 
piped in beige velveteen and worn with a beige 
crepe crisscross vest. A veiled velveteen hat 
with a variation of the snood and brown suede 
accessories complete this very stunning outfit. 

(Above) This kelly green suit is excellent for 
traveling or just for taking a walk down the 
avenue. Made of wool, it sports a jacket with 
wide revers and a white blouse embroidered in 
a strawberry design of red and green. An off- 
the-face green crepe turban, so becoming to 
Joan's type of beauty, and brown suede acces- 
sories make this costume an eye-catching one. 

for March 1940 


By Dick Mook 

Off-the-record facts and 
chats about important 
films you'll soon be seeing 

Top: Joseph Calleia and W. C. Fields drink a toast to Mae West in a scene 
from "My Little Chickadee" which Dick Mook describes. Above: Walter 
Brennan, Gary Cooper and players in a scene from "The Westerner." Gary 
is one film star who always has time for friendly words between scenes. 


ITH Christmas once more behind 
us (Allah be praised!) the big 
noise in town this month is at — 


THE cheers and huzzahs out here are 
over the W. C. Fields-Mae West 
picture, whimsically titled "My Little 
Chickadee." The plot is rather far-fetched 
and doesn't make much sense, but who 
wants sense when they can have these 
two stars? Me? All I expect from them 
is laughs and I've never seen a picture 

either of them has made that hasn't had 
laughs galore. 

The time is 1885. Mae and Fields are 
married, but it is the town boss and 
crook {Joseph Calleia) who has caught 
Mae's errant fancy. Calleia has had 
Fields made sheriff and is tossing a ban- 
quet in his (Bill's) honor. But, alackaday! 
Joe sits at the head of the table with 
Mae beside him while far down at the 
other end of the room, his back against 
the wall (the closet wall, I might add, for 
the door to the closet has been opened to 
make room for his chair) sits Bill— the 
guest of honor. 

Calleia is on his feet. "Ladies and 
gentlemen," he begins, "I am not going 
to make a speech. In fact, we are not 
going to have any speeches tonight. W e're 

just going to have a good time and en- 
joy it. I give you our new sheriff and his 
lovely lady — Sheriff and Mrs. Tillie." . . 

He bows — but not to Bill. His gallantry 
is for Mae. 

The scene finished, Mae retires to her 
dressing room — Bill to his chair. Eddie 
Cline, the director, is buzzing around 
when Mr. Fields hails him. "Yesterday," 
W. C. complains solemnly, "I noticed one 
of the girls on the set with six strands 
of hair hanging down one side of her face. 
Today there are only five, even though 
it's the same scene. The close-ups won't 
match with the long shots and you'd 
better do something about it." He dis- 
misses Mr. Cline with a vague wave of 
his hand and turns to an Indian in full 


Silver Screen 

regalia. He is so absorbed in the Indian he doesn't see me and I 
resent it. So I begin making inquiries about the Indian. It turns out 
he is not an Indian at all, but George Moran, formerly of Moran 
& Mack, "The Two Black Crows." Time sure works changes. 

THE other picture on this lot is called "Oh, Johnny, How You 
Can Love" and its title is taken from the song "Oh, Johnny 
Oh, Johnny, Oh!" The studio thinks this is a swell title, but I don't 
because by the time it gets to a theatre as half of a double bill it 
will appear on the marquee as "Oh, Johnny, HYCL," but that's 
their little red wagon. 

In this opus you'll get thrills and chills galore plus Tom Brown, 
Allen Jenkins, Juanita Quigley, Donald Meek, Isabel Jewell, Betty 
Jane Rhodes AND Peggy Moran who revived the popularity of 
the title song. 

FOR the first time in many a moon there is only one picture go- 
ing at this studio about which I haven't already told you. That 
©ne is "And It All Came True," which is \_Continiied- on page 78] 

Mickey Rooney and Virginia Weid- 
ler as you'll see them in the forth- 
coming "Young Tom Edison." The 
role is a departure for Mickey. 

Jane Withers and Gene Autry are 
the stars of "Shooting High," with 
Gene on loan to Twentieth Century- 
Fox from Republic Pictures. Jane 
sings a song in this amusing scene. 

In "And It All Came True," Ann 
Sheridan says to Una O'Connor, 
"Listen, Ma! I act the way I please; 
I talk the way I please and I dress 
the way I please and you can't stop 
me! But, technically I'm a good girl!" 

for March 1940 


Topics for Gossip 

[Continued from page 21] 

IF VOU are worried about your dinner 
parlies not being a success, don't 
bother to call up Elsa Maxwell. All 
you have to do is to be able to snare 
either Fannie Brice or Gracie Allen with 
her George, and your guests will laugh 
themselves silly right through their soup, 
their leg of lamb, and into their coffee. 
Never have you heard such wonderful 
stories as Fannie Brice and George Burns 
can tell, and by the hour. Gracie doesn't 
tell so many stories, but the looks that 
she gives her Georgie Porgie when she 
thinks that he might be "going a little 
too far" are enough to throw you into 


Joan Davis is probably the only gal in 
Hollywood who prefers going to sleep 
counting goldfish. Literally. She's very 
fond of watching them, so when her hus- 
band, Si Wills, added a new bedroom and 
sunroom to the house he had a glass wall 
built between the rooms with a five foot 
aquarium, wherein swim goldfish. Joan 
can watch and count them as she lies 

° — «<^. — . 

Joan is very proud of a beautiful hand- 
hooked rag rug she purchased for the new 
bedroom, and when six-year-old daughter, 
Beverly Wills, came home from school 
Joan called her upstairs to see the new 
hooked rag rug. Said daughter Beverly, 
"But, Mamma, you shouldn't even steal 
rags, you know." 


Considering she is Twentieth Century's 
best glamour bet Linda Darnell certainly 
gets herself into very simple and un- 
glamorous jams. The other day she went 
marketing at a nearby serve-yourself 
grocery store for her large family {her 
mother and three sisters and brother, all 
from Dallas, Texas, are here with her, 
and there are no servants) and when she 
got a bottle of milk out of the market 
ice box she slammed the door on her fin- 
ger, which bled so profusely that Linda 
fainted dead away. No harm done, how- 
ever, except she will lose the nail. 

For a midnight snack Clark Gable likes 
nothing better than to open up a can of 
tomatoes, put salt and pepper on them, 
and swallow them doum. 

The most in love people in Hollywood 
right now are Olivia de Havilland and the 
tall and genial Tim Durant. When Olivia 
planed out of Glendale for the gay "Gone 
With the Wind" doings in Atlanta, Tim 
was at the airport with a face way down 
to there. Looking at him you'd have 
thought that Olivia was flying to the end 
of the world forever, and not just to 
Georgia for two days. 

" — "%>'■ — " 

Dolores Del Rio, who returns to the 
screen after two years' retirement in 
"Arouse and Beware" with 'Wallace Beery, 
is so beautiful in her make-up of the 
Russian girl, that she is breath-taking. 
Undoubtedly, this role will make a new 
cycle for the Latin star who only a few 
months ago announced to a news service 
that unless she could find the ideal role 
in which to return to the screen within 

Above: A famous 
columnist's wife, 
Mrs. Ed. Sullivan, 
dancing with 
Groucho Marx at 
the Beverly- Wil- 
shire. Ki ght : 
Mickey Rooney 
with dancer Dolly 
Thon, who still 
hasn't said "yes" 
to his marriage 
proposal. B'cloiv: 
At a recent hos- 
pital benefit Basil 
Rathbone ap- 
peared as Sher- 
lock Holmes and 
Nigel Bruce as 
Dr. Watson. Their 
greatest discovery 
of the evening 
was Ann Sheridan. 

a few months she could be considered 
permanently retired. 

»— "<^" — • 

Incidentally, nary a month goes by 
without a bright new fashion angle from 
Del Rio. She appeared at the Lunt and 

Beloxv: Edgar Bergen, dining 
at the Victor Hugo with Fay 
McKenzie, asks our camera- 
man, "How should we pose?" 


