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SCANNED  FROM  THE  COLLECTIONS  OF 

PFA  Library  and  Film  Study  Center, 

University  of  California,  Berkeley  Art  Museum  &  Pacific  Film  Archiv 

bampfa.berkeley.edu 


Digitized  by  tine  Internet  Arciiive 
in  2009  witii  funding  from 

Media  History  Digital 

Library 

www.mediahistoryproject.org 


Funded  by  an  anonymous  donation 
in  memory  of  Carolyn  Ilauer 


littp://www.arcliive.org/details/pliotoplay3334movi 


JANUARY 

25  Cents 


The  National 

(^uide  to 

SMotion  Pictures 


^^ 


H 


■f 


^^^i 


\^inners/*5,000.00 

Jut-Puzzle  Content 

Jn  this  Jssue 


Eleanor- 
^oardman 


J0  l^ars  Hence 

What  Will  The 
Screen  Stars  Be  Doins^ 


GKKTA  GJIRBO 

THE  DTV^INE  WOMAN 


The  M:?G^M 

"Look,  See  and  Remember" 

Contest 

Win  Norma  Shearer's 

$50.00  This  Month! 

IF  you  don't  think  the  millions  of 
eyes  out  there  in  the  darkened  house 
see  things,  you  ought  to  read  our  mail 
here  in  the  M-G-M  Studios.  If  our 
stage  director  uses  a  new  kind  of 
telephone  cover,  appearing  for  only  a 
few  feet  of  film;  some  woman  will 
write  in  to  find  out  where  she  can  get 
one.  If  our  costume  director  creates  a 
new  negligee,  a  dozen  women  will 
write  in  and  ask  where  it  may  be  ob- 
tained. Indeed  there  are  seeing  and  re- 
membering eyes  out  there  in  the  seats. 
Come  now,  you  folks  who  see  below 
the  surface,  and  have  a  try  at  an- 
swering these  questions.  To  the  writer 
of  the  best  set  of  answers  from  a 
woman  I  will  send  a  check  for  $50.00 
and  the  tiara  head-dress  worn  by 
Greta  Garbo  in  "The  Divine  Woman." 
To  the  writer  of  the  best  set  of  answers 
from  a  man  I  will  send  a  check  for 
$50.00  and  the  beret  cap  worn  by 
Lars  Hanson  in  the  same  picture. 
To  the  writers  of  the  fifty  next  best 
answers,  whether  from  men  or  women, 
I  will  send  an  autographed  copy  of 
my  latest  photograph. 

Yours  sincerely, 
NORMA  SHEARER    . . 


THE  flaming  star  of  the  North! 

SOON  she  will  appear 

IN  a  brilliant,  new  screen  play. 

MORE   exciting  than  "Ibanez'  Torrent." 

MORE  seductive  than  "The  Temptress." 

MORE  romantic  than  even 

"FLESH  and  the  Devil" 

GRETA  Garbo  is  indeed 

"THE  Divine  Woman." 

GRETA  GARBO  in  "The  Divine  Woman" 
LARS  HANSON  anrLoWELL  SHERMAN 
Adapted    by  Dorothy   Farnum    from    Gladys 

Unger's  play,  "Starlight" 

A    VICTOR    SEASTROM    PRODUCTION 

Directed  by  Victor  Seastrom 

METRO 

'wyn 

MAYER 

"More  stars  than  there  are  in  Heaven" 


§oiai 


Norma's  Five  Questions 

1  Which    do     you     consider    Greta 
Garbo's  greatest  M-G-M  picture  to 
date,  and  why? 
(Please  answer  in  not  over  150  words.) 

2  Give  book  title  and  author's  name 
which  furnish  the  theme  for  the 
forthcoming  M-G-M  picture,  "Love," 
with  John  Gilbert  and  Greta  Garbo. 

3  What  member  of  a  famous  stage 
family  appears  in  M-G-M's  "The 
Thirteenth  Hour"? 

4  Name  the  M-G-M  stars  whose 
names  are  commonly  associated 
with  these  slogans:  "The  Smart 
Aleck,"  "The  Prince  of  Romance," 
"The  Man  of  1000  Faces." 

5  Name  four  pictures  in  the  produc- 
tion of  which  M-G-M  has  received 
cooperation  of  the  U.  S.  Government. 

Write  your  answers  o 
of  paper  and  mail  to 
way.  New  York.  All 
by  January  I5th.  Wi 
lished  in  later  issue  o 
Note:  If  you  do  not 


Winners  of  "The  Big  Parade"  Contest 

of  October 

WILLIAM  H.  DILLARD 

U.S.  Coast  Guard  Cutter  Tallapoosa 

Mobile,  Alabama 

ELIZABETH  COLLIER 

Wills  Point,  Texas 

Jiitoiraphed  pictures  have  been  sent  to  the  nex, 

50 1-        ■ 


Photoplay  Magazine — Advertising  Section 


FIVE  minutes'  check-up  with  any 
authority — your  own  dentist,  for  ex- 
ample— will  quickly  convince  you  that 
there's  little  mystery  about  troubles  of 
the  gums. 

For  your  dentist  will  make  clear  to  you 
that  it's  a  simple  case  of  cause  and  efFeCT.  He 
will  explain  to  you  how  the  lack  of  rough- 
age and  fibre  in  our  food  lulls  our  gums  into 
a  sluggish  inertia — how  it  lowers  their  vital- 
ity and  impairs  their  health— and  he  will 
show  you,  too,  how  its  effects  may  be  offset 
by  a  simple  method  of  daily  care  which  takes 
little  if  any  more  time  than  you  now  spend 
in  brushing  your  teeth! 

WHY  MODERN  FOOD  IS  SO  BAD 
FOR  OUR  GUMS 

To  remain  in  health  the  gums,  like  all  living 
tissue,  need  work  and  exercise.  Nature 
planned  that  they  should  receive  stimulation 
from  the  chewing  of  coarse  food,  to  encour- 
age a  free  circulation  of  rich,  fresh  blood 
through  their  walls. 

But  we  have  thwarted  that  plan  of  nature's! 
For  we  demand  only  soft,  rich  foods  —  deli- 
cately prepared— daintily  served.    Roughage 


Lyorit  let  your 

gums  sleep  x\\t\x 

health  away! 


Modern  soft  food  makes  gums 
dormant  and  flabby— Ipana 
and  massage  restore  their 
vigor  and  their  health  .  .  . 


in  our  food  would  only  make  us  grumble  at 
the  cook.  So  our  gums  are  robbed  of  activity 
by  the  refinement  of  our  diet  —  deprived  of 
the  invigorating  friaion  they  need.  Year 
after  year,  they  lead  an  artificial  life  of  ease — 
year  after  year,  they  'sleep'  their  health  away! 

HOW  IPANA  AND  MASSAGE  BUILD 
FIRM,  HEALTHY  GUMS 

Small  wonder  that  gums  soften,  weaken  and 
lose  their  tone— that  "pink  tooth  brush" 
appears,  with  its  unmistakable  warning  that 
the  troubles  which  could  have  been  prevented 
may  be  close  at  hand. 

Fortunately  the  dental  profession  offers  a 
remedy  for  this  difficulty— a  remedy  both 
simple  in  its  performance  and  effective  in 
its  results.  They  tell  us  to  massage  our  gums 
— to  rub  them,  gently,  either  with  the  brush 
while  brushing  the  teeth,  or  with  the  finger- 
tips after  each  brushing. 

And  thousands  of  dentists  ask  their  pa- 


tients to  use  Ipana  Tooth  Paste  for 
both  massage  and  ordinary  brushing. 
By  its  use,  they  say,  we  can  more  quickly 
rouse  the  laggard  circulation  of  the 
gums  to  the  healthful  activity  that 
offsets  the  ill  effeas  of  our  diet. 

For  Ipana  is  specifically  compounded  to 
stimulate  the  gums  while  it  cleans  the  teeth. 
It  contains  ziratol,  an  antiseptic  and  hemo- 
static of  well-known  efficacy  in  the  toning  and 
strengthening  of  weak,  undernourished  gum 
tissue. 

You  will  keenly  enjoy  Ipana's  clean  taste 

and  delicious  flavor.  And  you  will  marvel  at 

its  power  to  cleanse  and  whiten  your  teeth. 

The  ten-day  sample  the  coupon  brings  will 

quickly  prove  these  things. 

MAKE  A  30-DAY  TRIAL  OF  IPANA 

But  a  full-size  tube  from  the  nearest  drug  store 
makes  a  better  test,  for  it  lasts  more  than  a 
month  —  long  enough  to  show  Ipana's  good 
effects  on  your  gums.  So  give  Ipana  the  full- 
tube  trial  it  deserves  and  see  if  you,  too,  do 
not  find  that  it  answers  your  quest  for  a  tooth 
paste  you  can  tie  to  for  life! 


IPANA  Tooth  Paste 

MADE  BY  THE  MAKERS  OF  SAL  HEPATICA 


^ 


When  you  write 


O  "^C^^B^  BRISTOL-MYERS  CO..  Dept.  1 18,  73  West  Street,  New  York  City 
C  ^  O  '      'giilHHi^l  ^  Kindly  send  me  a  trial  tube  of  IPANA.  Enclosed  is  a  two- 

3  Z  O  I  |l        ~7^^f'\.  ""'  stamp  to  cover  partly  the  cost  of  packing  and  mailing. 

^  ■    \       Name 

''  .'^^M^^cs^Znk^r  Address 

/  City Slate 

clvertisers  please  mention  PHOTOPLAT  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Stars     of    a    new    world 

Gone  are  the  days!  Gone  are  the  days  when  the  sweet,  simpering  doll-faced 
heroine  ruled  the  world  of  shadows !  Gone  are  the  days  of  too-heroic 
heroes,  of  bushv-bro wed  "heavies"  and  their  deep,dai-k  villainies.       jk^ 
new  world!  A  new  public,  impatient  of  the  old,  eager        ^ 


for  the  new,  is  demanding  new  screen  personalities  at-         ^^r    *e^  M 
tuned  to  these  changing  times.   And  Paramount 
them!  Here  they  are,  all  your  favorites, 
ited  in  one  common  cause 
keeping  the  name  Paramount 
supreme  in  motion  pic 


In 
next  picture, 
.      Clara  Bom  shoMS 

tures  as  it  has  been        /  vou  how  to 'Get!  our 

Man".  Adolphe  Menj 
plays  the  part  of  a 
gling  >  iolin- 
in  '■  Sere- 


PARAMOUNT  FAMOUS  LASKY  CORP.,  Adolph  Zukor,  Pres.,  Paramount  Bldg.  N.  Y. 


Evcrr  aJvcitlscttcnt  In  rnoTOPLAT  JIAGAZIXE  Is  t 


FREDERICK  JAMES   SMITH 


The  World's   Leading   Motion   Picture   Publication 

PHOTOPIAY 

For 

January 

1928 


Contents 


Vol.  XXXIII 


James  R.  Quirk 


No.  2 


"IR    AND   PUBLI 


The  Hip-h-Lights  of  This  Issue 


Cover  Design 

Eleanor  Boardman- 


Charles  Sheldon 
-Painted  from  Life 

As  We  Go  to  Press  6 

Latest  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures  8 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  12 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

When  Rudy  Was  a  Boy 

Hiram  Kelly  Moderwell    29 

A  Trip   to  Valentino's   Childhood   Playground  in 
Italy 

The  Man  Who  Fought  Alone 

Frederic  H.  Schader    30 

Bill  Farnum's  Battle  for  Health  and  Return  to  Films 

What  Killed  Francis  X.Bushman?    Ruth  Biery    34 

He  Blames  Marriage  for  "Murder"  of  Career 

The  True  Life  Story  of  Lon  Chaney 

Ruth  Waterbury    36 
More  Glimpses  of  the   "Man    with   a    Thousand 
Faces" 

Making  a  Million  Tom  Mix    38 

Dollars — Tom  Has  the  Friends 

Winners  of  $5,000  Contest 

Awards  to  Cut  Picture  Puzzle  Fans 

Ten  Years  Hence  Alma  Whitaker 

What  the  Stars  Want  to  Be 


40 


42 


Gossip  of  All  the  Studios  Cal  York     44 

What  the  Film  Folks  Are  Doing  and  Saying 

Intimate  Visits  to  the  Homes  of  Famous  Film 
Magnates  Terry  Ramsaye     48 

Martin  Johnson— a  Big  Game  Hunter  with  a  Camera 

The  Shadow  Stage  52 

Reviews  of  Newest  Pictures 

Are  You  Giving  a  Holiday  Party?  58 

Photoplay's  Cook  Book  Will  Help  You 

Always  a  Tree  (Fiction  Story) 

Margaret  Sangster    64 

A  Christmas  Story  that  Will  Awaken  the  Yuletide 
Feeling  in  Your  Heart 

Amateur  Movies  Frederick  James  Smith     67 

Last  Call  for  Prize  Winning  Films 

What  Does  Acting  Do  to  the  Actor? 

Dr.  Louis  E.  Bisch     68 

As  Fsycho-Analysis  Reveals  It 

Personal  and  Household  Scrap  Knick-Knacks 

Lois  Shirley     70 
How  the  Studios  Put  the  Final  Touch  on  Home 
Furnishings 

Who's  Who  in  the  Hollywood  Social  Swim 

de  Bru     74 
Told  in  Pen  and  Ink  by  the  Famous  Spanish  Artist 

Shop  Through  Photoplay  78 

Helps  to  Complete  or  Replenish  Your  Wardrobe 

Questions  and  Answers  The  Answer  Man    82 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays  124 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


A  complete  list  of  all  photoplays  reviewed   in  the   Shadow   Stage  this  issue   will  be  found  on  page  10 


Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  III. 

Th5  International  News  Company.  Ltd..  Distributine  Aeents.  3  Bream's  Buildine.  London.  Ensland 

James  R.  Quirk,  President       Robert  M.  Eastman.  Vice-President  and  Treasurer       Kathryn  Dougherty.  Secretary  and  Assistant  Treasurer 
Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba:  $3.00  Canada:  $3.50  to  foreign  countries.   Remittances 


should  be  made  by  check,  or  postal  or  express  money  order.    Caution— Do  not  subscribe  through  persons  unknown  t 

Entered  as  second-class  matter  April  24.  1913.  at  the  Postoffice  at  Chicazo.  IlL.  under  the  Act  of  March  3.  1379. 
CopyriBht.  1927.  by  the  PHOTOPLAY  PUBLISHING  COMPANY,  Chtcago. 


p  you. 


^s  we  go^/b  Dress 


/; 


Js>ast  Jdinute  Jyews" 
TowL  Gas't  ^  West 


N 


OAH  BEERYhas  left  Famous  Players-  "D  EPORTS  of  a  split  between  Gilda  Gray  TJOLLYWOOD  anticipates  an  engage 
Lasky.  He  believes  he  will  have  -C^and  her  husband,  Gil  Boag,  are  denied,  -^^ment  announcement  frnm  Flnrpnn 
opportunities  for  more   varied   roles 

CONSTANCE    TALMADGE    has    com- 
pleted her  First  National  contract  and  no 
new  connection  has  been  announced  as  yet. 


by  free  lancing. 


Vidor  and  Jascha  Heifetz, 


from    Florence 
the  violinist. 


BUSTER  COLLIER  and  Dorothy  Mc- 
Carthy aren't  married — yet.  Buster  is 
back  on  the  coast,  playing  in  "The  Lion 
and  the  Mouse." 

OLIVE  BORDEN  has  left  the  WUliam 
Fox  forces,  following  the  completion  of 
her  contract.  Ohve  was  getting  $1,500 
and  wanted  more. 

POLA  NEGRI  and  Famous  Players  are 
reported  at  odds.  It  is  said  that  Miss 
Negri  may  not  be  re-signed  for  Paramount 
pictures.  Miss  Negri,  it  is  whispered,  will 
finish  her  contract  in  May  and  the  ar- 
rangement will  not  be  renewed.  Mean- 
while, four  of  her  pictures  will  be  com- 
pleted and  these  will  carry  to  September. 

IRENE  RICH  is  completing  her  War- 
ner Brothers  starring  contract. 

GARY  COOPER  and  Fay  Wray  are 
considered  ideal  team  material  at 
Famous  Players.  They  are  to  be  co- 
starred  in  several  films. 

■pvIRECTOR  Monta  Bell  has  sailed 
-'--'for  Europe. 

P  HARLIE  RAY  is  in  New  York  and  is 
^^  planning  to  invade  the  speaking 
stage. 

TTNIVERSAL  has  renewed  its  op- 
*— '  lions  on  the  services  of  Reginald 
Denny  and  Mary  Philbin,  the  former 
for  six  months,  the  latter  one  year. 

JASON  ROBARDS  and  Hope  Maine 
Robards  are  divorced.     They  were 
married  in  1914. 

CLAIRE  WINDSOR  has  been  signed 
by  Tiffaay-Stahl  Productions. 

■pUSTER  KEATON  tried  a  personal 
■•-'appearance  tour  of  prominent 
picture  houses  but  quit  in  his  second 
week  at  a  Pittsburgh  theater.  He  was 
doing  a  Salome  burlesque  which  proved 
too  strenuous. 


rULIA  FAYE  has  saUed  for 
I  vacation  in  Europe. 


MAURITZ  STILLER,  the  Swedish  direc- 
tor,   is   leaving    Paramount   to    spend 
three  months  abroad. 


SAMUEL   GOLDWYN  borrows  Virginia 
Bradford  from  Cecil  B.  De  Mille.     She 
will    play    in     "Leatherface,"     supporting 
two  months     Vilma  Banky  and  Ronald  Colman. 


YOU  will  see  Gary  Cooper  in  full  dress 
in  "Doomsday,"  opposite  Florence 
Vidor.  He  is  deserting  definitely  cowboy 
chaps. 


DIRECTOR    Tod    Browning 
Metro-Goldwyn-Mayer. 


is  leaving  TRVING  THALBERG  and  Norma  Shearer 
-'-postpone  their  honeymoon  trip  to  Europe. 
Norma  is  to  do  one  more  film  before  starting. 

THE  daughter  of  Mrs.  Emil  Jannings, 
Ruth  Maria,  fifteen  years  old  and  now 
in  school  in  Germany,  is  coming  to  Holly- 
wood to  go  into  pictures.  Ruth  Maria  is 
Emil's  step-daughter. 

GRETA  GARBO  is  to  get  John 
Colton's  story  of  the  South  Seas, 
"Heat,"  originally  announced  for 
Lillian  Gish.  And  Clarence  Brown  is  to 
direct  her. 


■New  York  and  selecting  costumes 
for  her  next  film,  "Her  Cardboard 
Lover." 

"DEPORTED  that  Gloria  Swanson 
■'^may  return  to  Cecil  B.  De  Mille' s 
direction.  It  is  said  that  the  arrange- 
ment between  Miss  Swanson  and 
United  Artists  may  not  be  renewed. 

and  Mrs.  Jack  Warner  ex- 
^pect  to  sail  for  Europe  early  in 
January.  By  that  time  it  is  expected 
all  the  best  players  and  directors  in 
that  organization  will  be  working  else- 
where. 


Mt. 


Fannie   Ward,    the   perennial    flapper,    has 

returned  from  several  months  in  Europe. 

Photoplay    caught    her    picture    on    tlv- 

S.S.  Leviathan 


MONTE  BLUE  will  soon  be  appear- 
ing on  a  new  lot,  due  to  the  closed 


MAY  McAVOY  and  Dolores  Cos- 
tello,  too,  will  be  emoting  on  new 


'■mise  of  a  divorce  from  Kenneth 
Harlan  in  the  Los  Angeles  courts. 


Photoplay  Magazine — Advertising  Section 


> 


Wf.  J^OMANCE 
ROttS  mtY  HAY 

You  Can  Make  It  Yours,  Also 


To  you  who  know  the  singularly  vivid  Rod  LaRocqtie — 
The  winsomeness   of   the   lovely    Leatrice  Joy — 
The  orchid-like  Jetta  Goudal— 
The  brave  masculinity  of  William  Boyd- 
The  lithe  and  alluring  Vera  Reynolds — 
The  blonde  beauty  of  Phyllis  Haver— 
The  perfect  poise  of  the  ultra-modern  Marie  Prevost — 
They,  the  stars  that  shine  in  the  PATHE-DeMILLE 
features,  are  more  than  names.     They  are  your  highly 
valued  friends,  bringing  the  romance  of  their  roles  into 
your  life.     Laughter  and  tears,  thrills  and  heart   throbs — under 
the  supervision  of  Cecil  B.  DeMille,  the  man  who  has  personally 
directed    fifty    great    pictures    without    one    failure,    they    have 
been  magically  invoked  to  make  you  happier! 

You    May  See  Now 

ROD   I.AROCQI  E  LEATRICE     JOY  JETTA     GOl  DAI. 

,„  In  ill 

"Thr   Forbidden 


■Tlie  Ficliti 

Donal.l    Cns] 


Easle 


••The    Ansel    »f 
Broiidwiiy" 

ois  Weber.   Uirecto 


Paul    Ste 


lUARIE  PREVOST  IVILLIAM    UO\I>  VERA    REYNOLDS 


"On   To    Renn.' 

mes    Tnize.     D.rec 


"Dress    Parade 

Donald   Cnsp.    Dire, 


'•The    Main    Event" 

Vm.   K     Howard.  Directoi 


Watch  For 

"ChleaRO,"  with  Phyllis  Haver  and  Y'ietor  Varoonlj  William  Boyd 
in  "The  Night  Flyer";  Leatriee  Joy  in  "The  Blue  Danuhe"!  Marie 
Prevost  in  ".A  Bloude  For  n  Xight";  and  many  others  you'll  want 
1  to    see. 


)> 


V^     PA  THE  EXCHANGE,  ine 

11  IH-    Mille    Studio    Pictures— Vathe    News— Pathe    W 

''^^^^__^  Patheserials — Pathecomedies 

WILLIAM     BOYD  ^.UUAMH.VOCEUCn.,.,  «....., 

\Mien  j.)U  ivrile  to  advertisers  please  mention  PHOTOPI..VY  JI.VGAZIXE. 


ROD  LA  ROCaUE 


Brief  Reviews  of 


Hnddcatzs  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


Current  Pictures 


ADAM  AND  EVIL— Metro-Goldwyn-Mayer.— 
Clever  and  amusing,  witli  a  smooth  performance  by 
Aileen  Pringle  and  Lew  Cody  in  a  dual  role.  What 
could  be  sweeter?     (September.) 

AFTER  MIDNIGHT— Metro-Gold\vj-n-Mayer.— 
In  spite  of  its  modern  veneer,  just  the  story  of  the 
good  girl  who  never  slips  from  the  straight  and  narrow 
path.    Not  worthy  of  Norma  Shearer.     (October.) 

ALIAS  THE  DEACON— Universal.— A  good 
show,  thanks  to  Jean  Hersholt  who  plays  a  psalm- 
singing  card  sharp  \vith  fine  gusto.  See  it  and  enjoy 
yourself.     (September.) 

AMERICAN  BEAUTY— First  National.— Billie 
Dove  has  her  fling  at  playing  a  modern  Cinderella. 
Krothy  but  nice.     (December.) 

ANGEL  OF  BROADWAY,  THE  —  Pathe  -  De 
Mille. — In  which  a  Night  Club  hostess  joins  the  Sal- 
vation .-^rmy  to  look  for  drama.  She  finds  it.  You'll 
like  Leatrice  Joy  and  Victor  Varconi.   (November.) 

♦ANNIE  LAURIE-Metro-Gold^vyn-Mayer.-If  you 
like  your  Scotch  straight,  here's  your  story.  Lillian 
Gish  shows  unsuspected  comedy  talents,  but  it  is 
Norman  Kerry  who  runs  away  with  the  picture.  (July.) 

*BABE  COMES  HOME— First  National.— Not 
much  of  a  comedy,  but  an  ingenuous  and  amusing 
performance  by  Babe  Ruth  helps  it  over.  You'll 
like  the  Babe.     (July.) 

BACK  STAGE— Tiffany.— Social  research  into 
the  lives  of  dancing  girls.  It  will  excite  only  the  very 
naive.     (November.) 

BACK  TO  GOD'S  COUNTRY— Universal.— 
Written  by  James  Oliver  Curwood  and  set  in  a  beauti- 
ful background.  .Mso  splendidly  played  by  Renee 
Adoree  and  a  fine  cast.  '  (September.) 

BARRED  WIRE — Paramount. — The  romance  of 
a  l-'rt  nch  peasant  Kirl  and  a  German  prisoner  of  war. 
A  sincere  storj-  of  the  war,  enacted  bv  Pola  Negri, 
Clive  Brook  and  Einar  Hansen.     (September.) 

BEAUTY  PARLOR,  THE— FBO  — A  swell 
series  of  two  reelers,  adapted  from  H.  C.  Witwir's 
stories.     Worth  your  steady  patronage.    (September.) 

BIRDS  OF  PREY— Columbia.— Priscilla  Dean 
goes  in  for  a  little  ladylike  banditry.  The  results 
aren't  thrilling.     (December.) 

BITTER  APPLES— Warner  Bros.— Bitter  apple- 
sauce. An  uninteresting  dish,  with  Monte  Blue  as 
the  hard-lx)iled  hero.     (July.) 

BLONDES  BY  CHOICE— Gotham.— The  ad- 
venturis  of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  sex  but  no 
aprKral."     Not  bad,  Mortimer!     (December.) 

BLOOD  SHIP,  THE— Columbia.— Mutiny, 


BODY  AND  SOUL— Mctro-Goldwyn-Mayer.— 
Should  a  surgeon  kill  his  wife's  boy  friend?  Even  the 
acting  of  Aileen  Pringle,  Lionel  Barrymore  and  Nor- 
man Kerry  can't  enliven  this  cheery  little  problem. 


BOY  RIDER,  THE-FBO.-The  exploits  of  one 
Buzz  Barton,  a  freckle-faced  kid  who  can  ride  a  lio=s. 
For  the  less  critical  of  the  younger  generation 
(November.) 

BREAKFAST  AND  SUNRISE— First  National  - 
Lively  little  French  farce  about  one  of  those  trick 
mamaKes.     Deftly  played  by  Constance  Talmadge. 
'     ""        "'        (December.) 


BROADWAY     KID,     THE— Wai 

George  Jcssel  comed\'  that  looks  like  : 

old  gags.     .A.  good  performance  by  .-Audrey  Ferris,  a 

newcomer.     (October.) 

BROADWAY  MADNESS— Excellent.— Proving 
that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  wliiff  of  country  air.    (December.) 

BROADWAY  NIGHTS— First  National.— Do- 
mestic and  professional  trials  of  a  couple  of  Broadway 
hoofers.  Not  as  hot  as  the  title,  but  Lois  Wilson 
gives  a  good  account  of  herself.     (July.) 


BUSH  LEAGUER,  THE— Warner  Bros.- Monte 
Blue  makes  the  big  team  and  wins  the  love  of  the 
owner's  daughter.    Need  we  say  more?    (November.) 

*BUTTONS— Metro-Gold  wyn-Mayer.— A  sea  story, 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  by  Jackie. 
For  the  whole  family.      (December.) 


Pictures   You 
Should  Not  Miss 

"Tte  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Resurrection" 

"Chang" 

"Love" 

"The  Way  of  All  Flesh" 

"Quality  Street" 

"Underworld" 

"The  Patent  Leather  Kid" 

"The  Crowd" 

"My  Best  Girl" 

.\s  a  service  to  its  readers,  PnoTO- 
PLAY  jNIag.^zine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  PtiOTOPLAY  in  which  the  original 
review  appeared. 


The  children  will  prefer  Tom  Mi: 


CALLAHANS  AND  THE  MURPHYS,  THE— 

Metro-Goldwyn-Mayer. — Polly  Moran  and  Marie 
Dr.  ssler  are  a  panic  in  this  slapstick  story  of  life  as 
it  is  supposed  to  be  led  among  the  Irish.  (.September.) 


*CAPTAIN  SALVATION— Metro-Goldwyn- 
Mayer. — .\  dramatic  and  appealing  story  of  a  gospel 
ship,  well  directed  by  John  Robertson  and  with  a 
fine  performance  by  Lars  Hanson.      (July.) 

*CAT  AND  THE  CANARY,  THE— Universal.— 
A  swell  melodrama,  directed  by  Paul  Leni  from  the 
Broadway  success.  Here's  something  rare — a  really 
good  screen  mystery  film.     (July.) 

CHAIN  LIGHTNING— Fox.— If  you  like  to 
watch  Buck  Jones  chasing  horse  thieves,  here  is  a 
picture  in  which  Buck  Jones  chases  horse  thieves. 
(November.) 

CHILDREN  OF  DIVORCE— Paramount.— The 
title  tells  the  story.  Clara  Bow  makes  it  worth  see- 
ing, helped  by  Esther  Ralston  and  Gary  Cooper. 
(July.) 

CIRCUS  ACE,  THE— Fox.— Tom  Mix  bursts  into 
a  circus  and  saves  the  little  circus  gal  from  a  terrible 
fate,  bless  his  heart!  Good  for  the  children  and  just 
as  good  for  grown-ups.     (August.) 

CITY  GONE  WILD,  THE— Paramount.— Thom- 
as Mcighan  in  a  lively  meller  of  the  Chicago  Under- 
world.   Good  stuff.      (October.) 

CLANCY'S     KOSHER    WEDDING  —  FBO  — 

This  Irish-Jewish  nonsense  has  gone  far  enougli.  .\11 
i  n  f a vor  say  "  .■\ye  I "    (October.) 

CLAW,  THE— Universal.— Once  more  the  weak- 
ling son  goes  to  Africa  to  make  good,  amid  the  canni- 
bals and  wild  animals.  Norman  Kerry  and  Claire 
Windsor  in  the  leads.      (July.) 

CLIMBERS,    THE— Warner    Bros.— Irene   Rich 

plays  a  Spanish  duchess  who  runs  a  ranch  in  Porto 
Rico.    Just  another  one  of  those  movies.     (July.) 

CLOSED  GATES— Sterling.— The  war  breaks  out 
just  in  time  to  save  the  son!  of  a  mid  young  mil- 
lionaire. Johnny  Harron  and  Jane  Novak  are  in  it. 
Fair.     (August.) 

COLLEGE— United  Arti.sts.— Buster  Keaton  as  a 
wet  smack  who  would  be  an  athletic  hero.  Not  over- 
whelmingly funny.     (November.) 

COMBAT— Pathe.— Bad     direction     and     heavy 
mugging  by  George  Walsh  eliminate  tliis  as 
ment.      (December.) 


*COUNTRY  DOCTOR,  THE— Producers  Dist. 
Corp. — Sound  New  England  drama  and  a  masterly 
performance  by  Rudolph  Schildkraut  in  the  title  role. 
For  discriminating  audiences.     (September.) 

COWARD,  THE— FBO.— Warner  Baxter  as  a 
wealthy  sap  who  turns  out  to  be  a  hero.  Old  stuff  but 
always  good.      (November.) 

*CRADLE  SNATCHERS— Fox.— Rough,  racy 
and  rowdy.  Lock  up  the  kids,  but  go  yourself  because 
it's  funny  and  because  Louise  Fazenda  is  in  the  cast. 
(August.) 

*CROWD,  THE  —  Metro-Gold%V5-n-Mayer.  —  The 
storv  of  a  white-collar  man  and  his  wife  and  tlii  ir 
struggles  in  a  big  city.  Trutlifully  and  beautifully 
told  b\'  King  Vidor  and  sj'mpatlietically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.) 

CRUISE  OF  THE  HELLION,  THE— Rayart.— 

In  wliich  a  bad  boy  is  reformed  by  an  energetic  papa. 
It's  good  stuff.  With  Donald  Keith  and  Edna  Mur- 
phy.     (December.) 

CRYSTAL  CUP,  THE— First  National.— Dorothy 
Mackaill  in  the  drama  of  a  man-hater  that  sometimes 
approaches  the  weird.  Only  for  the  sophisticated. 
(October.) 

[  CONTINUED  ON  PAGE  10  ] 


Photoplay  Magazine — Advertising  Section 


Meet  the  Rising  Stars  of  Filmdom 

in  Fox  Pictures  ! 


Already  these  brilliant  young  stars 
have  won  the  plaudits  of  screen 
critics  all  over  the  world  for  their 
impressive  performances  in  one  or 
another  of  the  outstanding  pictures 
of  the  year  — "What  Price  Glory," 
"  Seventh  Heaven",  "Sunrise",  "Loves 
of  Carmen"  or  other  recent  Fox  re 
leases. 

But  watch  them  in  their  coming  pic 
turest  Their  rise  toward  the  heights 
of  artistic  accomplishment  is  scarcely 
begun!  For  youth  is  still  theirs — and 
all  their  splendid  achievement  thus 
far  is  but  a  brilliant  promise  of  the 
finer  artistry  still  to  come  with  the 
maturing  of  their  genius. 

When  other  present'day  favorites  of 
the  screen  have  passed  into  oblivion, 
these  youthful  Fox  stars  will  be  at 
the  very  zenith  of  their  triumphant 


Thus  has  William  Fox  not  only  as' 
sured  the  present  preeminence  of  Fox 
Pid;ures,  but  also  provided  for  the 
future  so  that  Fox  Pidtures  may  con- 

-■^tinue  to  be  outstanding  artistic  and 

-^  dramatic  successes. 


'Be  (§ure  and  S^e  . 


MADGE  BELLAMY  in 

•■Silk   Legs" 

JUNE    COLLYER  and   WILLIAM    KUSSELL 


William  Fox  Pictures 


I  mention  PHOTOPLAY  MAGAZINE. 


Brief    Reviews    of    Current    Pictures 


CONTINUED  FROM   PAGE  i 


DEARIE  —  Warner  Bros.  —  A  so-called  noble 
uoman  becomes  a  red  hot  mama  in  a  night  club  all 
for  the  sake  of  her  no-good  son.  Labelled  an  epic  of 
mother  love.  Ouch  I  Irene  Rich  and  Buster  Collier 
are  in  it.     (August.) 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors. Stay  home  and  catch  up  with  the  darning. 
■  December.) 

DOG  OF  THE  REGIMENT— Warner  Bros.— 
Rin-Tin-Tin  plus  a  good  story  plus  good  acting.  In 
other  words,  a  good  picture.     (December.) 

DON  DESPERADO— Pathe.— Leo  Maloney  is  a 
slieriff  who  has  to  catch  a  bad  bandit.  A  good  show, 
with  plenty  of  excitement.      (July.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  Stair?  Milit,ir\  Academy  at 
West  Point.  Real  entertainm.  nt,  ili.uik-  t..  William 
Boyd.  Bessie  Love  and  Loui-  Xaili.  aiix.     (  Lhwmber.) 

DROP  KICK,  THE— First  Xalional.— It  is  now 
Richard  Barthelmess'  turn  to  win  the  game  for  dear 
old  .Mm-d  Mater.    Who's  next?     (November.) 


FAIR  CO-ED,  THE— Metro-Goldwyn-Mayer.— 
Marion  Davics  at  her  ven'  funniest  in  a  pretty  fair 
college  yarn.    The  gal  is  a  real  comic.     (December.) 

FAST  AND  FURIOUS  —  Universal.— Another 
Reginald  Denn\-  comed\-.  And  oh,  how  partial  we  are 
to  Reginald  Denny!    A  good  evening.     (September.) 

FIGHTING  EAGLE,  THE  —  Producers  Dist. 
Corp. — .A  story  of  the  time  of  Napoleon,  just  to  help 
\-ou  with  your  history  lesson.  Rod  La  Rocque  is  the 
story,  but  Phyll  s  Haver  steals  the  glory.  (September.) 

FIGHTING  LOVE— Producers'  Dist.  Corp.— A 
slightly  slow  but  interesting  drama  with  some  grand 
acting  by  Jetta  Goudal  and  Victor  Varconi.   (August.) 

FIGURES  DON'T  LIE— Paramount.— A  zippy 
farce-romance  of  a  stenographer  and  her  boss.  With 
Richard  Arlen  and  the  lovely  Esther  Ralston.  (No- 
vember.) 

FIREMAN,  SAVE  MY  CHILD— Paramount.— 
Wallace  Beery  and  Raymond  Hatton  in  a  comedy 
adapted  to  the  mentality  of  those  who  enjoy  the 
funny  papers.      (October.) 

FIRST  AUTO,  THE— Warner  Bros. — Missing  on 
all  sixes,  in  spile  of  its  interesting  theme.  A  good 
Iierformance  by  Russell  Simpson,  however.  (Sep- 
tember.) 

FLYING  LUCK— Pathe.— Monty  Banks  gets 
Fome  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.     (December.) 

FORBIDDEN  WOMAN.  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  by  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Schildkraut.     Worth  j'our  money.     (December.) 

FOURFLUSHER,  THE— Universal.— Pleasant, 
youthful  comedy  about  a  smart-aleck  in  big  business. 
Ornannnted  by  Marinn  N'ixon.     (December.) 