Silver Screen 

Fontanne show in a black gown and black 
coq-jeather bracelets. 

A kiss on the check is W. C. Fields un- 
failing welcome to Mae West whenever the 
latter arrives on the set to begin the day's 

shooting. A kiss on the cheek is better 
than a stab in the back, as Confucius says. 

Shed a very feminine tear for Penny 
Singleton, who is one of the world's most 
restricted women. She can't wear her hair 
the way she wants to. A year ago when 
Penny signed her contract with Columbia 
Studios to portray "Blondie" in the series 
of picturizations on the famous comic 
strip, she signed a clause to the effect 
that her hair, both on and off the screen, 
would be worn exclusively as "Blondie." 
The studio requires Penny to have her 
hair dressed once a week in the studio 
make-up salon, and by the same girl who 
originally designed it. 

n ii 

Deamia Durbin's favorite between 
meals snack is a hamburger sandwich and 
a milkshake. 

« — "<^" — » 

Virginia Weidler took a week to knit 
Mickey Rooney a necktie. The colors are 
so riotous that Mickey is afraid to wear 
it for fear of being kidded, still he doesn't 
want to offend Virginia. 

Five years ago when Constance Bennett 
announced she would become a motion 
picture producer in the near future, Holly- 

Above: Ann Ruth- 
erford has her lit- 
tle joke as she's 
snapped with a 
boy friend. Chuck 
Isaacs. Left: 
Dorothy Lamour 
takes her seat be- 
side Bob Preston 
at the Biltmore 
Bowl, but spent 
most of the eve- 
ning dancing with 
Wynn Rocamora. 
Below: Four 
movie doubles ap- 
plied to Earl Car- 
roll for his new 
revue, (I. to r.) 
Jeanette McDon- 
ald's, My rna 
Ley's, Loretta 
Young's and Bar- 
bara Stanwyck's. 

wood thought it was just one more star's 
ambitious dream that would never ma- 
terialize. But in the interim, the Bennett 
has been mighty busy and plenty is 
materializing. During her brief stay in the 
East Connie completed a successful per- 
sonal appearance tour, signed for the lead 
in Noel Coward's play "Easy Virtue" 
and completed plans for her own produc- 
tion unit in New York. Present schedule 
is to make three pictures, in only one of 
which she will appear. And if you don't 
think Connie knows what this producing 
game is all about remember that for years 
she has numbered among her friends some 
of filmdom's most successful producers. 

Do you want Mae West on a platter? 
Well, here's your opportunity. Mae West, 
accompanied by Gene Austin with Candy 
and Coco and the Holiday Singers, male 
sextet, has made a recording of "Willie 
of the Valley," a number which she sings 
in her new starring picture with W. C. 
Fields, "My Little Chickadee." 

' — »<$>" — » 

Bob Breen, whose family announced re- 
cently his retirement from singing roles 
for two years while his voice changes, has 
a marvelous answer for folks who confront 
him with the usual Hollywood line, "What 
are you doing these days?" 

"I'm between voices," grins Bobby. 

n .,<f>f, II 

Victor McLaglen is proud of his finan- 
cial investment in a messenger service, 
run by five young boys between the ages 
of twelve and sixteen. The thriving little 
business operates in a suburb near Los 
Angeles, and received its start when Victor 
gave a motor-bike to an ambitious young 
boy who wanted to make some spending 
money after school nights. The boy now 
has four assistants, and insists upon pay- 
ing Victor a monthly dividend. Vic puts 
it back into the business in advertising. 

« » 

And if you really want to lose weight 
Dick Powell suggests that you go on a 
personal appearance tour and play five 
shows a day. Dick broke all kinds of rec- 
ords on his recent tour which was the most 
sensationally successful of any Hollywood 
personality. But it certainly wasn't play. 
Dick worked so hard he lost twenty 

Belotv: Marlene Dietrich sel- 
dom laughs heartily, but 
Jimmy Stewart evidently 
knows just how it's done. 

for March 1940 



Silver Screen for March 1940 

Beauty and Brains Do Go Together! 

[Continued from page 23] 

whatsoever. So I determined, then and 
there, I would never live that kind of 
a life." 

What did she do about it? 

Anyone else would have felt it rash to 
dream of anything more elegant than 
marrying a good burgher who had run a 
wine-shop or, perhaps, owned a modest 
theatre in town. 

Not Ilona. 

She was skipping along the street 
warbling to herself and wondering what 
the world was coming to when a fabu- 
lously tall man tapped her on the shouj- 
der and said: 

"Pardon me, but you have a lovely 

"Thank you," she stammered right 
back at him. "You see I sing. That is, 
I'm studying for the concert stage." 

Prophetic fib! 

That very same day she began inquir- 
ing around for a teacher who would coach 
her more out of love than profit. 

And the die was cast. 

Henceforth what money was not needed 
to pacify the butcher and baker and the 
landlord went into singing lessons. By 
this time her sister had mastered the 
mysteries of Gregg shorthand and had 
become expert at pummeling a typewriter. 
This talent boosted the intake and the 
fledgling nightingale was able to complete 
the vocal ground course. 

Then she decided to try her wings. 

Sing a song of sixpence, pocket full of 
dreams. Lordly dreams, no less. Dreams 
of fame and fortune — boundless fame, 
fabulous fortune. 

Did anyone want a wonderful singer? 

It seems no one in all Budapest showed 
the shghtest excitement. In desperation 
she buttonholed the general of the Buda- 
pest Light Opera Company and told 
him she wanted a job, practically any- 
thing at all. Moved by her plea, he took 
her at her word and put her on the 
payroll. But not as a singer. As a lowly 

'T was a dreadful dancer," she Hkes 
to remember nowadays, "so dreadful that 
the director shoved me back in the third 
row so that the audience couldn't get too 
good a view of me." 

And so it went for two years, learning 
new dance numbers, acquiring an, occa- 
sional new costume and then the eternal 
pirouettes and kicks. Until it dawned on 
her that the dream within her was fading. 

Had she endured privation in vain? 
Had she practiced for hours on end mere- 
ly to end up as a dancer whose salary 
would not permit her the luxury of car- 
fare' home? 

Like a sign from on high the inspira- 
tion came to her to try Vienna. Here, 
truly, was the altar of song. Here stalked 
the ghosts of the Strausses, Haydn, Mo- 
zart and Bach. 

Vienna did not welcome her with open 
arms. No one seemed to care. Out of 
lost hope she finally called up a friend 
and begged him to get her some sort of 
an audition. He did. With the Volksopera. 
She learned the entire score of an opera 
in eight days so as to be able to wow 

the magnilicoes. After she had poured 
her heart into her try-out, she was broken- 
hearted to find them shaking their heads. 

"Your German is frightful," the direc- 
tor said. "You'll never do." 

She swore by the shade of the great 
Beethoven that she'd improve her accent. 
Let them give her a few days. They set- 
tled on one week. Again she sang. Like 
a true Teuton this time. The magnificoes 
smiled. And signed her up. 

She made her debut in "Tosca," a 
meteoric blonde tidal wave of sight and 
song who intrigued the critics, one of 
whom was to write the next day that 
"the lady listed on the programs as Miss 
Ilona Hajmassy is soothing to the eye, 
magnetic to observe and nothing short 
of impertinent for daring to make her 
debut in so taxing a role as 'Tosca.' " 

Undeterred by this critical grousing, 
Ilona Massey tried the more important 
Stadt's Opera. 

The verdict was as follows: Unques- 
tionable talent and rare beauty but more 
training needed which should be started 
by undertaking small roles. 

She shrugged and prepared to start 
from the bottom. Wasn't there a proverb 
about oak trees emerging from little 

But she didn't relax and wait for fame 
to come to her. She went out to meet 
it half way. 

First she had some pictures of herself 
made (but striking!) and carried 'em to 
the Vienna oi!ice of Metro-Goldwyn- 
Mayer, manned by a Mr. Bernstein. 

Would Mr. B. please send them to 
America so that his studio could have 
a look? 

Mr, Bernstein made it plain that it 
sounded too much like shadow boxing. 
Instead he said he'd hang on to the pic- 
tures and if any of the important Metro 
boys came to town he'd pass them around. 

You could have floored her with the 
Empire State Building when the postman 
called around a few days later with an 
invitation to attend a tea in honor of 
a star whom they recently signed. 

She came, of course, and so did Metro's 
Ben Thau who is the studio's mover and 
shaker. The inevitable happened, as you 
may have guessed. Mr. Thau said, rough- 
ly, "You ought to be in pictures — with 
M.G.M. that is." And Miss Massey said, 
quiet like, "I think you're right." 

Which is where we came in, if you're 
still awake.. First there was a small part 
in "Rosalie," then an eighteen-month va- 
cation and finally the go-to-town role in 

It is the remembrance of this epic 
struggle that makes Ilona Massey what 
she is. 

"When you are faced with a struggle 
against the odds, you do one of two 
things," she is convinced. 

"Either you are discouraged and you 
go down or you go it the hard way and 
fight. If you win out and reach your 
goal, that's only part of the battle. The 
important thing is not to lose your soul 
in the process." This, with emphasis, 
from Miss Massey. 

Metro's crooning philosopher is a sin- 
gular somebody, an almost-platinum- 
haired sylph with a figure that outlustres 
the legendary sylphs. She walks like no- 
body else in a sort of ghding motion, 
and when she meets you she gives your 
hand a warm grip just as though she 
meant it and didn't regard you as a bore 
she had to put up with for the nonce. 

She says she'll meet you at four and 
she arrives at 3:58. She's hospitable to 
a fault. She wouldn't dream of being 
otherwise. Why, she even entertained two 
high school chickadees in her hotel suite 
at tea, simply because they had called 
up to pay their respects. 

Cardinal sin in her lexicon is ingrati- 
tude. Do her one favor and she'll do you 

Right before our very eyes she almost 
brought tears of joy {and of surprise) 
to the eyes of a Metro publicity man 
when she presented him with gifts for his 
kindness during her New York trip. She 
blushed at his stammering "thank you." 

This same feehng for human beings is 
expressed by her one ideal beyond making 
a success out of her career, which she 
once confided to a friend. 

It's to create a girls' school where un- 
fortunate lassies would be given a new 
vista of life. When she finds the money, 
she'll do all this without fanfare, without 
mention in the press. 

In Hollywood, she's just as unique. 
She doesn't traipse around in the spot- 
light's bright glare. She'll stay at home 
with a book or maybe she'll write letters. 

She adores America. Her taxes to the 
government she pays with a ki-yi-yippee. 

"Where in all the world but in America 
would I get a chance like this?" she asks 
you disarmingly. 

She's amazed at how wonderful life is 
over here, especially how education is 
available for the asking. She never gets 
tired of reciting how pleased she is that 
her aunt, who stays with her in the movie 
capital, gets free night-school lessons in 

"She talks more like George Bernard 
Shaw every time she returns," Miss 
Massey swears. 

This identical level-headedness she 
maintains in everything she does. She ad- 
mits that she's intrigued by long dresses 
on the sleek and tailored side and when 
she's dancing in one (with the right part- 
ner) she's fairly in the groove. 

But she doesn't get them from Paris. 
Not at all. And they aren't costly, either. 
And, for day-time, she wears dresses that 
cost $14 or maybe $15,95 and thinks 
they're "more than satisfactory." 

She thinks this glamour business is 
fantastic, not to mention funny. 

First, she's not too sure she knows 
what it means. Her own standard of 
evaluation is the inner man or woman. 
Glamour-girls, consequently, give her the 
ho-hums. In a spirit of impish satire, she's 
named her plug-ugly English bull-dog 
"Glamour-girl" and she assures you that 
the dog is really glamorous — glamorous 
of soul, 

[Continued on page 65] 

M!ss Janet Holden of Cleveland, 
Ohio, has l)ccn working for ahnoHt 
two years in one of ( jleveland's 
leachnt; department stores— is am- 
bitious to be a buyer some day. 

ungton's smart young peo- 
tke an active interest in 
nal affairs. Miss Fish shows 
f-town guests some of the 
historic landmarks. 




Miss Fish, when do you believe 
a girl should begin guarding her 
complexion with regular care? 

ANSWER: "The younger the bet 
ter! I think if you want a nice 
skin when you're older, you 
to take care of it when you're 
young. That's why I began using 
Pond's 2 Creams when I reached 
my 'teens. Every girl wants a 
lovely complexion! Using both 
Pond's Cold Cream and Pond's 
Vanishing Cream every day 
helps to keep mine clear," 


Would you describe what each 
Pond's Cream does for your skin, 
Miss Fish? 

ANSWER: "Yes, of course. Every 
morning and evening I use Pond's 
Cold Cream to freshen up my 
face. These regular cleansings 
help keep my skin looking soft 
and healthy. Pond's Vanishing 
Cream serves an entirely different 
purpose. I use it before powdering 
to give my skin a soft finish that 
holds powder smoothly for hours." 

for a Washington debutante 
Qs a constant round of par- 

-this spring Miss Fish is 
ng the busiest season she has 



In your opinion, Miss Holden, 
what things help most in a 
career girl's success? 

ANSWER: "Interest in her job, 
willingness to work and a good 
appearance! But nothing cheats 
your looks like a dull, cloudy 
skin, so you can bet I'm always 
sure to use Pond's Cold Cream 
to keep my skin really clean and 
soft. I can count on it to remove 
every trace of dirt and make-up!" 


Doesn't the wind off Lake Erie 
make your skm rough and diffi- 
cult to powder? 

ANSWER: "Well, Cleveland is 
mighty breezy, but little skin 
roughnesses don't worry me a 
bit. I just use another Pond's 
Cream to help smooth them 
away ... by that I mean Pond's 
Vanishing Cream. And besides 
smoothing and protecting my 
skin, it's perfect for powder base 
and overnight cream because it's 
absolutely non-greasy!" 

POM)S ^ 

-f- POND"S, 

POND'S, Dept. 7SS-CVC, Clinton, Coiinu 
erM0 FOR Rush special tube of Poncl's -CoW Cream, enough foP 
A I ^ treatmeats, wilh generous samples of Pond's Van* 

TRI**^ ishing Cream, Pond's Liquefying Cream (quicker- 
REAUTY KIT melling cleansing cream), and 5 difierenl shades of 
Pond's Face Powder. I enclose 


and packing. 

lose 10^ lo cover postage 



Copyriglit, 194.0, Pond's Eutract Comc)any 



Silver Screen for March 1940 

Untold Blunders of Hollywood Stars! | 

[Continued from page 37] * 

"Unfortunately for me, my second 
Broadway show was a hit, also. But when 
it wound up my burst of super-luck was 
over. For three years I was in one flop 
after another. Of course, I had an un- 
limited supply of alibis. When the boys 
from the newspapers waxed sarcastic in 
their reviews, I knew that all critics were 
screwy. I didn't snap out of it until I had 
to. Eventually no producer wanted to 
bother with me; I relied on a 'technique' 
that boiled down to a lazy, insincere 
stab at acting. I was fit for tank towns. 
One important producer took the trouble 
to put me wise to myself, and I'll never 
stop being grateful to him for talking 
turkey to me. My hamminess had sunk 
in deep; off-stage I'd been becoming in- 
creasingly unpopular. 

'"When I suddenly saw myself for what 
I was I understood why I had so few 
friends. I was so ashamed of the boob I'd 
blandly developed into that I swore I'd 
effect a violent reformation. I began to 
listen to well-meant advice. I quit pre- 
tending I was an improvement on the 
Barrymore boys and Romeo. When I was 
through being fakey, I began to progress." 

So that's why Gable is invariably reg- 
ular in Hollywood; he wouldn't have his 
fame, fortune, and Carole if he weren't. 