FRAMED— First  National.— Milton  Sills  in  a 
story  of  the  South  .African  diamond  mines.  And, 
incidentally,  the  strongest  vehicle  he  has  had  in  some 
time.      (September.) 

GARDEN  OF  ALLAH,  THE— Metro-Gold\vyn- 
Maj-er. — Rex  Ingram's  best  picture  in  several  years. 
.A  beautiful  re-telling  of  the  Robert  Hichens  romance, 
made  in  the  original  locations.     (November.) 


GENTLEMAN  OF  PARIS,  A— Paramount.— We 
thank  you.  Mr,  Wcnjou,  for  another  pleasant  evening 
of  smooth  f  ntertainment.      (October.) 

GENTLEMEN  PREFER  SCOTCH— Fox.— Just 
a  short  comedy  but  better  than  most  features.  Keep 
^■our  eye  on  Nick  Stuart  and  Sally   Phipps.      (De- 

GINGHAM  GIRL,  THE— FBO— Lois  Wilson 
in  a  foolish  storv  tliat  needed  songs  and  dances  to  put 
it  over.      (Oclob'er.) 

GIRL  FROM  CHICAGO,  THE— Warner  Bros.— 
Life  and  love  in  the  underworld,  agreeably  acted  by 
Conrad  Nagel,  Mjrna  Loy  and  William  Russell. 
(December.) 

GIRL  FROM  RIO,  THE— Gotham.— An  inde- 
pendent production,  colorful  and  above  the  average. 
Carmel  Myers  as  a  Spanish  dancer  and  Walter  Pid- 
geon  as  a  handsome  Englishman.     (November.'^ 

GOOD  AS  GOLD — Fox. — Not  an  ingenue  opera 
but  a  roaring  Western  with  Buck  Jones  totin'  the 
guns,     (.iitgusl.) 

GREAT     MAIL     ROBBERY,     THE—FBO. — 

The  bandits  get  everything  their  own  way  until  the 
U.  S.  Marines  are  called  into  action — hurrah,  hurrah! 
(September.) 

HAM  AND  EGGS— Warner  Bros.— A  war  com- 
edy, done  in  colors  as  it  were.  An  occasionally  amus- 
ing but  oftener  silly  tale  of  the  colored  troops  in  the 
war.      (November.) 

-HARD-BOILED  HAGGERTY— First  National. 
— No  war  scenes,  but  a  fine  comedy  of  life  back  of  the 
battle-lines.     Milton  Sills  at  his  best.     (October.) 

HEART  OF  MARYLAND.THE- Warner  Bros.— 
Now  it  is  Dolores  Costello's  turn  to  swing  on  the 
bell.     An  old  favorite.      (September.) 

HEBIE  GEBIES— Hal  Roach.— .A  hypnotist  turns 
Our  Gang  into  animals.  An  original,  really  amusing 
comedy  that  will  delight  the  children.     (December.) 

HERO  ON  HORSEBACK,  A— Universal.— Hoot 
Gibson  does  his  stuff,  for  the  particular  enjoyment  of 
the  cliildren.      (October.) 

HIGH  SCHOOL  HERO,  THE— Fox.— A  youth- 
ful, refreshing  story  of  "prep"  school  life  with  a  cast 
of  youngsters.      (November.) 

HIS  DOG — Pathe-De  Mille. — Fine  acting  by  a 
dog;  terrible  acting  by  Joseph  Schildkraut.  A  good 
human  interest  idea  gone  blah.    (October.) 

HOME  MADE — First  National. — Johnny  Hines 
pursuing  his  Art.  Some  of  the  "gags"  don't  belong 
on  the  screen- — or  anywiiere  else.     (December.) 


HOOK  AND  LADDER  No.  9— FBO.— Some  good 
newsree!  shots  of  a  fire.  A  feeble  excuse  for  a  story. 
(December.) 

*HULA— Paramount.— The  adventures  of  Clara 
Bow  in  Hawaii.  The  glorification  of  IT.  Clara  is  the 
whole  works.    (October.) 

IRISH  HEARTS— Warner  Bros.— May  McAvoy 
suffers  through  another  bad  one  that  isn't  wortli  your 
(August.) 


JAZZ  SINGER,  THE— Warner  Bros.— Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitaphone  nor  a  good  story  can  conceal  the  painful 
fact  that  Al  Jolson  is  no  movie  actor.    (December.) 

*JESSE  JAMES — Paramount. — Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distinguished  train  robber.  Don't  let  the  blue-noses 
interfere  with  your  enjoyment  of  a  corking  melo- 
drama.    (December.)  <■ 


LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  that  needs  music — and  a  certain 
verboten  beverage^ — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  Iiow!     (December.) 

LES  MISERABLES— Universal.— The  Victor 
Hugo  storj'  is  great,  but  the  acting,  photography  and 
settings  prove  that  fifty  million  Frenchmen  can  be 
wrong  when  they  make  movies.     (November.) 

LIFE  OF  RILEY,  THE— First  National.— George 
Sidney  and  Charlie  Murray  in — -you'll  never  guess — 
another  I risli- Jewish  comedy.  Not  as  bad  as  most. 
(October.) 

LONE  EAGLE,  THE— Universal.- Another  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Keane.      (December.) 

LONESOME  LADIES— First  National.- Lewis 
Stone  and  .Anna  Q.  Nilsson  in  a  rather  amusing  com- 
edy of  domestic  ructions.      (October.) 


LOST  AT  THE  FRONT— First  National.— Simon 
pure  slapstick  of  the  best  variety.  Not  art,  not 
drama,  just  entertainment.  Cliarlie  Murray  and 
George  Sidney  are  line.     (.August.) 

*LOVE — Metro-Goldwyn-Maycr. — Anna  Karen- 
ina?  Not  so's  you  could  notice  it.  But  John  Gilbert 
and  Greta  Garbo  melt  the  Russian  snow  with  their 
love  scenes.  Will  it  be  popular?  Don't  be  silly! 
(November.) 

*LOVES  OF  CARMEN— Fox.— Very  rough  ver- 
sion of  the  Merimee- Bizet  classic  with  a  biff-bang 
performance  by  Dolores  del  Rio  and  some  heavy 
cussing  by  Victor  McLaglen.  Lock  up  the  children. 
(September.) 

MADAME  POMPADOUR— Paramount.— Dor- 
othy Gish  and  Antonio  Moreno  in  an  English  produc- 
tion, lavishly  set  but  not  particularly  dramatic.  A 
shadv  side  of  history  tliat  is  notfor  tlie  little  dears, 
(October.) 

f  CONTINUED  ON   PAGE    13  ] 


Photoplays  Reviewed  in  the  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  yoa  pic\  out  your  evenings  entertainment.     }Aa\e  this  your  reference  Ust. 


Page 
.-\lias  the  Lone  Wolf— Colunihi.i .  .  122 
Uaitle  of  the  Century,  The— iM.-(;.-.M  12.? 

Hoy  of  the  Street,  A— Kayart 123 

Urass  Knuckles — Warner's 123 

Buck  Privates — Universal 122 

Cabaret  Kid,  The— I'eerless 122 

Chinese  Parrot,  The — Universal 55 

Circus,  The — United  Artists 52 

C'ollege  Widow,  The — Warner's 121 

Devil  Dancer,  The— United  Artists. , .   54 

Kast  Side,  West  Side— Fox 121 

C.aucho,  The — United  Artists 53 

Ciood  Time  Charlie — Warner's 54 

f.'M-ill.-i,  The— First  X,-,lion,il 52 


Page 

Grandma  Bernle  Learns  Her  Letter.-^ — 

Fox 54 

Harvester,  The— FBO 123 

Honeymoon  Hate — Paramount 122 

Hoof  Marks— Pathe 1 23 

If  I  Were  Single— Warner's 122 

In  Old  Kentucky— M.-G.-M 122 

Irresistible  Lover,  The— Universal. .  .  .121 

Ladies  Must  Dress — Fox 121 

Lovelorn,    The— M.-G.-M 122 

Main  Event,  The— De  Mille 122 

Man  Crazy— First  National 122 

Man,  Woman  aii.l  Sin  — ,M.-G.-M 55 

Mum's  the  Word— F.,x 122 

:\IyFriend  from  Indi.-i— Patlic-DcMille.122 


Page 

Night  Life— Tiffany 121 

On  Your  Toes— Universal 122 

Open  Range — Paramount 123 

Private  Life  of  Helen  of  Troy,  The — 

First  National 53 

Racing  Romeo,  The— FBO 121 

Ragtime — First  Division 121 

.She's  a  Sheik — Paramount 52 

Sorrell  and  Son — United  Arti.sts 53 

.Spotlight,  The — Paramount 54 

Symphony,  The — Universal 54 

Texas  Steer,  A — First  National 55 

Uncle  Tom's  Cabin — Universal 55 

Wild  Geese— Tiffany 55 

Wise  Wife,  The— Tiffany 121 


Photoplay  ISIagazixe — Advertising  Seci 


^n  Impression  ^LUPINO  LANE 


by  JAMES  R.  QUIRK    iTj,! 


EDITOR  OF  PHOTOPLAY  MAGAZINE 


f 


"BIG  BOY" 

Greatest  and  Funniest  ol 


LARRY  SEMON 

Daredevil  Clown  Comedi 


FELIX  THE  CAT 

Rollicking  Cartoons,  by 


LYMAN  H.  HOWE'S 
HODGE-PODGE 


CURIOSITIES 

rhe  Movie  Side-Show 
Funny  and  Fanciful 
^dutcd  bj  IVaUcT  Fuller 


Chaplin's  forte  is  pathos.  Langdon's 
metier  is  infantile  appeal.  Lloyd's  trick  is 
the  conquest  of  an  inferior  complex.  Lupino 
Lane's  is  broad,  clean  burlesque. 

I  always  suspect  that  he  is  going  to  jump 
on  a  horse  and  ride  off  in  four  directions. 
If  Doug  fights  four  swordsmen,  Lupino 
takes  on  a  dozen.  If  Mix  jumps  his  horse 
over  a  freight  car,  Lane  puts  his  nag  ovef 
a  barn.  Nothing  is  impossible  to  him.  Yet 
he  is  as  futile  as  Don  Quixote. 

Most  men  are  born  clowns  and  don't 
know  it.  Lupino  Lane  can  outboast  the 
ginger  ale  that  advertises  six  months'  pre- 
paration for  its  perfection.  It  took  227 
years  to  make  him  a  comedian. 

His  pantomimic  ancestry  is  long  as 
a  transcontinental  railroad  ticket.  His 
Lupino  grandfathers  were  Pierrot-ing  on 
the  London  stage  in  1700.  His  Lane  grand- 
mothers were  the  Desdemonas  of  their 
day.  He  himself  is  one  of  the  original 
theatrical  mergers.  He  was  supposed  to 


'Short 
Comedies  Today,  in 
>ir,thy  D«7..r<  Comedlti 


„  ^        c  r  1  ■  ,         ,         -        DOROTHY  DEVORE 

get  a  fortune  from  his  grandmother  lor    The  oniy  ciri  Making  Her 
twisting  his  names  so  that  the  first  should         ^■■-'-       •-- 
be  last  and  the  last  should  be  first.  But  the 
old  lady  broke  his  heart  by  lea\ing  him 
nothing  but  a  good  recipe  for  tumbling 
without  breaking  his  neck. 

As  British  as  bad  cooking,  the  Lane- 
Lupinos  survived  when  the  newest  chip 
from  the  family  numskull  announced  his 
departure  to  America.  They  never  under- 
stood the  lack  of  concentration  that  kept 
him  from  being  the  hit  of  the  "Follies," 
but  then  they  had  never  seen  a  glorified 
American  Chorus  Girl.  All  even  went  well 
when  the  boy  entered  the  movies.  When 
he  returned  and  told  them  his  movie 
salary  his  grandfather  did  a  back  flop  in 
his  grave. 

His  comedies  are  released  by  Educa- 
tional, but  don't  let  that  fool  you.  He  gags 
and  he  spins,  and  Solomon  in  all  his  wis- 
dom never  thought  up  such  stomach- 
laughs  as  his. 


JOHNNY  ARTHUR 

Farceur  Supreme,  Featured  in 
lux,d«  Comediei 


Se-cen  years  of  specializing  in    Short  Features  have  made   the   name 
Educitional  Pictures  mean  the  best  in  comedies,  novelties  and  news  reels. 


EDUCATIONAL  FILM  EXCHANGES,  Inc 

I  501  Broadway,  New  York, 


,    E.  jr.  Ham  mo 
N.  Y. 


OUTDOOR  SKETCHES 


PHOTOPLAY  MAGAZINE 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$2S,$I0and$5 


The  Real  Critics,  the  Fans,   Give  Their  Views 


The  Monthly  Barometer 

BOUQUETS  —  in  cartloads  —  for  "Sev- 
enth Heaven,"  "The  Way  of  All  Flesh," 
"Captain  Salvation,"  and  our  prize 
winner,  "Beau  Geste." 

Brickbats — by  the  ton — for  Irish-Jewish 
comedies,  cheap  vaudeville,  local  censors 
and  also  for  the  detractors  of  Renee  Adoree, 
Corinne  Griffith,  Mary  Pickford  and  Anna 
Q.  Nilsson. 

Lon  Chaney  and  Emil  Jannings  lead  all 
the  handsome  boys  in  the  number  of  bou- 
quets received.  But  John  Gilbert,  Richard 
Dix  and  Charles  Farrell  still  pul  plenty  of 
warm  adjectives. 

Clara  Bow,  Janet  Gaynor  and  Greta 
Garbo  are  the  Big  Three  among  the  girls. 

Photoplay's  department  Brief  Reviews  of 
Current  Pictures  is  voted  the  most  useful 
regular  feature  of  the  magazine,  with  the 
Shopping  Service  and  Favorite  Recipes  of  the 
Stars  tied  for  the  second  place. 

What  have  you  to  say  about  pictures? 
This  space  is  reserved  for  your  criticisms. 
Photopl.\y  will  print  your  letter  whether  it 
agrees  with  you  or  not.  The  shorter  the 
better. 

§25.00  Letter 

Baltimore,  Md. 

When  I  stop  at  a  soda  fountain  to  order  a 
chocolate  nut  sundae,  the  clerk  doesn't  in- 
sist that  I  first  eat  a  dish  of  spinach.  Vaude- 
ville, like  spinach,  is  one  of  my  pet  aversions, 
but  I  do  enjoy  the  movies.  I  don't  like 
acrobatic  dancing.  I  don't  like  mushy 
ballads  screeched  to  the  accompaniment  of  a 
languidly  flirted  feather  fan.  I  don't  like 
jazz  bands  when  they  go  in  for  exaggerated 
orchestration  and  comedy.  However,  I  find 
the  films,  in  general,  interesting,  and  such 
exceptional  productions  as  "White  Gold" 
and  "Captain  Salvation"  thoroughly  de- 
lightful. 

Photoplay  recently  suggested,  in  an 
editorial,  that  there  may  be  a  few  people 
who  are  not  eager  to  sit  through  forty  min- 
utes of  wise-cracking  and  soft-shoe  dancing 
to  see  the  advertised  feature  picture.  I 
hereby  appoint  myself  a  committee  of  one  to 
state  that  our  name  is  legion.  We  have  but 
one  alternative:  swallow  the  padded  pro- 
gram or  stay  away  entirely.   Very  few  of  us 

12 


The  readers  of  Photoplay  are  in- 
vited to  write  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same!  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


can  run  to  the  theater  at  eleven  in  the  morn- 
ing or  six  in  the  evening.  During  the  popu- 
lar hours  we  don't  choose  the  particular 
moment  at  which  we  will  enter.  We  wait 
meekly,  in  herds,  for  the  privilege. 

Here's  to  the  good  old  days,  when  movies 
were  movies  and  vaudeville  was  on  the 
other  side  of  the  street! 

Frances  Shattuck. 

$10.00  Letter 

Los  Angeles,  Calif. 

While  dining  in  a  Los  Angeles  restaurant 
one  evening,  I  met  a  crippled  man  who  was 
bubbling  over  with  his  good  fortune,  in 
obtaining  a  few  days'  work  in  pictures.  But 
to  him  the  outstanding  event  of  that  par- 
ticular day  was  when  a  lovely  lady  drove  up 
to  where  about  fifty  of  the  crippled  "boys" 
were  working  on  location,  and  treated  them 
generously  to  ice  cream.  Afterwards  they 
learned  that  she  was  the  famous  actress, 
Lillian  Gish. 

Tears  came  into  the  poor  fellow's  eyes  as 
he  told  me  of  this  slight  experience.  Ponder- 
ing afterwards  on  how  these  boys  had  been 
touched  by  her  thoughtful  act,  I  took  the 
liberty  of  w;riting  Miss  Gish  and  telling  her 
how  much  it  was  enjoyed  and  appreciated. 


In  due  time,  I  received  an  answer  from  Miss 
Gish,  overflowing  with  kindest  appreciation 
of  my  letter  and  happiness  at  learning  the 
pleasure  her  "tiniest  act,"  as  she  termed  it, 
had  brought  the  men. 

The  world  admires  at  a  distance  the  bril- 
liant work  of  its  great  men  and  women,  but 
when  we  discover  that,  in  addition  to  being 
brilliant  and  wise,  they  are  also  generous  and 
tender,  we  do  more  than  admire  them;  we 
love  them.  Vinton  A.  Holbrook. 

$5.00  Letter 

Louisville,  Ky. 

It  is  bad  taste  to  air  a  family  row,  but 
Photoplay  is  to  blame  in  this  instance. 

I  made  the  mistake  of  taking  home  only 
one  copy  the  other  night  and  we  all  wanted 
to  read  it  at  once.  Well,  it  occasioned  quite 
a  family  jar. 

Our  fourteen  year  old  daughter,  aided  in 
the  fight  by  her  youthful  agilit^',  got  to  read 
it  first.  When  it  finally  reached  me,  nearly 
all  the  spots  had  been  read  off  of  it. 

It  is  a  magazine  of  charming  personality, 
helpful  in  keeping  alive  the  interests  of  old, 
as  well  as  being  educational  and  inspira- 
tional to  the  young. 

It  is  a  true  guide  to  the  really  worthwhile 
in  the  movies.  Its  contents  are  clean  and 
wholesome.  Daughter  studies  better  after 
reading  it.  In  fact,  she  won't  put  it  down  to 
see  a  movie.     Its  "once-over"  comes  first. 

The  reading  of  a  few  issues  greatly  in- 
creases one's  interest  in  the  stars,  and  en- 
hances by  one  hundred  percent  the  enjoy- 
ment of  a  picture  show.    Lee  Hamilton. 

Those  Pesky  Censors 

Houston,  Tex. 
Recently  a  censor  board  in  this  city 
denied  a  theater  the  privilege  of  showing 
"What  Price  Glory."  Emil  Jannings'  re- 
nowned picture,  "The  Way  of  All  Flesh," 
made  its  premiere  recently,  butchered  by 
censors. 

Just  to  what  extent  are  censors  allowed  to 
deprive  the  movie-going  public  of  entertain- 
ment made  possible  by  superb  casts  and  by 
such  artistic  and  dramatic  characteriza- 
tions as  given  by  Emil  Jannings? 

Mrs.  Richard  J.  Lmni  fy. 
[  continued  on  page  98  I 


Photoplay  Magazine — Advertising  Section 


13 


Brief  Reviews  of 
Current  Pictures 


[  CONTINUED  FROM  PAGE  10  ] 


*MAGIC  FLAME,  THE— Goldwyn-United  Art- 
ists.— Melodrama,  comedy,  romance,  pathos — and 
above  all  Vilma  Banky  and  Ronald  Colman.  Siep 
right  tliis  way,  girls.      (SepUmber.) 

*MAN  POWER— Paramount.— Wherein  Richard 
Dix  and  his  trusty  tractor  save  the  dam  from  burst- 
ing. .-^  trite  story  made  excellent  by  the  star's  acting 
and  some  good  thrUls.     (August.) 

MAN'S  PAST,  A — Universal. — A  solemn,  worthy 
production  with  Conrad  Veidt,  a  capable  actor. 
(October.) 

*M  ILE  -  A  -  M INUTE  LOVE— Universal.  -Regi- 
nald Denny  hands  this  picture  to  Janet  La  Verne,  a 
five-year-old.  You'll  love  her  and  you'll  love  the 
picture.      (November.) 

MILLION  BID,  A — Warner  Bros. — A  weepy  yarn 
wherein  Dolores  Costello  is  offered  to  the  highest 
bidder.  A  good  cast  but  a  silly  story  and  too  many 
dizzy  camera  angles.     (August.) 

*MOCKERY— Metro-Goldwyn-Mayer.  —  Lon 
Chaney,  as  a  Russian  peasant  with  a  harelip,  gets  all 
mixed  up  in  the  Revolution.    (October.) 

MOJAVE  KID,  THE— FBO.— Introducing  a 
new  Western  hero — Bob  Steele.  He's  a  good  kid  with 
a  pleasant  personality.      (October.) 

MOON  OF  ISRAEL— FBO.— A  foreign  ver- 
sion of  the  "Ten  Commandments."  It  should  not 
have  been  let  by  Ellis  Island.      (September.) 

MR.  WU  —  Iletro-Goldwyn-Mayer.  —  Madame 
Butterfly  with  variations — most  of  them  gory  ones. 
Lon  Chaney  is  swell,  but  Renee  Adoree  is  even  more 
so.     (August.) 

*M  V  BEST  GIRL— United  Artists.— Some  of  Mar5- 
Pickford's  best  comedy  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Mary  at  her 
greatest.    The  children,  of  course!     (December.) 

NAUGHTY  BUT  NICE— First  National.— The 
ugly  duckling  goes  to  boarding  school  and  gets  a 
course  in  IT.  Colleen  Moore  makes  it  entertaining. 
(September.) 

NEST,  THE— Excellent.— Pauline  Frederick  brings 
her  great  gifts  to  the  sincere  portrayal  of  a  mother 
role.      (December.) 

NEVADA — Paramount. — A  de  luxe  Western,  with 
Gary  Cooper.  Beautiful  scenery,  fine  acting  and 
plenty  of  thrills.      (October.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  uith  Mary  Astor  and  Llo>'d 
Hughes.      (December.) 

NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Beery  and  Raymond  Hatton  show  signs  of  weak- 
ening under  the  strain.  They  need  a  fresh  line. 
(December.) 

OLD  SAN  FRANCISCO— Warner  Bros.— The 
earthquake  comes  along  just  in  time  to  save  Dolores 
Costello  from  the  Fate  that  is  Worse  Than  Death. 
Lots  of  good  acting — but  not  by  Dolores.  (September.) 

ONE  ROUND  HOGAN— Warner  Bros.— Wherein 
love  saves  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.  Not  so  bad.  (De- 
cember.) 

ONE  WOMAN  TO  ANOTHER— Paramount.— It 
is  a  farce  about  nothing  at  all,  but  charmingly  told 
and  ingratiatingly  acted  by  Florence  Vidor  and 
Theodor  von  Eltz.      (November.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comedy,  but  Marie  Prevost,  aided  by  James  Cruze, 
should  do  better  than  this.     (December.) 

OUT  ALL  NIGHT— Universal.— Reginald  Denny 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      (December.) 

PAID  TO  LOVE— Fox.— A  sprightly,  charmingly 
directed  comedy  that  kids  the  old  hokum  of  the 
mythical  kingdom,  romance.      (October.) 

PAINTED  PONIES— Universal.— More  breath- 
taking incidents  in  the  frantic  career  of  Monsieur 
Hoot  Gibson.      (October.) 

PAINTING  THE  TOWN  —  Universal.— Glenn 
Tryon,  a  new  comedian,  just  up  among  the  Big  Boys. 
A  story  of  a  small  town — nutty  but  refreshing. 
(September.) 

PARIS  OR  BUST— Universal.— Glenn  Tryon  as  a 
boy  who  knew  he  was  a  flyer  "because  his  mother 
gave  iiis  father  the  air."  Anyway,  you'll  laugh  at  it. 
(December.) 

[  CONTINUED  ON  PAGE  126  ] 


"SNOOKUMS" 

From  Universal's  Short  Comedies 

The  bright  spots  in  every  movie -theatre 

program,  those  which  provoke  hilarity  and  put  every- 
body in  a  good  humor,  are  what  we  term  "short  subjects"  or 
two-reel  comedies. 

For  example,  '*The  Newlyweds  and  Their 

Baby,"  in  which  "Snookums"  is  the  central  figure 
and  represents  the  original  of  George  McManus'  famous  car- 
toons. Produced  by  Stern  Bros.  Askyour  theatre  manager  if  he 
has  arranged  to  show  the  special  Christmas  comedy,  *  Weiy/y- 
weds'  Christmas  Party."  It's  a  treat  for  young  and  old. 

Then  *'The  Collegians/'  v^ritten  by  Carl 
Laemmle  Jr.,  depicting  various  phases  of  college  life, 
particularly  the  athletics,  and  featuring  the  favorites  GEORGE 
LEWIS,  DOROTHY  GULLIVER,  HAYDEN  STEVENSON,  EDDIE 
PHILLIPS  and  CHURCHILL  ROSS. 

And  the  ^'Buster  Brown  and  His  Dog 
Tige"  series  from  the  cartoons  by  R.  F.  Outcault 
whose  clever  v/ork  has  had  much  to  do  with  building  up  the 
Sunday  Funnies. 

Also  **Andy  Gump  and  Min*'  from  the 

laughable  cartoons  by  Sid  Smith  which,  like  all  the 
foregoing,  absorb  the  attention  of  the  youngsters  before  they 
are  out  of  bed  Sunday  morning. 

These  are  only  a  few  of  Universal's  "Short 
Subjects"  and  it  will  pay  you  well  to  keep  track  of 
them  at  your  favorite  local  theatre.  If  you  do  not  find  them 
there,  ask  the  manager  to  get  them.  He  will  be  glad  to  do  it. 

I  am  happy  to  tell  you  that  all  I  have  pre- 
dicted for  "Uncle  Tom's  Cabin"  has  come  true.  Its 
reception  at  the  CENTRAL  THEATRE,  where  it  is  now 
playing,  on  Broadway  in  New  York  City,  has  fairly  taken  my 
breath  away.  When  you  see  it  I  am  sure  you  will  agree  with 
me  that  it  will  live  long  in  your  memory. 


{To  be  continued  i 


Carl  '^emmle 


UNIVERSAL  PICTURES 

730  Fifth  Ave New  YorK  City 


PHOTOPLAY  MAGAZINE. 


1 4  Photoplay  Magazine — Advertising  Section 

You  won't  like  it -NOT  MUCH! 

COLLtCK 


tR  "Vivo  oat 

What  MOORE  do  you  want? — ^The  Colleen  who  smiles 
and  beams  and  capers  with  the  joy  of  just  being  alive? 
— The  sauey  sprite  who  runs  right  up  to  Romance — 
and  then  gives  Cupid  the  Air? — Or  the  wistful  little 
waif  who  dreams  and  hopes  through  heartaches  that 
would  dash  you  to  despair?. ..  .You  get  them  ALL 
in  "HER  WILD  OAT"— quite  the  merriest  fun-film 
Colleen  has  ever  given  you . . .  M'ith  the  kind  of  story  that 
keeps  you  Guessing  and  Gasping  for  one  solid  hour! 

JOHN  NcCORNICK 


a<la.l«l  from  the  story  by  HO  WABD  IRYIHG  YOUNG 


A  HAnSHM.1  HEILAN 

Production 


Erery  advertisoment  In  PHOTOPLAY  MAGAZINE  is  euaranteed. 


Photoplay  Magazine — Advertising  Section 


'Ze, 


in 


'^^Jc, 


'^•i^/We^^Oce 


national  PicturCii 


Take  the  Guesswork  Out' 
of  "Going  to  the  Movies" 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


DEAR  CAROLYN  VAN  WYCK, 
With  clothes  what  they  are  this 
year,  how  can  just  an  average  working 
girl,  with  little  time  to  shop  and  less  money 
to  spend,  dress  with  distinction?  I'm  five 
feet  four,  twenty  }ears  old,  weigh  125 
pounds  and  have  hips.  I  have  good  skin,  but 
my  coloring  is  indefinite — rather  muddy 
blonde  hair,  my  eyes  sometimes  brown, 
sometimes  blue.  How  can  I  buy  so  I  won't 
appear  just  another  flapper? 

Dorothy. 

I  KNOW  exactly  how  Dorothy  feels  about 
the  models  displaced  for  this  winter's 
clothes.  I  have  been  experiencing  the  feel- 
ing myself.  Everj-where  clothes,  regardless 
of  the  price,  are  being  made  on  practically 
the  same,  sane  lines.  It  is  smart  but 
monotonous.  How  to  win  distinction,  when 
j'ou  haven't  money  or  time  to  expend?  My 
answer  is — by  the  clever  use  of  color. 

Today  color  assumes  a  new  importance  in 
smart  dressing.  Correctly  used  it  can  make 
the  simplest  costume  distinguished. 

I  advise  Dorothy  first — even  at  the  risk  of 
advertising  my  own  department — to  con- 
sult the  shopping  ser^■ice  of  Photoplay  or 
other  magazines.  Here  she  will  find  simple, 
excellent  models  at  moderate  prices  and  if 
they  suit  her,  she  will  be  saved  the  toil  and 
worry  of  shopping.  But  she  must  herself 
decide  upon  the  proper  colors  for  her  type. 

There  used  to  be  a  standard  color  table. 
Blondes  wore  blue  or  pink,  brunettes  brown 
or  yellows  until  by  observing  the  color  of  the 
gown  you  could  always  forecast  the  com- 
plexion of  the  girl. 

Today  we  know  better.  There  are  few 
pronounced  blondes  or  brunettes.  Like 
Dorothy  most  of  us  are  a  bit  muddy. 

It  is  wise,  of  course,  for  the  fair  blonde 
with  flaxen  hair  to  wear  clear  whites,  dark 
browns,  all  the  blues  and  the  delicate  pas- 
tels. The  red-haired  fair  girl  can  wear  pale 
green,  taupe,  amber,  yellow  and  pale  blue. 
The  chestnut-haired  should  favor  bronze, 
darkest  purple,  pale  pink  and  blue.  The 
pale  brunette,  all  shades  of  brown,  sapphire 
blue,  orchid,  burgundy  and  dark  red.  The 
olive  brunette,  browns,  apricot,  beige  and 
terra  cotta.  The  highly  colored  brunette, 
pale  shades,  pale  blues,  silver  grays,  old  rose, 
coral.  But  it  is  the  manner  in  which  these 
basically  becoming  colors  are  combined  that 
marks  the  successful  costume. 

Dorothy  works,  so  most  of  her  dresses 
rnust  be  simple,  straight  little  one  or  two 
piece  dresses  with  a  full  blouse  and  a  tight 
hip  line,  in  her  case,  to  make  her  figure  more 


16 


Distinctive  Dressing 

Is  This  Month's  Problem 


WITH  hats  the  same  tight  little 
shapes,  with  dresses  the 
same  slender  models,  it's  hard  for 
a  busy  girl  to  find  distinctive 
clothes.  Read  how  color  helps  the 
clever  girl. 

I  will  be  glad  to  give  advice  to 
specific  types  or  answer  letters  on 
any  subject  relating  to  beauty, 
health  or  happiness.  Letters  with 
stamped  envelopes  enclosed  will  be 
answered  by  return  mail;  those 
without  postage,  in  the  columns 
of  the  magazine.  Pamphlets  on 
the  care  of  the  skin  will  also  be 
yours  for  the  sending  of  a  stamped, 
self- addressed  envelope — and  a 
booklet  on  weight  reduction  may 
be  had  for  ten  cents. 

Carolyn  Van  Wyck. 


symmetrical.  Since  her  skin  is  good,  she  can 
wear  black,  which  is  always  smart,  and 
most  practical  for  business  hours.  But  she 
can  also  gain  distinction  for  herself  about 
her  work  by  wearing  over  her  simple  dresses 
gay  colored  smocks,  that  are  inexpensive 
and  afford  an  actual  saving  of  her  gowns. 

Then  when  she  starts  out  for  home,  let 
her  think  twice.  Is  her  hat  in  good  color 
contrast  to  her  dress?  Does  the  color  of 
her  shoes  match  in  with  anything  else  she 
is  wearing  or  quarrel  with  it  all?  What 
about  her  handbag?  What  about  her 
gloves?  Is  she  wearing  flesh  colored  stock- 
ings or  black?    And  why? 

Dorothy  should  unify  her  costumes  by 
means  of  color.  Black  alone  is  a  successful 
ensemble  shade.  Black  shoes,  stockings, 
dress  and  hat  make  a  chic  outfit,  but  blue  or 
brown  similarly  used  will  mark  her  as 
dowdy.  Of  course,  too  many  colors  may  not 
be  worn  simultaneously.  Three  is  the  out- 
side limit  and  two  is  better. 

Dorothy's  shoes  should  match  either  her 
dress  or  hat.  Her  handbag  should  match 
either  her  coat  or  hat,  and  the  coat  prefer- 
ably because  the  two  will  be  more  used  to- 


/-pjGirls' 
/-Toblems 


gether.  If  her  silk-stocking  allowance  is 
limited — and  whose  isn't? — she  should  buy 
only  nude  shades  which  blend  with  every- 
thing. 

It  is  not  the  gown  one  wears,  or  the  hat  or 
shoes  that  makes  for  distinction.  It  is  the 
manner  in  which  these  garments  are  suc- 
cessfully combined  that  makes  for  smart- 
ness. Cheapness  comes  not  from  price 
tickets  but  from  the  carelessness  of  com- 
bined colors,  designs  and  models.  You  can't 
slam  e^■en  a  forty-dollar  hat  on  your  head 
and  make  it  look  smart.  But  a  clever  girl 
will  pull  a  little  three-fifty  coral  felt  cloche 
carefully  down  over  her  left  eyebrow,  con- 
trast it  cleverly  with  her  grey  chiffon  dress, 
her  nude  stockings  and  her  well-heeled  grey 
pumps  and  make  the  crowd  notice  her  as  she 
passes. 


T  AST  summer  when  I  was  in  Hollywood  I 
•^-'lunched  with  Adrian,  the  costume  designer 
at  the  DeMille  studio.  We  are  old  friends 
and  he  was  confiding  to  me  his  discourage- 
ment about  dressing  a  very  beautiful  girl 
recently  put  under  contract  by  the  studio. 
Finally  he  exclaimed: 

"An  ugly  woman  should  thank  God.  A 
pretty  girl,  no  matter  how  dressed,  remains 
merely  a  pretty  girl.  But  a  plain  girl  care- 
fully gowned  attains  immediate  personality." 

That  is  the  secret  which  Paris  knows  and 
which^  Dorothy  must  learn.  When  you 
haven't  a  perfect  face  and  figure,  scorn  com- 
rnonplace  prettiness  and  go  in  for  chic  and 
distinction. 

After  all,  the  most  important  single  thing 
to  spend  on  clothes  is  thought. 

Helen  Waters: 

Aged  sixteen,  four  feet  eleven,  you  should 
not  weigh  much  more  than  105  pounds. 
You  are  an  olive-skinned  brunette,  I  judge. 
Your  best  colors  are  ivory  and  cream  white, 
mahogany  and  negro  brown,  darkest  blue, 
dark  green,  dark,  warm  reds,  terra  cotta, 
buff  and  apricot,  pink  in  pale  shades.  A^■oid 
solid  black,  gray  and  purple.  Just  as  there 
are  always  neglected  girls  in  schools,  so 
there  are  neglected  boys.  Both  sexes  are 
held  back  from  popularity  by  the  same 
things — shyness,  self-consciousne,ss,  lack  of 
poise.  For  a  girl,  to  some  extent,  any  hoy 
will  do  socially.  What  she  really  wants 
is  to  be  able  to  prove  to  the  other  girls  she 
isn't  a  social  frost.  But  boys  want  one  of 
two  things  from  girls — they  want  pals  or 
they  want  mothers.  Apparently  you  don't 
appeal  to  them  in  the  pal  sense.  Why  not 
try  mothering  a  few?  I  don't  mean  any- 
thing too  sugary,  but  look  up  a  couple  of  the 
more  diffident  boys  and  see  if  you  can't  draw 
them  out.  What  you  want  for  the  present  is 
simply  a  male  escort.  Get  one  and  the  rest 
will  come  more  easily. 

[  CONTINUED  ON  PAGE  86  1 


Photoplay  Magazine — Advertising  Section 


17 


BEAUTY  REQUISITES 


"COLCREME" 


(Soide^'ear, 


Gcty  ^ 


y 


QiO 


9(y 


OxTolcreme-COTY 

— iodive  tfueyoutn  and 

'.tv  to  tne  shn  —  c7<-eated 

at  tne  exp?<-ess  aemanaor  tnous- 

anas  ofcnmafican  women,  especialiu 

/of  tne  Cmnefican  comjbtexwn.  Cnnatne 

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aaewel.  "Colcreme"  COTY,  tAe  supfema 

COTY  Face  Powders  and  V\.a\x^&s,todetnef-, 

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"COLCREME"  COTY-IN  ALOVELY 
FROSTY  GLASS  JAR  WITH  A 
DUST-PROOF  INNER  ALUMINUM 
CROWN  TO  GUARD  ITS  PURITY. 