They claim that Mickey Rooney is a 
new Rooney. This is going to be sweet 
music to Wally Beery, if he ever wants 
to catch up on Rooney data. For there 
was that morning at M-G-M which Wally 
hasn't yet been able to stamp out of his 
memory. He's frankly as plain as an old 
bedroom slipper, Wally is, and as kind- 
hearted as they come. He wasn't at all 
prepared for the rude rebuke the kid 
star breezily dished out to him. They met 
for the first rehearsal of the picture's 
chief scenes. Beery, a top name for 
twenty years, was going to have the tal- 
ented lad as a team-mate. Wally was all 
set to be helpful, and a veteran of his 
type can give plenty of pointers. 

Mickey blew in, proceeded to be all 
terse business. Wally is accustomed to 
only half memorizing his lines for such a 
rehearsal. He glanced at the script a 
couple of times. Mickey rose to his five- 
feet-four, announced loudly. "If you don't 
know your lines I can't waste my time!" 
And before Wally could catch his breath 
Master Rooney strode out, slamming the 
door. They say Mickey fashions his 
course after Gable's. Perhaps he'll run 
across Clark's confession here, and prof- 
it by it. Someday he may apologize to a 
man others respect. 

Imitation may be the supreme sort of 
flattery in some eyes, but you'll never 
find Madeleine Carroll copying any other 
woman. For better or worse, she's stick- 
ing to her own hunches about her own 
quite individual self. "I practically cut 
my throat!" she exclaimed to me, over 
a luncheon table at the Brown Derby the 
other day. "My publicity asserts that I'm 
clever. I hope I am. But, beheve me, 
there was one phase when I was any- 
thing but judicious. 

"It was back in England. I'd done sev- 

eral plays and films and I was doing all 
right, everything considered. But like 
every girl is apt to be, I was impatient. 
I wanted to be 'the' most glamorous 
creature who ever knocked London for a 
loop. So, not being extraordinary nor de- 
vastating in a front-page style, I looked 
over the field of those who were and 
chose Marlene Dietrich as my model. I 
would be a la Dietrich, only more so! 
She dripped with allure; so would I, in her 
best form. 

"I had a little say on my pictures, so 
I made starthng changes in my make-up, 
my photography, my clothes. I was 
terribly enthused; it seemed a terrific no- 
tion at the time. I revised my face into 
an imitation of hers. I plucked my poor 
eyebrows bare and drew pencil lines I 
imagined had infinite flair. I insisted 
upon being photographed with mysterious 
hollows in my cheeks. Then," she sighed, 
"I ordered much black lace. I persuaded 
them to call the epic 'Fascination.' It was 
dreadful; I was almost a burlesque. 

''And I had struggled so hard. I visua- 
lized myself as such an extravagant 
jemme jatale. It was all the more ap- 
palling because I was a fizzle of a carbon 
copy in a picture that had to be released. 
Before it was previewed I realized I'd 
have to live it down. I joked about it 
incessantly, so no one would guess how 
absolutely dumb I'd been. When I came 
to America it had not been shown here, 
so I've kept quiet about it. But it cer- 
tainly taught me that no clever woman 

Madeleine hopes Marlene didn't see 

Only a couple of months ago Sonja 
Henie again repeated that she'd never 
had time to be' in love. Sonja is following 
the theory that repetition will make it 
so. She is as determined a young woman 
as ever has come to Hollywood, and once 
this determination led her into a faux pas 
that knocked her plumb into bits. Here 
is the episode she has resolved shall be 
wiped out as though it never happened. 

When Sonja arrived in Los Angeles, 
to crash the movies, she hired the biggest 
arena in the city to give her skating ex- 
hibition in. She was more than willing 
to visit the 20th Century-Fox lot. The 
publicity department sent Tyrone Power, 
then just beginning to be a sensation, 
over to be photographed with the Nor- 
wegian athlete. 

Sonja beamed, said to Ty: "You're 
coming to see me skate tonight?" He 
had never heard of her until the previous 
hour, but being a gentleman he replied, 
"I wanted to, but there are no tickets 
left." Sonja's mind is like lightning, and 
she decided Ty would be a grand bpy 
friend in a minute's time. "Here are 
two!" she exclaimed, delving into her 
purse. "Come back to my dressing-room 
and I should like you to come to the 
httle party we will have afterwards!" 

Tyrone invited his current enthusiasm, 
but when he went back-stage to say hello 
he had intuition enough to go alone. Sonja 
was amazed that he'd brought a girl on 
the other ticket. She suggested he send 

her home and come on to the Troc alone. 
Ty explained he. could hardly do that. 

Yet the romance bloomed, thanks ta 
Sonja's vivid interest in Ty. The portraits 
she autographed lovingly to him decorated 
his chiffonier. If Sonja didn't care for 
him she was handing him a tremendous 
line! They broke up because she was too 
dominating. Used to constant attentiom 
and ever efficient and routined, Sonja ex- 
pected Ty to jump whenever she nodded' 
Aside from both being new picture stars 
at the same time, they had httle in com- 
mon. There isn't a more spontaneous^ 
fun-loving fellow in Hollywood than Ty 
and he soon tired of Sonja's imperious 
demands. She was all system, he all warm 
impulse. He withdrew as politely as he 
could; still it was evident Sonja was in 
an embarrassing position. She was the 
new wonder girl; she was making money 
{she has two million socked away, it'i 
rumored). But if she couldn't hold her 
handsome b.f., how potent was her ap- 

After feeling sorry for herself, as any 
miss in such a conspicuous mess would, 
Sonja decided to dismiss the whole thing. 
It was dismissed to this extent, too — 
studio pubhcity stories on La Henie could 
not contain the forbidden name: Tyrone 
Power! The censorship was a success, 
Tyrone went on to more experienced com- 
panionship and today Sonja, whose pride 
was trampled on because she let herself 
in for a blunder no woman should make, 
is as naive about love as Shirley Temple, 
So she maintains! 

The most magnetic, most beautiful new 
star in Hollywood is Lana Turner, who 
doesn't have to cultivate oomph. She has 
it, and doesn't know how to temper it 
for Hollywood. But she's learning. Her 
first interviewer was a gushy woman who 
dreamed up a gooey piece. The second 
member of the press she encountered 
brought out Lana's sense of humor, and 
her realistic attitude towards life and love. 
Nine out of ten newcomers try to im- 
press by outlining their little patterns, 
which are inevitably what some reigning 
star has advised. 

Lana is absolutely honest by nature, so 
she answered every question without 
parrying or pausing for a prettyfied 
phrase. The writer knew he had a snappy 
yarn; so did the studio. Lana's quotes 
were killed. She was informed she now 
has a pubhc and she's not to talk to it 
uninhibitedly. Every time she meets a 
reporter these days she mutters to her- 
self, "Here's where Turner gets cagey!": 
But she's such a straightforward gal that 
even thinking twice before she replies 
hasn't stereotyped her. 

If there is a more attractive, nicer wife 
in Hollywood than Mrs. Ray Milland I'd 
enjoy an introduction. The Millands are 
happy together now that Ray has proved 
he belongs among those who matter. 
Theirs is a reversal of the usual Holly- 
wood habit, the one that brings eventual 
divorce to the man who becomes a star 
while his home-adoring wife melts into a 
pale background. You'll see Mrs. Milland 
[Co7itijiued on page 74] 

Silver Screen for March 1940 




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Silver Screen for March 1940 

Villainy As You Like It I 

[Continued from page 25] 

a soft shirt, nondescript, and a tie, also 
nondescript. The outfit was completed by 
black shoes and blue socks that didn't 
.seem to go with anything. 

But — sartorial cjuibbling aside — no one 
can criticize the Laughton voice. Here he 
was, wasting beautiful diction and ear- 
delighting tonal nuances on a telephone 
conversation mostly about the -fourth 
row orchestra — shades of Shakespeare! 
He laughed at a joke and, becoming very 
British, said: ''Righto! I shall put in for 
them straight away." Translated it meant 
that he was going to reserve some theatre 
tickets without delay. The English are so 
hard to understand. 

The sitting room in which we sat was 
in much too neat order, if his reputation 
means anything. Of course, the three 
cleaning people who fled out as we ar- 
rived may have had something to do 
with it. 

On a radiator stood a portable radio; 
he likes the "wireless." On the floor near 
the desk lay an expensive record-playing 
machine on which he plays acetate rec- 
ords made of his recent broadcasts. The 
desk itself was stacked high with papers 
and on the mantel, incongruously enough, 
lay a short section of railroad track. It 
was a bit of the rails on which the Santa 
Fe's Chief, with the Laughtons aboard, 
had met with a small accident. The me- 
tal was furrowed with an artistic fern- 
like pattern due to the fact that the ac- 
cident had "polarized" it — a scientific 
state of affairs considerably beyond the 
combined knowledge of the actor and the 
interviewer. At the moment of the acci- 
dent Mr. Laughton was in the dining car 
and his only complaint is anent the sugar 
bowl that disgorged its contests into his 

Just back of the rail (we're still oil the 
mantel), a cartoon from Punch was prop- 
ped up. It shows Hitler looking through 
a sheaf of portraits of various Laughton 
screen characterizations, Bligh and worse. 
'T wonder," Hitler is saying, "how 
Laughton will do me?" 

By this time Laughton had finished his 
phone conversation and was rolled up 
again on the divan. "Elsa and I are here 
for a few months between pictures," he 
said. "We had intended to do one with 
Leo McCarey but then he had that auto- 
mobile accident. Great director, McCarey. 
did 'Ruggles Of Red Gap,' for Paramount 
y'know. I hked Ruggles. Fine character." 

At this point we should all take time 
out for a sigh. For how are we going 
to be scared by Laughton's posturings 
as villains when we know all along that 
he's a genial guy? He likes Ruggles, he' 
hates Bligh. He could spit on Nero and 
he wouldn't harm a hair on Carole Lom- 
bard's head in real life {neither would 
we). Alas and several alacks. . . . 

Laughton's latest cinema role is that 
of Quasimodo, the hunchback first made 
famous by Lon Chaney in the silent ver- 
sion of "The Hunchback Of Notre Dame." 
The Laughton version was made during 
that Hollywood heat wave and one after- 
noon on a tin-roof set the temperature 
crawled up to 132 degrees. Off -set it 

hovered around 107 most of the time, 
making the Laughton mattress hot all 
the way through. The door-knobs siz- 
zled so everyone stayed in one place or 
opened doors with a crowbar. The make- 
up the man had to wear as the hunch- 
back didn't ease the situation at all. 

But, in spite of all this he kept his 
temper. There is no authentic record of 
Laughton temperament, rather a deal of 
praise for his ability to work hard and 
be nice about it. Perhaps the nearest 
approach to anything hke temperament 
occurred when Laughton's Mayflower 
Productions was making "Jamaica Inn," 
about ten days before Alfred Hitchcock, 
who was directing the picture, had to 
sail for America. There was one last se- 
quence to shoot that would normally 
take two weeks. 

But this evening Laughton had finished 
a long tough sequence and both Hitch- 
cock and Laughton's partner, Erich Pom- 
mer, knew that Laughton was planning to 
rest the next day. That would have been 
quite acceptable in the normal course 
of things but under the circumstances, 
impossible. Hitchcock, fearing an explo- 
sion from Laughton, asked Pommer for 
help. Pommer could think of only one 
thing to do. He walked up to the actor 
and without trying to be at all subtle, 
barked: "Charles, you'll work tomorrow 
and every night until the scene is done." 

Laughton glared at him and jumped 
to his feet. "I'll do nothing of the sort!" 
he yelled. "I need rest and I've got to 
study the scene. What do you take me 
for? I'm part owner of this company!" 
And with that he threw his script to the 
floor. "I'm going home!" he stormed. 
"And just because of this, Erich, I'm go- 
ing to spend a week in the country. Now, 
what do you say to that?" 

"All right, Charles," answered Pom- 
mer, "after all, it's your own money this 

Laughton glared at him. Then he started 
chuckling and broke into a broad grin. 
"You've got me there," he admitted. 
"This is probably the first time in the 
history of picture-making where an ac- 
tor's walking out would have cost him 
money! instead of the producer." He 
nodded. "I'll be down at nine in the 

Actor and producer. Not bad for a 
young-feller-me-lad born in Scarborough, 
England, somewhere around time to make 
him about forty now. No, not bad for a 
nipper who started life as a hotel clerk 
(dark) at Claridge's Hotel in London in 
order to learn the business. The war took 
him out from behind the desk and after 
the fighting was over he decided to study 
dramatics at the Royal Academy, eventu- 
ally landing the role of Osip in "The Gov- 
ernment Inspector." From then on parts 
came fast and choice, notably roles in 
"The Cherry Orchard," "Alibi," On The 
Spot" and a host of others. 

He did a quantity of Shakespeare at 
the "Old "Vic," too. "I faintly stank in 
'Macbeth,' " he says. He thinks Clark 
Gable should do "Macbeth" because he 
''has stuff" and "that bronze." For him- 

self he would hke to do "King Lear." 

While playing the role of Mr. Prohack, 
in the play of the same name, Laughton 
met and married Elsa Lanchester her- 
self an accomplished actress. He won the 
Academy award in 1933 for his work in 
"Henry the VIII." 

He made his first American appearance 
in Gilbert Miller's Broadway production 
of "Payment Deferred," appeared in Jed 
Harris' Broadway production of "Fatal 
Alibi"' and then returned to London for 
a vacation which was halted by an offer 
from Hollywood. 

It was Laughton who discovered 
Maureen 0"Hara, the eighteen-year-old 
pretty from Ireland's Abbey Theatre. "We 
were ready to help her with little bits of 
acting advice when we made 'Jamaica 
Inn' — oh, hello my dear, this is Mr. . . 

Mrs. Laughton, (Elsa Lanchester) had 
arrived. He made the necessary introduc- 
tion and answered the phone. It was still 
in regard to the theatre and tickets. This 
time they almost agreed that it should 
be next week and the eighth row center, 
but it was left at a call-you-back-Joe 

''Where was I?" he asked, burrowing 
into the divan. "Oh yes, Maureen. Well, 
there was Leslie Banks, Emlyn Williams 
and I ready and willing to advise her. 
But after the first day's shooting we 
gathered back of the set and said, to a 
man, 'Did you see her!" That's what 
makes . us think we have something in 
the gel." 

He cocked an apprehensive eye at his 
red-haired spouse who stood efficiently, if 
a bit wildly, tossing papers right and left 
from the great pile on the desk. He shrug- 
ged his shoulders as though to say, that's 
the way they all act. Leaving Miss 
O'Hara, he went on to say that producers 
had doubted the wisdom of his co-starring 
with his wife in "The Beachcomber." 

"There you are," he said. "That proves 
an old point of mine. BeacJicomber 
audiences knew that in real life Elsa and 
I were married. They didn't mind it in 
the least and I'm convinced that it was 
due in large part to the feeling that a 
man and wife can interpret those inti- 
mate httle detafls of married relation- 
ships, and even courtship relationships, in 
a way that would be impossible to per- 
sons who have just been introduced to 
each other by the director. 

"I don't see any reason why, when 
stage audiences have accepted married 
couples like Alfred Lunt and Lynne Fon- 
taine; Sir Seymour and Lady Hicks; E. 
H. Sothern and Julia Marlowe and Fred- 
ric March and Florence Eldredge, a taboo 
has arisen on similar teams in the films." 

He'd hke to do a picture a year with 
his wife and he'd hke to see the Marches 
do one together. Feels they all know each 
other's every little mood. 

Because he likes radio and because he 
has a little time on his hands, this man 
who admits he's lazy about many things, 
but not his profession, has been acting 
on it — along with Mrs. L. They did the 
Benet "John Brown's Body" on the Bur- 
gess Meredith "Pursuit Of Happiness" 
air show, to such tumultuous in-person 
and telegraphic applause that they de- 
cided to do something of the late Thomas 
Wolfe's — a bit contrasting the American 
way with others. The Laughtons spent 

Silver Screen for March 1940 


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ten days rehearsing a script that took 
exactly fourteen minutes on the air. 