ROUGES 

IN  NEW  EAST  INDIAN  BOX 


^^rc) 


^^«. 


X 


\  CJt/lh  (^venM  I'^cw'yorb. 


ROUGE  IN  FIVE  GLORIFYING  TONES 
Bright  —  Light  -  Medium  -  Dark  -  In-.isikle 


:  mention  PUOTOrLAT  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


EP    THEM    BY    KEEPING    A    BEAUTIFUL    SKIN 


Do  YOU  REALIZE  what  wonderful 
power  the  skin  has  to  renew  itself — 
to  keep  its  youth  and  freshness,  given 
half  a  chance? 

Each  day  your  skin  is  changing  —  old 
skin  dies  and  new  takes  its  place.  If  you 
take  care  of  this  new  skin  as  it  forms — 
it  does  not  matter  what  faults  your  skin 
may  have  suffered  from  in  the  past — you 
can  build  up,  and  keep  in  future,  a  lovely, 
smooth,  clear  complexion. 

Begin  today  to  take  care  of  your  skin 
the  Woodbury  way,  with  hot  or  warm 
water,  ice  and  Woodbury's  Facial  Soap. 

The  wonderful  helpfulness  of  Wood- 
bury's in  keeping  the  skin  smooth  and 
clear,  and  in  overcoming  complexion 
troubles  is  a  matter  of  such  general  ex- 

You    too    can    have    the    charm 


perience  that  today  thousands  of  college 
^irls — society  debutantes — women  guests 
at  America's  most  exclusive  resorts,  most 
splendid  hotels,  are  testifying  that  Wood- 
bury's is  "  the  only  soap  they  can  use  for 
the  face."  "A  perfect  soap  for  the  skin." 
The  right  way  to  use  Woodbury's  for 
your  special  type  of  skin  is  given  in  the 
booklet  that  comes  to  you  free  with  every 
cake  of  Woodbury's  Facial  Soap. 

If  you  are  so  fortunate  as  to  have  a  clear, 
naturally  good  complexion — you  should  use  the 
famous  Woodbury  treatment  for  normal  skins 
given  in  this  booklet. 

If  you  are  troubled  with  blackheads,  blemishes, 
conspicuous  nose  pores,  or  any  other  skin  defect 
— use  the  special  treatment  recommended  for 
that  trouble.  A  25-cent  cake  of  Woodbury's  lasts 
a  month  or  six  weeks.  Get  your  Woodbury's 
today  at  any  drug  or  department  store  —  beg^in 
using  it  tonight! 


Note — the 
large-size  trial  set 


,  Ohio. 
o  cents  please  send  me 
•  size  tnai  caKe  of  Woodbury*s  Faci; 
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and  Powder,  the 
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complete  Woodbury 


Of 


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love    to    touch" 


)T()PI..\Y  MAGAZINE  i 


^^^^^AL^'^rlc^^-p.^ 


CALLY  BLANE  is  one  of  th 
Amount  for  special  training. 

^;^^^       .        was  Miss  Betty  Jane  Young  of ^ 

^^J^P^-^  °"^  y^^''  ®^^  ^^^  played  in  six  films 

<:B>^k^^^'i. 


■V\7ILLIAM  BOYD  is  the  best  of  Cecil  B.  De  Mille's  recent  discoveries.    Not  only  is 
^      the  blond  Mr.  Boyd  easy  on  the  eyes,  but  he's  a  comedian  of  no  mean  ability,  as 
witness  "Two  Arabian  Knights."' 


■M„^ 


Y  BEST  GIRL"  brings  back  the  Mary  Pickford  of  old.    It  is  a  picture  innocent 
f  complexes,  sophistication  or  subtlety  and  confidently  recommended  to  those  who 
hanker  for  a  movie  of  the  Age  of  Innocence. 


"LJOLLYWOOD  is  wasteful  of  beauty.     Myrna  Loy,  for  instance,  surely  has  something 

■*■  Mo  contribute  to  Art.     But,  for  the  most  part,  she  is  relegated  to  the  ungrateful  task 

of  vamping  in  minor  operas. 


A    DRAMATIC  episode  in  the  life  of  Sarah  Bernhardt  forms  the  basis  of  Greta  Garbo's 
"^^  new  picture,  'The  Divine  Woman."     You  will  see  the  spectacle  of  a   French 
actress  interpreted  with  a  Swedish  accent. 


PORTRAIT  of  a 
■^  brave  lad — Conrad 
Nagel.  At  the  risk  of 
talking  himself  out  of 
pictures,  Mr.  Nagel 
fearlessly  made  him- 
self the  spokesman  of 
the  embattled  actors 
in  the  recent  salary 
cut  rumpus  with  their 
bosses. 


^Z7hj2.Gr,jCS<L^dM^n^  c^ZZL 


yuru2y 


JagWdail 


Just  as  the  fashionable  woman  realizes  the  ultimate 
importance  of  small  essentials,  so  does  GossEtrd  design 
make  foundationwear  perfect  to  the  most  minute  details. 
From  the  original  design,  created  by  Gossard  artist-styl- 
ists, from  the  exquisite  fittings  made  by  trained  Gossard 
corsetieres,  from  the  careful  selection  of  materials  by 
schooled  experts,  down  to  the  achievements  of  skilled 
artisans,  Gossard  garments  are  led  on  a  pathway  of 
impeccable  quality  to  the  peak  of   accepted  fashion. 


Ask  particularly  to  see 
Clasp-around  770,  illus- 
trated here.  Made  of 
brocade  ar\d  elastic,  ft 
features  an  inside  belt  and 
elastic  top  for  smooth, 
additional  support.  $7.50.. 


CK-^^^ 


The  H.  W.  Gossard  Co.,  Chicago,  San  Francisco,  New  York,  Atlanta,  Dallas,  Sydney,  London,  Toronto,  Buenos  Aires 


New  '  •  Charming  -  -  i£j^fuiqtsnr 

C ^  Reg.  U.  S.  Pat.  Off.         M 

(Pronounced  Shoe-Olove)tr 

The  Footgear  Protection  That  Really  Fits 


a  pan 


Thanks  to  Shuglov  .  .  .  you  now 
wear  daintiest  shoes  and  stockings 
in  utmost  safety  . , .  and  sacrifice 
none  of  their  style  and  smartness. 


.  .  .  and  brings  that  slenderizing  effect  to  ankles 
never  before  achieved 

THERE'S  this  about  Shuglov,  that  you've  never  found  before  in 
any  style  of  footgear  protection— it  fits.  There's  none  of  the  bulk 
and  weight  of  old  methods.  Warmth  and  protection  are  assured 
without  them. 

Shuglov  is  fashioned  of  strong,  featherweight  rubber.  It  is  form- 
fitting —  worn  with  any  style  of  shoe,  even  the  most  fragile.  It  is 
washable  inside  and  out.  A  moment's  wiping  brings  back  the  newness 
and  lustre.  It  snaps  on  and  off  in  a  jiffy.  No  pulling.  No  tugging. 

And,  of  utmost  importance  in  this  day  of  color,  Shuglov  comes  to 
you  in  four  harmonizing  colors:  Nude,  Gray,  Brown  and  Black.  There 
are  two  types  of  heels.  The  Universal  is  for  military,  military  high 
and  spiked  heel.  The  Cuban  is  for  the  lower  and  flatter  heels.  The 
trim  decorative  top  is  worn  up  or  down  with  equal  smartness. 

Shuglov  is  new  .  .  .  undeniably  smart.  You  will  want  them,  no 
doubt,  immediately.  All  smart  shops  are  showing  them.  Women  who 
dictate  the  vogue  are  wearing  them.  They  tell  us  candidly  it  is  the 
first  time  they  have  ever  found  footgear  protection  they  are  glad  to  wear. 


THE    MILLER    RUBBER    COMPA  N  Y  ofN.Y.  AK  R  0  N,    OHIO 


The    National     Guide    to    Motion    Picture 


(THADE  MARK) 


PHOTOPLAY 


January,  1928 


Close-Ups  and  Long-Shots 


THEY  are  still  hunting  for  the 
man  who  blew  up  a  Hammond, 
Indiana,  movie  theater  with  a 
bomb.  Ten  to  one  it  will  turn  out 
to  be  some  chap  who  paid  a  dollar 
for  a  loge  seat  and  had  to  stand 
through  a  bum  overture,  five  acts  of 
third  rate  vaudeville  and  a  prologue,  and  then 
had  to  leave  before  he  saw  even  a  news  reel. 

JUST  as  we  were  getting  rid  of  the  old- 
fashioned  movie  pests  who  read  all  the  titles 
out  loud  to  little  Oscar,  and  broadcasted  mis- 
information about  the  players,  along  comes  the 
boll  weevil  theater  manager  who  is  so  deter- 
mined to  demonstrate  what  a  great  showman 
he  is  that  a  visit  to  a  motion  picture  theater 
becomes  an  endurance  contest  between  the 
management  and  the  patrons. 

Twenty  years  ago  motion  pictures  were  used 
by  vaudeville  houses  as  "chasers."  Today 
vaudeville  is  chasing  patrons  out  of  motion 
picture  houses.  If  these  theater  managers  ever 
get  down  to  selecting  good  features  and  giving 
us  a  well  chosen  program  of  news  reels  and 
short  subjects,  with  a  fairly  good  musical 
accompaniment,  the  radio  business  of  the 
country  would  be  cut  to  half  its  present  pro- 
portions. 

OTRIPPED  of  all  pretense,  presentation  is  a 
^substitute  for  good  picture  entertainment. 
It  is  served  up  on  the  same  principle  that 
inspired  French  chefs  to  invent  piquant  sauces 
to  smother  a  questionable  fillet.  Then  they 
became  so  intrigued  with  their  art  of  camouflage 


that  even  the  tenderest  and  juiciest 
steak  was  lost  in  a  sea  of  paprika 
gravy,  truffles,  mushrooms,  and 
condiments. 

It  has  gotten  to  the  point  where 
every  jerkwater  exhibitor  tries  to 
smother  a  picture  in  a  sea  of  vaude- 
ville gravy  in  the  hope  that  his  patrons  will  ac- 
quire a  taste  for  the  gravy  and  disregard  the 
meat  of  the  program,  the  feature  picture,  when 
he  serves  up  a  rancid  one. 

npHE  high  priest  of  the  presentation  cult, 
^  Sam  Rothapfel,  nationally  known  as 
"Roxy,"  with  the  greatest  movie  temple  in  the 
world  named  after  him,  carried  his  rituals  to 
the  point  of  absurdity  when  he  cut  about  three 
reels  out  of  "What  Price  Glory"  to  make  room 
on  his  elaborate  program  for  a  half  hour  pro- 
logue. 

Of  course,  he  drew  a  record  crowd  to  his 
temple,  "The  Cathedral  of  the  Motion  Picture" 
he  devoutly  calls  it,  when  the  great  war 
picture  was  exposed,  there  to  his  congregation. 

"How's  'What  Price  Glory'  going?"  someone 
asked  the  Reverend  Roxy,  one  Sunday  after- 
noon as  he  was  about  to  conduct  vesper  service, 

"Great,  brother,  just  great,"  replied  the  holy 
man,  "You  should  see  how  I  put  it  over  with  a 
prologue," 

That's  not  gilding  the  lily,  brothers,  that's 
gold  plating  the  Kohinoor  diamond, 

"T>EAU    GESTE"    suffered    painfully    from 

-*^the    crude    surgery    of    presentation    mad 

exhibitors,  I  happened  to  see  it  for  the  fourth 

^7 


time  recently,  in  a  small  West  Virginia  town. 
The  print  had  made  the  rounds  of  fifty  larger 
cities  and  towns  and  was  butchered  almost  be- 
yond recognition. 

There  ought  to  be  a  law  against  motion 
picture  mayhem. 

TN  a  month  when  there  are  so  many  excellent 
-^-pictures  that  we  are  forced  to  extend  the  "Best 
Six"  to*  ten,  in  justice  to  Will  Rogers'  opus, 
"A  Texas  Steer,"  it  should  be  noted  that  only 
the  exigencies  of  a  printing  plant  operating 
schedule  kept  it  from  the  list  of  the  best  new 
pictures  viewed  in  the  past  four  weeks. 

The  very  fact  that  Rogers  is  in  it  is  a  guaran- 
tee of  a  picture  on  which  it  is  safe  to  put  the 
family  money. 

Will  Rogers  is  not  an  actor.  If  he  tried  to  act 
he  would  probably  be  terrible. 

He  plays  himself  with  delightful  elTect  and 
the  captions  are  in  his  own  uniquely  expressed 
philosophy. 

Will  is  no  John  'Gilbert,  no  Douglas  Fair- 
banks, nor  could  he  play  the  sua\e  and  polished 
Menjou  if  his  Oklahoma  neck  depended  upon 
it. 

He's  himself.  And  he's  always  great  com- 
pany for  an  evening. 

A  S  a  matter  of  fact  most  of  our  picture  stars 
-^  *-play  their  own  personalities  over  and 
over.  In  real  life  Doug  is  a  genial  jumping 
jack,  Lon  Chaney  a  morose  idealist,  John  Gil- 
bert a  reckless  romanticist,  Gloria  Swanson  a 
child  of  fate,  Adolphe  Menjou  a  cultured  and 
sophisticated  gentleman.  Milton  Sills  is  an 
athletic  college  professor.  Dick  Barthelmess  is 
half  boy,  half  man,  vainly  seeking  sympathy 
and  understanding  in  a  world  he  cannot  quite 
comprehend. 

Pola  and  Jetta  Goudal  live  the  tempera- 
mental qualities  of  their  pictures.  Mae  Murray 
was  born  to  dance.  Reginald  Denny  is  a 
handsome  pugilistic  champion.  Some  of  the 
attributes  the  sport  writers  give  Gene  Tunney 
fit  him  perfectly. 

Tom  Mix  has  lived  the  life  he  portrays  on 
the  screen.  Billy  Dove  and  Corinne  Griffith 
are  beautiful  and  languid  on  and  off  the 
screen. 

You  cannot  fool  the  camera.  It  gets  behind 
the  eyes  of  the  actor. 


I  make  no  claim  to  psychic  powers  or  more 
than  an  average  ability  to  judge  human  nature. 
I  have  seen  almost  every  picture  of  consequence 
made  in  the  last  fifteen  years  and  have  met 
nearly  all  the  well-known  players. 

And  I  can  say  truthfully  that  the  judgment 
of  their  personalities  that  I  got  from  their 
screen  work  has  always  been  \"erified  by  personal 
acquaintance. 

T  DOUBT  that  the  screen  will  ever  produce  a 
-*-  Barrett,  a  Booth,  a  Mansfield,  a  Maurice 
Barrymore,  a  Duse,  a  Bernhardt.  Their  fame 
rested  upon  their  versatility  and  upon  the  wide 
range  of  characterizations  they  were  called  upon 
to  portray. 

John  Barr^aiiore,  born  and  reared  in  stage 
traditions,  ^^•ith  an  inherited  love  of  character 
portrayal  that  has  become  almost  an  obsession, 
has  failed  to  acquire  a  screen  following  com- 
parable to  his  stage  fame  because  he  would 
rather  play  Shylock  than  himself. 

Barrymore  is  one  of  the  greatest  actors  on 
any  stage.  In  real  life  he  is  a  modern  Hamlet, 
an  extreme  individualist  whose  personality  is 
little  understood.  He  has  some  of  the  eccen- 
tricities that  accompany  genius,  a  total  dis- 
regard of  what  an^^one  thinks  of  him  and  no 
sympathy  whatever  with  the  popular  con- 
ceptions of  screen  acting.  He  is  a  Gauguin 
among  photographers. 

But  if  he  ever  learns  what  makes  a  box  office 
go,  and  gives  a  rap  whether  it  goes  or  not,  he 
will  carve  for  himself  a  place  as  distinctive  as 
X'alentino,  Fairbanks,  or  Chaplin.  He  is  a 
wandering  lad  who  does  not  care  to  be  adopted 
b}'  a  rich  family. 

ANOTHER  wanderer  who  persists,  but 
only  through  lack  of  guidance  in  losing 
himself  in  the  maze  of  motion  pictures,  is  the  late 
Harry  Langdon,  of  laughing  memory.  Sennett 
kept  him  on  the  straight  road.  He  chose  to  go  it 
alone  like  Chaplin  and  Lloyd.  But  he  lacks 
their  sense  of  direction,  and  is  in  sad  need  of  a 
road  map. 

To  me  his  screen  quality  of  infantile  help- 
lessness is  every  bit  as  touching  as  Chaplin's 
pathos. 

A  few  more  pictures  like  "Three  Is  A  Crowd," 
and  he  will  be  sent  to  that  limbo  of  lost  movie 
souls,  vaudeville. 


JVas  J  Boy 

The  Wild  Days  of  Valen- 
tino's Childhood  are  told 
for  the  First  Time 


By 
Hiram  Kelly  Moderwell 


{Mr.  Moderwell  is  a  well  known  atithor,  as  well  as  being  special 
representative  of  a  leading  Chicago  newspaper  in  Rome,  Italy. 
Mr.  Moderwell  spent  weeks  investigating  and  checking 
the  early  days  of  Rudolph   Valentino  in  the 
little  south  Italy  village  of  Castellaneta.  He 
talked  with  Rudy's  boyhood  friends, 
family  doctor,  the  nurse,  Rosa,  and 
others  who  knew  the  screen  star 
intimately.    Mr.  Moderwell  has 
obtained  a  wealth  of  interesting 
facts  about  the  childhood  of 
the  ill-fated  film  idol.) 


w 


H  O    i  s 

the  most 
beautiful 


in  Castellaneta?" 

The  speaker  is 
eleven-year-old  Ro- 
dolfo  Pietro  Filiberto 
Raffaele  Guglielmi, 
the  town  bully.  He 
is  standing  with 
clenched  fists  amid  a 
group  of  small  boys 
in  the  main  square 
of  the  agricultural 
village  of  Castellan- 
eta, near  Taranto,  in 
south  Italy. 

"Rosina  Maria," 
answers  one,  loyal  to 
his  sweetheart. 

Bing!  Rodolfo's 
fist  lands  on  the 
boy's  jaw.  Another 
blow  and  another. 
The  boy  is  on  the 
ground,  blubbering 
and  half  uncon- 


Valentino  was  born  in  the  small  room  above  the  door 
of  this  white  corner  house 


Rudolph  Valentino,  then  Rodolfo  Gu- 
glielmi, at  eleven  was  the  daredevil  of 
Castellaneta 


scious.  He  knows  the  required 
answer,  but  his  loyalty  for- 
bids him  to  give  it.  Rodolfo 
lifts  him  bodily  and  throws 
him  into  the  town  fountain. 
The  boy  sinks,  rises  to  the 
surface,  and  Rodolfo,  red  with 
rage,  pushes  him  under  again. 

Once  more  he  rises.  This 
time  he  knows  he  is  licked. 
He  gives  the  correct  answer. 

"Donna  Gabriella,"  he 
blubbers.  He  is  permitted  to 
crawl  out  of  the  water,  sit  on 
the  coping,  and  get  his  breath. 

Donna  Gabriella  is  Donna 
Maria  Berta  Gabriella  Barbin 
Guglielmi,  the  French  mother 
nf  Rodolfo  Valentino,  who 
20  years  later  died  in  New 
York  calling  on  her  name. 

The  villagers  of  Castellan- 
eta are  full  of  such  reminis- 
cences as  this  about  their  Ru- 
dolph, who  was  born  in  their 
town  and  lived  there  until,  at 
the  age  of  twelve,  he  moved 

[continued  on  page  84] 


an 


Wh 


o 


Bill  Farnum's  grim  and 


H 


IGH-UP  in  the  Hollywood  Hills  there  is  the       T?^,,..    ..^^.  ^'      •//  j     '  Ji 

home  of  William   Farnum.      From  the  great      i"  OUT    yCarS      lllneSS    and    tdleneSS 

stone  gallery  that  runs  across  the  front  of  the      ^OSt  klm   OVCr  tWO   million   dollaVS 


house  this  star  has  been  gazing  down  over  the 
lights  of  Cinemaland  for 
more  than  a  year  watching 
and  waiting  for  something. 
Just  what  that  something 
was  he,  himself,  could  not 
definitely  say.  He  had  a 
hope  however  that  it  was 
going  to  be  a  summons  to 
come  down  from  his  roost 
and  again  take  his  rightful 
place  in  the  ranks  of  those 
who  provide  the  entertain- 
ment for  the  world. 

Alone  except  for  his  dogs 
and  his  wife — alone  except 
for  the  occasional  close  friend 
of  \-esterda\-  who  would  call 
— "Bill"  Farnum  sat  and 
fought  as  gallant  a  fight  as 
any  bemedaled  hero  of  the 
late  world  unpleasantness. 
I^ought  it  to  a  finish  and  to 
what  seems  to  be  a  very  suc- 
cessful conclusion. 

It  was  a  victory,  but  not 
without  the  paying  of  a  tre- 
mendous price  for  it. 

Almost  four  years  ago 
William  Farnum  appeared  in 
the  last  picture  that  he  has 
made  up  to  this  time.  That 
picture  was  made  for  Para- 
mount and  its  title  was  "The 
Man  Who  Fights  Alone." 
I  saw  that  picture  the  other 
day,  in  a  private  projection 
room  at  the  Paramount  labo- 
ratory. I  was  forcibly  struck 
l»y  the  similarity  of  the 
iheme  of  its  story  and  the 
actual  facts  in  the  life  of 
William  Farnum  which 
necessitated  a  star  as  tal- 
ented as  he,  with  so  tre- 
mendous a  fan  following,  re- 
tiring from  the  screen. 

The  following  is  a  ver- 
batim extract  from  the  syn- 
opsis of  the  story  of  "The 
Man  Who  Fights  Alone": 


More  painful  than  Bill  Far- 
num's illness  were  the 
months  of  convalescence, 
dreaming,  and  waiting  for 
the  call  to  the  studio  that 
"ould  take  him  back  to  the 
work  he  loved 


30 


Fought  Alone 


By 

Frederic 

H.  Schader 


courageous  battle  for  life 


Photography  by  Stagg 


'  The.  Man  Who  Fights  Alone'  is  a  dramatic  presenta- 
tion of  the  power  of  love  to  triumph  over  human  ills.    It  is 


Now  Bill  is  making  pictures 

aSain^  looking;  better  than  ever  t^ie  story  of  a  strong  man~a  tone  fighter— who,  beset  by 
o  •>  o  tragic  mrsjorttine,  acniei'cs  regeneration  through  the  abid- 

ing love  of  his  wife  and  child. 

"  As  a  great  engineer,  Wil- 
liam Farnum  in  the  title  role 
makes  the  desert  bloom  and 
provides  the  power  that  turns 
the  wheels  of  industry.  He, 
with  his 'best  friend,  loves  the 
same  girl.  Farnum  marries 
her.  On  the  day  their  daughter 
is  born  he  is  stricken  with 
paralysis  leaving  him  help- 
less from  the  waist  down. 

"Four  years  later  he  is 
still  confined  in  a  wheel 
chair — " 

That,  almost,  is  the  real 
story.  So  near  that,  one 
wonders  whether  it  is  possi- 
ble for  screen  shadows  to 
forecast  the  future. 

A  LITTLE  more  than  four 
■**-years  ago  William  Far- 
num, then  at  the  height  of  his 
career,  was  drawing  a  salary 
of  $10,000  weekly  from  Wil- 
liam Fox.  He  had  been 
with  the  Fox  organization 
for  many  years.  He  signed 
with  Fox  after  having  at- 
tained his  great  triumph  in 
the  original  screen  produc- 
tion of  "The  Spoilers."  This 
picture  was  the  initial  at- 
traction at  the  Strand 
Theater  in  New  York,  the 
opening  of  which  created  a 
historical  moment  in  the  ex- 
hibition division  of  the  mo- 
tion picture  industry. 

The  contract  with  William 
Fox  was  about  to  terminate 
and  William  Farnum  wanted 
to  make  a  trip  abroad.  He 
did,  and  when  he  returned 
he  entered  into  a  new  con- 
tract with  the  same  organi- 
zation which  called  for  his 
appearing  in  five  produc- 
tions. For  each  of  these  he 
was  to  receive  a  flat  sum  of 
$65,000.  The  last  of  these 
five  pictures  called  for  nine 
actual  days  of  work  on  the 
part  of  the  star,  which  will 
give  you  a  rather  definite 
idea  of  the  earning  power  of 
Farnum  four  years  ago. 

31 


Having  completed  the  five  picture 
contract  with  William  Fox,  he  went 
over  to  the  Paramount  studios  to 
appear  in  a  single  picture  for  that 
organization.  That  picture  was  "The 
Man  Who  Fights  Alone."  His  lead- 
ing lady  was  Lois  Wilson. 

IT  was  in  the  making  of  this  picture 
that  William  Farnum  sustained 
a  slight  injury  which  necessitated  an 
operation  after  the  production  was 
completed.  From  this  slight  injury 
there  is  a  long  and  definite  line  of 
misfortune  and  illness,  a  line  broken 
only  by  tremendous  personality  of 
Mr.  Farnum  and  his  will  to  sur- 
mount the  difiiculties  that  beset  him 
and  his  career. 

The  will  to  live  and  the  personal- 
ity behind  it  eventually  triumphed. 
Today  William  Farnum  again  stands, 
a  well  man,  on  that  great  stone  gal- 
lery surrounding  his  hillside  home. 
But  the  cost!  In  monev  alone  it  is 
almost  82,500,000.  And  who  can 
tell  what  the  sum  total  might  ha\'e 
been,  for  had  William  Farnum  been 
active  during  the  last  four  years — a 
lime  during  which  the  picture  indus-  tt 

try  has  been  making  its  greatest  for- 
ward strides — he  might  have  today  been  the  greatest  of 
all  stars.  Instead  he  is  beginning  once  again  to  take  up 
the  threads  of  an  interrupted  career.  He  was,  at  the 
time  that  illness  overtook  him,  conceded  the  foremost 
"he  man"  star  of  the  silent 

drama,  his  ^^3c^  fans  were 


From  the  heights  of  his  Hollywood  home,  he  wondered 
if  the  public  and  the  studios  had  forgotten  him 

32 


PHOTOPLAY'S  little  editorial  about  him   brought  a  flood  of  inquiries 
to  Mr.  Farnum,  a  flood  of  requests  to  come  back 


in  legion,  his  pictures  avidly  awaited  and  the  producers 
Mere  vying  with  one  another  for  his  services. 

Not  only  was  this  true  of  pictures,  but  of  the  legiti- 
mate stage  as  well.  Arthur  Hopkins,  who  gave  the 
spoken  stage  John  Barrymore  in  classical  roles,  had 
just  signed  a  contract  with  Mr.  Farnum  and  had  one 
play  in  rehearsal  when  the  first  of  his  illnesses  overtook 
the  star. 

Farnum  had  gone  to  New  York  for  his  "slight  opera- 
tion."   The  operation  successfully  performed,  he  came 
to  terms  with  the  theatrical  manager  for  the  produc- 
tion of  a  play,  "The  Buccaneer,"  and  rehearsals  were 
started.      As   the^'   progressed    the    star    became 
weaker  and  weaker,  until  just  ten  days  prior  to  the 
opening  night,  which  was  to  have  taken  place  in 
Philadelphia,  Mr.  Hopkins  noting  the  fact  that 
Mr.   Farnum  wasn't  himself  physically,  ordered 
him  home  to  rest. 

THAT  was  the  star's  last  conscious  hour  until  one 
day  about  a  week  later  he  came  to  his  senses  in 
a  room  and  noted  the  fact  that  there  were  a  num- 
ber of  men  present.  His  first  thought  was  "What 
has  happened?  Hopkins  has  changed  the  entire 
cast  on  me."  Then  he  saw  that  it  was  Dr.  Royal 
S.  Copeland,  since  United  States  Senator  from 
New  York,  standing  at  the  foot  of  his  bed.  With 
the  doctor  there  were  almost  a  dozen  other  special- 
ists, including  the  famous  surgeon,  Dr.  Erdman. 

"What  is  the  matter,  have  I  been  sick?"  he 
managed  to  murmur  to  Dr.  Copeland.  He  re- 
ceived a  nod  in  repty  and  then  slipped  oiT  into 
oblivion  again,  and  remained  unconscious  for  the 
next  eleven  weeks.  On  his  next  return  to  con- 
sciousness his  ears  heard  the  rustling  of  a  news- 
paper and  his  eyes  disco\'ered  his  brother,  Dustin 
Farnum,  seated  at  his  bedside.  Dustin  had  been 
there  for  six  weeks,  for  during  that  entire  time  the 
life  of  William  had  been  despaired  of. 

Then  came  a  long,  long  period  of  convalescence, 
almost  a  year  in  fact,  the  greater  part  of  which 
was  spent  at  the         [  continued  on  p.\ge  97  ] 


Are  Public 


Opinion 


516    BILL 
THOHP^ON 


/OHN  ROACH  RtK 


If  we  must  have  censorship,  PHOTOPLAY  suggests 
this  group  of  ideal  censors.  They  know  their  poHtics 


33 


/N  1917  Francis  X.  Bushman  was  on  the  film  heights.     Then  everything 
was  swept  away.     The  suddenly  revealed  knowledge  that  he  had  a  wife 
pushed  him  from  his  pedestal.      "Don't  marry,"   Bushman  says  to  his 
fellow  stars.     "While  the  whole  world  loves  you,  don't  marry!    I  never  want 
other  stars  to  sufifer  as  I  suffered." 


■U 


||4iat  Killed  JrancU/v. 


"Marriage,"  he  says, 
"Murdered  My  Career" 


A" 

1    V 


LONG,  narrow  room  with  cabinets  from  the 
floor  to  the  ceiling.  Five  secretaries  gracing  the 
^center.  Thirty  thousand  letters  regularly  each 
week  to  be  answered.  In  addition,  at  least  five 
thousand  photographs  and  little  notes  to  the  fans  during 
each  seven  day  period. 

The  tall,  handsome,  virile  man,  who  was  the  owner  of 
all  this,  walked  through  the  door,  spoke  to  the  messen- 
ger boys,  to  the  five  o\'er-worked  women.  He  rubbed 
his  hands  in  satisfaction.  Had  any  other  man  reached 
such  a  pinnacle  of  adoration? 

He  was  a  god ;  a  world  worshipped  hero. 

This  was  in  1917. 

"Ah,  at  that  time,  I  was  so  intensely  popular  that  I 
felt  permanently  established.  My  friends  were  num- 
bered by  thousands.  Tens  of  thousands.  Nothing 
could  shake  my  faith  in  myself.  No  one  could  have  told 
me  that  all  of  this  glory  would  not  last  forever.  I  was  a 
god  and  I  felt  secure  in  my  heaven. 

"Then,  overnight,  it  all  vanished.  Overnight,  there 
were  no  more  letters.  The  secretaries  were  dismissed, 
the  cabinets  and  messenger  boys  faded.  They  were  no 
longer  needed.    The  idol  had  fallen." 

Francis  X.Bushman  took  his  hand  from  the  head  of 
King,  the  champion  Great  Dane  who  has  suffered  with 
his  master  through  the  long  years  of  trials  and  heart- 
breaking experiences,  swept  it  through  the  air  to  the 
low  couch  between  us.  

"With  a  motion  like 
that,  everything  was 
swept  away.  From  a  hero, 
to — what  would  you  call 
it? — that  was  the  way  I 
tumbled. 

" — And  all  because  of 
the  women."  He  smiled; 
a  wan,  shadow-like  hint  of 
cynical  amusement. 


""Y'OU  see,  they  thought 
-'-  I  was  not  married. 
From  1902  until  1918  I 
kept  my  secret.  I  had  an 
unwritten  agreement  with 
my  producers  that  my 
wife  and  five  children 
would  be  kept  a  secret. 
"After  much  argument 
we  had  agreed  to  a  secret 
divorce.  Then  overnight 
she  changed  her  mind  and 
sued  me.  Overnight,  it 
was  all  over. 

"The  Metro  people  for 
whom  I  was  working  sent 
a  man  all  over  the  coun- 
try. He  returned  and 
made  me  this  statement. 


By 
Ruth  Blery 


'You  were  always  a  possible  lover,  a  possible  husband. 
The  love  of  young  girls  for  you  while  you  were  single 
was  not  wrong.     But  as  a  married  man — ' 

"  'Is  it  as  bad  as  that,  Harry?'  I  could  not  believe 
it.    He  was  right;  exhibitors  refused  to  book  my  pictures. 

"/^F  course,  there  was  talk.  Gossip.  My  fans  had 
^^ wanted  me  to  marry  Beverh*  Bayne.  I  had  thou- 
sands upon  thousands  of  letters  suggesting  it.  Just  as 
the  world  wanted  \'ilma  Banky  to  marry  Ronald  Col- 
man.  But,  when  I  did  marry  her,  I  had  already  mar- 
ried. There  had  been  talk — oh,  there  was  a  momen- 
tary reaction.  I  had  thousands  of  letters  from  those 
who  were  glad,  happy  we  had  married.  But  it  was 
never  the  same.  Motion  picture  days  seemed  over. 
We  went  into  ^'audc^'ille  together." 

We  were  silent  a  moment.  Bushman — the  forty- 
three-year-old  FrancisX.  Bushman — stroked  the  head  of 
his  great  dog,  while  his  eyes  ^•isioned  the  glories  of  the 
thirty-year  Bushman. 

"I  always  tried  to  save  \^alentino,"  he  continued 
slowly,  "from  the  suffering,  the  heart-aches,  the  awak- 

ening  which   were   mine. 

You  know  he  lived  up 
here,  next  door  to  me.  I 
used  to  warn  him,  tell  him 
that  the  American  public 
is  more  fickle  than  e\'en 
the  most  fickle  of  women. 
Tried  to  save  him  again 
and  again.  But  Rudy  only 
laughed.  He  couldn't  be- 
lie\e  me.  What  had  hap- 
pened to  poor  old  Francis 
X.  could  never  happen  to 
Rudolph  \"alentino!" 


A  NOTHER  long,  unin- 
-^•-terrupted  silence. 
Somehow,  I  could  not 
bring  myself  to  talk  when 
this  man  was  reminiscing, 
living  o^•er  the  days  of 
his  unparalleled  glory — 
"Then  one  day  Rudy 
came  over.  It  was  when 
Natacha  was  interfering 
with  his  pictures.  She  had 
written  this  one,  super- 
\ised  it.  It  was  about  to 
open  at  a  downtown  Los 
Angeles  theater. 
[continued  on  page  88] 

35 


Bushman,  with  Beverly  Bayne,  at  the  apex 
of  his  success,  in  "Romeo  and  Juliet" 


The  song-and-dance  man  who  wanted  to  be 

a  comedian.     Lon  Chaney  as  he  came  to 

Universal 

I  DID  not  get  the  story  of  Lon  Chaney's  childhood 
in  a  single  talk  with  him.  It  took  many  hours  of 
many  days,  but  those  days  brought  me  something 
I  value  highly,  Lon  Chaney's  friendship. 

He  had  told  me  succinctly  that  he  hated  interviewers. 
There  were  questions  that  I  asked 
him  which  he  flatly  refused  to 
answer.  Yet  after  I  had  seen  him 
several  times,  after  I  had  once  got 
behind  the  barrier  of  his  silence,  his 
shyness  was  broken  down  and  the 
friendliness  that  makes  stage  hands 
and  every  person  with  a  hard  luck 
story  love  him,  stood  revealed. 

When  he  desires  he  can  be  as 
subtly  charming  as  an  old  world 
courtier.  He  let  me  come  into  his 
dressing  room,  hitherto  sacred  to 
his  make-up.  The  first  day  there 
had  been  only  a  rough  chair  on 
which  I  could  sit  and,  man-fashion, 
his  combs  and  brushes  and  ciga- 
rettes were  all  over  the  place.  The 
second  time  Lon  had  tidied  the 
room  and  the  chair  had  a  cushion. 

He  loathes  having  people  on  the 
set.  Yet  he  saw  to  it  that  I  always 
found  a  comfortable  place  on  "The 
Hypnotist"  set  that  I  might  wit- 
ness how  easily  he  worked  and  with 
what  economy  of  gesture. 

Arriving  one  day  at  the  studio  I 
was  told  he  was  in  his  dressing- 
room.  I  did  not  find  him  there. 
On  the  company  stage  I  observed 
Tod  Browning,  his  director,  and  the 
Kleigs  were  blazing.     Suddenly  I 


rue  Life  Story 

Further  revelations  of  the  career 


heard  a  voice  calling  me.  Up  against  the  roof  of  the 
stage,  some  thirty  feet  high,  was  a  monster  bat,  waving 
a  friendly  hand  at  me. 