"Funny thing, that," he began. He ob- 
viously didn't dare look at the papers 
of state and whatnot being gaily tossed 
into the wastebasket. "We'd rehearse the 
show up here at night, fine. Go over to 
the studio next day and it would sound 
forced, artiticial. Back here next evening, 
good again. Why so?" 

"Darling," interposed Mrs. Laughton, 
holding up a sheet covered with minute 
writing that couldn't possibly be read 
from further away than a foot, "do you 
want to save this?" 

"Yes dear, it's very important," he 
said firmly, not even looking at her. One 
sheet was going to .stay on the desk. 
"Let's see, why so? I gave it much 
thought and finally the solution came to 
me. At the hotel we relaxed in comfort- 
able chairs, like this," he indicated him- 
self so that anyone interested would 
know that he was relaxed, "at the studio 
we stood before a microphone; stiff, ill 
at ease." 

So just before he was to go on the 
air he appeared before the studio audi- 
ence, dragging a tremendous arm chair 
with him. He told them frankly what his 
theory was. Said that if they had any 
laughing to do, to do it then because he 
had too much respect for Wolfe's stuff 
to let anything spoil this show. 

No one so much as tittered. So he sank 
into the chair, drew down a mike and 
fell to acting. The show was a big suc- 

"Matter of fact, I found out that that 
is the way Wolfe himself worked. He 
used to sprawl deep in a big chair, pad 
and pencil in lap, and as fast as he fin- 
ished a page tossed it onto the floor." 
The telephone bell rang again. "Is it about 
the tickets, Elsa?" It was, and he went 
into a telephonic huddle again. 

He's going to do a scene from the 
diary of Samuel Pepys over the air soon. 

"Going to do some Pepys," he said, 
pronouncing it, correctly, "peeps," and 
then saying "pepp-ies," possibly thinking 
that We Americans said "pepp-ies." Being 
reassured that we hadn't tampered with 
Sam's name, he went on. "Elsa and I 
are going to do a husband and wife 
scene where we have one hell of a fine 
fight." There might have been something 
in the glance he directed at his paper- 
tearing wife. 

If this sounds like too much talk about 
his air work remember that you can't 
pin this man down to any one medium of 
expression. He's got to be up and act- 
ing somewhere or he's not happy. He'd 
do a play in a minute if he found one 
he liked. 

Arriving at the bottom of the pile, 
Mrs. L. produced a letter from an old 
friend of theirs and read it aloud. Up 
on his feet, with the speed and grace of 
a deer, popped this large gathering of 
tiesh and in no time at all he was an- 
other person. He must have caught a per- 
fect likeness of the letter-writer because 
Mrs. Laughton collapsed on his neck in 
tears of laughter. Then, arm in arm. 
they walked over to the window and 
looked out over the Manhattan sky line. 

"Let's send him a present," suggested 
Charles. "Something very nice?" asked 
Elsa. He chuckled. "No, something silly, 

Lya Lys, glamorous Warner Brothers 
player, is next to be seen in "Mur- 
der in the Air." Sh& loves horses, 
prefers the country to the city. 

like that. ..." The phone rang . . . . 
you're given three guesses what it rang 

"We like our New York friends very 
much," he said passing cigarettes around. 
"You wouldn't know most of them. 
They're people we've accumulated over 
years, in the business and out. Oh, you 
might know a few like the Freddie 
Marches, Buzz Meredith or Ruth Gordon 
— but mostly they're friends because they 
like us and the other way round. They 
call us up all of the time." Hardly neces- 
sary, that last. 

These two people are very much like 
"Mr. & Mrs." in the funnies. He likes 
Hollywood, she doesn't very much. He 
can't cook but she can. He hkes to eat 
but doesn't go in for the fancy stuff. 
Mostly things hke steak and kidney pie 
and roast beef and yorkshire pudding — 
hke any other Britisher. Both of them are 
fond of Charley McCarthy and the as- 
sisting Mr. Bergen; Laughton has worked 
with them. At home in England, over 
weekends, he does some amateur garden- 
ing, coming out mostly in radishes and 
small truck. He even wields an axe and 
chops down trees, probably grunting: 
"Take that, Bhgh— take that, Nero!" He 
wakes up decently cheerful but it takes 
her a while to get going. 

They own three hotels in England. 
They know what a good investment a 
hotel can be. Besides, they'll always have 
a place to lay their heads, come adversity. 
They have no pets. They like Picasso. 
They like Christmas. Christmas with lots 
of snow and even icicles if they can be 
managed. There is no truth in the rumor 
that because both play scary roles they 
sit around at home trying to scare each 
other. Quite the opposite. 

The whole thing seems to boil down 
to this. Don't let the kids read this or 
you won't be able to scare them to sleep 
by telling them that Charles Laughton 
is curled up in the corner. 

Silver Screen for March 1940 


Over a passage of years, the studio had 
succeeded in mesmerizing itself through 
its own pubhcity releases. Therefore, 
when Director Ernst Lubitsch, who was 
fighting for survival, too, persuaded Greta 
to indulge in some slapstick comedy in 
"Ninotchka," the town bowed low before 
him. Lubitsch had no difficulty in gaining 
his point with Garbo. She knew, this very 
astute business woman, that she had to 
stock up with new goods. By the same 
token, Lubitsch knew that he had to sell 
a new line of goods to an audience that 
was fed up with sophisticated cHches. 

Lubitsch's awareness of his position at 
the crossroads had been underscored by 
his last picture at Paramount with Mar- 
lene Dietrich, which ended both of them 
at that company. Completely unaware 
that the parade had passed by, Lubitsch 
turned out a sophisticated Continental 
trifle that distinguished itself by never 
finding a common denominator. Movie 
fans looked at this and could find no 
point of appeal, no point of relation to 
their lives and stayed away in vast mul- 
titudes. Critics started dissecting the 
"Lubitsch touch" and found it inept and 

So when cigar-smoker Lubitsch got the 
chance to direct Garbo at M-G-M, he 
was just as anxious to save his career as 
hers. Luckily he wasn't stubborn about 
it. The critics had said of his last that 
it wasn't down to earth. "Ninotchka" was 
right down to ground level, in its kidding 
of Russian communism. Lady Luck also 
took a hand. At the very moment the 
picture was released, Russia impugned 

itself before the world by invading 
Poland and threatening Finland. The pic- 
ture could not have been timed for re- 
lease at a more propitious moment. It 
injected adrenalin into the veins of the 
heroine of "Camille" and the director- 
refugee from Paramount's Gower Street 
studio at a time when observers believed 
their professional pulses had stopped 

If you remember pale, ethereal Greta 
Garbo as she coughed through seven 
reels of "Camille," then see her in 
"Ninotchka." If you remember languor- 
ous Marlene Dietrich swooning in a moon- 
ht garden in "Desire," I urge you to 
rush to your nearest neighborhood theatre 
and. get a load of her in "Destry Rides 

It always has been Carole Lombard's 
professional boast that she is one star 
who doesn't mind getting heaved into a 
creek for the sake of her art. You have 
seen La Lombard with the hair plastered 
down her cheeks as a result of such 
dunkings. From now on, however, Miss 
Lombard will have to think up some- 
thing new because Garbo and Dietrich 
are taking pratt -falls, engaging in saloon 
brawls and anything else that directors 
can concoct in the campaign to unfrock 
glamour. Not only Garbo and Dietrich! 
In "Hollywood Cavalcade," one of the 
more subtle dramatic passages found 
glamorous Alice Faye stopping one of 
Buster Keaton's custard pies with her 
good-looking face. In Joan Crawford's 
picture with Gable, you will see Joan 
dishevelled and stained by swamp-water. 

In "The Women," Rosalind Russell is 
slugged by Paulette Goddard and retali- 
ates by biting the calf of the shapely 
Mrs. Chaplin. 

The glamour girls, after dwelling in 
Elysian fields and subsisting on caviar 
and honey, suddenly have gone to a bread 
and water diet, not because these gently- 
reared creatures dislike caviar — but the 
public does. 

What will happen to glamour, from this 
point on, is not difficult to predict, be- 
cause the Hollywood mentality is about 
as easy to gauge as a chain letter. As 
the result of the successful comebacks 
of Garbo and Dietrich, who tossed 
glamour overboard and let down their 
hair, every studio will make every heroine 
submit to a kicking around. They will 
be hit by grapefruit, kicked in the pos- 
terior, drenched, insulted, etcetera, until 
such time as the public gets fed up with 
this. Then the scale will adjust itself 
and the heroines again will become deli- 
cate objects of affection. 

Only one thing however, is positive. 
For the next five years, glamour girls 
as we knew them, will never reappear 
on movie screens. Movie press agents 
will shelve such adjectives as, "exotic," 
"mysterious," "intriguing," "ethereal." 
Stars will not be likened to orchids in the 
press releases and the aura of awe will 
not be used as a smoke-screen for some 
time to come. The glamour girls have 
learned that the public likes spinach, 
and spinach it will be until the pubhc 
insists on a new table d'hote menu. 


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Silver Screen for March 1940 


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"AH the World Will Be Talking 

About Her!" 

[Continued from page 41] 

of all the fifteen people in the house, only 
my dad and I had heard her scream. And 
it was impossible not to hear her scream, 
if you understand me. But it was pos- 
sible, too, and this was how we knew. 
One week later my grandmother died. 
This has happened to me three times. 
This has happened to my family seven 
times. Well, my heavens, when you hear 
it hke that, what else can you beheve? 

"The leprechaun, now, is a tiny, little 
shoemaker. And he is supposed to know 
where the pot of gold is hidden at the 
end of the rainbow. He wears a red 
jacket, they say, and a green cap with 
an owl's feather in it. I have never seen 
or heard the leprechauns. I have heard 
the banshee. And so, I do not believe in 
the leprechauns. And do beheve in the 
banshee. I am very practical, you see." 

So, she was practical, too, was she, I 
thought. A head on her shoulders, huh, 
and what a head and, for the matter of 
that, what shoulders! 

She began at once, then, to demonstrate 
her practicality by giving me what I had 
come after, the story of her young life. 
"I was born," she said statistically, "on 
August the 17th, 1920. I am one of six 
children, two boys and four girls. I am 
the next to the eldest. And I am th.e plain 
one of the family." (God save us, I 
thought, reverently, from the other 
O'Haras, then, for if they are more beau- 
tiful than this next-to-the-eldest they'd 
scatter the present galaxy of Hollywood 
stars to the four black winds of oblivion). 

"My elder sister," Maureen was con- 
tinuing, "has a decisive, no-nonsense- 
about-me way of talking. She is a nun, 
a Sister of Charity. We always knew what 
we wanted, we O'Haras. When we were 
very tiny, my sister used to say; 'When 
I grow up I shall be a nun.' And I woiild 
say: 'When I grow up I shall be an ac- 
tress.' Wei!, she is a nun and I am an 
actress. And that is the way it is with 
us, and has always been. 

"I was the biggest tomboy. I am not, 
now, the frilly type. I like to p'ay with 
boys better than with girls. I lovetd foot- 
ball and boxing and wresthng. I am 
strong, very strong, like a lioness . . ." 
{No a leopardess). "I loved knocking at 
people's doors and then running away 
before they could open them. I never 
made many friends, I don't make many 
now. I went everywhere with my mommie 
and dad and there were six of us and 
we were enough. I was a blunt child, 
blunt almost to the point of rudeness. I 
told the truth and shamed all the devils. 
I didn't take discipline very well. I would 
never be slapped in school. If a teacher 
had slapped me, I would have bitten her! 
I guess I was a bold, bad child, but it 
was exciting. When I went to the Domin- 
ican College later on, I did not have 
beaux as the other girls did. There was 
one lad who followed me around for the 
two years. He told me at last that he 
had never once dared to speak to me 
because I looked as though I would bite 
his head off if he did. I always said 'yes' 
and 'no,' like that, shortly and abruptly. 

"But there were two sides to me," said 
Maureen, "and the other side of me loved 
moonhght and quietness and music and 
fairies and no one speaking and beautiful 
paintings and dark green trees. My 
mother used to give what she called her 
Musical Evenings. I loved those more 
than I ever found a way to say. We chil 
dren would be put to bed, but I would 
not sleep. I would creep down the stair? 
and sit on a prickly mat outside the door, 
hstening to my mother sing, listening tq 
the music they played. 

"I am still like that. And I still know 
what I want, what I hke and what I don't 
hke. Black is black for me, and white is 
white. I never stand on middle ground 
I don't like parties and I don't hke night 
clubs. I don't drink and I don't smoke. 
I like my radio and I like my own fire 
side. I like one or two close friends, only 
one or two, and I like to keep them all 
the time. I don't care what people say 
about me. I only care what I can say 
about myself, to myself. I don't hke 
pretense. I would not hide the fact that 
I am married, for instance. If ever I 
should have children, I would not hide 
my children. If Hollywood should say 
to me: 'Do not say this, it will kill youi 
glamour,' I would announce to my fans: 
'Write and let me know.' I do not like 
to fool with the truth." 

Maureen thought, always, in terms of 
the theatre, the stage, the Shakespearean 
stage, if you please. She did think, she 
says, that she would "end up" in pictures. 
But she did not think she would begin 
her career in pictures; she did not think 
that what has happened to her would 
happen to her for some six years to come 
She played theatre ever since she can 
remember. She helped her younger broth 
ers and sisters to walk and talk before, 
they were really big enough to walk and 
talk, because she wanted them to appear 
in the backyard dramas she put on for 
the spalpeens of the neighborhood. 

She had hardly started to school when 
she was cast in a school playlet. After 
that, not even a banshee could have 
screamed her off a stage. 

Maureen loves excitement. The word 
"exciting" occurs and reoccurs as she 
talks. But not the kind of excitement 
you can buy . . . the kind of excitement 
that is in the blood, in stirring drearns 

Her love of the theatre, she says, she 
inherits from her mother. For Rita Fitz 
Simons {"she is the most beautifid woman 
in the world," her beautiful daughter says, 
"she is the most beautiful in our family 
by far and away") was an opera singer 
and Maureen must have inherited some 
of her sovereign spirit, her plenitude oi| 
power from her mother, too, for besides 
being an opera singer, Maureen's mothef| 
managed to win a number of dramatil 
contests with one hand while raising siil 
hvely dramatic youngsters with the other* 
and also became a member of the Abbey 
Players, Ireland's famed national theatre] 

"My mother," explains Maureen, "took 
charge of the theatrical side of me, ypU' 

Silver Screen for March 1940 


might say, and my father took care of 
the sports, the wrestling and boxing and 
football. I went to private schools when 
I was very little and then I attended the 
Dominican College and Burke's famous 
School of Elocution. I won an associate- 
ship at Burke's and also the college Medal 
of the Year. We have all the medals in 
Ireland, we O'Haras," laughed our Miss 
O'Hara, "we always entered the Feisiane, 
which is the Gaelic word meaning Festi- 
val. Everyone enters, in Ireland, the con- 
testants being from the age of one to 
one hundred. Everybody sings and dances 
and the O'Haras, all of them, sing and 
dance, too. And the medals we have, the 
lot of us!" 

So, now it goes swiftly, the life of 
young Maureen O'Hara. When she was 
twelve she was taking parts in radio 
broadcasts originating in Dublin. When 
she was fourteen she was a member of 
the Abbey Players. And a member in very 
good standing, it's said. She was seven- 
teen and a half when, at a party following 
an Abbey Theatre presentation, she met 
Harry Richman who urged her mother 
to take her to London for a screen test. 