/^F  course,  it  was  Lon.  He  had  been  rigged  up  there 
^^for  hours.  At  that  distance  the  camera  couldn't 
catch  his  face  and  any  other  man  would  have  used  a 
double.  Lon  thought  the  bat  business  important  to 
his  characterization,  so  he  did  it. 

He  came  down  nearly  an  hour  later.  He  linked  his 
arm  through  mine,  paced  his  stride  instantly  to  match 
my  shorter  step  and  marched  me  off  to  the  company 
commissary.     No  fuss,  no  posing. 

Then  in  the  big  studio  dining  room  Lon  and  I  gazed 
out  across  the  green  lawns  and  flowering  hedges  of  the 
Metro-Goldwyn-Mayer  lot  and  cut  back  to  the  days 
of  1901  when  the  West  was  largely  frontier  and  the 
Chaney  boys  were  starting  their  first  tour  and  troupe 
through  the  state  of  Colorado. 

The  boys  tried  to  route  their  company  through  a 
series  of  one-night  stands.  But  for  such  youthful 
managers  the  strain  of  ticket-taking,  managing,  bill 
posting,  staging  and  acting  was  very  severe.  When 
their  tenor,  Charles  Holmes,  offered  to  buy  the  show 
from  them  and  let  them  go  along  merely  as  actors,  they 
relinquished  their  doubtful  glory  immediately. 

Holmes  started  them  out  through  the  Indian  Terri- 
tory, now  Oklahoma.  Sparce,  lonely,  amusement- 
starved  towns  they  struck.  They  went  on  through 
Kansas,  Missouri,  Nebraska.  North  and  South  Dakota, 
Minnesota,  Arkansas  and  Texas. 


The  only  picture  of  Mrs.  Chaney  Lon  has  allowed  the  public, 
snapped   the  opening  night  of  "  Tell  It  to  the  Marines  " 


36 


<?aLonChaney« 


By 

uth  Water  bury 


of  the  mystery  man  of  the  movies 


Lon  loved  it.  It  was  all  new  to  him.  There  were 
such  things  as  automobiles,  electricity  and  large  cities, 
he  knew,  but  he  never  saw  a  town  that  boasted  them. 
The  company  traveled  along  in  a  caboose  that  could 
be  attached  to  any  freight  train.  There  were  twenty- 
three  of  those  terrible  actors  and  they  had  to  take  turns 
cooking  their  meals  over  the  car's  wood-burning  stove. 
Lon  insists  that  the  trains  crept  along  so  slowly  they 
made  a  practice  of  shooting  quail  in  the  fields  as  they 
passed,  then  hopping  off  to  retrieve  them,  and  of 
catching  the  train  in  a  walk. 

HAMS  among  the  hamlets.  They  played  every  town 
that  rose  to  break  the  open  stretches  of  the  prairies. 
They  felt  sinfully  luxurious  when  they  found  a  theater 
with  dressing  rooms.  Usually  they  had  to  put  up  a 
sheet  back  stage  and  reserve  one  side  for  the  women,  the 
other  for  the  men.  When  there  was  room  enough  back 
stage  for  the  trunks,  that  was  a  big  night.  Generally 
the  trunks  had  to  be  put  in  the  orchestra  pit,  along 
with  whatever  audience  there  was.  When  costume 
changes  were  called  for  the  actors  were  forced  to  march 
solemnly  front  in  full  sight  of  the  public,  choose  the 
necessary  regalia  and  cart  it  back.  As  they  went  on, 
particularly  in  Te.xas,  they  began  to  regard  theaters  of 
any  sort  as  miraculous.  More  and  more  they  played 
stores  and  halls. 

For  footlights  they  used  coal-oil  lamps  and  when  the 
script  demanded  a  light  change  some  performer  would 
have  to  walk  down  stage,  and  adjust  the  lamp  wicks. 
It    was    fortunate    that    neither  actors  nor  audiences 


his    youngest    brother,  George  Chaney,  who  is  now 
editor  of  a  small  California  newspaper 


possessed  a  sense  of  humor.  Lon  remembers  one 
scene  in  their  first  plaj',  "Said  Pasha,"  in  which  the 
lights  had  to  go  out  during  a  love  scene.  The  lover 
entering  worked  his  way  to  the  front  of  the  stage, 
turned  out  all  the  lamps  and  hurled  his  hot  words  at  the 
heroine.  But  the  plot  required  that  Pasha  should  dis- 
cover his  daughter  in  the  arms  of  her  sweetheart. 
Since  he  could  do  no  discovering  in  darkness,  he  had  to 
go  down  and  light  the  lamps  before  he  could  act  sur- 
prise at  the  sight  that  met  his  eyes. 

Naive  days,  those,  when  the  entertainment  world 
was  young.  Lon  Chaney  today  is  known  as  the  easiest 
star  in  filmdom  to  direct.  His  pictures  are  among  the 
least  expensive  to  produce.  Thrift  is  as  inevitable  to 
him  after  that  training  as  it  is  to  Cal  Coolidge. 

Even  with  the  unsophisticated  tolerance  of  their 
audiences,  Lon  thinks  they  would  never  have  drawn 
a  house  anywhere  save  for  the  "hard  tickets"  they 
issued.  These  were  guarantees  to  the  public  that  they 
would  get  their  money  back  if  they  didn't  like  the  show. 
The  company  gambled  on  the  fact  that  no  one  would 
have  the  nerve  to  tell  the  truth  about  them  and  nobody 
ever  did.  Once  they  ran  out  of  their  "hard  tickets." 
The  town's  only  substitute  was  milk  tickets.  Adults 
came  in  on  quarts,  children  on  pints. 

AS  the  original  road  builders  had  pushed  on,  those 
tawdry,  tired  pioneers  of  laughter  followed  their 
vague  dream.  Rough  traveling,  sleeplessness,  loneliness, 
the  lack  of  proper  food.  The  youngsters  counter- 
balanced it  all  with  their  optimism,  the  elders  with  the 
resignation  of  failure.  It  wasn't 
until  they  came  into  a  Florida  ^'il- 
lage  on  December  24th,  1903,  that 
they  jolted  back  to  reality. 

It  was  a  ghastly  little  town,  sand 
everywhere,  and  a  few  weather- 
beaten,  sun-bleached  buildings. 
None  of  them  had  any  money. 
They  counted  themselves  fortunate 
when  they  made  enough  money  to 
cover  expenses  and  get  to  the  next 
stand. 

But  they  simply  had  to  have  a 
Christmas. 

Lon  and  his  brother  hunted  a 
tree.  They  dragged  a  small  pine 
back  to  the  town  hall  where  they 
were  to  stage  their  bill.  They  dug 
down  into  the  company  trunk  for 
decorations,  pathetic,  glittering 
things,  buttons  off  their  costumes, 
tinfoil  jewelry,  cardboard  crowns. 
They  hung  them  on  the  tree  and 
pretended  it  was  beautiful. 

All  through  the  show  that  night, 
all  the  next  morning — for  wonder 
of  wonders,  this  was  a  two-day 
stand — the  company  was  busy  de- 
vising Christmas  gifts.  As  Christ- 
mas week  is  the  worst  the  show  busi- 
ness knows,  they  were  poorer  than 
usual,  [continued  on  page  119] 


37 


Illustrated  b) 
Russell    Patters 


aking  A 


A  year  ago  Tom  Mix  started  writing;  first 
for  Variety,  then  for  Photoplay,  .then  for 
Life;  and  now  he  is  a  regular  contributor  to  all 
three.  He  doesn't  write  for  publicity.  He 
doesn't  need  that.  He  writes  for  money.  He  doesn't  need  that  either. 
But  many  magazines  are  now  bidding  for  his  mamiscripts. 

In  our  agreement  for  six  stories  we  provided  that  he  must  write  a 
minimum  of  so  many  words  for  so  much  money.  Extra  words  didn't 
add  to  his  check.  We  also  made  him  promise  to  throw  away  his 
dictionary  so  he  would  not  lose  his  natural  style.  When  he  sent  in  this 
first  article,  he  wired: 

"You  thought  you  were  smart  when  you  7nade  me  get  rid  of  my 
dictionary.  T  swapped  it  for  an  arithmetic  and  yoti  didn't  get  one 
extra  word." 

The  Editor. 

EARLY  in  life  I  decided  that  no  gent  could  be 
properly  bankrolled  without  a  million  dollars. 
Then  I  started  after  it. 

Next  to  the  herdin'  of  a  million  dollars,  which 
I'll  admit  I'm  now  a  doin',  inducin'  the  aforesaid  million 
to  group  'emselves  together  is  about  the  toughest  job 
I  know  of. 

How  come  I  decided  on  a  million  as  the  proper 
amount  for  a  well-to-do  citizen  to  have  on  hand,  came 
in  a  peculiar  way.  The  fact  is  I  had  never  heard  of  a 
million  dollars  until  I  was  told  an  old,  red-skirted  gypsy 
had  confided  to  a  ranchwoman  that  one  day  her  baby 
would  be  the  owner  of  a  million  dollars — this  important 
information  bein'  purchased  for  two-bits.  My  mother 
believed  it  and  that's  why  I  had  to  go  out  an'  get  it. 
As  a  boy  about  twelve,  to  give  me  some  idea  what  a 
million  meant  an'  in  a  language  I  could  understand,  my 
father  pictured  how  big  a  ranch  it  would 
take  to  feed  a  million  horses  or  cattle. 
I  also  recall  that  my  first  important 


Don't  miss  this — the  first  of  a 
which  our  hero  starts  out  to 


decision  on  the  million  matter  was  that  once  I  got  the 
million,  I  didn't  propose  to  let  anybody  mind  it  for  me 
an'  that  I'd  always  carry  it  around  in  my  pocket, 
thereby  havin'  it  handy  in  case  I  had  to  leave  on  one  of 
those  quick,  unexpected  overnight  jumps  toward  the 
Mexican  border  that  citizens  often  made  in  the  early 
days  of  Texas.  As  I  remember  now,  I  never  figured  on 
gettin'  more'n  the  first  million. 

The  first  person  I  ever  confided  this  deep  set  million 
dollar  resolution  to  was  my  mother  an'  I  slipped  it  to 
her  as  a  secret  just  before  I  rode  away  from  home  to 
take  my  first  job  of  cowpunchin'  for  wages,  then  a  lad  of 
perhaps  twelve.  I  didn't  tell  my  father,  as  I  expected 
to  be  back  with  the  million  in  a  few  months  an'  give  the 
old  gentleman  a  surprise. 

A  LTHOUGH  that  was  many  years  ago,  later  in  life,  I 
-^*-had  the  pleasure  of  tellin'  that  same  little  mother 
that  the  gypsy's  prophecy  had  come  true — I  had  the 
million.  In  passin',  I'd  like  to  add  that  my  father  and 
mother  are  still  alive  an'  happy  after  fifty  years  of 
married  life.  No,  they  don't  live  in  Hollywood.  Any 
man  or  woman  out  here  in  Hollywood,  who  would  con- 
fess to  livin'  together  for  half  a  century  an'  still  be  on 
speakin'  terms,  would  be  throwed  into  jail  as  insane 
and  disloyal  to  the  town's  best  an'  finest  examples. 

As  I  grew  up,  I  did  a  lot  of  figurin'  as  to  the  best  way 
to  round  up  that  million.  Livin'  in  an  open  country, 
my  first  idea  was  to  make  it  in  cattle.  I  figured  it  out 
that  a  cattleman's  profit  on  a  steer  would  average  about 
six  dollars  a  head.  I  saw  that  to  get  the  million  in  that 
way,   I  would  require  a  herd  cf  somethin'  like 


Million 


series  of  six  true  stories  in 
rope  and  hog-tie  a  fortune 

168,666%  head  of  full  grown  cattle  with  two  yearlin's 
added — the  latter  represcntin'  the  two  thirds.  I  didn't 
know  anybod}'  in  all  Texas  or  the  Indian  Territory — 
now  Oklahoma — who  had  60,000  head,  let  alone  more 
than  twice  that  number,  nor  did  I  see  how,  at  that  time, 
I  could  feed  an'  range  that  much  stock  if  I  really  had 
'em.    So  it  came  about,  the  cattle  idea  was  abandoned. 

Over  in  Pecos  country,  where  I  was  then  a  workin' 
out  in  a  line  camp,  I  met  "  Good  Eye  "  Williams,  a  cow- 
hand.   It  seems  a  billiard  cue  in  the  hands  of  a  quicker 
man  had  deprived  him  of  the  sight  of  one  eye,  although 
"Good  Eye"  used  to  describe  it  as  a  triflin'  incident 
that  occurred  durin'  a  terrific  hand-to-hand  encounter 
with  cattle  rustlers,  whereas  in  truth  an'  fact 
the  trouble  started  over  who  put  the  fifteen 
ball  in  the  corner  pocket  without  callin'  the 
shct. 

"Good  Eye,"  not  the  gentlest 
cowpuncher  in  the  world,  had  made 
several  hurried  trips  to  Mexico, 
where  he  always  remained  until  a  new 
sherifif  had  been  elected  back  home. 
So  it  was  that  "Good  Eye"  knew  a 
lot  about  Mexico,  an'  after  listenin' 


By 
Tom  Mix 


to  him  I  decided  that  if  I  was  a  goin'  to  get  that 
million,  I  had  to  get  together  fifteen  or  twenty 
kindred  spirits  an'  ride  down  an'  take  Mexico, 
stufY  a  million  in  my  pocket  an'  go  on  my  way,  leavin' 
"Good  Eye"  an'  the  bo\s  what  was  left.  At  the  time 
"Good  Eye"  an'  me  planned  our  revolution,  I  figured 
that  if  the  rest  of  the  inhabitants  were  like  the  border 
peons  I  knew,  "Good  Eye"  an'  me,  with  our  gang, 
could  take  the  country  easily.  An'  I'm  not  so  certain  to 
this  day,  that  I  wasn't  right. 

One  of  the  singular  things  in  that  connection  is  that 
many  years  thereafter,  the  first  $500  in  gold  that  I  had 
ever  seen,  was  paid  to  me  in  Juarez,  Mexico,  by  Fran- 
cisco Madero,  for  services  rendered  when  he  was  leadin' 
a  revolt  against  General  Porfirio  Diaz,  then  president  of 
the  republic.     But  I'll  tell  of  that  later. 

Back  in  the  line  camp,  "Good 

[  CONTINUED  ON  PAGE  110  ] 


"Now,"  says  the  director,  "re- 
member, while  you're  a  killin' 
the  wolf,  keep  your  back  to  the 
camera.  We  don't  want  to  see 
your  face — " 


inners  «/$5000 


The  solution  of 
Mrs.  C  .  F  . 
Schneiker,  pre- 
sented in  the 
form  of  colored 
blocks,  shown  at 
the  left,  carried 
off  first  honors 
and  the  $1,500 
prize 


Ruth   Curry  won   second 
honors     and     the    $l,fl 
prize.      The    solution,    a 
colored  butterfly,  is  shown 
at  the  left 


THE  avalanche  of  entries  in  Photoplay  Maga- 
zine's fourth  Cut  Puzzle  Picture  Contest  brought 
most  impressively  to  the  judges'  attention  the 
fact  that  this  annual  event  continues  to  maintain  not 
only  a  national,  but  an  international  character.  Every 
state  sent  its  host  of  entries  and  every  continent  as 
well  as  the  islands  of  the  seas  were  well  represented. 
Photoplay,  along  with  pictures,  girdles  the  globe. 

In  spite  of  the  fact  that  the  great  majority  of  the 
solutions  submitted  were  more  simply  presented  than 
in  previous  years,  the  judges  found  their  task  in  no  wise 
diminished. 

But  after  weeks  of  the  most  careful  and  assiduous 
labor  they  believe  that  they  have  reached  as  just 
and  fair  decisions  as  it  is  possible  for  any  group  of 
human  beings  to  arrive  at. 

It  was  necessary  to  set  aside  a  spacious  store  room 
where  the  entries  could  be  safely  kept  under  lock  and 
key,  awaiting  the  judges.  And  after  their  weeks  of 
labor  here  you  may  read  the  names  of  the  fifty  whose 
solutions  triumphed  over  many  thousands,  and  who 
thereby  carry  off  the  total  of  $5,000  in  cash  prizes. 
And  here,  too,  are  presented  photographs  of  the  leading 


Th( 

i  Sixteen  Correct  Cut-Puzzle  Answers 

June 

July                                 August 

September 

Corinne  Griffith 

Lloyd  Hughes                      Mary  Brian 

Lawrence  Gray 

Norma  Shearer 

Owen  Moore                       Mary  Astor 

Conrad  Nagel 

Lois  Moran 

Edmund  Burns                    Eleanor  Boardman 

WiUiam  Boyd 

Betty  Bronson 
40 

Antonio  Moreno                 Renee  Adoree 

James  Hall 

Contest 


Photoplay's  Fourth 
Cut  Puzzle  Awards 


Frances  E.  Heggstrom,  win- 
ner of  the  $500  prize,  and  her 
book  of  solutions 


prize-winning  solutions,  together  with  portraits  of 
some  of  the  winners. 

The  prizes  will  be  sent  to  the  four  corners  of  the 
country.  In  addition,  one  fifty  dollar  award  will  go  to 
England. 

The  Contest  was  made  more  interesting  than  ever 
tliis  year  by  reason  of  the  addition  of  the  key  letters, 
from  which  names  of  photoplay  actors  and  actresses 
were  to  be  made.  Correctness,  naturally,  was  the 
first  factor  to  be  considered.  Neatness,  as  before, 
counted  in  the  assembling  of  the  cut  pictures.  And 
simplicity,  combined  with  ingenuity  of  design,  was 
required  as  a  matter  of  fairness  to  all  contestants. 

As  in  previous  contests,  many  solutions  had  to  be 
cast  aside  because  of  errors  in  assembling  the  cut 
pictures.  Many  also  lost  out  in  the  awarding  of  prizes 
because  of  the  use  of  more  key  letters  than  were 
actually  printed  on  the  sections  of  the  pictures. 

One  factor  stands  out  strikingly,  and  that  is,  it  is 
obvious  that  motion  picture  fans  everywhere  are  be- 
coming better  acquainted  with  the  faces  and  names  of 
motion    picture    actors.      Many    minor    actors    and 


The  Prize  Winners 

First  Prize  $1,500 — Blocks 

Mrs.  C.  F.  Schneiker 

30  N.  Bergen  Place,  Freeport,  Long  Island,  N.  Y. 

Second  Prize  $1,000 — Butterfly 

Ruth  Curry 

4006  Main  Street,  Kansas  City,  Mo. 

Third  Prize  $500 — Book 

Frances  E.  Heggstrom 

Red  Wing,  Minnesota 

Fourth  Prize  $250 — Peacock 

Emil  Paulson 

335  East  Colfax  St.,  Denver,  Colo. 

Fifth  Prize  $12,5 — Album 

Sallie  Carrol 
P.  O.  Box  185,  Redwood  City,  Calif. 

[  ADDITIONAL  PRIZE  WINNERS  OX  PAGE  90  ] 


actresses  were  well  represented  in  the  lists  of  names 
formed  from  the  key  letters. 

Well  worthy  of  note  is  the  excellent  uses  to  which  the 
prize-winners  propose  to  put  their  awards.  One  is 
to  be  used  either  to  re-decorate  a  little  home  or  to 
take  a  long  desired  trip  abroad ;  one  to  go  into  a  savings 
account;  and  two  will  be  utilized  to  further  the  educa- 
tions of  the  winners,  one  a  crippled  girl. 

The  first  prize  of  $1,500  goes  to  Mrs.  C.  F.  Schneiker, 
30  North  Bergen  Place,  Freeport,  Long  Island,  New 
York,  for  her  nest  of  blocks  and  list  of  players. 

"I  have  been  interested  in  the  contest  each  year, 
this  one  appealing  to  me  particularly  because  of  the 
new  feature  in  your  presentation  of  making  names  of 
screen  players  from  the  key  letters,"  Mrs.  Schneiker 
writes  Photopl.w.  "That  was  most  absorbing,  and 
my  back   numbers  of  [continued  on   page   90] 


A  beautifully  colored  pea- 
cock, mounted  in  a  frame, 
formed  the  background  for 
Emil  Paulson's  solution. 
He  is  awarded  the  $250  prize 


Wanted  by  Richard  Barthelmess:  A  happy 
family  and  a  producer's  job — in  Europe 

THESE  top-notch  motion  picture  stars  of  ours, 
riding  on  the  crest  of  the  fame  wave,  known  in 
every  corner  of  the  earth,  so  rich,  so  universally 
admired — what  does  the  future  hold  for  them? 
What  are  their  own  ideals  for  themselves?    Are  they 
evolving  a  philosophy  of  life?  Are  they  content  to  live  in 
the  present,  to  let  tomorrow  take  care  of  itself? 

Deep  down  in  their  hearts  they  know  that  stardom 
in  motion  pictures  cannot  endure  forever.  They  know 
that  they  are  in  the  cruellest  of  all  professions,  in 
which  "old  age"  comes  earlier  by  ten  or  fifteen  years 
than  in  any  other — a  profession  depending  so  desper- 
ately on  youth,  on  appearances,  on  continued  charm, 
on  a  fickle  public's  adulation.  They  have  seen  the 
stars  of  former  days  drop  out  one  by  one  and  become 
mere  has-beens. 

WHAT  sort  of  lives  are  they  preparing  for  them- 
selves when  their  stardom  wanes?  In  any  other 
profession  they  could  look  towards  maintained  and 
increasing  success  through  the  years,  but  in  screenland 
ten  years  hence  is  the  equivalent  of  twenty,  thirty- 
years  hence  in  any  other  realm.  There  will  be  another 
life  to  lead,  a  long  life,  long  after  their  names  have 
ceased  to  be  headline  and  electric  sign  drawing  powers 
for  the  film  industry. 

Are  they  making  any  plans  towards  making  this 
later  life  gracious,  worthy  of  the  fame  that  was  theirs, 
charming  for  themselves  and  others — a  genuine  con- 
tribution to  life  in  general?  Are  they  storing  up  inter- 
ests for  the  future  to  take  the  place  of  public  adulation? 

They  have  attained  what  the  world  envies  them — 
wealth  and  place  and  universal  admiration.  None 
before  them  has  ever  attained  such  far-reaching 
fame,  such  glittering  success.  They  are  the  most 
envied  of  the  envied.  To  such  a  large  extent  it  would 
seem  that  they  could  make  of  their  lives  what  they  will. 
Their  rewards  exceed  those  of  great  public  benefactors, 
idealistic  altruists,  the  world's  finest  statesmen. 

What  is  it  all  going  to  mean  to  them — ten  years 
hence? 

I  selected  a  dozen  of  our  most  starry  famous  ones, 
those  who  have  been  in  the  profession  long  enough  to 
have  become  used  to  fame  and  who  will  be  past  forty 
years  of  age — ten  years  hence.  I  asked  them  to  tell 
me  in  what  circumstances  they  would  wish  to  find 
themselves  ten  years  hence,  what  their  lives  would  be 
if  they  could  control  their  own  destinies. 

Jf2 


Wen  Years 
Hence 


In  most  cases  the  question  boggled  them.  It  was 
plain  that  looking  thus  into  the  future  disturbed  them 
mightily.  They  had  not  thought  about  it,  they  did 
not  want  to  think  about  it.  Pictures  are  their  life,  for 
the  most  part.  They  were,  most  of  them,  startled  to 
be  confronted  with  a  question  that  might  seem  to  ex- 
clude pictures  from  their  realm.  They  really  could  not 
envision  life  outside  of  motion  pictures.  And  then,  as 
they  compelled  their  minds  to  the  thought,  almost  all 
of  them  talked  vaguely  about  travel,  about  lovely 
estates,  yachts,  while  just  one  or  two  considered  possible 
new  fields  of  work,  of  endeavor. 

The  women  seemed  to  know  their  minds  better  than 
the  men. 

T  FOUND  Norma  Talmadge,  dressed  in  a  plain  little 
-^  sport  dress,  painting  porch  furniture  and  indulging 
herself  in  a  wild  go  of  domesticity.  Norma  looks  much 
tinier,  not  at  all  stately  ofif  the  screen.  Her  hair  was 
rumpled  and  her  face  guiltless  of  make-up.  She  left 
the  painting,  lit  a  cigarette  and  curled  up  on  a  divan 
with  her  legs  folded  beneath  her. 

"Oh,  goodness,  I  have  never  thought  of  anything 
but  pictures,"  she  said  in  answer  to  my  searching 
question.     "I  have   never   been   quite   satisfied   with 


Wanted  by  Col- 
leen  Moore: 
Two  children,  a 
125  foot  sailing 
yacht  and  no 
superfluous 
avoirdupois 


The  Paradise  the  stars 

hope  for  is  a  home  in 

France,  children— and  an 

occasional  fling  at  Art 

By  Alma    Whitaker 


any  picture  I  have  made  yet,  so  all  I  can  think  about 
is  making  better  ones.  But  I  would  like  to  go  on  the 
stage.  I  should  have  to  learn,  of  course.  I  wouldn't 
try  to  do  it  just  on  my  picture  reputation.  Oh,  I 
should  always  have  to  work.  I  couldn't  consider  life 
without  work. 

"  I  think  I  would  like  a  villa  in  the  South  of  France, 
near  Monte  Carlo.  People  seem  to  know  how  to  live 
there.  Lots  of  women,  Mary  Garden  for  instance, 
have  their  homes  there — but  not  retired.  They  go 
right  on  working  out  in  the  world  and  use  their  villas 
as  a  charmed  retreat  between  engagements.  Women 
don't  grow  old  any  more.  .  .  . 

"I  would  have  liked  to  have  had  children,"  she 
murmured,  thoughtfully.  "I  adore  Natalie's  babies. 
I  like  giving  big  parties  .  .  .  You  know  I  will  invite 
100  and  300  will  turn  up  and  I  love  it.  Talking  about 
babies,  I  think  my  pictures  have  been  my  babies. 
Waiting  for  the  results,  it's  like  giving  birth  to  a  child. 
All  the  anguish  and  not  knowing  whether  all  is  well 
until  it  is  actually  produced.  .  .  .  Oh,  ten  years  hence. 
It  seems  so  far  off.  But,  yes,  I  suppose  the  years  do 
creep  up  on  one.  ..." 

It  hasn't  anything  to  do  with  the  story  exactly, 
but  I  must  also  quote  Norma  Talmadge  on  the  subject 
of  "gossip."  I  had  said  that  we  seemed  to  be  able  to 
forgive  some  reckless  famous  ones.  .  .  . 


Wanted  by  Norma  Talmadge:  A  villa  on  the 
Riviera,  children  and  a  chance  on  the  stage 


Wanted  by  Ron- 
ald Colman:  A 
son,  a  yacht, 
some  books, 
twenty  weeks 
work  a  year  on 
the  stage  and  a 
good  game  of 
poker 


"Forgive!"  said  Norma  gravely.  "Who  are  any  of 
us  to  judge  and  forgive?    Or  to  blame?" 

And  yet,  of  course,  this  attitude  of  Norma's  will 
affect  her  life  ten  years  hence.  A  "judge  not  that  ye 
be  not  judged"  attitude  must  sweeten  life  tremen- 
dously as  the  years  pass  on. 

A  DOLPHE  MENJOU  also  looks  to  the  South  of 
■**-France  for  his  setting  in  1937.  Adolphe  managed 
to  be  quite  emphatic — but  I  think  something  had 
happened  that  day  to  assist  his  decision. 

"I  am  working  hard  now  and  will  for  several  more 
years,"  he  said,  "but  in  ten  years — maybe  sooner — 
I'll  have  enough  money  to  buy  a  country  place  at  Pau, 
France.  I'll  be  in  the  foothills  of  the  Pyrenees,  'taking 
it  big.'  I  want  to  live  in  France  as  a  country  gentleman, 
in  a  chateau  with  modern  plumbing,  and  raise  dogs 
and  horses — and  maybe  children.  And  then  no  more 
movies.    I  expect  to  realize  my  ambition,  too." 

Little  Colleen  Moore,  looking  a  wisp  of  a  girl   of 
about  16,  is  a  buoyant  person  to  interview.     Colleen 
placed  a  finger  on  her  forehead  and  registered  pro- 
fundity with  a  naughty  twinkle. 

"Of  course,"  she  began,  "first  of  all  I 
should  like  to  be  able  to  say  I  had  made 
one  really  fine  artistic  picture — that  was 
also  a  huge  box  office  success,  "  she 
grinned.      "And  I  hope  by  then  I 
will  have  an  absolutely  clear  con- 
science,   for    I    do    love 
my  sleep.     I  am  afraid 
I  haven't  any  nice  high- 
brow ambitions.  I  hope 
I  will  still  be  skinn^^  be- 
cause fat  people  take  up 
too  much  room  on  little 
yachts. 

"Yes,  ten  years  from 
now,  I  hope  I  will  be  on 
a  125-foot  sailing  yacht 
good  engine  for  emergen- 
cies), with  my  John,  and  drifting 
about  the  seas.     I  want  us  to  be 
poking  into  queer  harbors  and  up 
funny  little  rivers,   maybe   the   Nile,    for 
instance.    You  know  I  had  four  wonder- 
ful months  of  such  cruising  this  summer 
with  my  John,  [continued  on  page  108  ] 


Qossij)  ofjill 


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"  ^1 

"If  you'll  give  me  a  chance  in  pictures,"  says  Joan  Crawford's 

poochiepet  puppy,  "I'll  prove  that  I've  got  more  brains,  more  IT 

and  a  better  camera  face  than  Rin-Tin-Tin."    What  supervisor 

will  "discover"  him? 


THE  weirdest  story  of  the  month  emanates,  not  from  Holly- 
wood but  from  Milan,  Italy — of  all  places!  This  fantastic 
tale  runs  to  the  effect  that  a  jealous  motion  picture  actress, 
aided  by  a  demonic  mo\ie  magnate,  killed  Rudolph  Valentino 
by  crushing  diamonds  and  sprinkling  them  in  Rudie's  drinks. 
Can  3'ou  imagine,  Oswald,  a  mo\-ie  actress  and  a  movie 
magnate  crushing  up  diamonds  and  not  dropping  dead  of  heart 
failure  themseh'es? 


TX7ILS0N    MIZNER    says    the    "persistency    of    the 
'' ^  uninspired"  is  the  greatest  tragedy  of  the   motion 
picture  industry. 

HERE  is  a  Hollywood  story,  more  tragic  than  any  that  our 
own  Adela   Rogers  St.   Johns  e^^er  wrote.      It  concerns 
X'irginia  Lee  Corbin  and  her  mother. 

Mrs.  Corbin  was  the  wife  of  a  prosperous  Los  Angeles 
druggist,  so  it  wasn't  money  that  made  her  want  Mrginia  to 
bcoonie  a  mo\ie  star.  It  was  a  curious,  persistent  ambition 
that  influenced  her  to  start  Virginia  as  a  child  actress  when  the 
girl  was  little  more  than  a  baby. 

VIRGINIA,  as  you  know,  was  successful.  Successful 
enough  to  be  the  innocent  cause  of  an  estrangement 
l)etween  her  father  and  mother.  When  Mr.  Corbin  died  last 
Spring,  he  carried  with  him  to  his  grave  the  regret  that  his 
X'irginia  hadn't  enjoyed  the  normal  childhood  of  other  little 
girls. 

THAT  was  tragedy  No.  1.  Virginia  is  now  seventeen  years 
old  and  has  reached  the  age  when  she  has  ideas  of  her  own — 
right  or  wrong.  And  so  trouble  started  between  \'irginia  and 
her  mother.  There  were  quarrels  about  salary  and  quarrels 
about  Virginia's  right  to  go  to  parties.  Finally,  Virginia 
brought  an  in.sanity  complaint  against  her  mother.  The  poor 
woman  had  tried  to  kill  herself. 

Then  came  the  bitterest  quarrel  of  all,  o\er  tlie  ridiculous 


What  the  well- 
dressed  Eve  wears 
in  "The  Garden 
of  Eden."  This 
rare  photograph 
is  the  first  time 
Corinne  Griffith 
has  shown  her 
knees  since  leav- 
ing Vitagraph 


party  question.  Virginia  left  home  and  Mrs.  Corbin  swallowed 
poison.  And  Virginia  rushed  to  the  hospital,  where  her  mother 
fought  a  wavering  fight  against  death. 

They're  reconciled  now  and  the  insanity  complaint  is 
dismissed.  And  nobody's  to  blame.  You  can't  blame  the 
mother  who  was  so  ambitious  for  her  pretty  little  child.  Nor 
can  you  blame  the  child  who  was  forced  into  a  hard,  unnatural 
life  when  she  was  too  j-oung  to  grasp  the  difference  between 
right  and  wrong. 

LENA  MALENA,  the  little  German  actress,  who  has 
been  borrowed  by  United  Artists  from  Cecil  De  Mille 
to  play  with  John  Barrymore  in  "The  Tempest,"  was  talk- 
ing to  a  writer. 

"How   are    you   getting    along    with    Barrymore?"    the 
writer  inquired. 

"But  Meester  Barrymore,  he  no  has  flirted  mit  me  yet. 
I  am  so  much  the  deesappointed,"  was  the  tragic  answer. 


the  ^tudioj 


SBy 
Caljork 


Dolores  Del  Rio 
wanted  to  take  this 
papoose  to  Holly- 
wood. Big  Chief 
and  his  squaw 
shouted  a  heap 
big  "No!" 


What's  the  younger  generation  coming  to?    It's  enough  to  make 

Charlotte  Greenwood  believe  the  things  she's  heard  about  the 

movies.    The  "baby"  is  Harry  Earles.     Remember  him  in  "The 

Unholy  Three"? 


ZELDA  SEARS,  the  playwright,  was  chatting  with  me. 
"Even  as  a  boy,  Cecil  De  Mille  was  a  nice  kid,"  she  re- 
marked. "Of  course,  his  mother  and  father  were  so  clever 
that  we  never  really  expected  either  Cecil  or  William  to 
amount  to  a  thing.    But  they  were  nice  children." 

And  now  Zelda  draws  her  pay  checks  from  the  "nice  boys" 
of   her   early   acquaintance. 


LEILA  HYAMS,  that  nifty  young  person,  has  gone  and 
gotten  married  to  Phil  Berg,  a  Hollywood  casting  agent. 
They  were  married  at  Sherry's  in  New  York.  What  could  be 
grander? 

'T^OM  GERAGHTY  passes  along  a  new  word,  coined  by 
■*■  Samuel  G.  Blythe.  Blythe  calls  a  certain  type  of 
worker  a  "slib."  A  "slib,"  in  case  you  want  to  know,  is  a 
man  who  is  both  slick  and  glib. 

NORMA  SHEARER  and  Irving  Thalberg  have  taken  up 
their  nuptial  residence  with  Mother  Thalberg  and  little 
sister  Sylvia. 

Norma  was  very  wifely  on  the  morning  of  the  honeymoon 
return.  "  I'll  put  in  Irving's  collar  buttons  and  cuff  links,  now. 
You  don't  need  to  do  it  any  longer,  "  she  told  her  mother-in-law. 

And  she  did,  for  four  whole  mornings.  Then  she  called  for 
help,  "You  can  do  it,  if  you  want  to,  Mother.  I  have  to  be  at 
the  studio,  and  you're  used  to  doing  it,  and ■ — •" 

Mother  Thalberg  can  almost  forget  now  that  her  boy  is 
married. 


NORMA  TALMADGE  is  making  a  home  for  sister  Natalie's 
children,  while  Mr.  and  Mrs.  Buster  Keatonarein  the  east. 
The  kiddies  arrived  with  their  little  black  terrier,  "Scotty. " 
Within  two  days  "Scotty"  was  missing. 

The  Talmadge  house  was  in  an  uproar.  An  advertisement 
was  rushed  to  the  papers  which  made  the  mistake  of  carrying 
the  true  name  and  address  of  the  owners.  The  procession  be- 
gan! As  many  dogs  as  the  Pied  Piper  had  rats  paraded  with 
their  inquisiti\e  masters  before  the  Talmadge  front  door-step. 

FINALLY,  when  the  ele\enth  hundred  child  arri\-ed  with  a 
huge  Dane,  e\idently  her  own,  and  as  evidently  used  as  an 
excuse  for  mama  and  papa  and  all  the  brothers  and  sisters  to 
see  Norma,  the  Keatons  and  the  household  equipment.  Norma 
became  disgusted. 

"But  the  ad\ertisement  said  definitely  that  it  was  a  tiny 
black  Scotch  Terrier,  answering  to  the  name  of  'Scotty.'  Why 
have  you  brought  this  huge  Dane?"  she  demanded. 

"Because  it  answers  to  the  name  of  'Scotty',"  was  the  lisp- 
ing answer. 

"And  the  paper  might  have  made  a  mistake  in  the  rest  of  the 
description,"  Mama  added.  A  Hollywood  boulevard  police- 
man found  the  real  "Scotty"  and  returned  it. 

HUMAN  stories  often  skirt  motion  picture  sets,  that  far 
exceed  the  poignancy  of  the  box  office  attraction  being 
filmed. 