"I thought it was the American blar- 
ney," said Maureen, "but when next we 
went to London, mommie and daddy and 
I, I made a test for a London producer. 
It was not a nice test of me. Father 
said 'No' to that and told us to pack 
up and we would go home. We were 
all packed and just ready to catch the 
boat for Ireland when the phone rang. 
It was the studio calling again. Mr. 
Laughton had seen my test, I was told, 
yes, Mr. Charles Laughton, and he be- 
lieved that my 'possibilities had not been 
photographed' and would I be so kind as 
to make another test for him? I made 
the test and we caught our boat for home 
and I started on a hoHday. It was the 
Christmas hohday of 1937. I went tour- 
ing around the country in an old pair 
of slacks and no shoes. I go barefoot 
whenever I can because I like the feel 
of it. I was not thinking much about the 
test. I didn't care very much. I was not 
film struck. I had never been a movie 
fan. I saw just about three pictures a 
year. They were Laughton pictures and 
Laurel and Hardys. The day after I 
started on my hohday I had the wire 
from Mr. Laughton. He asked me to re- 
turn to London. He offered me a seven 
year contract! 

"I went back to London and we signed 
the contract. No, I was not nervous when 
I met him. I have never been nervous 
in my hfe, not of anyone or anything 
have I ever been nervous. I do not have 
any nerves, I suppose. And so I do not 
-have any fears. I did not get the swollen 
head, either, because so great an actor 
had sent for me. You can't get a swollen 
head when you are brought up in a fam- 
ily of six. I just talked with Mr. Laughton 
about plays and the Abbey and paintings 
and books, and the contract was signed." 

It was not until January of 1938, how- 
ever, that Maureen started to work in 
Jamaica Inn, playing the part of Mary 
Yellan, as you doubtless know, and more 
than confirming Mr. Laughton's snap-the- 
whip judgment. During the months be- 
tween the signing of the contract and the 
beginning of Jamaica Inn, Maureen stud- 
ied dancing and diction and voice, read 
(^Continued on Page 82) 

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Silver Screen for March 1940 


THE ^^ctiMduticn 



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Will Norma Marry George? 

[Continued from page 39] 

really cared, and plenty, whether he came 
back or not. 

It had been announced in the columns 
in the evening papers that Claudette Col- 
bert and George Raft were both leaving 
{but not together, oh my no) for New 
York that evening, and the station was 
filled with photographers. But so secre- 
tive was Norma's "goodbye" to George 
that not one of the flash-hght boys caught 
a picture of them together. They didn't 
even know Norma was there! Well, I 
must admit I had been a bit wary before, 
but after that I had a feehng that this 
romance was strictly on the level. Neither 
of them wanted it publicized. And when 
movie stars don't want their romances 
publicized that means it's the real Mc- 
Coy. And besides — a star doesn't put 
herself out to drive all that weary dis- 
tance from Santa Monica to Pasadena, 
and back, just to see a casual friend 
depart on the Chief. 

If you ask me, and no one has, I 
think that Norma and George are sin- 
cerely in love with each other. And I 
think that when George arranges a settle- 
ment with his wife, from whom he was 
separated long before he even became a 
success in Hollywood, Norma and he will 

A loud chorus of "no, Norma would 
never do that," from tradition-loving 

But I say to hell with tradition ! 

I have known Norma for a long time. 
Not intimately. But I know her rather 
well. I have never discussed it with her, 
but I have gotten the idea these last few 
years that she is awfully bored with be- 
ing "the first lady of the screen" and "the 
first lady of Hollywood." Really now, 
can you think of anything more dreary? 
Those titles put Norma in the same un- 
enviable spot as a "first lady of the land." 
Poor Mrs. Roosevelt gets criticized 
plenty because she doesn't live up to the 
tradition of being a first lady. And so 
will poor Miss Shearer, when she actu- 
ally kicks over the traces. 

Perhaps, some years ago when she was 
an up and coming movie star, when she 
married the late Irving Thalberg, whose 
genius as a producer has never been 
equalled, perhaps Norma then did get 
a great kick out of being "the first lady." 
She had had a hard struggle in New 
York. She knew all about cooking coffee 
over a gas jet and trying to get snatches 
of sleep between the roar of elevated 
trains. She knew the agony of hoping, 
hoping, hoping that the next agency 
wold have a job for her. There had been 
rebuffs, lots of them. 

Norma had played the game the hard 
way, and won, the more credit to her. 
So, naturally, she enjoyed all the more 
the honor, the encomium, the glory, the 
deference paid a "first lady." Not to 
mention the hand-kissing, the boot-lick- 
ing, and the bowing and scraping. It was 
fun, for awhile. But queens get bored 
with being queens, and Norma got bored 
with being the "first lady." And if you 
only knew the stuffed shirts she had to 
put up with you certainly wouldn't blame 

her very much. 

It was four years ago, I believe, that 
Norma popped a question at me one day 
that led me to believe that she was 
rather fed up with this "first lady" bus! 
ness. "Why is it," she asked me, anc 
petulantly too, "why is it that you, othei' 
writers, the people at the studio, all call 
me Miss Shearer? You call Joan Craw- 
ford Joanie, you call Myrna Loy Myrna, 
you call Rosa'ind Russell Roz, but me— 
I'm always Miss Shearer. You'd think 1 
was a million years old. Everybody oii 
my set, even the script boy, calls me 
Miss Shearer. I don't understand it."" 1 
explained to her that as the first lady 
of the screen, and the wife of the Boss; 
she didn't stand much chance of being 
called by her first name, much less a 
nickname — at least to her face. 

Norma is a very friendly person. She 
likes to have people like her. She is very 
sensitive, and when she finds a person 
who is in awe of her she immediately as 
sumes that the person doesn't like her 
and worries about it. Respect is a fine 
thing, but I think Norma would throw 
it over in a minute in exchange for a 
good batch of comraderie. 

When she isn't busy being a "first 
lady," and believe me, she is less and 
less busy being a "first lady," Norma is 
one of the most gloriously down-to-earth 
people you'll ever meet. And a hell of a 
lot of fun. She likes to giggle, she hkes 
to stand on her head, she Hkes to say 
silly speeches with silly gestures, and talk 
about doing mad, crazy things — which 
of course, she never does. "I would like 
to go," she says v/istfully, when she sees 
a group of people starting off for a mad- 
cap evening, not at the best places, "but 
I guess I better not." Toujours the lady. 
{However, Mr. Raft is changing that. 
While in New York, Norma went tc 
Coney Island with George, ate hot dogs 
with mustard, and big drippy ice cream 
cones. She even went for a ride with him 
in the Old Mill. Un-uh.) 

The Shearer-Raft romance, which has 
had Hollywood so a-gog, started in New 
York last summer when Norma was on 
her way to Europe with the Boyers. Nor- 
ma and George had met in Hollywood, 
"casually," as Norma expresses it. In New 
York George phoned Charles Boyer, a 
friend of his, and asked what he was 
doing that night. "I'm going over to the 
Fair with my wife and Norma Shearer," 
said Boyer cordially, "want to come 

"Sure," said George. The Fair wasn't 
hard to take. Neither was Norma. In 
fact, so intrigued was George that when 
Norma and the Boyers sailed for France 
George was right there on the same boat. 
When Norma returned to Hollywood la,st 
Fall, George sent roses, and called her up. 
Ever since they've been dining togethefj 
dancing together, and seeing pictures to- 
gether. Norma likes to get out all the old 
pictures George made years ago and run 
them in her private projection room. 

George is really a swell guy. He has 
more real friends in Hollywood than any 
other actor. Every employee at the 


Silver Screen for March 1940 


Mother Knew Best ! 

[Continued from page 45] 

Edna Best introduces Baby Bobby 
Quillan to Snow White, one of the 
doves in "Swiss Family Robinson." 

studios where George has worked can 
tell you something grand that George 
did for them, or for some one who needed 
help. The fact that he still speaks Broad- 
wayese, still knows the same mob, and 
is still passionately interested in baseball 
and prizefights, despite his being a top- 
flight screen star, is al