This  happened  on  the  Florence  Yidor  "A  Celebrated 
Woman"  set. 

45 


Joyce  Coad  (at  lefti  is  the  only  triplet  in  pictures.    She  is 
now  nine  years  old  and  one  of  the  best  of  the  child  ac- 
tresses in  Hollywood.    Her  brother  and  sister  are  not  on 
the  screen 


A  revolver  was  used  in  a  scene.  Several  "  takes"  were  made, 
the  revolver  exploding  in  each  instance. 

The  head  electrician  came  to  Director  Frank  Turtle; 

"Say,  Air.  Tuttle,  could  you  let  me  know  when  you're 
gonna  fire  that  gun?  I  want  to  signal  those  fellers,"  pointing 
to  four  electricians  high  in  the  rafters  manning  spotlights. 
"The  boys  got  shell  shocked  in  the  War  and  sudden  explosions 
iinner\'e  them." 

They  rccei\"ed  their  signals. 

A  HUGE  sight-seeing  'bus  dashed  up  Fifth  Avenue  and 
•'*■  plastered  across  it  was  this  flaming  banner,  "Welcome 
Home,  Carl  Laemmle." 

"What's  all  that  about?"  I  asked  my  intelligent  taxi 
driver. 

"That's  a  movie  stunt,"  he  answered.  "It  says  'Wel- 
come Home,  Carl  LeMeal.  Carl  is  a  brother  of  Cecil  Le- 
Meal  who  plays  in  'The  Big  Parade.'  " 

And  that,  my  lads,  is  fame! 

LUPE  X'.^LEZ,  Doug  Fairbank's  Mexican  discovery,  now 
is  100  per  cent  Hollywood.  She  is  being  sued  by  her  mana- 
ger for  breach  of  contract.  The  manager  claims  he  discovered 
Lupe  while  the  little  Mexican  was  riding  on  a  merr}-go-round 
in  her  native  city. 

This  story  takes  the  prize  of  the  handsome  solid  i\ory  copy 
of  "Cinderella." 

NOW  we  know  that  Lupez  is  a  primiti^"e  creature.  It  has 
just  leaked  out  that  she  was  such  a  good  comrade  on  the 
set  where  she  was  working,  that  one  of  the  prop-boj-s  took  it 
for  granted  he  could  become  familiar.  She  charged  at  him 
with  a  knife,  chasing  him  the  length  of  the  lot.  before  outsiders 
could  rush   to  his  protection. 

We  wonder  if  the  well-known  director  to  whom  she  is  re- 
ported engaged  has  heard  this  storj-. 

"DAMON  NOVARRO  can't  see  why  his  new  picture,  a 
■^^story  of  the  early  life  of  Louis  XIV,  has  been  titled 
"His  Night."  Ramon  thinks  it  would  be  better  box-office 
to  call  the  fihn  "His  Nightie." 

AILERN    PRIXGLE  was  welcomed   to   Xew  \"ork   after 
months  of  absence  with  a  lii'ry  tea  given  by  Fania  Marinoff 
and  Carl  Van  \'echten. 

And  Ramon  Novarro,  upon  arri\ing  in  the  big  city,  promptly 
arranged  for  a  series  of  singing  lessons  from  Louis  Graveure. 

I  could  burst  out  crying.  What's  become  of  the  old-fashioned 
hotsy-totsy  movie  stars  who  celebrated  his  or  her  advent  to 
Manhattan  by  making  merry  all  night  at  Texas  Guinan's  joy 
parlor? 


.\nother  fair  immigrant  who  "no  spik  Eng- 
lish."   Carl  Laemmle,  Jr.,  discovered  her  in 
Europe,  christened  her  Joan  Lido  and  signed 
her  for  Universal 


M.ARCELIXE  DAY  is  one  Hollywood  girl  who  never  even 
had  a  beau,  they  tell  me. 
But  if  you  could  hear  Alarceline  and  James  Murray  whisper- 
ing together — and  giggling  a  little — you  would  draw  your  own 
conclusions.  And  Mary  Philbin,  that  heretofore  unattached 
yoimgster,  now  admits  to  an  interest  in  Paul  Kohner,  one  of 
Universal's  producers. 

'T^HE  non-professional  sister  of  a  famous  producer 
■*•  encountered  Agnes  Christine  Johnston  at  one  big 
social  function  after  another. 

"My,  but  you  get  mvited  to  a  lot  of  places  for  a  mere 
writer,"  was  her  greeting  on  the  seventh  festal  evening. 

IT  was  almost  coincidentally  with  Constance  Talmadge's 
return  to  New  York  that  "Buster"  Collier,  formerly  Connie's 
hea\iest  beau,  staged  his  near-elopement  with  Dorothy 
McCarthy.  Miss  McCarthy  is  the  girl  who  sings  cute  little 
songs  with  her  sister  in  George  White's  shows. 

"Buster"  and  Dorothy  hied  themselves  to  the  Municipal 
Building  to  get  a  license  but  the  clerk  refused  because  Dorothy 
didn't  have  her  birth  certificate  to  prove  she  was  of  legal  age  to 
get  married.  -After  the  delay,  the  marriage  was  postponed 
because  "Buster"  discovered  that  he  had  a  movie  contract 
which  forbade  his  getting  married  in  ten  weeks. 

But  anyway,  as  a  solace  to  two  romantic  hearts,  the  episode 
was  given  stories  and  photographs  in  all  the  newspapers. 

COXXTE  TALMADGE'S  new  beau  seems  to  be  Ben  Finney. 
I  always  w-onder  why  newspapers  are  so  insistent  on  re- 
ferring to  Ben  as  a  movie  star.  Ben  hasn't  been  before  a 
camera  in  several  years  and  the  only  pictures  in  which  he 
achieved  any  sort  of  prominence  were  "Miama, "  and  "The 
Heart   of  a   Temptress." 

But  Ben  is  a  movie  star  to  the  newspapers  who  are  a  great 
deal  more  generous  in  handing  out  glory  than  this  sour  old 
cynic. 

OPEAKING  of  a  non-professional  party,  which  was 
^blowed  in  Hollywood,  Wilson  Mizner  declared,  "The 
breaths  of  everyone  present  was  enough  to  start  the  wind- 
mill on  an  old  Dutch  print  moving." 


Kicks  at  $90.00  per,  of  silver  kid,  with  veins 
of  red  and  rhinestone  buckles.    Contributed 
to  Ruth  Taylor  by  Mr.  Eistnan  in  "Gentle- 
men Prefer  Blondes" 


THERE  is  a  lot  of  cruelty  in  this  business.  And  whether 
it  is  deliberate  or  accidental,  doesn't  hide  the  fact  that  it  is 
cruelty,  nevertheless. 

Take  the  case  of  Renee  Adoree,  a  capable  and  good-natured 
trouper.  Miss  Adoree  was  promised  the  title  role  in  "Rose- 
Marie,"  as  a  reward  for  past  excellences.  She  started  work 
in  the  picture  and  thought  she  was  giving  general  satisfaction. 

But  one  day,  in  the  costume  department,  she  happened  to 
hear  that  Joan  Crawford  was  being  fitted  for  costumes  for  the 
role.  On  Friday,  so  our  spies  say,  Renee  was  given  notice  that 
she  was  out  of  "Rose-Marie." 

On  Monday,  Miss  Crawford  stepped  into  the  picture. 

THERE  is  one  actor  in  Hollywood  who  has  never  seen  him- 
self on  the  screen,  who  never  reads  his  publicity,  and  who 
nonchalantly  forgets  he  is  a  motion-picture  satellite  between 
pictures. 

Buz  Barton,  the  thirteen  year  old  FBO  western  star  who 
thrills  the  kids  of  the  country'  with  his  daring  riding,  staunchly 
refuses  to  see  his  own  pictures. 

"Ah,  Louis  King  can  tell  me  whether  I  done  all  right  or  not. 
I  can't  be  bothered,"  is  his  answer.  We  wonder  how  long  this 
lack  of  self-interest  will  continue,  with  even  this  young  man 
from  Missouri. 

LON  CHANEY,  who  intersperses  every  picture  with  a  fishing 
trip  in  the  high  Sierras,  insists  he  has  discovered  a  new  kind 
of  animal. 

"A  mule  that  points  deer  like  a  dog,"  is  his  story. 
"When  a  deer  is  near,  this  pack  animal  stops  and  sticks  out 
his  nose,  waits,  as  much  as  to  ask,  'Why  don't  you  shoot?' 

"Oh,  I  didn't  believe  this  story,  either,  when  I  heard  it,"  he 
answers  the  laughs  which  greet  him.  But  he's  offered  to  take 
scoffer?  on  his  next  trip  to  show  them. 

OHANEY  was  proudly  displaying  his  huge  upper-arm 
^^muscles,  muscles  which  he  has  developed  with  much 
hard  exercise  and  training. 

Gwen  Lee  took  one  look,  patted  his  arm  lightly  and 
laughed  knowingly, 

"0)i,  go  on,  that's  make-up.  It's  just  another  Lon 
Chaney!" 


The  Irish  invade  Greek  territory.    Mickey  Neilan  is  direct- 
ing CoUen  Moore  in  "High  Life,"  a  comedy  glorifying  the 
American  lunch  wagon  and  the  home  of  hot  dogs  and 
indigestion 


SPEAKING  of  Gwen  Lee,  we  were  talking  about  Hollywood 
parties,  cafes  and  general  amusements.    She  seemed  a  little 
indifferent  and  finally  remarked  frankly: 

"Such  things  really  don't  interest  me  anymore.     I'd  rather 
just  spend  a  quiet  evening!" 

"You  must  be  in  love!"  we  answered. 
She  blushed  violently.    And  it  developed  that  George  Hill 
is  one  of  those  boys  who  doesn't  enjoy  anything  jazzy.     His 
proclivity  is  quiet  evenings. 

EMIL  JANNINGS  has  developed  sex  appeal! 
The  girls  paid  him  no  attention  until  he  arrived  on  the  lot 
one  day  in  a  uniform  of  a  general  for  his  new  starring  vehicle, 
"The  General."  The  fur-lined  coat  with  the  huge  fox  collar 
made  such  a  difference,  that  they  seriously  considered  board- 
ing up  the  set  to  protect  him  from  the  admiring  young  lady 
players! 

DID  you  ever  know  that  Jeanie  MacPherson,  the  screen 
author  of  "The  King  of  Kings"  and  numerous  other  big 
pictures,  was  the  cigar-factory  girl  who  fought  with  Geraldine 
Farrar  in  her  interpretation  of  "Carmen"? 

ONE  Hollywood  director  has  solved  the  secrets  of  Victor 
McLaglen's  interpretation  of  the  toreador  in  "Carmen." 
McLaglen  asked  what  he  was  to  play  next.    They  told 
him  "Car-men."     So  Vic  looked  it  up  and  found  car-men 
meant  motormen  or  gripmen  and  that's  the  way  he  playsd 


RL'TH  TAYLOR  is  having  to  learn  some  bitter  lessons,  even 
though  she  is  Lorelei  Lee  and  supposed  to  be  clever  enough 
to  master  any  situation. 

"Ritzy — stuck  up — her  part's  gone  to  her  head — " 

Some  kind  "friend"  told  her  that's  what  certain  folk  were 
saying  about  her.  And  Ruth  was  so  cut  up  she  couldn't  work 
the  day  after. 

Then  came  the  rumor  that  a  certain  well-known  Hollywood 
man  had  captured  her  affections. 

"What  about  those  rumors,  Ruth?" 

She  tossed  her  blonde  head  coyly. 

"Oh,  that's  part  of  the  game.  Wc  should  worry  about  the 
men.     But  I  want  the  women  to  lo\c  me!" 

With  tears  in  her  eyes  she  told  me.  It  was  a  part  Anita 
Loos  forgot  to  "write  in"  for  her. 

NILS  ASTOR  is  the  latest  actor  to  "go  Hollywood."  This 
recent  Swedish  gift  to  the  screen  has  just  received  an 
especially-built  car,  which  demands  an  especially-built 
garage  to  house  its  huge  length.  The  upholstery  is  genuine 
pigskin,  sewed  together  by  hand.     [  continued  on  page  100  ] 

i7 


ntimate  "J/Tsits  ^^  the 


Martin  Johnson 
now  calls  Nai- 
robi, British 
East  Africa, 
home.  Then, 
too,  the  John- 
sons  have  a 
''country 
place"  at  Lake 
Paradise  on  the 
border  of 
Abyssinia 


THERE  is  no  telling  where  this  storj-  will  end,  but 
it  begins  in  a  woodshed  in  Independence,  which 
is  a  town  in  that  portion  of  the  Great  American 
prairie  called  Kansas,  and  the  time  is  about  thirty 
years  ago. 

A  boy  on  the  verge  of  his  teens  stood  at  the  chopping 
block  in  the  woodshed  skillfully  wielding  a  hatchet  with 
which  he  was  reducing  packing  cases  to  kindling. 

From  time  to  time  there  were  lulls  in  the  labor  as  the 
youngster  paused  to  regard  the  strange  foreign  labels  on 
some  of  the  cases,  or  to  straighten  out  and  decipher 
stray  bits  of  circulars  or  to  examine  wisps  of  curious 
grasses  and  mattings  and  papers  and  remnants  of 
packing  material.     The  boxes  were  discards  from  the 


The  Story  of  Martin  Johnson, 
the  farm  boy  who  ran  away 
from  his  Kansas  home  to 
become  one  of  the  world's 
best  known  explorers  with  a 
camera 


receiving  room  at  his  father's  jewelry  and  notion 
store  in  the  village  and  they  came,  it  seemed, 
from  many  strange,  far  away  lands  and  ports — 
Shanghai,  Tokyo,  Christiania,  Singapore,  Muk- 
den, Beyrut,  Liverpool,  Melbourne,  Manila. 
This  was  young  Martin  Johnson's  favorite  Saturday 
morning  diversion.     His  schoolmates  looked  upon  the 
woodpile  as  an  institution  of  slavery,  but  for  Martin  it 
was   the   threshold   of   fanciful  adventure.      He  day- 
dreamed over  these  far  away  places  and  all  the  exotic 
sights  and  scenes  the  grotesque,  many  colored  labels 
suggested.    Martin  preferred  his  woodshed  adventures 
and  his  merry  collection  of  shipping  labels  and  seals  to 
any  possible  excitement  of  town  lot  baseball  and  like 
pastimes  of  his  set.     Probably  Martin's  teacher  in  the 
Independence  public  school  may  have  noted  that  the 
lad  was  a  star  in  geography,  and  most  likely  indeed  she 
may  also  have  observed  that  he  was  not  quite  so  good 
in  arithmetic.     His  mind  was  continually  on  the  large 


Mrs.  Martin 
Johnson  on  the 
recent  Johnson 
expedition  into 
the  African 
wilds.  These 
Lumbwa  girls 
must  wear  long 
veils  of  skin  over 
their  faces  for 
a  period  of 
several  months 
before  they  are 
married 


Homes  of 
Magnates 


By  Terry  Ramsaye 

Author  of  "A  Million  and  One  Nights" 


and  remote  Elsewhere  and  lands  of  his  glam- 
orous fancy. 

All  of  this  did  not  make  Martin  highly 
social.  He  was  given  to  exploring  the 
country  about  for  and  by  himself.  He  knew 
a  great  deal  about  the  fishing  and  the  birds 
and  such  wild  life  as  might  be  found  in  the 
scrub  oak  and  hackberry  groves  along  the 
Kansas  streams. 

Presently  young  Mr.  Johnson  arrived  at 
the  milestone  age  of  fourteen  years  and 
made  a  momentous  decision.  He  would 
wonder  about  those  far  away  places  no 
longer.  It  is  just  possible  that  there  was  a 
certain  heritage  in  the  abundant  red  blood 
of  him  that  had  an  influence.     Martin's 


F 


amous 


Osa  Johnson 

in  her  African 

hunting 

costume 


A  few  Johnson  close- 
ups,  showing  a 
leopard  at  home, 
two  rhinos  on  their 
way  to  water  at  Lake 
Paradise  and  a  hyena 
taking  his  own  pic- 
ture, having  just 
stepped  on  a  camera 
trap 


father,  the  jeweler  and 

watchmaker,  was  a  square 

jawed,     firm     set     Johnson 

from    Sweden,    and    the    lad's 

mother  was  of  the  pioneer  stock  of  western  Missouri.     Now 

wherever  there  is  blue  salt  water  is  the  home  of  the  seafaring 

Swede,  and  as  for  the  maternal  side  of  the  house  remember 

that  the  slogan  of  Missouri  is  "Show  Me!"    So  it  came  that 

Martin  Johnson,  fourteen  and  eager  and  husky,  decided  to  just 

go  and  see  and  go  and  see  until  he  had  seen  it  all. 

From  the  viewpoint  of  age  fourteen  the  world  is  a  rather 
large  sort  of  arrangement  and  Martin  was  not  entirely  sure 
just  where  to  begin  on  it.  But  then  one  place  was  likely  to  be 
about  as  new  as  another.  Without  taking  the  railway  com- 
pany or  any  one  else  into  his  confidence  he  took  train  one 
night,  bound  out  of  Independence  for  Kansas  City  and  all 
points  elsewhere,  whatsoever,  whenever. 

Martin  managed  to  see  large      [  continued  on  page  105  ] 


An  interesting  shot  of  some  long  African  drinks.     Otherwise  a 
herd  of  giraffes  drinking  at  Lake  Paradise 

Copyrieht.  1927,  by  Terry  Ramoaye  /Q 


V 


if        J  if. 


As  the  year  of  1927  draws  to  a  final  fade-out, 
Photoplay  surveys  the  twelve  months  of 
stirring  scraps  and  daring  deeds  and  thinks 
it  fitting  to  make  a  role  of  honor  of  those, 
outstanding  personalities  who  have  contributed 
much  to  the  life  of  the  party. 

Will  the  boys  and  girls  step  to  the  front  of  the 
class-room,  when  their  names  are  called,  and  re- 
cei\-e  their  handsome  medals?  Anyone  making  a 
disturbance  will  please  step  outside  and  fight  it 
out  in  the  alley  with  Bull  Montana,  our  official 
bodyguard.  All  set  for  the  presentation  of  the 
medals  of  honor  for  1927?     Let's  go: 

To  Adolph  Zukor:  Because  his  company  makes 
more  money  for  his  stockholders  than  any  other 
outfit  in  the  business;  because  he  does  not  solicit 
personal  publicity;  and  just  because. 

To  Eric  von  Stroheim:  Because  he  is  willing  to 
starve  in  order  to  make  pictures  the  way  he  believes 
they  should  be  made. 

To  John  Gilbert:  Because  of  amthing  he  does — 
good  or  bad. 

To  Tom  Mix :    For  literary  progress. 

To  Greta  Garbo:  Because  she  has  stuck  to  her 
story  and  remained  herself. 

To  Clara  Bow :  Because  she  is  the  hardest-work- 
ing girl  in  Hollywood. 

To  Louis  B.  MaNer:  Because  he  gave  the  censors 
ammunition  for  destructive  Federal  censorship; 
because,  for  two  weeks,  he  didn't  give  out  a  state- 
ment or  interview. 

To  Will  Hays:  Because  he  didn't  become  dis- 
gusted and  leave  the  business  flat. 

To   Bebe   Daniels:   Because  she   has  taken  her 

work   seriously   and   given   us   some   of   the   best 

comedies   of   the   year. 

To   Harry   Langdon:   Because   he   paid   Charlie 

Chaplin  a  great  compliment  by  tr3-ing  to  imitate 

him. 

To  Lita  Grey  Chaplin:  Because  she  forced  Charlie 
to  go  to  work  again.  We  hope  Charlie  gets  re- 
married and  re-alimonied,  if  he'll  make  more  pictures. 

To  Corinne  Griffith:  Because  she  and  her  hus- 
band, Walter  Morosco,  have  completed  another 
year   of   domestic    happiness,    untouched    by    the 

tongues  of  gossip.  [  COXTINUED  ON  PAGE  94  ] 


By  Harrison 
Wainwright 


Strictly  Business 
Sir  Bendy  Bingham  has  an  adventure  thirty-five 
minutes  after  he  reaches  the  capital  of  Moviedom 


THE  Right  Honorable  Sir  Bently  Bingham  Avas 
not  exactly  what  one  would  term  an  oil  painting. 
He  was  not  handsome,  but  he  was  one  of  those 
tall,  clean-cut,  well-groomed  Englishmen  in  the 
near    thirties   who    radiate    masculine    attractiveness, 
culture   and    aristocratic    applesauce,    and   for   whom 
the  ladies  in  general  fall  with  sickening  thuds. 

His  type  is  prolific  in  the  more  exclusive  clubs  of  the 
West  End  of  London,  and  is  usually  to  be  found  prop- 
ping up  the  mantelpiece  in  his  favorite  club. 

There  he  will  stand  for  hours  with  his  hands  in  his 
pockets,  his  legs  stretched  apart,  holding  forth,  with 
perfect  assurance,  on  the  merits  of  his  favorite  actresses, 
horses  and  dogs. 

How  this  particular  specimen  of  the  genus,  Sir  Bently 
Bingham,  happened  to  be  in  Hollywood  came  about 
in  this  wise: 

Somebody  had  informed  him  that  travel  was  broad- 
ening and  further,  having  a  deep-rooted  conviction 
that  moving  pictures  were  all  wrong,  he  decided  that 
a  life  of  uselessness  might  be  turned  to  constructive 
account  by  taking  a  trip  to  Hollywood  and  telling 
these  movie  blighters  what  was  what. 

This  cherished  scion  of  an  ancient  and  useless  English 
family  had  only  been  in  Holl>'wood  thirty-five  minutes, 
during  which  time  he  had  checked  into  his  hotel,  walked 
three  blocks  down  the  boulevard,  and  received  three 
sets  of  glorious  glad  eyes  from  three  passing  maidens. 


SIR  BENTLY 
BINGHAM  had 
preened  himself  con- 
siderably on  this  ac- 
count, but  his  limited 
experience  of  the 
movie  metropolis  had 
been  insufficient  for 
him  to  recognize  a  well- 
known  lady  bootlegger, 
and  two  impecunious 
extra  girls,  who  were 
out  gunning  for  an  in- 
vitation to  lunch. 

Luckily  for  him  he 
hadn't  the  temerity  to 
take  advantage  of  the 
optical  invitations  to 
conversation,or  later  he 
might  have  found  him- 
self to  be  suffering  from 
woodalcohol  poisoning, 
or,  in  a  luckier  phase 
of  bad  luck,  merely 
out  the  price  of  two 
lunches,  for  the  two 
extras  were  down  to 
their  last  fifty  cents. 

However,  a  fourth 
lady,  who  looked  so 
ravishingly  beauti- 
ful and  bewilderingly 
classy,    gave    him    no 


HOW  do  you  do, 
the  rlassv  one  ha 


time  nor  chance  to  grow  timid.  Her  glorious  blonde 
curls  swung  jauntily  across  the  alabaster  smoothness  of 
her  fair  brow  as  she  flashed  a  fascinating  smile  of 
recognition. 

"Egad!"  fervently  said  Sir  Bently.  "What  a  stun- 
ner!" But  aloud  he  merely  said,"Er — er — "  as  he  cau- 
tiously looked  behind  him  to  assure  himself  the  smile 
was  not  intended  for  somebody  else.  Now  it  should  be 
distinctly  understood  that  Sir  Bently  Bingham  was  not 
foolish  about  women.  He  was  one  of  the  exceptions, 
but  like  all  exceptions  he  was  liable  to  his  weak  mo- 
ments. 

In  the  light  of  his  greater  Hollywood  experience,  the 
English  baronet  was  wont  to  describe  this  particular 
weak  moment  as  a  "bloomin'  hallucination,"  and 
would  lucidly  explain  the  reason  he  had  not  got  wise 
to  the  lady  was  because  she  looked  like  a  dashed  movie 
star  of  the  bally  first  magnitude,  and  her  supremely 
classy  air,  and  the  foreign  make  of  her  long,  gray  road- 
ster had  somewhat  heightened  the  illusion. 

Mister  Sir  Bently  Bingham," 
■the  classy  one  had  greeted  him.  Then  with  out- 
stretched hand  she  had  said  cordially:  "Welcome  to 
Holhwood,  Mister  Bently.  I  saw  you  up  at  the  hotel 
and  I'm  glad  you  have  come." 

"I'm  dashed  glad  you  did  and  are,"  responded  Sir 
Bently  warmly.    "  Are  you  staying  at  the  hotel  by  any 
chance?" 

"Nix  on  that  hotel," 
replied  the  maiden. 
"You  can't  have  no 
fun  there.  The  man- 
ager's jealous  of  every 
girl  you  take  in  there." 
"'Pon  my  soul! 
What  a  silly  ass!  He 
must  be  paying  ali- 
mony," ejaculated  Sir 
Bently  Bingham,  with 
feeling. 

The  ravishing  blonde 
A-ision  who  had  accost- 
ed the  Englishman 
laughed  heartily  at  the 
joke  and  as  she  con- 
tinued to  smile  archly, 
Sir  Bently  said: 

"Er — what  does  one 
do  there  then?  Er — 
that  is  to  say,  with  the 
girls,   I  mean?" 

"Well,  the  best  way, 
Mister  Bingham," 
advised  the  classy 
maiden,  "is  to  check 
out  of  that  hotel  and 
take  an  apartment. 
You  can  get  some  swell 
ones  for  about  a  hun- 
dred a  month." 
[coxtinuedonpage92] 

51 


"How  do  you  do,  Mister  Sir  Bently  Bingham,"  the 
classy  one  greeted  him.  Then  with  outstretched 
hand  she  said  cordially:  "Welcome  to  Hollywood, 
Mister  Bently.  I  saw  you  up  at  the  hotel  and  I'm 
glad  you  have  come" 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


THE  GORILLA— First  National 

YOU  are  certain  to  be  convulsed  with  laughter  at  the 
antics  of  Charlie  Murray  and  Fred  Kelsey  as  a  pair  of 
ivory-domed  detecti^•es  who  were  assigned  to  solve  the  mys- 
terj^  of  a  series  of  murders.  Comedy  is  the  dominant  note 
in  the  screen  version  of  "The  Gorilla,"  which  was  a  success- 
ful New  York  play.  The  mystery  and  the  suspense  are  main- 
tained through  the  entire  picture,  but  the  comedy  engulfs 
it.  The  episodes  in  which  the  gorilla  chases  Murray  through 
the  house,  over  the  roof  and  down  the  chimney,  as  well  as 
the  battle  in  the  cellar  of  the  old  mansion,  will  rock  any 
audience.  It  wouldn't  be  fair  to  the  story  to  divulge  the 
mystery  here,  but  rest  assured  that  if  laughter  helps  the 
appetite,  you  will  drop  into  the  nearest  cafeteria  on  the  way 
home.  Al  Santell  directed  and  made  a  picture  well  worth 
while. 


SHE'S  A  SHEIK— Paramount 

IF  YOU  think  you  have  already  sounded  the  depths  of  Bebe 
Daniels'  versatility,  guess  again.  As  Zaida,  the  adopted 
daughter  of  an  Arabian  chieftain,  she  decides  a  handsome 
captain  in  the  French  Foreign  Legion  is  her  proper  mate, 
liepulsed  in  her  advances,  she  kidnaps  him,  and  proceeds 
to  tame  him  in  her  own  way — ^and  interesting  it  is.  Richard 
Aden  is  the  captured  man  who  learns  to  like  it.  In  this 
picture,  Bebe  has  made  a  unique  place  for  herself  as  an 
athletic  heroine.  James  Bradbury,  Jr.,  and  Bill  Franey 
afford  much  amusement  as  a  motion  picture  company 
that  strolls  into  Bebe's  camp.  They  are  also  a  good  excuse 
for  some  of  George  Marion's  cle\er  titles.  William  Powell, 
as  Kadal,  has  a  comedy  ^•illain  role  that  he  enacts  beauti- 
fully.    Don't  play  bridge  the  night  this  picture  is  shown. 


The 

Shadow 
Stage 

A  Review  of  the  New  Pictures 


THE  CIRCUS—Vnited  Artists 

CHARLIE  CHAPLIN  turns  circus  performer  in  a  story 
which  teems  with  spontaneous  humor  and  yet  maintains 
the  plaintive  heart  interest  we  have  learned  to  expect  from 
Chaplin.  Here  is  the  same  old  inimitable  Charlie  of  the 
baggy  pants,  the  well  worn  derby  and  the  capable  shoes, 
who  wanders  penniless  onto  the  circus  grounds  hungry  for 
just  one  hot  dog  to  allay  his  several-day  famine.  He  gets 
his  first  bite  at  the  hands  of  a  baby  hanging  o\-er  the  shoulder 
of  an  unsuspecting  father.  This  is  a  gag,  of  course,  but  a 
typical  Chaplin  gag,  touched  with  humor  and  humanness. 

A  pickpocket  complicates  the  situation  by  disposing  of  his 
loot  in  Charlie's  pocket.  In  escaping  the  police  the  comedian 
•  is  forced  into  the  tent  where  he  saves  the  one  ring  circus 
from  the  boredom  of  its  audience  by  his  unintentional 
humorous  antics.  The  cries  of  the  crowd  for  "the  funny 
man"  gi\'es  him  his  chance  to  play  in  the  show. 

In  doubling  for  the  tight-rope  walker,  who  is  his  ri-\al 
for  the  petite  equestrienne's  affections,  Charlie  finds  a 
splendid  outlet  for  not  only  his  funmaking,  but hisdarede\il 
stunt  acting.  A  fortune  teller  re\eals  that  the  girl  fa\-ors 
the  rope  walker  and  Charlie — but  that  is  the  secret  of  the 
human  interest  plot  which  will  hold  your  attention  to  the 
end  of  the  story. 

Merna  Kennedy,  a  find  of  Charlie  Chaplin's,  makes  a 
screen  debut  which  augurs  well  for  her  future.  Harry 
Crocker  as  the  wire  walker  and  Alia  Garcia  as  the  circus 
owner,  give  splendid  interpretations. 

But  the  story  is  all  Charlie's,  and  it's  for  the  whole  family. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

THE  CIRCUS  SORRELL  AND  SON 

THE  GORILLA  SHE'S  A  SHEIK 

THE  PRIVATE  LIFE  OF  HELEN  OF  TROY 
THE  GAUCHO  THE  DEVIL  DANCER 

GRANDMA  BERNLE  LEARNS  HER  LETTERS 
MAN,  WOMAN  AND  SIN  UNCLE  TOM'S  CABIN 

The  Best  Performances  of  the  Month 

Charlie  Chaplin  in  "The  Circus" 

H.  B.  Warner  in  "Sorrell  and  Son" 

John  Gilbert  in  "Man,  Woman  and  Sin" 

Gilda  Gray  in  "The  Devil  Dancer" 

Charles  Murray  in  "The  Gorilla" 

Warner  Oland  in  "Good  Time  Charlie" 

Margaret  Mann  in   "Grandma  Bernle  Learns  Her  Letters" 

Jean  Hersholt  in  "The  Symphony" 

Esther  Ralston  in  "The  Spotlight" 

Casts  of  all  photoplays  revieued  will  he  found  on  page    124 


M 

'       j»^S^ 

m 

m 

SORRELL  AND  SON— United  Artists 

APRODUCTIOX  so  touching,  so  beautiful,  so  genuinely 
human  that  pen  picture  cannot  do  it  justice.  Dedicated 
'To  My  Father  and  Your  Father."  Perhaps  this  one  line 
of  Director  Herbert  Brenon's,  which  introduces  the  storj', 
tells  more  eloquently  than  any  other  words  the  spirit  of 
the  production.  For  it  interprets  the  loA'e  of  a  father  for 
a  son  from  childhood  to  manhood  and  the  return  comrade- 
ship of  son  throughout  the  life  of  parent. 

H.  B.  Warner,  as  the  father  Sorrel/,  rises  to  heights  he 
did  not  hint  even  in  his  interpretation  of  the  Christ  in 
"The  King  of  Kings."  Little  Mickey  McBan  paves  the 
way,  with  his  natural  childish  lo\-e,  for  his  father,  for  the 
convincing  playing  by  Nils  Asther  of  the  adult  Kit  Sorrell. 

Anna  Q.  Xilsson,  as  the  wife  who  spurns  the  father  as  he 
returns  to  his  home,  after  being  decorated  for  distinguished 
service  in  the  World  War;  Mary  Xolan,  the  new  screen 
personality  who  plains  the  girlhood  sweetheart  and  bride  of 
young  Kit;  Alice  Joyce,  the  woman  whose  love  joins  that 
of  the  son  in  bringing  ultimate  happiness  to  the  father;  and 
Carmel  Myers,  the  \amping  hotel  mistress  who  is  rejected 
by  Sorrell  Senior — all  do  their  parts  in  a  spirit  of  harmony 
which  makes  for  perfection.  This  picture  proves  that  carry- 
ing the  actors  to  the  nati\e  locale  does  pay — when  the  right 
director  is  sent  along.  Herbert  Brenon  dissolves  the  last 
doubt  as  to  whether  a  storj'  of  real  life,  which  brings  out  the 
best  of  human  nature,  can  be  woven  into  a  successful  motion 
picture  presentation.  E\'ery  man,  woman  or  child  should 
see  this  engrossing  and  inspiring  entertainment. 


THE  PRIVATE  LIFE  OF  HELEN  OF  TROY— 
First  National 

THE  producers  would  not  have  needed  John  Erskine's 
book  for  this  picture,  except,  possibh-  that  they  wanted 
the  title.  The  picture  is  nothing  but  the  burlesquing  of  the 
events  of  Trojan  history,  with  the  titles  putting  o\  er  the 
humor.  Maria  Corda  as  Helen  has  given  the  screen  a  new 
type  of  vampire  and  the  country  is  going  to  rave  o^•er  her. 
Lewis  Stone  as  Menelaiis  is  really  remarkable  in  his  charac- 
terization. One  cannot  say  as  much  for  Ricardo  Cortez, 
who  played  Paris  with  rather  too  hea\y  a  tread.  Whatever 
fault  one  can  find  with  the  picture,  is  in  the  direction. 
Alexander  Korda  failed  to  rise  to  the  lighter  satirical  touches. 
Yet  it  is  going  to  rank  with  the  distinct  screen  achie\'ement3 
of  the  }-ear.    A  picture  distinctly  worth  while. 


THE  GAUCHO— United  Artists 

DOUG  is  with  us  again,  this  time  as  the  bandit  chief  at 
the  head  of  an  arm^'  of  liberators  in  South  America. 
But  he  isn't  the  Doug  of  old — not  the  lovable  bandit  of 
"RobinHood,"  nor  yet  thedashing,  charming  Latin-American 
of  either  "The  Mark  of  Zorro"  or  "Don  Q."  It  is  an  older 
Doug.  "The  Gaucho"  will,  howe\-er,  take  its  rank  with  the 
box  office  hits  of  the  year.  Lupe  Velez,  Doug's  leading  lady, 
actually  o\ershadows  him  as  far  as  their  respective  per- 
formances are  concerned. 

The  Gaucho  is  the  terror  of  the  Andes.  He  rides  the 
country  at  the  head  of  his  army,  taking  and  looting  town 
after  town  until  he  comes  to  the  Miracle  City.  Then 
comes  his  regeneration  through  the  lady  of  the  shrine 
and  his  wedding  to  a  wildcat  mountain  girl. 

53 


Photoplay  Gets  Its  Reviews  Months  Ahead 


GRANDMA  BERNLE  LEARNS  HER  LETTERS— Fox 

MORE  poignant  in  its  grief  than  "Over  The  Hill,"  more 
tear  compelling  than  "Stella  Dallas"  is  "Grandma  Bernle 
Learns  Her  Letters."  Even  as  the  two  preceding  pictures 
created  a  new  screen  mother,  so  does  this  picture  present  us 
with  a  type  that  will  rise  to  stardom  because  of  her  characteriza- 
tion of  the  war-torn,  grief-stricken  old  German  woman  who 
loses  three  of  her  sons  in  the  toll  of  war  and  who  has  to  prac- 
tically start  life  all  o\er  again  in  a  strange  country  at  the  home 
of  her  sole  remaining  offspring.  Margaret  Mann  is  the  new 
mother,  who  finally  achieves  screen  success  after  eleven  3'ears 
of  waiting  in  the  ranks  of  the  "atmosphere  people."  No  matter 
what  they  eventually  name  this  picture,  it  is  going  to  go  down 
in  film  history  as  one  of  the  screen's  best.  John  Ford,  who 
directed,  has  achieved  a  real  picture. 


THE  DEVIL  DANCER— United  Artists 

IT  appears  as  though  Gilda  Gray  will  never  cease  surprising 
her  admirers.  No  one  expected  great  things  of  her  in  "Aloma 
of  the  South  Seas"  but  she  gave  a  cle^•er  performance  in  it. 
Then  in  "Cabaret"  she  once  again  gave  us  something  we  didn't 
suspect  she  had.  Now  in  "The  Devil  Dancer"  she  proves  that 
she  is  an  actress.  The  story  tells  of  the  child  of  missionaries 
to  Tibet  that  has  been  reared  by  the  lamas  in  their  monastery, 
finally  decreed  to  be  the  sacred  dancer — "The  Devil  Dancer." 
An  ad\-enturing  Englishman  decides  to  take  her  back  to  ci\  i- 
lization.  The  story  in  itself  is  commonplace,  but  the  colorful 
settings,  and  the  fine  direction  of  Fred  Niblo  make  the  picture. 
The  dancing  performed  by  Gilda  Gray  and  a  group  of  ten  girls 
in  the  picture  certainly  aids.  Cli\e  Brook,  playing  opposite 
the  star,  helps  bring  her  performance  to  its  point  of  excellence. 

64 


THE 

SPOTLIGHT 
— Paramount 


ANOTHER  story  of  the  theater,  and  after  seeing  this,  you 
will  know  that  Esther  Ralston  is  a  full-fledged  actress. 
The  transition  from  the  country  girl,  Lizzie  Stokes,  to  the  famous 
Russian  actress,  Rostova,  is  made  right  before  our  eyes.  The 
Russian  characterization  is  beautifuU}'  and  gracefully  done 
and  Esther  Ralston  will  add  numerous  followers  to  her  long 
list  of  admirers.     Neil  Hamilton  is  a  satisfactory  lover. 


GOOD  TIME 
CHARLIE— 
Warners 


HERE  is  a  decidedly  different  screen  tale  of  stage  life  that 
you  are  certain  to  like,  if  for  no  other  reason  than  the  really 
tremendous  characterization  that  is  contributed  by  Warner 
Oland.  It  is  a  tale  of  stage  ambition  on  the  part  of  two  men, 
Oland  and  Clyde  Cook.  Helene  Costello  is  the  girl,  while 
Montagu  Lo\"e  supplies  the  menace  and  Hugh  Allen  the 
juvenile.     Michael  Curtiz  directed. 


THE  SYM- 
PHONY— 
Universal 


J  U.ST  an  attempt  to  produce  another  "The  Music  Master." 
The  task  has  not  been  particularly  well  carried  out.  The 
story  is  that  of  a  German  composer  who  comes  to  America 
to  gain  fame  and  fortune,  but  first  serves  as  a  comedy  offering 
in  a  midnight  cabaret.  Later  the  father's  symphony  is  played 
in  the  gigantic  Hollywood  bowl.  Trite  and  somewhat  stilted. 
Jean  Hersholt  is  starred  and  gives  a  great  performance. 


of  All  Other  Magazines.    Check  Up  and  See 


THE 

CHINESE 
PARROT- 
Universal 


I 


A  PEARL  necklace  and 
reason  for  this  colorful,  picturesque,  thrilling  mystery 
melodrama.  The  locale  is  Hawaiian  Islands,  a  lonely  desert 
hacienda,  and  San  Francisco  Chinatown.  A  m>  btery  story 
must  not  be  divulged,  but  this  has  been  somewhat  changed 
from  the  original  story  by  Earl  Derr  Diggers.  Acting  honors 
go  to  Sojin,  who  does  four  distinct,  excellent  characterizations. 


A  TEXAS 
STEER— 
First  National 


THERE  is  many  a  laugh  in  the  screen  \ersion  of  "A  Texas 
Steer,"  in  which  Will  Rogers  appears  as  star,  for  which  he 
wrote  the  titles,  and  maybe  he  might  even  tour  the  country 
with  the  film  to  sell  exhibitors.  But  the  titles  that  he  wrote  do 
get  laughs.  In  the  cast  one  finds  Louise  Fazenda,  Ann  Rork, 
Douglas  Fairbanks,  Jr.,  Sam  Hardy  and  George  Marion. 
Richard  Wallace  directed  with  a  fine  sense  of  comedy. 


WILD 

GEESE— 

Tiffany 


MARTHA  OSTENSO  will  be  pleased  with  the  screen  version 
of  her  story,  for  the  spirit  is  all  there.  The  dominating 
part  is  that  of  Caleb  Gare,  ably  portrayed  by  Russell  Simpson. 
Eve  Southern  establishes  herself  as  one  of  the  most  striking, 
unusual  types  on  the  screen.  Donald  Keith,  Anita  Stewart, 
Belle  Bennett,  Wesley  Barry,  Bodil  Rosing,  Jason  Robards 
and  Reta  Rae  do  excellent  work. 


MAN.  WOMAN  AND  SIN—M.-G.-M. 

ASIDE  from  being  a  Jack  Gilbert  picture,  this  has  interest 
in  that  Jeanne  Eagels,  star  of  "Rain,"  plays  opposite. 
Miss  Eagels  has  been  in  pictures  before  but  here  every  effort 
is  made  to  put  her  over  in  a  Greta  Garbo  way.  Possibly  there 
is  more  interest  in  President  Coolidge's  dramatic  debut  in  J\Ir. 
Gilbert's  support.  In  "Man,  Woman  and  Sin,"  too.  IVIy,  my! 
The  story  is  one  of  Washington  newspaper  life  and  the  early 
part  has  a  lot  of  inky  authenticitj-.  I)irector — and  author — 
-Monta  Bell  knows  his  citj'  room.  After  that  the  film  disin- 
tegrates into  cheap  melodrama.  An  innocent  young  reporter 
falls  in  love  with  the  society  editor,  maintained  in  luxury  by 
the  newspaper  owner.  The  cub  kills  the  boss  but,  in  the  end, 
is  saved  from  hanging  or  whate\"er  is  done  in  such  circum- 
stances.   Miss  Garbo  needn't  worr}-  oxer  Miss  Eagels. 


UNCLE  TOMS  CABL\—Uniyci sal 

HARRIET  BEECHER  STOWE'S  story  finally  has  come 
to  the  screen  as  a  super-feature.  Universal  is  responsible 
for  the  picturization.  They,  however,  have  undertaken  to 
rewrite  the  story  to  cover  a  period  of  from  1856  to  1864,  so 
tluit  they  would  be  able  to  include  a  number  of  Civil  \\'ar 
battle  scenes  and  Sherman's  march  to  the  sea.  For  the  pur- 
poses of  screening  the  \o\e  affair  of  El/'ca  and  George  Harris, 
both  slaves,  the  parting  at  the  hands  of  cruel  masters,  and  their 
subsequent  meeting  through  the  fates  of  the  war  gods,  is  made 
the  principal  theme  on  which  the  entire  story  moti\ates. 
Tills  is  a  new  "Uncle  Tom's  Cabin"  and  not  the  one  that  we 
ha\e  all  read.  The  outstanding  characterization  is  the  work 
of  James  B.  Lowe,  a  negro,  as  Vncle  Tom. 

{Additional  reviews  on  page  121 ) 

55 


heir  Business 


Some  stars  put 
motors  and  expen- 
ones   invest  the 


Ruth  Roland,  one  of  the 
smartest  realtors  in  Los 
Angeles — and  that's  saying  a 
lot.  Here  is  Ruth  outside  her 
office  on  Roland  Square,  ex- 
hibiting the  models  of  her 
newest   building   enterprises 


Katherine  MacDonald  is  no 
longer  on  the  screen,  but  she 
has  capitalized  her  reputa- 
tion in  this  beauty  shop 
where  she  personally  super- 
vises the  making  of  creams 
and  lotions 


IT'S  no  disgrace,  my  dear  Lord  Cholmondeley,  to 
be  "in  trade."    Russian  princesses,  Park  Avenue 
matrons,  English  women  of  title  and  even  movie 
stars  all  find  it  convenient  to  garner  a  little  extra 
spending  money.     You'd  be  surprised  at  the  stars 
who  have  side-lines  that  make  them  independent  of 
the  fickle  camera. 

Conrad  Nagel  and  Jack  Holt  both  have  stock 
ranches  at  Fresno,  California.  Tim  McCoy  confesses 
to  a  dude  ranch  up  in  Wyoming. 

Besides  her  interest  in  her  sister's  beauty  parlor, 
Viola  Dana  owns  a  garage.  Pola  Negri  is  building  a 
six  story  apartment  house  near  the  Ambassador 
Hotel  and  she  intends  to  be  both  landlady  and  super- 
intendent. The  tenants  will  have  to  kick  to  Pola  if 
the  hot  water  doesn't  run. 

Bebe  Daniels  supervises  the  building  and  renting 
of  her  bungalow  courts. 

James  Hal!  runs  a  doughnut  shop  on  the  Venice 
Pier.  Pauline  Garon  owns  a  cleaning  and  dyeing  es- 
tablishment. Lon  Chaney  has  an  apple  orchard. 
Robert  Gordon  finds  it  more  profitable  to  be  known 
as  the  Orange  Juice  King  of  Los  Angeles  than  con- 
tinue as  a  picture  actor. 

56    2 


Cide-Lines 


Viola  Dana  transferred 
the  ownership  of  her 
beauty  shop  to  her  sister, 
Edna  Flugrath,  who  is 
seen  supervising  a  bob. 
The  shop  has  a  large 
clientele  among  the  pro- 
fessionals 


their  money  in  imported 
sive  houses,  but  the  wise 
surplus  in  a  paying  trade 


HUNTLY  ACORDON 
SIIK  HOSIERY  MILLS 


Noah  Beery  made  his  hobby 
pay  him  money.  He  conducts 
the  Paradise  Trout  Club  and 
sells  memberships.  He  gets 
all  the  fishing  he  wants  and 
nice  dividends  besides 


Huntly  Gordon  found 
that  Los  Angeles  women 
spent  $12,000,000  a  year 
on  silk  stockings  and 
promptly  started  to 
manufacture  them.  His 
plant  turns  out  1,500 
pair  a  month 


/Tre  You  Giving  A 


Holiday 
partyj) 


You  probably  are  giving  a  part}-.  And  very  likely 
you  are  wondering  what  you  are  going  to  ser\-"e 
your  guests  for  refreshments.  Nearly  ever3-one 
serves  sandwiches,  ice  cream,  cake  and  coffee  and  you 
want  your  party  to  be  different. 

Why,  then,  not  make  it  a  movie  part}?  I  have 
selected  a  menu  from  Photoplay's  Cook  Book  that 
may  be  served  for  supper  after  an  evening  of  bridge  or 
dancing.  The  beauty  of  this  menu  is  that  all  the  dishes 
may  be  prepared  ahead,  leaving  the  hostess  free  to 
enjoy  her  own  party  for  a  change. 
Here  is  the  menu : 

Swedish  Salad  a  la  Greta  Garbo      Cheese  Straws  (Florence  X'idor) 

Peach  sherbet  (Mav  McAvoy) 

Hot  Coffee 

Miss  Garbo  dictated  the  following  recipe  for  her  salad: 


4  oz.  cold  roast  beef 

4  oz.  boiled  potatoes 

4  oz.  apples 

4  oz.  pickled  herring 

3  anchovies 

1  tablespoon  chopped  gherkins 


1  tablespoon  tarragon  vinegar 

1  tablespoon  chervil 

1  hard-boiled  egg 

24  olives 

12  oysters 

oil  and  vinegar 


Chop  beef,  potatoes,  apples  and  herring  into  small 
cubes.  Chop  anchovies.  Mix  all  the  ingredients 
together  except  the  oysters.  Pour  over  mixture  of 
oil  and  vinegar  to  taste.  Place  oysters  over  the  top. 
And  there  you  have  it !    Men,  naturally,  will  love  it. 

For  Florence  Vidor's  cheese  straws,  mix  together  1 
cupof  flour,  J^cup  grated  Parmesan  cheese,  J/^  teaspoon 
salt,  a  dash  of  cayenne  and  the  yolk  of  one  egg,  then  add 
enough  water  to  make  a  paste  sufficiently  consistent  to 
roll.  Place  paste  on  a  board  and  roll  to  }i  inch  thick- 
ness. Cut  it  into  narrow  strips  and  roll  so  each  piece 
will  be  the  size  and  length  of  a  lead  pencil.  Place  them 
in  a  baking  tin  and  press  each  end  on  the  pan.  Bake  to 
a  light  brown  in  a  moderate  oven. 

May  McAvoy's  peach  sherbet :  Boil  2  cups  water  and 
1  cup  of  sugar  for  twenty  minutes;  let  cool  and  then  add 
^  cup  peach  pulp,  juice  of  1  orange  and  juice  of  3^ 
lenion.  Freeze  the  mixture  and  serve  with  slices  of 
fruit.    You  may  use  canned  peaches. 

Of  course,  Photopl.w's  Cook  Book,  with  its  100 
favorite  recipes  of  the  stars,  contains  material  for  any 
number  of  attractive  menus,  for  luncheons,  dinnerpar- 
ties, teas  or  suppers.  If  you  follow  the  directions  in 
the  little  coupon  to  your  right  and  send  for  the  Cook 
Book  today,  you  will  receive  it  in  time  to  plan  your 
holiday  entertaining.  Carolyn  Van  Wyck. 

58 


XK 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cooic 
Book,  containing  100  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-tive  cents. 


/'"^AN  this  be  the  girl  who  wanted  to  be  a  school  teacher?    Oh,  Hollywood,  what  have 

^'-'you  done  to  Thelma  Todd,  who  once  planned  to  advance  the  cause  of  learning  in  the 

Commonwealth  of  Massachusetts ! 


•"THIS  is  Mary  Nolan,  who  refused  to  be  licked  by  the  Ogre  of  Public  Opinion.    As 

-*-  Imogene  Wilson,  the  studios  were  closed  to  her.    Adopting  a  fighting  Irish  name  and 

a  spirt  to  match  it,  the  girl  won  out. 


A  NOTHER  girl  who  found  it  lucky  to  change  her  name.    As  Katherine  Hill,  she  was 

■*   *-merely  just  another  pretty  girl.  As  Kathryn  Carver,  she's  a  promising  actress  and  the 

fiancee  of  Adolphe  Menjou. 


IV/rO  wonder  First  National  finds  Dorothy  MackaiU  one  of  the  most  useful  members  of 
■*-  ^  Its  organization.  Dorothy  can  play  anything  from  tragic  heroines  to  pert  flappers — 
and  make  'em  like  it. 


News  Reel 

in 

^  hy  me 

Item 


Charles  Ray  and  Aileen  Pringle, 
Are  enjoying  frosty  weather 

In  New  York  (no,  don't  be  silly — 
Of  course  they're  not  together!) 


Notice! 

Irving  Thalberg  and  Norma  Shearer 
(Yes,  she  is  Mrs.  Thalberg  now), 

Are  visiting  Europe's  ancient  shores, 
On  a  honeymoon — and  how! 


The  Old  Window  Game 

Lya  de  Putti  fell  out  of  a  window. 

(Windows  in  Berlin  are  not  built  for  speed! 
Lya  has  met  with  the  same  fate,  remember.^) 

We're  sorry,  indeed! 

We  should  suggest,  in  the  spirit  of  friendship. 
That  Lya  buys  her  an  old  fashioned  net, 

That  she  may  spread  when  a  window  attracts  her. 
It's  her  best  bet! 


Marilyn  Gets  Her  Decree 

Marilyn  Miller — she  says  she'll  not  marry. 
Now  that  her  romance  with  Jackie  is  o'er; 

"Now  to  my  Art  I'll  be  wedded,"  she  murmurs. 
All  men  get  the  door! 

But,  oh,  there  are  rumors — Ben  Lyon's  behind  'em — 
That  she'll  reconsider,  as  many  have  done; 

For  Art  is  a  chilly  companion  to  live  with. 
When  youth's  scarce  begun! 

And  yet — some  have  faith  in  our  Marilyn's  stories. 

She  sets  doubt  a-flyin' ; 
And  they — who  are  true  to  her — tell  us  with  anger, 

That  Ben  is  just  Lyon! 


CHARLIE  CHAPLIN 

in  the  Leading  Rble  of 

"The  Circus" 


A  Sonnet  Impression 
of  the  Month's  Best 
Performance — 

With  all  the  pathos,  all  the  wist- 
ful yearning 
Of    broken    dreams    behind    a 

Pierrot  mask — 
With  all  the  genius  that  is  ever 

burning 
Within  his  soul,  he  hurries  to  the 

task 
Of  making  people   smile  whose 

souls  were  weary, 
Of  making  people  laugh  whose 

hopes  were  dead.   .   .  . 
There  is  a  something  that  is  more 

than  cheery 
In   every  gesture  of  his  hand, 

his  head. 


The  calling  of  the  sawdust  ring,  the  wonder 
Of  high  trapeze  and  riding  and  romance, 
The  tinsel — and  the  heart-break  that  lies  under 
The  tanbark  floor  on  which  the  troupers  dance. 
Oh,  he  has  caught  them  all — the  joy,  the  pain — 
.^nd  brought  them  close,  to  make  us  young  agaii 


Ramon  Novarro  Has 
Other  Plans 

When  Ramon  said  he'd  leave  the  screen. 
We  wondered  what  the  boy  could  mean ; 
And  then  what  do  you  think  we  heard? 
That  (promise  not  to  breathe  a  word!) 
He — oh,  no  matter  where  and  how — 
Is  taking  singing  lessons  now! 

The  screen  perhaps  will  bid  goodbye 
To  one  who  made  folk  smile,  and  cry. 
To  one  who  played  young  love,  who  played 
Those  parts  of  which  nice  dreams  are  made. 
But — though  we'll  hate  to  see  him  go. 
We'll  have  him  on  the  radio! 


Contract — MarriageP 

Buster  Collier  wanted  to  wed. 

But  now  he's  waiting  four  months  instead. 

You  see  the  girl  of  his  choice  had  made 
A  contract  to  cover  the  part  she  played 
On  the  stage — and  her  manager  wouldn't  let 
Her  get  away  with  the  word  "forget"! 

And  Buster,  too,  had  a  contract  straight. 
That  read  that  he  mustn't  take  a  mate 
'Til  the  picture  he's  working  on  is  through — 
So  what's  a  couple  like  that  to  do? 

Why  all  they  could  do  was  face  about — 
It'll  be  four  months  'til  the  things  run  out! 

2  Q3 


A  Beautiful 
Christmas  Story 
of  Twin  Brothers, 
a  New  Wife, 
and  a  Mother's 
Memory 


THE  first  Christmas  after  the  little  mother's  going, 
they  lighted  the  candle  together.  And  together 
they  placed  it  in  the  widest  window.  And  then, 
with  the  warm  tears  clouding  their  eyes,  they 
strung  the  silver  tinsel  across  the  green  branches  of  a 
tree.  Not  because  they  were  gay  at  heart — oh,  no! 
The  tears  told  how  heavy  were  their  souls.  But  because 
the  spirit  of  the  little  mother  stood  beside  them,  urging 
them  on.  Telling  them  that  Christmas  and  happiness 
went  together.  Telling  them  that,  when  Christmas  had 
gone,  youth  had  also  been  banished. 

She  had  loved  festivity — the  little  mother.  Gift  days 
had  been  more  to  her  than  just  days  of  giving.  They 
had  been  ceremonials.  They  had  been  occasions. 
When  the  boys  were  small — round  eyed  twins  with 
worn   knickers   and   stubby   shoes — she   had   actually 

6i 


sufTered  to  give  them  gala  Christmases.  Suffered  the 
wind,  in  a  thin  coat,  so  that  they  might  have  bags  of 
pink  and  white  popcorn.  Gone  lunchless,  so  that  they 
might  have  twisted  canes  of  sugar  candy.  A  widow — 
frail  and  not  very  efficient — she  had  done  sewing  to  give 
her  boys  the  fun  of  life.  Perhaps  she  was  not  able  to 
give  them,  alwa^'s,  the  necessities — but  she  never 
stinted  them  when  it  came  to  pleasures.  What  though 
their  shoes  were  shabby — so  long  as  there  was  a  flower 
on  the  meagre  dining  table?  It  was  the  little  mother's 
creed ! 

And — although  there  were  those  who  criticised — the 
little  mother's  system  was  extremely  successful.  Where 
other  boys  left  home  early  to  live  their  own  lives,  her 
sons  stayed  beside  the  fireside,  of  an  evening,  to  read  to 
her.    They  did  not  go  out  with  the  young,  vivid  girls — 


T 


ree 


By 

Margaret 
Sangster 


who  eyed  them  from  the  houses  that  lined  the  street  on 
which  they  lived.  With  a  laughing  jealousy  they 
fought  instead  for  the  attentions  of  their  mother.  And 
the  fact  that  they  were  stay-at-homes  did  not  mean 
that  their  lives,  in  business,  were  either  starved  or 
cramped.  For  when  the  twins  were  thirty  they  had 
earned  the  right  to  sign  their  names  to  large  checks  and 
to  return,  gravely,  the  almost  subservient  bows  of  the 
vice-president  of  the  local  trust  company. 

The  boys — they  were  glad  that  the  little  mother  was 
able  to  have  fur  coats  in  those  later  years.  And  fresh 
roses,  both  winter  and  summer,  to  make  sweet  her 
rooms.  And  that  when  Christmas  came — and  her  old 
cheeks  grew  rosy  with  excitement — there  was  always  a 
tree  to  be  trimmed.  Always  stockings  to  be  hung. 
Always  a  candle  to  set  in  a  window ! 


Standing  in  the  doorway,  in  her 
pretty  negligee,  Winifred  was  cry- 
ing. Crying  great  tears  that  ran 
down  her  cheeks.  Great  tears  that 
were  not  in  the  least  angry  tears. 
"I've  been  so  stupid!  How  was  I  to 
know  that  a  tree  could  mean — so 
much — " 


MARGARET 
SANGSTER 
has  written 
many  beauti- 
ful  stories, 
but  she  never 
wrote  a  finer 
one  than  this.  If  you  can 
neglect  a  Christmas  tree 
after  reading  it,  there's  a 
stone  where  your  heart 
should  be. 


But  it  was  hard — the  first  Christmas 
after  her  going — to  keep  up  the  gallant 
gesture.  It  was  hard!  Once  Ralph — 
the  blue-eyed  twin  —  turned  suddenly, 
away  from  the  tree.    And: 

"What's  the  use  of  pretending?"  he 
questioned.     "  She's  go77g.'" 

It  was  Jerry,  the  grey-eyed  twin,  who 
answered.  Somehow  Jerry's  jaw  had  a 
firmer  line  than  his  brother's.  Somehow 
Jerry's  e^^es  were  just  a  shade  more  deep. 

"She'd  feel  hurt — "  he  said,  and  he 
spoke  with  a  conscious  effort — "she'd  be 
hurt  to  think  that  we'd  forgotten,  so 
soon,  the  things  she  spent  her  whole  life 
teaching  us.  Mother — why,  she  gave  us 
beauty.  She  gave  us — "  he  choked, 
here — "the  joy  of  things.  I — I  can't 
help  feeling  that  somewhere,  up  in 
heaven,  she's  trimming  a  Christmas  tree 
this  night.  .  .  .  For  the  little  angels.  ..." 

Ralph's  blue  eyes  were  lowered.     But 
his  hand  was  steady  when  it  clasped  his 
brother's  hand. 
"We'll   always   have   a    tree,    old    man,"    he    said. 
"Always.     In  memory — "     He  didn't  finish  the  sen- 
tence. 

Perhaps  he  couldn't! 

so,  year  after  year,  they  had  their  Christmas 
■trees.  One  year,  two  years,  three  years.  And — if 
the  memory  of  the  little  mother  grew  more  faintly 
etched,  at  the  passing  of  the  months — it  grew  no  less 
fragrant.  And  though  they  were  able  to  chuckle,  some- 
times, over  the  pink  popcorn  and  sugar  candy  of  their 
youth,  the  mirth  was  always  tender.  And  there  were 
still  roses  blooming  in  the  rooms  that  had  been  the  little 
mother's  home— still  blooming,  although  she  had  gone 
on. 

But  the  rooms  knew  only  the  gentle  phantom  of 

65 


AND 


Christmas — and  a  Shining  Tree  of  Memories 


To  a  restaurant 
they  went.  And 
although  Ralph 
was  just  a  trifle 
sulky  above  his 
thin  slab  of  white 
meat  and  his 
spoonful  of  soggy 
dressing,  Winifred 
didn't  seem  to 
notice.  She  talked 
just  as  cleverly  as 
ever 


ss 


w 


a  woman's  touch — for  all  that.  Uniil  Winifred  came. 
It  was  Ralph  who  brought  Winifred  home  to  the  house 
in  which  he  and  his  brother  lived.  He  brought  her, 
quite  without  introduction,  when  the  twilight  was 
creeping  across  the  place — and  the  lamps  were  not  ^ct 
lighted.  He  had  been  on  a  business  trip — Ralph.  He 
had  been  away  for  nearly  a  month,  out  of  the  home  and 
the  office  that  the  brothers  shared.  And  so,  when 
Jerry  heard  the  rasp  of  a  familiar  key  in  the  lock  he 
came  hurrying  through  the  dim  places  of  the  hall.  With 
a  word  of  welcome  that  died  swiftly  from  his  lips  when 
he  saw  two  figures,  instead  of  one,  silhouetted  against 
the  fading  light.  A  word  of  welcome  that  died  away 
into  an  awkward  silence. 

TT  was  during  this  momentary  stillness  that  Ralph 
■•-found  himself  remembering,  suddenly,  how  close  a  twin 
brother  can  come  to  one's  heart.  It  was  then  that 
Ralph  found  himself  wishing  that  he  had  sent,  at  least, 
the  explanatory  telegram.  Winifred  spoke.  Taking 
the  first  step. 

"  You're  Jerry — "  she  said,  and  her  voice  was  as  crisp 
and  as  cool  as  organdie  that  has  never  even  been  made 
into  a  frock — "you're  Jerry !  I'm — Winifred.  But- — of 
course — that  means  nothing  to  you.  I'm — "  she  reached 
out  a  slim,  friendly  hand — "I'm  Ralph's  wife!" 

Jerry  found  himself  stumbling  forward.     Found  him- 


self touching  the  slender  fingers.  They  were  as  cool  as 
the  voice  had  been. 

"Why,"  he  said  foolishly — "why — to  be  sure — " 

It  was  Ralph  who  spoke  then.  In  a  ^•oice  that  he  tried 
vainly  to  make  easy  and  conversational. 

"Winifred  and  I  were  married  yesterday,"  he  said. 
"We — it  was  very  sudden,  Jerl  I — I  hadn't  time  to  let 
you  in  on  it.  You  see,  it  wasn't  until  I  knew  I  was 
leaving  her  that  I  realized  how  much — " 

All  at  once  his  arm  was  encircling  his  new  wife's 
shoulders. 

Jerry — I  said  before  that  the  line  of  his  jaw  was  firm 
and  that  his  grey  eyes  were  deep!  Jerry  had  recovered 
himself.    Almost. 

"That's  the  way  it  happens,"  he  heard  liimself  say- 
ing— ''suddenly." 

Winifred  was  speaking  again. 

"Ralph  met  me  only  a  few  weeks  ago,"  she  told  her 
brother-in-law.  "  I  was  secretary  to  a  man  he  did  busi- 
ness with.  He  took  me  to  lunch.  He — "  she  laughed — 
"he  hadn't  the  remotest  idea,  at  first,  that  he  cared. 
Really,"  the  laughter  was  bell-clear  and  charming, 
"he  would  have  come  home  without  knowing,  I  think, 
if  I  hadn't  told  him.  But — I  understood.  And  yester- 
day, when  he  took  me  to  luncheon,  again — " 

Ralph,  his  voice  excited  and  vital,  was  taking  up 
the  story.  [  continued  on  page  113  ] 


Amateur  Movies 

By  Frederick  James  Smith 

PHOTOPLAY'S   $2,000   Contest    Nears    End  —    The    Problems  of 
Winter  Photography    —    Movie  Club  Activities 


THIS  is   the  last  call   for  films  in   Photoplay's 
$2,000  Amateur  Movie  Contest! 
The  contest  closes  at  midnight  on  December  31st. 
All  films  mailed  before  that  hour  and  fulfilling  the 
other  contest  rules  will  re- 
ceive the  careful  considera- 
tion of  the  judges. 

Photoplay  is  asking  all 
amateurs  to  send  in  their 
best  films.  There  is  a  very 
real  purpose  behind  the 
contest.  Photoplay,  act- 
ing with  the  Amateur  Cin- 
ema League,  wants  to  study 
the  best  international  ama- 
teur films,  thus  developing 
an  amateur  standard  for 
the  future. 

Since  this  contest  is  the 
first  amateur  movie  compe- 
tition ever  held  anywhere 
in  the  world,  it  has  nexer 
been  possible  heretofore  to 
study  and  analyze  non- 
professional films  in  suffi- 
cient numbers  to  make 
possible  the  development  of  an  amateur  standard. 

Then,  too.  Photoplay  wants  to  teach  amateurs  that 
the  most  interesting  part  of  film  making  is  the  editing, 
cutting  and  titling.  Shooting  is 
just  a  minor  part  of  the  fun. 

The  contest  judges  are  Hiram 
Percy  Maxim,  president  of  the 
Amateur  Cinema  League;  S.  L. 
Rothafel,  managing  director  of  the 
Roxy  Theater  in  New  York ;  Nick- 
olas  Muray,  the  well  known  photog- 
rapher; James  R.  Quirk,  editor  and 
publisher  of  Photoplay  and  the 
managing  editor  of  Photoplay. 


JANUARY  is  a  month  of  winter 
action  and  picture  possibilities 
galore.  One  can  hardly  step  out- 
doors without  finding  a  tempting 
photographic  scene. 

But  January  is  a  month  when 
the  movie  maker  must  look  to  his 
diaphragm  openings  and  study  his 
exposure  guide  carefully,  if  he  is  to 
avoid  that  bugbear  of  winter 
photography  known  as  under-ex- 
posure. 

Many  a  beautiful  and  valuable 
shot  has  been  spoiled  by  the  ama- 
teur's failure  to  following  the  ex- 


Try  out  the  screen  personality  of  your  pet  dog 
in  your  home  made  movies 


Paul  Poiret,   the  famous  Parisian 

costume      designer,     experiments 

with  an  amateur  camera 


posure  guide's   admonition   to    "use   the   next   largest 
opening  when  in  doubt." 

January  light  is  very  deceptive  indeed.  The  glare  of 
the  sun  on  the  white  snow,  often  so  bright  as  to  almost 
blind  one,  seems  to  be  suffi- 
cient reason  for  the  ama- 
teur movie  maker  to  "stop 
down,"  despite  the  warning 
of  the  exposure  guide.  It 
must  be  remembered,  how- 
e\-er,  that  this  seemingly 
intense  light  is  only  par- 
tially the  direct  light  of 
the  sun  and  that  the  greater 
part  of  it  is  reflected  from 
the  white  snow.  As  we  all 
know,  reflected  light  is  not 
nearly  as  productive  of 
good  pictures  as  direct  sun- 
light. 

Topping  this  condition  is 
the  fact  that  the  picture- 
gi\-ing  quality  of  the  sun  is 
very  much  less  in  winter 
than  it  is  in  mid-summer 
and    these    natural    condi- 
tions combine  to  deceive  the  amateur  who,  naturally 
enough,  is  tempted  to  believe  his  own  eyes  rather  than 
printed  advice.     The  amateur  gets  his  shock  when  the 
reel  of  supposedly  perfectly  exposed 
films  is  returned  from  the  finishing 
station    and     found    to    be    badly 
under-exposed. 

It  is  a  simple  matter  to  expose 
properly.  The  amateur  has  but  to 
lollow  the  ma.xim :  when  in  doubt 
use  the  next  larger  diaphragm 
opening. 

npHE  movie  amateur  always  can 
•^  add  to  his  equipment.  For  in- 
stance, a  cheap  monotone  filter, 
such  as  in  daily  use  in  professional 
studios  is  now  being  marketed. 
W  hen  held  to  the  e>'e  this  reduces 
color  values  to  terms  of  black, 
white  and  halftone,  thereby  reveal- 
ing the  exact  effect  the  amateur 
will  get.  Amateurs  need  no  longer 
guess  how  colors  will  photograph. 

Another  feature  for  the  amateur 
who  owns  a  Filmo  projector  is  a 
small  pilot  light,  easily  adjustable, 
which  provides  illumination  for 
operation,  but  does  not  detract 
[  coxTixuED  ox  page  98  ] 


Full  Rules  of  PHOTOPLAY'S  $2,000  Contest  on  Page   98 


W^hat  Does  Acting 


Lillian  Gish  and  Mary  Pickford  are  interesting  examples  of  players 
who  have  taken  on  something  of  the  roles  they  usually  play 


HOW  do  you  suppose  it  feels  always  trying  to  be 
somebody  else,  always  pretending  to  be  some- 
thing which  you  are  not? 

What  do  you  suppose  this  continual  shifting 
of  personality  does  to  the  actor? 

One  week  he  may  be  a  rough,  gun-toting  Mexican 


desperado.  A  few  weeks  later 
he  may  be  a  silk-hatted  society 
dandy,  smashing  the  hearts  of 
admiring  young  women.  The 
actor's  contract  may  call  for 
the  part  of  a  coal  miner  in  one 
film.  For  another  he  may  be 
asked  to  do  a  white  goods  sales- 
man in  a  department  store. 

Actresses  as  a  rule  are  per- 
haps not  compelled  to  display 
so  much  versatility.  Still,  when 
a  woman  must  be  a  vamp  in 
one  picture  and  a  sweet,  un- 
sophisticated young  wife  in 
another,  the  change  of  emo- 
tions required  amounts  to  the 
same  thing. 

Even  type  parts  are  like  that. 

The  actress  who  was  born 
with  frousley  red  hair  may  al- 
ways appear  a  quick-tempered 
frousley  redhead  in  every 
screen  production  in  which  she 
appears.  Nevertheless,  here 
again  the  emotional  range  of 
the  artist  must  be  wide.  The 
type  may  remain  identical  for 
each  film,  but  the  different 
stories  and  plots  necessarily  call 
for  different  kinds  of  acting. 

68 


Says  Dr.  Bisch: 


"   A   LWAYS    being     somebody 

XlLniakes  the  actor  lose  his  own  per- 
sonality. 

"My  work  with  actors  has  con- 
vinced me  that  a  screen  villain's 
viewpoint  of  life  is  so  strongly  in- 
fluenced by  his  villainous  acting  that 
he  automatically  watches  himself  lest 
he  display  villainous  tendencies  in 
his  everyday  personal  associations. 

"Sometimes  this  reaction — and  of- 
ten it  is  entirely  unconscious  to  the 
actor — takes  the  form  of  what  in 
psycho-analysis  is  called  a  'defense 
reaction.' 

"In  a  defense  reaction  you  do  ex- 
actly the  opposite  of  what  you  fear 
you  may  do  or  be  suspected  of  doing, 
and  you  do  it  in  an  exaggerated  way. 

"I  have  seen  it  affect  men  and  wom- 
en of  the  screen  so  much  that  they 
lose  their  sureness  and  force.  They 
allow  the  feeling  of  the  moment  to 
dominate  them.  Their  will  power 
weakens.  They  vacillate  and  change. 
They  become  passive.  Often  they 
are     undependable." 


A  scientific  explana- 
tion of  what  actually 
occurs  to  an  actor  as 
the  result  of  contin- 
ually submerging  his 
Real  Identity 


The  point,  however,  is  not  how 
often  actors — and  I  shall  use  this 
term  to  include  actresses  as  well — 
must  shift  their  viewpoints  and 
feelings  from  one  type  to  another. 
For  the  higher  they  climb  the  more 
likely  are  they  to  become  identified 
with  a  certain  general  type  of 
character. 

The   point   really   is   this.     The 
acting  profession  never  allows  its 
members  to  be  themselves,  to  reveal  themselves  as  they 
actually  are. 

What  effect  does  this  constant  make-believe  have 
upon  the  actor? 

I  am  reminded  here  of  the  stor3'  of  a  famous  clown 
who  went  to  consult  a  doctor  because  he  complained  he 
felt     "so     downhearted     and 
melancholy." 

After  making  a  thorough  ex- 
amination and  finding  nothing 
wrong,  the  physician  said: 

"My  man,  all  you  need  is 
distraction  and  amusement. 
The  circus  happens  to  be  in 
town.  Go  and  see  X.  He  will 
fix  you  up  all  right.  He  will 
make  you  laugh." 

"But,"  replied  the  clown 
sadly,  "I  happen  to  be  X  my- 
self!" 


else 


THIS  story  really  sums  up  the 
effects  of  acting  upon  the 
actor.  It  has  been  my  expe- 
rience that  comedians  are  very 
serious  persons  off-stage  while 
actors  who  do  a  lot  of  hea\'y 
drama  are  likely  to  possess 
quite  a  sunny  disposition. 

Charlie  Chaplin  is  an  ex- 
ample of  what  I  mean.  You 
have  "probably  read  enough 
about  him  to  have  learned  that 
he  is  anything  but  a  funny  man 
outside  the  studio.  In  reality 
he  is  quiet,  sober,  reserved,  re- 
fined, sensitive,   philosophical. 


Do  To  the 


Actor: 


By 
Louis  E.  Bisch 

M.  D.,  Ph.  D. 


The  psycho-analyst 
explains  why  players 
may  become  unreli- 
able and  neurotic — 
why  they  deserve  all 
the  money  they  get 


Were  you  to  meet  him  and  not 
know  who  he  is,  you  would  never 
guess  that  he  is  our  greatest  living 
screen  buffoon. 

Chaplin  is  influenced  by  the  parts 
he  plays.  So  is  Lillian  Gish.  So  is 
Menjou.  So  is  Gloria  Swanson.  So 
are  Doug  and  Mary.  So  are  the>- 
all. 

I  have  not  psychoanalyzed  any 
of  these  particular  celebrities.  I 
have,  however,  analyzed  a  sufficient  number  of  other 
movie  actors  to  have  gathered  very  unusual  and  inter- 
esting information.  What  acting  does  to  the  actor's 
personality  is  something  you  could  not  possibly  suspect 
from  your  screen  acquaintance  with  them. 

Here  is  Miss  B,  for  instance. 

She  usually  takes  the  part  of  a 
bold,  reckless,  flirtatious,  gold- 
digging  divorcee.  She  does  it  ex- 
ceptionally well,  too. 


"T  POSITIVELY  detest  women 
-^who  continually  have  a  keen 
eye  to  the  main  chance,"  she  con- 
fided. "They  pick  on  me  to  do 
these  parts  because  I  happened 
to  be  given  that  kind  of  a  char- 
acter the  first  picture  I  was  ever 
in.  I  wish  I  had  not  done  it  so 
well.  Now,  I  am  doomed.  I'll 
never  be  able  to  get  away  from 
it." 

"What  difference  does  it  really 
make?"  I  asked  her.  "You 
have  no  difficulty  about  getting 
work.  Being  a  gold-digger  spe- 
cialist may  have  its  advantages 
after  all  despite  the  fact  that  it 
tends  to  hamper  the  develop- 
ment of  your  acting  abilities." 

"Oh,  I  wouldn't  mind  that  so 
much,"  she  replied.  "I  gave  up 
hope  of  playing  parts  I  like  years 
ago.  I  must  do  what  I'm  told  to 
do.  That's  part  of  the  game.  It 
isn't  that.  The  thing  is  that 
playing  this  particular  kind  of 


Perhaps  the  lack  of  success  in  private  life  encountered  by  John  Gilbert 
and  Ronald  Colman  is  due  to  their  defense  reactions 


role  so  often  is  actually  changing  me.     That's  what  is 
getting  on  my  nerves. 

"The  other  day  I  met  a  man  at  a  tea  whose  acquaint- 
ance I  would  have  liked  to  cultivate.  We  were  making 
fine  progress.  We  were  talking  about  places  we  had 
visited  abroad,  about  the  beautiful  jewelry  designs  one 
sees  o\'er  there,  finally  about  a 
collection  of  jade  ornaments  he 
has  made.  And  then,  all  of  a 
sudden,  the  thought  popped  inlo 
my  mind,  'What  if  he  thinks  I'm 
fishing  for  something?  Maybe  I 
am  giving  him  the  impression 
that  I  want  him  to  give  me  a 
piece  of  jade  for  a  present!' 

"And,  do  you  know,  doctor, 
I  shut  up  like  a  clam.  I  got  so 
self-conscious  and  embarrassed 
and  fussed!  The  man  naturally 
lost  interest  in  me  and  left  me 
flat.  I  haven't  heard  from  him 
since.  And  I  liked  that  man, 
too.    See  how  it  is?" 

"In  other  words,"  I  continued, 
"you  have  acted  the  gold-digger 
part  so  much  that  you're  afraid 
you  actually  appear  a  gold-digger 
in  private  life?" 

"Exactly,"  she  answered.  "I'm 
not  a  gold-digger.  I  hate  that 
sort  of  woman.  But  I  think 
people  think  I  may  be  one  just 
the  same." 

To  be  sure,  this  actress'  sus- 
picions were  unfounded.  Her 
friends  considered  her  anything 

[  CONTINUED  ON  PAGE  104  ] 


CtioJki 


Comedians  are  usually  serious  folk  off 
the  screen.  Charlie  Chaplin  is  a  shin- 
ing example 


Personal  and  Household 


Now  Clara  Bow's  bag,  but  formerly  an  evening 
dress,  a  hat  and  a  cast-off  rhinestone  pin 


^  I  'HE  dressing  table  at  the  right  is  cur- 
-^  tained  with  taffeta  and  lace  from  old 
evening  dresses.  The  powder  box  is  a 
plain  compote  jar.  The  picture  frame 
and  glove  case  are  of  cardboard  tricked 
out  in  silk.     All  from  articles  cast  aside. 


Showing  how  many  a  snappy 
vaged  from  the  remnants 

By  Lois 

THE  By-Products  of  the  Wardrobe  Department" 
of  the  Paramount  studios  might  have  been  a 
good  title  for  this  story. 

Although  there  has  always  been  some  use 
made  of  the  remnants  and  left-overs  from  the  gorgeous 
— and  the  plain — creations  made  for  the  motion  picture 
people,  it  remained  for  the  economy  wave  among  the 
producers  to  develop  a  regular  "by-product  factory"  in 
connection  with  wardrobe,  drapery  and  set  depart- 
ments. 

Between  thirty-five  and  forty  women  are  employed 
regularly  in  the  wardrobe. 

Naturally,  there  are  moments  during  a  lull  in  produc- 
tion activities,  when  not  every  one  of  these  young 
women  are  busv. 


A  complete  dressing  table,  all  made  from  the  by- 
products of  the  costume  department 


Two  handker- 
chiefs made  of 
scraps  of  geor- 
gette, chiffon, 
and  lace 


The  waste  basket  was  once  a  lamp  shade; 
the  telephone  cover,  Mary  Brian's  dress 

•HO 


r 


> 


Ccrap  Knick-Knacks 


costume  accessory  may  be  sal- 
in  the  lowly  rag-bag 

Shirley 

"Turn  them  loose  on  the  scraps  ?nd  see  what  they 
\\-ill  do!"  was  the  command  of  General  Manager  B.  P. 
Schulberg. 

So  Travis  Banton,  wardrobe  commander,  turned  his 
women  loose  during  their  "rest"  moments. 

Some  startling  knick-knacks  and  money  saving  de- 
vices for  both  the  personal  adornments  of  the  stars  and 
the  decoration  of  the  homes  have  resulted. 

For  example:  Handkerchiefs,  dressing-table  ac- 
coutrements, scarfs,  etc.,  have  ordinarily  been  made 
from  new  material  or  rented  from  costume  houses. 

Note  those  in  these  pictures,  which  were  made  by 
these  women  from  remnants  and  discarded  dresses! 
Even  pocketbooks  and  evening  bags,  a  parasol  and  a 
Spanish  fan ! 


Mary  Brian's  scarf  is  two  yards  of  chiffon  edged 
with  pearls  from  a  Leatrice  Joy  headdress 


'T'O  make  Mary  Brian's  headdress  shown 
^  above :  Cut  a  leaf  pattern  from  heavy 
brown  paper,  trace  it  on  buckram  and  cut 
out.  Then  cover  with  heavy  metal  cloth. 
Below:  The  gold  brocade  in  the  wall 
covering  was  worn  by  Greta  Nissen. 


Shadow  lace  from  Leatrice  Joy's  wedding 

veil  in  "The  Dressmaker  from  Paris"  forms 

the  cover  of  this  night  table 


A  purse  of  green  satin,  em- 
broidered in  gold  by  a  ward- 
robe girl  in  spare  moments 


Pleated  black  satin  bag  with  an  or- 
nament worn  by  Clara  Bow  in  "Man 
Trap" 


A  heraldic  wall  covering  from  the  rag  bag 
and  pillows  cut  from  old  fur  coats 


11 


Some  useful  tips  from  the  Paramount  Studio's  sewing  circle 


Josephine    Dunn's    parasol — an    umbrella 

frame,  enameled  pin,  and  covered  with  one 

of  Esther  Ralston's  costumes 


The  old  framework  of  the  fan  was  about  to  be  thrown  into  the 
wastepaper  basket  when  AHce,  just  "one  of  the  girls,"  ex- 
claimed, "Why  throw  that  away?  I  can  paste  a  new  cover  on 
for  you." 

"Go  ahead,"  was  the  order. 

Alice  dived  into  the  old  dress  department. 

In  this  group  are  the  gowns  which  were  originally  designed 
for  the  stars  and  feature  players,  then  made  for  the  "atmos- 
phere" extras,  and  finally  relegated  as  useless,  but  kept  from 
the  incinerator  on  general  principles. 

Alice  seized  upon  the  black  chantllly  worn  by  Nita  Naldi  in 
"The  Ten  Commandments."  At  first  she  thought  it  was  hope- 
less, but  finally,  in  the  front  of  the  skirt,  she  found  a  piece 
large  enough  for  her  purpose. 

True,  it  took  her  several  hours  to  ^lue  the  fine  lace  on  the  old 
framework,  but  today       [continued  on  page  86] 


The  inside  of  black 
envelope  bag  shown 
on  the  preceding 
page.  Even  the 
chiffon  handker- 
chief was  made 
from  a  costume 
headed  for  the  in- 
cinerator 


Evening  bags  rescued  from 
cast-off  finery 


Nita  Naldi's  gown  in  "The  Ten  Command- 
ments" now  is  a  fan  for  Shirley  Dohrman 


(iT  /  7HICH  do  you  prefer,  the  pert,  sharp  prettiness  of  the  flapper  or  the  calm, 
^^/^/ modelled  perfection  of  the  classic  beauty.     Maria  Corda,  Europe's  idea 
of  the  Eternal  Feminine,  is  due  to  revive  an  interest  in  the  classic  type 
in  her  first  American  picture,  "The  Private  Life  of  Helen  of  Troy.  " 


By 

de  Bru 


ho's 

no  in  the  Hollywood 


1 — \^ictor  McLaglen 

2 — de  Bru-Xavier  Cugat 

3— Billie  Dove 

4 — Lionel  Barrymore 

5 — Lowell  Sherman 

6 — Buster  Keaton 

7 — Renee  Adoree 

8 — Marion  Davies 

9 — Mae  Murray 
10 — Anita  Loos 
11— Milton  Sills 
12 — Bebe  Daniels 
13 — Ramon  Novarro 
14— Harold  Lloyd 
15 — Norma  Shearer 
16— John  Gilbert 


17 — Robert  Frazer 
18— May  Allison 
19— James  R.  Quirk 
20 — Betty  Bronson 
21— D.  W.  Griffith 
22 — Louise  Brooks 
23— Clive  Brook 
24 — Pauline  Starke 
25 — Joseph  Schildkraut 
26— Monte  Banks 
27— Richard  A.  Rowland 
28 — Douglas  Fairbanks 
29— Mary  Pickford 
30— Pola  Negri 
31 — Charlie  Chaplin 
32— Karl  Dane 


33— Tom  Mix  48- 

34 — Jack  Dempsey  49- 

35 — Estelle  Taylor  50- 

36 — Louis  B.  Mayer  51- 

37— Will  Rogers  52- 

38 — John  Barrymore  53- 

39— Lillian  Gish  54- 

40 — Norman  Kerry  55- 

41 — Don  Alvarado  56- 

42— Gilbert  Roland  57- 

43 — Norma  Talmadge  58- 

44— William  Fox  59- 

45— Cecil  B.  De  Mille  60- 

46 — Eric  von  Stroheim  61- 
47 — Marquis  de  la  Falaise    62- 


-Gloria  Swanson 
-Jaime  Del  Rio 
-Dolores  Del  Rio 
-Wallace  Beery 
-Noah  Beery 
-Adolphe  Menjou 
-Ned  Sparks 
-Lon  Chaney 
-Lewis  Stone 
-Ben  Turpin 
-Jetta  Goudal 
-Antonio  Moreno 
-A.  De  Segurola 
-Dolores  Costello 
-Olive  Borden 


V  ocial  Qf 
Wwim 


More  Sheiks  than  the 
Sahara.  More  bathing 
belles  than  a  beauty 
parade.  To  be  of  the 
elite  every  day  in  Holly- 
wood you  have  to  be  all 
wet  in  the  Swimming 
Pool  of  the  Hotel  A 
bassador 


Picture  of  a  totally 
imaginary  occur- 
rence. Do  you  think 
the  gallant  lads  of 
Hollywood  would  let 
Joan  Crawford  lan- 
guish  under  the 
mistletoe?  Or  do 
you  think  they  even 
need  the  encourage- 
ment of  the  little 
plant? 


When  the  Doctors 
Disagree 


Read  'em  and 

you  know  as 

much  as  you 

did  before 


DRESS  PARADE' 


'THE  HIGH  SCHOOL  HERO" 


"Bill  Boyd  is  superb  as  the 
wise-cracking  small  town  boy 
who  gets  an  appointment  to 
West  Point."  N.  Y.  Even- 
ing World. 

"...  one  Hugh  Allan,  who 
has  hitherto  been  largely  un- 
heard of,  but  who  will  be,  un- 
less I  am  greatly  mistaken,  a 
high-salaried  player  before 
long."     A^   Y.  Sun. 


"William  Boyd,  the  star, 
does  one  of  those  imitations  of 
William  Haines  that  are  suffi- 
ciently obvious  to  be  called 
plagiaristic."     N.   Y.  Sun. 

_  "Hugh  Allan  plays  Bill's 
rival  and  appears  terribly  con- 
ceited over  the  good  looks  that 
a  munificent  nature  provided 
him  with."    A^  Y.Ai 


'TEA  FOR  THREE" 


"We  have  a  personal  super- 
stition that  only  a  thoroughly 
disagreeable  woman  can  be 
what  is  known  as  an  inspired 
actress  and  this  theory,  if  true, 
may  explain  why  the  otherwise 
astute  and  estimable  Pringle 
IS  here  seen  in  a  frankly  second- 
rate  performance."  N.  Y. 
Telegram. 


"  Miss  Pringle  is  a  clever  ac- 
tress who  has  a  calm,  easy  man- 
ner before  the  camera  and  she 
fits  well  into  such  roles  as  'Tea 
for  Three.'  "  A^.  Y.  Graphic. 


'EAST  SIDE,  WEST  SIDE" 


"GeorgeO'Brien  . . .  givesthe 
best  performance  he  has  ever 
given — and  that  includes  the 
one  in  'Sunrise.'  "  A^.  Y. 
Mirror. 

"Miss  Valli  is  amazingly 
good  as  Becka.  She  senses  the 
ver}'  expression  demanded  of 
her  in  nearly  everj'  scene."  A^. 
Y.  Times. 


"George  0[Brien,  who  shone 
so  brightly  in  'Sunrise,'  has 
dimmed  his  star  somewhat  in 
the  current  offering."     A'.    Y. 

News. 

"Virginia  Valli  is  not  at  her 
best  in  this  picture  ....  She 
does  not  screen  well,  and  the 
part  is  not  particularly  suited 
to  her  talents."  A'^.  Y.  Graphic. 


"'The  High  School  Hero'  is 
filled  with  feeble  gags  and  still 
feebler  sub-titles,  and  is  further 
handicapped  by  an  amateurish 
cast."     A''.   Y.  Journal. 


"This  reviewer  .  .  .  laughed 
longer  and  harder  during  the 
first  half  of  the  fray  than  he 
has  laughed  since  the  days  of 
'The  Navigator'  or  'The  Strong 
Man.'"   A'.  Y.  Evening  Sun. 


'THE  FORBIDDEN  WOMAN' 


"Jetta  Goudal  as  an  actress 
is  superb.  Probably  no  one  else 
on  the  screen,  or  on  the  earth 
for  that  matter,  would  dare  to 
wear  the  clothes  and  the  orna- 
ments and  the  coiffures  which 
Miss  Goudal  wears."  A'^.  Y. 
Herald-Tribune. 


"Jetta  Goudal  is  prepossess- 
ing in  the  early  scenes,  but 
afterward  she  seems  to  be  de- 
voting too  much  thought  to 
her  appearance.  There  are 
moments  when  she  looks  quite 
pleased  with  herself."  A^  Y. 
Times. 


'THE  CRYSTAL  CUP" 


"Miss  Mackaill  is  seen  too 
infrequently  on  the  screen  of 
late.  It  is  too  bad  she  has  to 
do  things  like  this."  A^.  Y. 
Evening  Post. 


"This  young  actress  (Dor- 
othy Mackaill)  can  look  beau- 
tiful or  unattractive  as  the 
camera  catches  her  at  various 
times,  but  'The  Cr>'stal  Cup' 
is  one  of  those  films  where  she 
is  shown  to  advantage  and 
where  her  acting  is  on  par  with 
her  appearance.  "A^.  Y.  Graphic. 


'THE  ANGEL  OF  BROADWAY" 


"  'The  Angel  of  Broadway' 
...  is  sadly  bothered  with 
wing  trouble.  She  doesn't  fly 
high  in  a  cinema  sense.  Rather, 
she  is  a  particularly  sad  sort  of 
angel,  patheticallv  unsuccess- 
ful."   A^  Y.  News'. 


"Lois  Weber  .  .  .  has  done 
a  fine  piece  of  work.  It  is  an 
excellent  picture,  and  though 
we  are  sent  out  with  our  lesson 
learned,  we  certainly  relish  it 
for  its  entertaining  values." 
A^  F.  Morning  World. 


When  Marie  Pre- 
vost  selected  a 
site  for  her  beach 
cottage,  she 
picked  that  sec- 
tion of  the  sands 
where  first  she 
romped  as  a 
bathing  girl.  Here 
are  Marie  and  her 
girl-friend,  Phyl- 
lis Haver,  specu- 
lating on  the  vast 
benefits  of  the 
drama 


For  icinter  sports 
the  suit  at  left  is 
ideal.  The  skirl 
is  of  corduroy 
and  coat  of  Duro 
gloss  leatherette 
faced  with  cordu- 
roij — the  deep 
pockets  add  to  its 
practicabilitij. 
May  be  ordered 
in  green,  red, 
blue  or  black. 
Si-cs  U  to  40. 
Price  SO.  7-5 


Shop  Through 


French  Beret  tarn  ex- 
ceeds its  popidarity 
if  last  year  and  is 
being  worn  by  both 
and  girls,  young 
old.      Fits  ail 
sizes.    In  tan, 
navy  blue,  green 
black.     SI. 7. 5 


Abore  is  the  ever 
Useful  overblouse  of 
white  broadcloth 
trimmed  with  nar- 
row  frilling  icith 
either  sports  or 
Peter  Pan  collar. 
Xothing  takes  its 
place  for  sports, 
school  or  office. 
Sizes  34  to  42. 
Price  S2.00 


How  to 

'T'HOUSANDS  of  women 
-*-  are  delighted  users  of 
Photoplay's  Shopping 
Service,  which  is  at  the 
disposal  of  every  reader. 
It  is  simple  to  order. 

Any  article  may  be  re- 
turned if  not  entirely  sat- 
ined. 


Shimniery  negligee  of  bro- 
caded satin  rayon  at  left 
comes  in  French  blue,  tur- 
quoise blue,  orchid,  rose, 
pink,  gold  or  black  with 
border  of  gold.  Sizes  small, 
medium  or  large.  Price 
S9.9.5 


t^\ 


-V^i 


hft    the    two-piece 

ti',l.'<Nil  isthespnrts- 
irnirfaroritc.   Skirt  has 
invrrtcil  pleats  in  front 
on  bodice  top.    Sweater     '     , 
urilh  popular  a-ew  neck-  ( \\   ^^  ^ 
line  has  stripes  of  co?i.-.     Y  ^  ; 


trusting  color  on  heather  p^-p^.  t- 
background  of  green,  ^^^S^_, 
rust,  blue,  oxford  grey  or  '^- 

tan.      Sizes   I4   to   20. 
■SS.9.5 


m 


■-^S^ 


Crepe  de  chine  teddy  at  left 
answers  the  detna.nd  for 
something  neiv.  Delight- 
fiillji  embroidered  with 
French  knots  and  bound 
with  contrasting  color.  In 
flesh,  peach  or  nile.  Sizes 
34  to  38.     Price  $2.75 


Above  the  lovers  of  winter  sports 
uillfind  real  comfort  in  the  knit- 
ted ^uool  gauntlet  gloves  with 
novelty  top  in  camel  or  beaver 
tones.  Sizes  small,  medium  or 
large.     Price  $2.25 


The  fastidious  woman  will  find 
the  printed  linene  house  dress 
at  right  a  real  find.  In  attrac- 
tive design  of  assorted  colors  on 
white  background  tailored  with 
hands  of  white  linene.  Sizes  16 
to  42.     Only  S2.95 


Photoplay 


Order 

Send  check  or  money 
order,  together  with  size 
and  color  of  article  de- 
sired. Stamps  will  not  be 
accepted.  No  articles  will 
be  sent  C.  O.  D.  Order  di- 
rect from  Photoplay  Shop- 
ping Service,  221  West 
57th  St.,  New  York,  N.  Y. 


At  right  a  j'asdnating  nightroU 
of  crepe  de  chine  trimmed  icith 
cream !j  tinted  lace.  hi  Jksh. 
peach,  nile  or  orchid.  Sizes  Id. 
16  and  17.  At  the  unusual  price 
of  $3.75 


Pajamas  below  are  fashioned  with 
new  tie  at  side  effect  and  are  made 
of  combined  flowered  design  and 
plain  novelty  cotton  crepe  as  illus- 
trated. In  peach  or  honey  dew. 
Sizes  36  to  40.     Price  $1.95 


Below  is  one  of  thib 
season's  most  fashion- 
able pocketbooks.  May 
be  ordered  in  either 
velvet  or  moire  in  black 
or  brown  ivith  frame  of 
sinndated  shell.  Pnce 
S.3..W 


Fifth  Avenue  Fashions 
for  Limited  Incomes 


For  holiday  parties  the 
frock  at  right  is  so  smart 
and  so  inexpensive  — 
only  $15.75.  It  is  dis- 
creetly trimmed  with 
rhinestoncs  and  the  skirt 
has  two  full  circidar 
flounces.  Comes  in 
black,  cocoa,  white  or 
nile.     Sizes  16  to  40 


Any  Article  May  Be  Returned 

IF  you  are  not  satisfied  with  any 
purchase,  return  it  and  your  money 
will  be  refunded  immediately.  Arti- 
cles for  credit  or  exchange  must  be 
returned  direct  to  Photoplay  Shop- 
ping Service,  221  West  57th  Street, 
New  York  City,  and  not  to  the  shop 
from  which  they  were  sent. 


Vrcpc  ,'c  chine,  al- 
u-n,i,  so  ,,ood  for  in- 
J,.rnn,l  wear,  is  used 
in  the  oni  j)iccr  dress 
at  left  in  the  new 
rose  glow.  Chin  Chin 
blue,  almond  green, 
beige,  navy  blue, 
black  or  white. 
Misses  sizes  1 4  to  SO 
—Women  34  to  40. 
Price 


In  circle  above  the  eol- 
Inr  ayid  cuff  set  of  peeirl 
pins  will  also  fill  other 
needs.  Price  95c. 
Fashion  decrees  rhine- 
stone  jewelry — this 
choker  necklace  of 
rhinestones  in  silver 
finish  setting  is  a 
charming  requisite. 
Price  $2.95 


Bloomer  combina- 
tion of  crepe  de  chine 
with  colored  thread 
lace  trimming  is  at- 
tractive as  well  as 
practical.  Comes  in 
flesh,  peach  or  nile. 
Sizes  36  to  43.  Price 
$3.75 


The  second  step  goes 
from  the  swing  to  a 
balance  step  with 
the  right  foot  slight- 
ly before  the  left. 
Bend  the  body  for- 
ward. Note  the  posi- 
tion of  the  arms 


Turn  about  —  like  so  — 
and  come  back  quickly 
to  a  hoofing  forward  and 
cross  step.  It  is  stren- 
uous exercise,  guaran- 
teed to  reduce  the  waist- 
line and  to  shake  the 
chandeliers  on  the  floor 
below 


Take  up  the  rugs  and 

try  Broadway's  newest, 

fastest  dance 


Untwist,  glide 
and  bend  your 
knee.  The  last 
step,  but  not  the 
finale.  End  the 
dance  with  lease- 
breaking  stomp. 
The  music  is 
"The  Five  Step" 
from  "Manhat- 
tan Mary" 


Photoplay  Magazine— Advertising  Section 


8i 


The  'beautiful  Henriette 
The  King  of  Belgium's  Sister 


"A  special  enchantment  emanates  from 
the  woman  whose  co7nplexion  sparkles 
ivith  youth!"  declares  this  royal  prin- 
cess of  Belgium,  who  as  the  DuCHESSE 
DE  Vendome  maintains  one  of  the 
most  brilliant  salons  in  Europe. 


HER  association  with  the  brilliant  minds 
of  Europe  has  only  intensified  the 
Duchesse  de  Vendome's  conviction  that  beauty 
plays  a  high  role  in  the  drama  of  modern  life. 

She  says:  "When  one's  salon  is  the  scene  of 
notable  gatherings,  one  is  conscious  that  a 
special  enchantment  emanates  from  the  woman 
whose  complexion  sparkles  with  youth.  For- 
tunate are  we  who  know  Pond's  Two  Creams 
and  their  accomplishments  in  achieving  a 
perfect  skin." 

For  your  own  skin  apply  Pond's  Creams 
each  day  as  follows: 

Upon  retiring  and  several  times  each  day 
apply  Pond's  Cold  Cream  (^-enerously.  Let  it 
remain  a  few  moments.  Its  f.ne  oils  will  pene- 
trate the  pores,  removing  all  dust  and  powder. 
Wipe  off.  Repeat.  Finish  with  a  dash  of  cold 
water.  If  your  skin  is  dry,  leave  some  Cream 
on  after  the  bedtime  cleansing. 

For  an  e.\quisite  radiance,  apply  Pond's 
Vanishing  Cream  lightly  after  every  daytime 
cleansing  with  the  Cold  Cream,  always  before 
you  powder.    It  adds  a  glowing  finish  to  your 


The  Duchesse  de  Vendome,  sister  of  the  King  of 
the  Belgians,  is  the  wife  of  a  Prince  of  the  famous 
Mnison  lie  France.  In  her  salon  the  aristocracy  of 
Europe  mingles  with  men  and  women  who  have  won 
distinction  in  the  field  of  arts  and  letters.  The  above 
portrait  of  Her  Highness  hangs  in  her  Riviera  home, 
Chateau  de  St.  Michel  at  Cannes.  The  center  photo- 
graph reflects  the  fair  features  characteristic  of  her 
fr.mily,  the  house  of  Saxe-Coburg-Gotha. 


Tico  Delightful  New  Preparations 
by  Pond's 

And  now  two  delightful  new  preparations  are 
offered  you:  Pond's  Skin  Freshener  and  Pond's 
Cleansing  Tissues.  The  Freshener,  delicately 
fragrant,  will  bring  new  life  to  your  skin,  will 
refresh,  tone  and  firm  it.  It  has  a  special  in- 
gredient which  heals,  softens  and  removes 
danger  of  harshening.  See  how  it  awakens 
your  skin  in  the  morning!  And  use  it,  too, 
after  cleansing  with   Pond's  Cold  Cream  to 


Chateau  de  Tourronde  on  Lake  Geneva  is 

one  of  five  imposing  homes  maintained  by 

the  Duchesse  de  Vendome. 


remove   every  lingering   trace  of  oil  and  dirt 
the  Cream  has  brought  to  the  surface. 

Pond's  Cleansing  Tissues— also  new  — and 
softer  than  fine  old  linen,  remove  cold  cream 
with  indescribable  gentleness.  They  will  not 
roll  into  ineffectual  balls,  but  absorb  every 
trace  of  oil  and  moisture. 

Newl  I  ±d  Offer-  ^'^"'^  "'"  ""P°"  '"•"' 

^f^     JJ  fourteen     cents      (ijc) 


for  lubes  of  Po>id's 
I'anishing  Cream  and 
Freshener  and  Pond's  i, 
you  a  week. 


Cold  Cream  and  Pond's 
■enough  of  Pond's  new  .fkin 
-■::•  Cleunslng  Tissues  tu  last 


The  Pond's  Extr.a 
114  Hudson  Srr«t, 


CT  Co.,  Dept, 
Nlw  York 


Two  fragrant  Creams  len 
enchantment  to  beauty. 


special 


Cily_ 


!  mention  PH0TOPL.VY  MAGAZINE. 


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questions  answered  in  this  De- 
partment. It  is  only  necessar\' 
tliat  you  avoid  questions  that 
would  can  for  unduly  long  an- 
swers, such  as  s>'nopses  of  plajs 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address;  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  tlie  in- 
quinr,  we  have  found  it  ntcr s- 
sary  to  treat  such  subjtcts  in  a 
different  way  than  otlier  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquirii-s 
to  Questions  and  Answer^. 
Photoplay  Magazine,  221  W. 
.57th  St.,  New  York  City. 


E.  T.,  St.  Louis,  Mo. — Did  you  enjoy 
your  trip  to  Europe?  Or  was  that  writing- 
paper  just  to  impress  a  poor  old  man.  Joan 
Crawford  was  born  in  San  Antonio,  Texas. 
She  has  brown  hair  and  blue  eyes  and  is  not 
married,  oh  joy!  Write  to  her  at  the  Metro- 
Goldwyn-Mayer  Studios,  Culver  City,  Calif. 
And  tell  her  you  want  a  profile  photograph. 
Don't  forget  the  quarter. 

Jeaxnette  C,  Nashville,  Tenn. — Jo- 
seph Striker  placed  the  Spanish  boy  in 
"The  Cradle  Snalchers."  Striker  also  ap- 
peared in  "The  Iving  of  Kings,"  "A  Harp 
in  Hock,"  and  "The' Wise  Wife."  Patricia 
Avery  played  Enid  in  "Annie  Laurie." 

P.  C,  South  r?EXD,  Ind. — Are  you  in- 
clined to  the  occult  and  mystical?  Your 
hand-writing  tells  me  so.  Victor  IMcLaglen 
was  born  in  London  and  he  was  a  soldier  be- 
fore going  into  pictures.  Also  he  was  a 
rather  formidable  heavyweight  boxer.  Not 
married. 

I\L  P.,  Winchester,  Ky. — Tim  McCoy 
was  born  on  April  10,  189 L  Write  to  him  at 
Metro-Goldwyn-iVIayer,  Culver  City,  Calif. 
Can  that  be  all  you  want  to  know? 

B.  F.,  San  Antomo,  Tex.— Yes,  I  have 
talked  with  Ronald  Colman  and  I  think  he 
is  a  very  nice  fellow.  Only  I  am  not  going  to 
commit  myself  on  who  I  think  is  the  hand- 
somest man  on  the  screen.  I  am  too  young 
to  die.  The  Mixes  are  not  divorced  but 
Bert  Lytell  and  Claire  Windsor  are.  Olive 
I'iorden  is  her  real  name;  she  was  born  in 
lUchmond,  Va.  Norma  Shearer  is  married 
to  Irving  Thalberg.    Write  again. 

Frenche,  Madison,  W'is.— "Buster" 
Collier  is  appearing  in  vaudeville  at  present, 
doing  a  turn  with  his  Pa  who  is  William 
Collier,  Sr.  Buster  was  born  in  New  York 
City.  Your  handwriting  proclaims  a  kind 
nature.     Is  that  true? 

June,  Duluth,  Minn. — I  didn't  say  that 
Mae  Murray  was  thirty-four  years  old.  If 
you'll  look  carefully,  you  will  find  that  I  said 
that  Mae  gave  her  birth-date  as  1893. 
Think  it  over!  Lois  Moran  is  five  feet,  one 
and  a  half  inches  tall.  Mary  Brian  is  an 
even  five  feet.  Louise  Brooks  is  five  feet, 
two  inches.  Colleen  Moore  is  two  inches 
taller  than  Louise  and  Dolores  Costello  is 
the  same  height  as  Colleen.  Sally  O'Neil 
is  just  as  tall  as  Lois  Moran. 

E.  L.  S.,  Union  City,  Conn. — Are  you  a 
little  careless  in  keeping  your  appointments? 
My  sharp  eyes  tell  me  so.  Barry  Norton 
played  in  "The  Heart  of  Salome"  and  Rob- 
ert Agnew  was  Redfcrn.  Alberla  Vaughn 
was  born  on  June  27,  1908;  Bebe  Daniels 
on  January  11,  1901,  and  Marie  Prevost  in 
1898.  Marie  is  separated  from  Kenneth 
Harlan. 
R2 


D.  F.  v.,  Paducah,  Ky. — William  Haines 
was  born  on  January  1,  1900.  Lloyd  Hughes 
may  be  addressed  at  the  First  National 
Studio^,  Burbank,  Calif.  William  Boyd  is 
about  twenty-four  years  old.  Conrad  Nagel 
is  married.  Barbara  Kent  was  Reginald 
Denny's  leading  woman  in  "Fast  and  Fu- 
rious." Not  a  bit  of  trouble.  Your  other 
questions  are  answered  elsewhere  in  this 
Gold  Mine  of  Useful  Facts. 

Dot  and  Betty,  Cincinnati,  O. — James 
Hall  was  leading  man  with  Bebe  Daniels  in 
"Stranded  in  Paris."  He  was  not  co- 
starred.     Does  that  settle  the  argument? 


XJERE  are  the  answers  to  the 
seven  most  persistent 
questions  of  the  month : 

Ronald  Colman  was  born 
in  Richmond,  Surrey,  Eng- 
land, on  February  9,  1891.  He 
is  separated  from  his  wife. 

James  Hall  is  married.  He 
was  born  on  October  22,  1900, 
in  Dallas,  Texas. 

Sue  Carol  is  nineteen  years 
old  and  has  brown  eyes  and 
dark  brown  hair. 

Editor's  Note:  One  of  the 
quickest  hits  on  record.  Miss 
Carol's  first  appearance  with 
Douglas  MacLean  in  "Soft 
Cushions"  brought  a  flood  of 
letters  and  inquiries  about 
her. 

Victor  Varconi  was  born  on 
March  31,  1896,  in  Kisvarda, 
Hungary. 

Charles  Farrell  has  brown 
hair  and  brown  eyes  and  is 
twenty-five  years  old. 

John  Gilbert  was  born  in 
Logan,  Utah. 

Richard  Dix's  real  name  is 
Ernest  Carlton  Brimmer. 
Born  in  St.  Paul,  Minn. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY 
advises  you  to  send  twenty- 
five  cents  to  cover  the  cost  of 
the  picture  and  the  postage. 
The  stars  are  glad  to  mail  you 
their  pictures,  but  with  thou- 
sands of  requests,  the  cost  is 
prohibitive  unless  your  quar- 
ters are  remitted. 


I.  D.  N.,    Dayton,   Nev. — There  is   no 
actor  named  Joe  Valentino.     The  late  Ru- 
dolph Valentino  was  five  feet,  eleven  inches         I 
tall.      Pola    Negri   gives   her   birth-date   as 
1897. 

K.  L.  R. — For  back  issues  of  Photoplay 
write  to  Photoplay  Publishing  Company, 
750  N.  Michigan  Avenue,  Chicago,  III. 
Send  twenty-five  cents  for  each  issue  you 
want.     Satisfactory? 

Make  Sriratana,  Bangkok,  Siam. — 
What  artistic  handwriting!  Ricardo  Cortez 
has  just  finished  the  leading  male  role  in 
"The  Private  Life  of  Helen  of  Troy"  and 
has  gone  to  Europe  for  a  vacation.  Ricardo, 
do  you  know  that  you  are  very  much  ad- 
mired in  Siam? 

Sand-iX,  La  Jolla,  C.\lif. — The  oddest 
name  of  the  month.  V'ery  pretty,  too.  Bebe 
Daniels  is  five  feet,  five  inches  tall  and  Billie 
Dove  is  the  same  height.  George  K.  Arthur 
is  an  inch  taller. 

Bernice  D.,  Rome,  III. — Donald  Reed 
played  Paul  in  "Naughty  but  Nice."  He's 
twenty-four  years  old. 

M.  S.,  St.  Paul,  Minn.— Mary  Pickford, 
not  Marion  Davies,  played  in  "Dorothy 
Vernon  of  Haddon  Hall."  Robert  Agnew 
was  born  in  Dayton,  Ky.,  in  1899.  He  is 
five  feet,  eight  inches  tall  and  weighs  145 
pounds.  Brown  hair,  blue  eyes  and  not 
married.  Richard  Arlen  was  born  in  Char- 
lottes\ille,  Va.  Enid  Bennett  and  Milton 
Sills  played  the  leading  roles  in  "The  Sea 
Hawk."  Let  me  know  if  you  need  any  more 
help  with  your  scrap-book. 

Francis  W. — Write  to  Dolores  Del  Rio 
at  the  United  Artists  Studio,  Hollywood, 
Calif.  Address  Aileen  Pringle  at  the  Metro- 
Goldw>n-i\Iayer  Studios,  Culver  City, 
Calif.  You  are  inclined  to  be  self-conscious, 
but  you'll  probably  outgrow  it.  How  do  I 
know?     That  would  be  telling. 

Evangeline  B.,  Shreveport,  La. — Tom 
Mix  gets  his  mail  at  the  William  Fox 
Studios,  1401  N.  Western  Avenue,  Holly- 
wood, Calif.  Write  to  Fred  Thomson,  at 
the  Paramount  -  Famous  -  Lasky  Studios, 
Hollywood,  Calif.  And  both  Norma 
Shearer  and  Alberta  Vaughn  may  be  reached 
at  the  Metro-Goldwyn-Mayer  Studios,  Cul- 
ver City,  Calif. 

Elly  Lou,  Chicago,  III. — Are  you  in- 
clined to  take  up  fads,  Elly  Lou?  A  little 
trick  in  your  hand-writing  reveals  this  trait. 
I  take  it  that  your  present  fad  is  Loui-e 
Broolcs,  so  here  goes:  Louise  made  her  first 
picture  in  the  Fall  of  1925.  She  is  five  feet, 
two  inches  tall.  And  married  to  Eddie 
Sutherland,  a  \'ery  good  director. 
I  continued  on  page  92  | 


Photoplay  Magazine — Advertising  Section 


83 


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1                      Address                    ._       .. 

'UOTOPLAY  MAGAZINE. 

li^rr^^  muui,,^  fK.NTnume  atid  aa 

""" 

When  Rudy  Was  A  Boy 


[  CONTINUED  FROM  PAGE  29 


with  his  family  to  Taranto.  When  I  went 
there,  on  learning  that  the  great  lover  was 
dead,  I  expected  to  hear  touching  stories 
of  his  affection  for  school-girl  sweethearts, 
or  memories  of  a  beautiful,  dreamy  lad 
petted  and  cherished  by  soft-hearted 
women.  Not  at  all !  The  anecdotes  told 
by  his  boyhood  friends,  Alfonso  Patarino, 
who  is  now  studying  engineering  in  Na- 
ples, by  Giuseppe  Tamburrino,  by  Gia- 
como  De  Bellis,  and  especially  by  the 
village  doctor,  Ca\alier  Rlichele  Converso 
a  close  friend  of  the  Guglielmi  family 
were  all  about  the  town  bully,  the  town 
mischief-maker,  the  incorrigible  bad  boy 
of  whom  everybody  said  that  he  could 
come  to  no  good  end. 

YET  it  is  not  surprising  that  Rudolph 
Valentino  was  not  a  boy  flirt.  Boys 
who  are  "mushy"  in  their  early  youth 
rarely  grow  into  the  type  of  man  who  fas- 
cinates women.  And  Italian  boys,  especial- 
ly, rarely  show  sentimentality  toward  girls 
of  their  own  age  until  they  are  thirteen  or 
more.  Then,  under  the  hot  Italian  sun, 
they  develop  with  astonishing  suddenness 
into  full-grown  men  and  lovers. 

But  what  kind  of  lovers  men  become  is 
largely  established  by  their  traits  and  ex- 
periences of  early  youth.  Modern  psy- 
chology' has  taught  usthis.  So  I  wondered 
what  could  have  been  the  formative  ex- 
periences which  created  the  man  who  in 
the  feminine  imagination  of  the  world  is 
the  perfect  lover. 

The  reminiscences  of  the  Castellaneta 
folk  answered  the  question.  No  doubt  a 
professional  psychoanalyst  would  demand 
a  more  intimate  knowledge  of  his  infan- 
tile experiences  and  his  boyhood  dreams. 
But  the  chatter  of  his  boyhood  friends 
gave  a  reliable  outline  of  the  process  by 
whi»h  a  sheik  is  made. 

One  of  Rodolfo's  stunts  which  is  best 
remembered  in  his  village  is  the  way  he 
taught  the  smaller  boys  to  be  "brave." 
He  used  to  get  them  up  on  the  balcony  of 
his  house,  and  hold  them  out  over  the  rail- 
ing, fully  fifteen  feet  above  the  street. 
Then  he  would  let  them  drop,  and  catch 
them  by  the  arms  the  instant  they 
thought  they  were  about  to  be  dashed  to 
death  on  the  pavement  below. 

THIS  strain  of  cruelty  is  in  the  authen- 
tic sheik.  It  is  a  trait  which  captures 
many  women's  imagination.  They  will  de- 
ny it,  of  course.  But  secretly  they  love  to 
dream  that  the  man  who  loves  them  is  a 
man  whose  passions  are  so  uncontrollable 
that  all  who  incur  his  displeasure  are  in 
danger  of  suffering  for  it,  even  they  them- 
selves. 

What  else  is  the  make-up  of  this  sheik? 
Physical  strength,  of  course.  But  not 
merely  the  prizefighter's  brawn.  The 
prizefighter  is  not  supposed  to  have  much 
discrimination  in  the  selection  of  his 
sheba.  Rather,  what  the  woman  craves 
is  that  sort  of  strength  which  we  call 
vitality.  This,  physiologists  say,  is  a 
matter  of  chemistry  rather  than  of  mus- 
cle; it  is  the  ability  to  transform  one's 
food  into  energy  at  such  a  tempo  as  to  pro- 

8J^ 


duce  energy,  daring,  and  endurance  far 
beyond  the  ordinary. 

Besides  this  vitality  and  the  fascinating 
dash  of  cruelty,  the  sheik  must  have  fear- 
lessness, cleverness,  and  the  gift  of  domi- 
nating men.  For  no  woman  wants  to  be- 
lieve that  her  !o\er  is  an  average  man;  he 
must  be  a  chieftain,  a  conqueror. 

E\-ery  one  of  these  qualities  Rodolfo 
Guglielmi  manifested  in  his  boyhood.  He 
did  not  show  at  all,  so  far  as  his  townsfolk 
can  remember,  the  gentler  and  stabler 
qualities  which  are  commonly  com- 
mended. 

Dr.  Giovanni  Guglielmi,  Rudolph  Val- 
entino's father,  came  of  excellent  family. 


Rosa,  Valentino's  babyhood  nurse,  who 
tells  interesting  tales  of  Rudy's  child- 
hood 


He  was  the  son  of  a  famous  civil  engineer 
who  built  some  of  the  most  difficult  rail- 
road bridges  in  south  Italy.  But  some 
gypsy  streak,  whether  in  his  blood  or 
merely  in  his  temperament,  made  Gio- 
vanni Guglielmi  a  wanderer.  He  came  to 
Castellaneta  with  a  circus.  There  he  fell 
in  love  with  Donna  Gabriella  Barbin,  a 
school-teacher  of  French  extraction  and, 
it  was  said,  of  noble  family.  He  settled 
down  perforce  and  took  up  his  trade  of 
veterinary,  which  took  him  all  over  the 
region  curing  the  peasants'  donkeys  or 
writing  them  their  lo\'e  letters.  He  was  a 
"gran'  signore,"  perhaps  the  most  elo- 
quent and  learned  man  of  the  village. 

But  the  gypsy  streak  got  into  his  son 
Rodolfo,  and  with  it  restlessness,  unruli- 
nes.s,  defiance.  The  father  punished  with 
terrific  severity.  He  would  lock  him 
without  supper  in  a  dark  closet  and  listen 
unmoved  to  his  passionate  beating  on  the 
door.  The  legend  of  the  father's  severity 
still  exists  in  Castellaneta.  More  than 
any  other  one  fact,  it  explains  what  sort 
of  boy  Rudolph  became. 

This  violent  antipathy  —  relentless 
struggle  between  father  and  son — is  a 
commonplace  of  early  childhood.  Modern 


psychology  has  a  name  for  it;  it  is  the 
"Hamlet  complex."  And  it  is,  the  psy- 
chologists say,  nothing  less  than  an  infan- 
tile form  of  jealousy — the  boy's  resent- 
ment of  the  fact  that  his  father  is  the 
favored  admirer  of  his  mother.  The  child 
struggles  against  this,  not  fully  realizing 
the  cause  of  his  emotion,  but  stubbornly 
refusing  to  acknowledge  the  humiliation 
of  inferiority  to  his  rival. 

OF  course,  he  is  inferior  in  physical 
strength.  The  father  can  punish  him 
in  any  way  he  chooses.  So  the  boy,  to 
soothe  his  wounded  vanity,  must  dra- 
matically demonstrate  his  superiority 
over  other  boys.  In  short  he  becomes  a 
bully,  and  the  more  cruel  the  father's 
punishment  is,  the  more  passionate  and 
pitiless  is  the  boy's  need  to  pro\-e  to  him- 
self and  to  others  his  superiority  over 
other  boys.  Rodolfo  adored  his  mother. 
And  so  he  got  his  keenest  pleasure  in 
demonstrating  his  superiority  over  other 
boys  on  the  pretext  of  defending  his 
mother's  name  against  all  detractors. 

That  is  why  he  went  around  the  village 
daring  anybody  to  say  that  there  existed 
any  woman  more  beautiful  than  Donna 
Gabriella. 

His  passionate  refusal  to  acknowledge 
anyone's  superiority  o\er  him  made  him 
hopeless  in  school.  His  teacher,  Signor 
Parroni,  said  that  he  was  quick  at  learn- 
ing, and  had  an  iron  memory,  but  that  he 
refused  to  submit  to  the  routine  of  school- 
ing. Two  sisters  of  the  ^-illage  who  tried 
to  make  a  tractable  pupil  of  him  said  that 
they  used  to  punish  him  by  placing  him  in 
a  barrel  with  only  his  head  protruding 
through  a  hole  in  the  top.  But  he  never 
willingly  submitted;  sometimes,  such  was 
his  strength,  he  broke  the  barrel  and 
escaped. 

HOW  Rudolph  Valentino  got  the  vital- 
ity which  sustained  his  tireless 
revolt  against  authority  is  not  to  be  ex- 
plained by  psychoanalysis.  This  \-itality 
is  one  of  the  miracles  of  nature  which  seem 
to  happen  more  frequently  in  Italy  than 
elsewhere.  Italian  history  shows  a  long 
line  of  such  supermen,  with  Leonardo  da 
Vinci,  Master  of  all  the  arts  and  sciences; 
Napoleon  (a  fuUblooded  Italian)  con- 
queror of  Europe;  and  the  Dictator,  Mus- 
solini, who  is  personally  directing  nearly 
everything  and  everybody  in  Italy. 

But  it  is  the  experiences  of  infancy 
which  determine  how  this  vitality  shall 
express  itself.  Rodolfo's  father  used  to 
punish  him  by  refusing  to  gi\-e  him 
pocket  money.  The  boy,  smarting  with  a 
sense  of  injustice,  developed  the  clever- 
ness (another  sheik  trait)  to  get  the 
money  for  himself.  He  went  to  the  sta- 
tionery store,  where  his  father  had  a 
charge  account,  and  bought  things  on 
credit,  then  sold  them  for  what  he  could 
get  in  cash.  With  the  money  he  bought 
candy. 

Candy  was  his  boyhood  passion.  He 
could  never  get  enough  sweets.  Perhaps 
this  is  to  be  explained  by  the  fact  that  • 

[  CONTINUED  ON  PAGE  118  ] 


Photoplay  Magazine — Advertising  Section 


«5 


Office  heat. . .  chilly  street. . .  sore  throat! 


From  over 'heated  offices  into 
chilly  streets  .  .  .  out  in  the 
cold  waiting  for  transporta' 
tion  .  .  .  into  germ  laden  cars 
crowded  with  coughers  ...  is 
it  any  wonder  thousands  are 
laid  up  with  colds  or  sore 
throats — or  worse? 

Don't  be  one  of  them.  After 
exposure  of  this  kind,  gargle 
with  Listerine  when  you  get 
home. 


Better  yet,  use  it  system- 
atically night  and  morning 
during  nasty  weather.  It  may 
be  the  means  of  sparing  you  a 
long,  painful  and  costly  siege 
of  illness.  Many  a  cold  weather 
complaint  has  been  checked 
by  Listerine  before  it  had  a 
chance  to  become  serious. 

Being  antiseptic,  it  imme- 
diately attacks  the  countless 
disease-producing  germs  that 


lodge  in  mouth,  nose  andthroat. 

Again,  we  counsel  you  for 
your  own  protection  to  use 
this  safe  antiseptic  twice  a 
day,  at  least,  during  inclement 
weather.  Lambert  Pharmacal 
Company,  St.  Louis,  Mo., 
U.  S.  A. 

Gargle  when 
you  get  home 


LI   STERINE 

-the  safe  antiseptic 


PHOTOPLAY  MAGAZINE. 


Personal  and  Household  Knick-Knacks 

[  CONTINUED  FROM  PAGE  72  J 


that  fan  is  one  of  the  most  popular  among 
the  players.  \\'hene\  er  there  is  a  picture 
to  be  taken,  the  cry  is,  "Oh,  let  me  hold 
that  black  lace  fan  for  this  picture!" 

Shirley  Dohrman  won  the  honors  in 
the  picture  shown. 

And  the  same  story  holds  true  for  the 
gorgeous  parasol  being  carried  by  Jose- 
phine Dunn.  It  was  a  discarded  umbrella 
frame  until  Ethel  fell  upon  it. 

OF  course,  there  wasn't  enough  tulle  in 
one  piece  left  from  Esther  Ralston's 
dress  in  "Fashions  for  Women,"  so 
Ethel  made  tiny  bouquets  of  tulle  for  the 
center,  and  the  department  allowed  her 
enough  money  to  purchase  some  of  the 
same  pale  shade  of  pink  for  the  two  layer 
under-covering  and  the  shirred  outer 
edges. 

A  good  idea  for  an  old  umbrella  frame 
for  any  woman!    The  price  of  the  tulle  is 


negligible  in  comparison  to  the  original 
purchase  cost  of  such  a  sun  covering. 
And  winter  is  a  good  time  to  make  it  in 
preparation  for  the  summer  season. 

\ye  could  take  almost  any  article 
illustrated  and  tell  a  like  true  story.  The 
other  girls  laughed  when  petite  Marie  said 
she  could  make  bags  good  looking 
enough  to  be  carried  by  Clara  Bow  and 
Florence  Vidor  in  their  pictures. 

But  she  pro^-ed  it  to  them  in  these 
evening  and  day-time  creations.  True, 
the  mirror  on  the  inside  of  the  e^•ening 
bag  looks  a  little  wabbly  on  close  in- 
spection, but  who  sees  the  mirror  aside 
from  the  owner? 

The  outside  was  made  from  an  old 
piece  of  red  ^ehet  stretched  across  a 
piece  of  buckram  twehe  by  four  inches. 
Two-thirds  of  a  yard  of  rhinestone  trim- 
ming, one  inch  wide,  was  purchased  for 
the  decoration. 


What  these  girls  have  done,  any  woman 
can  do. 

THE  black  satin  for  the  oblong  bag  was 
sent  to  the  pleaters  for  this  original  de- 
sign. The  pin  from  an  old  hat  served  as 
the  corner  decoration. 

An  old  shoe  buckle  would  have  done 
as  well. 

Perhaps  not  all  women  have  the  ma- 
terial for  the  same  knickknacks,  but  un- 
doubtedly as  many  clever  creations  could 
be  made  from  the  family  rag-bag  or  dis- 
carded-clothes  closet,  as  are  made  by 
these  thirty-fi\e  working  girls  at  the 
Paramount  Hollywood  studios.  Espe- 
cially, if  groups  of  women  throw  their  rag- 
bag resources  together. 

And  what  better  season  for  such  work 
than  the  winter,  when  it  is  such  fun  to 
get  together  and  unite  in  our  condemna- 
tions  of   the   weather! 


Friendly  Advice  on  Girls'  Problems 

[  CONTINUED  FROM  PAGE  16  ] 


Lonesome:  Stumped: 

Your  problem  would  perhaps  be  solved  if  Almost  all  of  the  larger  magazines,  partic- 

you  would  go  away  for  a  month  or  two.  ularly  the  women's  magazines,  have depart- 

And  come  back  at  the  end  of  that  time  with  ments  of  school  advertising.    I  would  advise 

some  new  frocks  and  a  new  mode  of  hair  you  to  write  to  any  one  of  them  regarding 

dressing  and  a  new  manner.     The  thrill  of  good  schools  in  France,  Switzerland,  Italy 

novelty  often  attracts  men — even  men  who  and  England, 
have  grown  accustomed  to  one.     Why  not 

try  this  out?     Visit  one  of  your  sorority ^ ...„„,,„-        ... 

friends — and   come   back  with   a  complele  "      ,-•     *        '     -■ ,-  n 
campaign  of  charm  mapped  out. 

Jackie:  __ 

Indeed,  your  new  waj'  of  face  cleansing  is 
far  better  than  the  old  one.  I  should  also 
advise  the  use  of  a  good  cleansing  cream, 
every  night.  And,  when  you  use  powder,  be 
sure,  before  applying  it,  to  use  a  little  van- 
ishing cream.  You  are  not  overweight,  in 
fact  your  pounds  are  quite  in  keeping  witii 
your  age  and  height.  Wear  all  shades  of 
blue,  pale  pink,  rose  and  orchid  for  dresses. 
For  coats,  you  will  find  dark  blue  the  best 
color.  A  blonde  of  your  type  should  avoid 
greys,  greens  and  yellows. 

Perplexed: 

You  are  only  about  five  pounds  over- 
weight. If  you  want  to  reduce  you  can  lose 
those  five  pounds  easily  by  some  reguhu- 
exercise  and  by  a  little  care  in  your  diet.  ( ".o 
without  candy,  pastry,  white  bread,  pota- 
toes and  butter  for  a  while  and  see  what 
happens.  For  sport  wear — being  a  decided 
blonde — you  will  look  well  in  powder  blue, 
nile  green,  rose,  turquoise,  heliotrope  and, 
of  course,  white.  In  the  evening  you  will  be 
lovely  in  any  of  the  rainbow  tints  and  in 
filmy  black. 

Meta  B.: 

It  seems  to  me  that  you  are  being  quite 
honest  with  yourself  in  the  matter  of  your 
love  affair.  If  the  romance  lasts  and  grows 
there  is  no  reason  why  you  should  seek  other 
and  lesser  affections.  Finish  your  education 
and  if,  when  it  is  completed,  you  still  care 
for  the  one  who  now  holds  your  heart,  by  all 
means  marry  him. 


A  mascot  scarf,  worn  by  Mary 
Brian.  The  figure  of  this  Airedale — 
or  what  have  you  ? — is  appliqued  in 
bright  colors  on  a  background  of 
plain  silk 


Mary  K.: 

Usea  lipstick  very  carefully  upon  your 
too  thick  lips.  You  can  alter  their  shape,  to 
all  intents  and  purposes,  by  doing  this.  I 
cannot  recommend  any  apparatus  for  shap- 
ing the  mouth. 

MiTZi: 

You  have  made  a  bad  muddle  of  things  by 
marrying  in  haste.  I  think  that,  now  that 
you  are  married,  you  and  your  husband 
should  give  the  relationship  a  fair  trial. 
Remember  that  wedlock  can  not  be  put  on 
like  a  new  garment — and  discarded  like  a 
shabby  one.  From  the  tone  of  your  letter  I 
do  not  think  that  you  care  very  deeply  for 
this  second  man,  who  has  lately  come  into 
your  life.  Certainly  not  enough  to  divorce 
your  husband.  Try  to  face  the  issue 
squarely.  And — when  you  have  faced  it — 
make  a  decision  that  will  be  fair  to  all  con- 
cerned. 

D.  B.: 

You  should  weigh  about  one  hundred  and 
thirty  pounds,  although  a  few  pounds  less 
will  not  mean  a  serious  lack  of  weight. 
Drink  a  glass  of  half  milk  and  half  cream 
four  times  a  day,  and  avoid  acid  foods.  Do 
not  over-exercise,  if  you  want  to  gain,  and 
do  not  take  very  hot  baths. 

Broken  Hearted  Nan: 

There  is  no  reason  for  confessing  some- 
thing that  is  far  in  the  past,  and  was  cer- 
tainly no  fault  of  your  own.  Put  your  mind 
at  rest  and  marry  the  young  man  who  loves 
you.  Believe  me  when  I  say  that  you  can 
do  it  with  a  clear  conscience. 

Nona: 

I  think  that  it  would  be  a  fine  thing  for 
you,  during  your  college  years,  to  make  the 
most  of  the  pleasant  masculine  friendships 
that  are  offered.  You  are  too  young  to 
know,  definitely,  that  you  are  in  love — 
meeting  other  men  will  make  you  more  sure 
of  yourself. 


Photoplay  Magazine— Auvertising  Sectj 


87 


COMMUNITY  PLATE 


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ride . .  .  he'd  just  have  to  tell  the  neighbors  about  it!" 


—  PHYLLIS 


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Wllen  ycu  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


What  Killed  Francis  X.  Bushman? 

[  CONTINUED  FROM  PAGE  35  ] 


"Rudy  looked  worried.  He  held  out 
his  hand,  took  mine,  and  said  slow])-, 
'Well,  my  picture  goes  on  downtown. 
Bush.  I  am  afraid  if  this  one  is  bad,  I  am 
done  for — '  " 

"Rudy  had  awakened.  He  had  seen 
his  popularity  waning — " 

This  time  I  did  interrupt  the  silence. 
"Then  what  would  be  your  advice  to 
■  young  men  like  Richard  Dix,  John  Gil- 
bert—" 

""N  TOT  to  marry!"     He  flashed  out  his 

i-N  answer  without  a  second's  hesita- 
tion. "While  they  are  at  the  height  of 
their  popularity,  while  the  whole  world 
loves  them,  they  should  not  marry. 

"  I  know, — know  from  experience  about 
these  women.  Oftentimes  they  marry, 
themselves,  yet  with  regret.  They  are 
closing  the  door  to  their  screen  lover.  The 
duties  of  life  are  drab  realities  at  their 
best.  In  the  midst  of  the  grey,  dull  e\ery- 
day  happenings,  these  young  girls  and, 
yes,  married  women,  go  to  the  movies 
where  they  can  sit  and  dream,  unseen, 
about  what  might  happen  or  might  have 
happened.  They  choose  some  hero.  Per- 
haps they  have  closed  the  door  upon  him, 
but  they  do  not  want  these  screen  heroes 
to  close  that  same  door,  to  ruin  their 
dreaming.  They  do  not  want  to  know 
that  the  man  about  whom  they  have  been 
dreaming  belongs  to  another  woman — 

"Ah,  yes,  I  believe  that  the  young  star 
and  the  young  man  who  hopes  to  be  one, 
owe  it  to  their  producers  and  to  them- 
selves not  to  marry." 

"What  about  lo\"e  affairs?"  I  queried. 

"That  is  different !  Girls  and  women  of 
today  do  not  hold  love  against  a  man. 
They  expect  it.  In  a  way  it  adds  to  their 
hero's  glory.  Girls  of  today  e\en  hope 
that  they  may  be  among  the  ones  to  re- 
ceive such  affection.  Why,  I  get  hun- 
dreds of  letters  from  women  anxious  for 
just  such  an  experience.     That  is  where 


the  world  has  changed  since  I  was  a  hero. 
The  boys  of  today  have  it  on  me  there. 
Ten  years  ago  gossip  hurt;  today  it  helps. 
But  marriage —    No!   Ne\'er." 

"How  did  you  feel  when  you  got  the 
part  of  Messala  in  'Ben-Hur,'  Mr.  Bush- 
man?" I  switched  the  conversation  out 
of  sympathy.  Tears  were  hovering  on  the 
eyelids  of  this  greatest  of  screen  idols  and 
I  thought  the  subject  of  his  comeback 
might  relieve  the  tragic  tension. 

He  did  smile  for  a  moment. 

"It  was  the  most  wonderful  thing  that 
ever  happened.  When  June  Mathis  told 
me  there  was  a  chance  for  me  in  the  part, 
I  said,  'June,  I'm  not  Jesus  Christ,  and  I 
can't  walk  on  the  water,  but  I  would  if  I 
could  get  a  chance  to  play  that  role  of 
Messala.' 

"  But,  after  all,  it  brought  me  my  great- 
est sorrow."  He  turned  his  head  away, 
burrowed  both  hands  gropingly  in  the 
hair  of  the  great  dog,  now  lying  on  the 
long  lounge  beside  him. 

"For  you  see — it  was  that  picture  that 
lost  me  my  wife,"  he  added. 

"I  thought,  of  course,  Beverly  was  go- 
ing with  me.  Then  just  a  few  nights  be- 
fore I  left  we  were  at  a  party.  Someone 
said,  'Bush,  is  Beverly  going  with  you?' 
and  I  answered,  'Yes.'  Then  she  an- 
swered'No.'  She  said,  '  Italy  stinks  and  is 
dirty.  Why  should  I  take  Richard  out  of 
kindergarten  here — '  So  I  sailed  without 
her. 

"At  first  there  were  cablegrams  and 
letters.  Then  they  became  less  frequent 
and  I  learned  that  her  mother  was  with 
her.  But,  still,  I  thought  everything 
would  be  all  right  when  I  got  back — 

"\\'e  were  on  the  boat  coming  into  New 
York.  At  a  celebration  breakfast.  We 
were  laughing  and  joking,  eating  and 
drinking,  when  about  forty  reporters  and 
cameramen  boarded  the  ship.  We  were  all 
so  pleased  because  '  Ben-Hur*  was  receiv- 
ing so  much  attention.     Then  I  noticed 


they  were  swarming  toward  me.  I  felt  so 
very  proud.    I  had  staged  a  comeback — • 

"Then  they  popped  that  terrible  ques- 
tion. 'What  about  your  di\orce  from 
Be\erly  Bayne?'  I  just  laughed  and  said 
they  were  always  ha\ing  us  divorced  and 
it  was  just  another  silly  newspaper  rumor. 
They  flashed  three  newspaper  stories  be- 
fore me  telling  about  the  suit.  Still  I 
wouldn't  believe  it  and  said,  'Why,  Bev- 
erly will  be  the  first  person  to  meet  me.' 

"But  she  wasn't.  And  that  was  the 
first  I  knew  about  it,  at  that  celebration 
breakfast."  Tears  were  in  his  eyes  now, 
in  real  earnest. 

AND  that  isn't  all,"  he  added.  "The 
divorce  required  that  Richard,  our 
son,  be  left  in  California.  Her  lawyer 
called  up  and  begged  to  let  her  take  him 
to  New  York.  He  gave  his  word  of 
honor  that  Richard  would  be  gone  only 
six  weeks.  But  that  was  two  years  ago 
and  I  have  never  seen  him. 

"Just  yesterday  I  saw  a  notice  in  the 
paper  that  Beverly  was  on  a  yacht  with 
Leatrice  Joy  and  Mr.  and  Mrs.  Conrad 
Nagel.  That  was  the  first  I  knew  she  had 
returned.  I  telephoned  her  lawyer  and 
now,  now,  I'm  waiting  to  see  Richard." 

"Do  you  still  love  Beverly,  Mr.  Bush- 
man?" I  breathed  the  question. 

He  looked  away.  "We  were  together 
ten  years.  You  cannot  wipe  out  such  an 
afTection  in  a  moment.    Do  you  think  so?" 

I  left  him  there,  hands  burrowed  in  the 
head  of  the  Great  Dane,  eyes  dreaming  of 
the  boy  he  was  awaiting;  of  the  wife 
whom  he  had  lost,  the  glory  which  had 
faded. 

And  I  carried  away  with  me  his  one 
great  warning  to  other  screen  heroes,  his 
words  of  advice  born  -of  experience  so 
bitter  that  no  matter  what  the  comeback, 
what  the  future  may  offer  in  retribution, 
he  will  always  advise  all  young  screen 
heroes, — "Don't  marry!" 


Why  Mack  Swain  Entered  the  Movies 


tk  ANY  are  the  reasons 
I  players  give  for  en- 
l  tering  pictures,  but 
Y  the  story  Mack  Swain 
tells  we  believe  the 
best  of  all. 
Years  ago  when  Holly- 
wood was  just  a  place 
where  Japs  raised  carna- 
tions. Mack  was  leading  man,  manager, 
publicity  agent  and  general  whatnot  for  a 
road  company  that  toured  the  tank  towns 
playing  a  tender  opera  called  "Human 
Hearts."  The  present  Mrs.  Mack  Swain 
was  leading  woman. 

They  were  tra\eling  in  Nevada.  The 
night  before  they  had  played  Frog  Hol- 
low. That  night  they  were  to  play  Mud 
Puddle,  and  to  get  there  they  had  to 
change  trains  at  Brown's  Junction. 
Mack,  as  boss,  decided  the  troupe  could 

88 


eat  when  they  reached  the  Junction, 
sometime  about  two  in  the  afternoon.  As 
old-time  actors,  who  didn't  know  days 
began  before  noon,  the  troupe  agreed. 
Cups  of  coffee  sufficed  for  breakfast.  They 
looked  forward  to  lunch.  And  then 
Brown  Junction  appeared  out  of  the  wide, 
open  spaces — a  co\ered  shed  beside  a  rail- 
road track,  and  nothing  more. 

Only  a  cup  of  cofTee  behind  them.  No 
restaurant,  no  food  in  sight,  and  the  down 
train  to  Mud  Puddle  not  due  till  five 
o'clock.  The  hungry  actors  gazed  about. 
Off  against  the  horizon,  some  ten  miles 
away,  they  saw  a  house.  Wordlessly  they 
hiked  toward  it.   They  simply  had  to  eat. 

The  ranch  woman  who  answered  their 
knock  was  discouraging.  "We  ain't  got 
a  thing  ourselves,  except  that  hen  out 
there,"  she  said.  "I'm  sorry.  'Course,  if 
you  get  that  hen,  I'll  cook  it  for  you." 


There  was  lots  of  prairie,  fourteen 
actors  and  one  hen.  They  chased  it. 
They  tried  to  surround  it.  They  tried  to 
catch  it.  They  cursed  it.  But  they 
didn't  get  the  hen.  All  they  got  was  more 
appetite. 

The  hen  disappeared  somewhere  into 
the  eastern  horizon. 

The  actors  trailed  disconsolately  back 
to  the  ranch  house. 

"  I  didn't  think  you'd  get  her,"  said  the 
farmer's  wife.  "  l\Iy  man's  been  trying  to 
corral  that  hen  for  three  years  and  he's 
right  smart  with  a  las.so,  too.  How'd  you 
all  like  a  nice  glass  of  water?" 

So  you  can  understand  why  after  hiking 
back  ten  miles  and  playing  Mud  Puddle 
that  night  and  finally  getting  on  to  the 
Pacific  Coast  the  Swains  thought  a  twelve- 
dollar  a  week  guarantee  on  the  Sennett  lot  • 
was  big  money. 


Photoplay  Magazine — Advertising  Section 


89 


LENORE 
ULRIC 


^*?..     ^ 


*1  always 
choose  the 

Lucky 

Strike" 


44 


It's  toasted 

No  Throat  Irritation-No  Cough. 


niOTOPI-.sy  MAGAZINE. 


Winners  of  $5,000  Contest 


[  CONTINUED  FROM  PAGE  41 


Photoplay  gave  me  the  help  I  needed. 
The  contest  proved  to  be  an  interesting 
education  as  well  as  enjo>-ment.  Even 
the  bab>-  had  a  share  in  it,  for  his  blocks 
were  painted  with  Duco  for  the  'Puzzle 
Pyramid.'  We  have  been  working  on  a 
plan  for  re-decorating  the  interior  of  our 
little  home — and  I  have  promised  myself 
a  trip  abroad — so  who  knows  what  this 
prize  will  bring?" 

Unfortunately,  Mrs.  Schneiker's  photo 
did  not  arrive  in  time  to  be  reproduced 
with  the  other  leading  winners. 

RUTH  CURRY,  4006  Main  Street, 
Kansas  City,  Missouri,  awarded  sec- 
ond prize  of  §1,000,  has  submitted  solu- 
tions in  all  four  of  Photoplay's  contests. 

"As  for  using  the  prize  money,"  she 
writes  Photoplay,  "if  my  butterfly  wings 
its  way  into  the  'Big  Fi^-e'  group,  then 
the  whole  prize  goes  into  my  sa\ings 
account,  for  it  sadly  needs  encouraging." 

Third  prize  of  S500  goes  to  Frances  E. 
Heggstrom,  Red  \\  ing,  Minnesota,  who 
writes  Photoplay: 

"I  am  se\'enteen  years  old  and  a  fresh- 
man in  college.  When  I  was  si.x  years 
old  I  was  stricken  with  infantile  paralysis, 
which  left  me  a  cripple  for  life.  I  did  not 
begin  school  until  I  was  nearly  nine 
j-ears  old,  but  managed  to  finish  twelve 
grades  in  eight  years  and  was  graduated 
from  high  school  as  an  honor  student  in 
the  spring  of  1926.  My  father  died  when 
I  was  thirteen  years  old. 

"My  ambition  is  to  be  an  author — I 


One    corner    of     the     room 

where    the     solutions     were 

stored 


mean  a  writer  of  good  books — and  if  I 
win  a  prize  I  will  use  the  money  to  further 
my  education  along  that  line." 

And  then  she  asks:  "Will  you  allow 
me  to  try  again  next  year?" 

All  readers  of  Photoplay  may  try  as 
often  as  they  wish. 

Emil    Paulson,    335    East    Colfax    St., 


Den\er,  Colo.,  awarded  fourth  prize  of 
S250,  informs  Photoplay  he  has  always 
desired  to  further  his  education  in  art, 
and  plans  to  use  his  prize  money  for  that 
purpose. 

Sallie  Carroll,  of  Redwood  City,  Cali- 
fornia, carried  away  fifth  honors  and 
with  it  the  $125  prize. 


Additional  Cut  Picture  Puzzle  Contest  Winners 


FIFTY  DOLLAR  PRIZES 

F.  W.  Dunbar 

2739  Girard  Ave.   S.,   Minneapolis,   Minn. 

May  Hewitt 

Apopka,  Florida 

Marie  Morgan 

733  North  Occidental  Blvd.,  Los  Angeles, 

Calif. 

Alice  Gelzinis 

14  \'inton  Street,  South  Boston,  Mass. 

Russell  Thompson 

526  Clifton  Road,  N.  E.,  Atlanta,  Ga. 

Bessie  F.  Conners 

176  Lafayette  Street,  Salem,  Mass. 

Alice  Shook 

2451   24th  Ave.,  San  Francisco,  Calif. 

Mrs.  D.  p.  Harris,  Jr. 
318  West  Broadway,  Fort  Worth,  Texas 

Anna  Garr 

409  North  Union  St.,  Kokonio,  Indiana 

Edward  F.  Black 

400  Maine  Street,  Quincy,   Illinois 

Marie  J.  Bogner 

2934  Euclid  Avenue,  Fort  Wayne,   Indiana 

Mrs.  Vida  L.  Hannaford 

18  Lewis  Place,  Lynn,  Mass. 

Mrs.  Pat  Corbett 

421  Union  Drive,  Los  Angeles,  Calif. 

Mrs.  Harriet  E.  Ferguson 

3330   West   Franklin   St.,    Richmond,    Va. 

Mrs.  Nelson  Price 

"lienecia,"    Old    Wharf   Ave.,    Wrayslniry, 

Bucks,  England 

90 


Mrs.  F.  H.  Flanaga.v 

P.  O.  Box  742,  Dallas,  Te.xas 

Joy  P.almertox 

2930  21st  Avenue,  San  Francisco,  Calif. 

Ruth  Swearingen 

1421  East  Sixth  Ave.,  Topeka,  Kansas 

Helene  Speaker 

1812  Fairfield  Ave.,  Fort  Wayne,  Indiana 

Evelyn  L.  Svedeman 
336    Savin    Hill    Ave.,    Dorchester,    Mass. 

TWENTY-FIVE   DOLLAR   PRIZES 

Florence  M.  Lewis 

320  Rosedale  St.,  Rochester,  N.  Y. 

Miss  Gertrude  McGuiness 

McLean  Hospital,  Waverley,  Mass. 

Andre  Lamkix 

4125  S.   Figueroa  St.,   Los  Angeles,   Calif. 

Anna  V.  Norman 

6157  Spruce  St.,  Philadelphia,  Pa. 

Chester  B.  Westover 

35   E.   Newton  Street,   Boston,   Mass. 

Mrs.  S.  T.  Isett 

Llanerch,  Pennsylvania 

Miss  Joyce  Moore 

4337   West   48th  St.,   Cleveland,   Ohio 

Daniel  C.  Reid 

14  W.  Packer  St.,  North  Woodbury,  N.  J. 

Pearl  Conery 

23  Cottage  St.,  Jersey  City,  N.  J. 

H.  F.  Monroe,  Jr. 
210  S.  Peterson  Ave.,  Louisville,  Ky. 


Catherine  Perry 
3325  Memorial  Ave.,  Lynchburg,  \'a. 

Mabel  M.  Johnson 
43   Maple  Ave.,   Ballston  Spa,   N.   Y. 

Elsa  B.  Hoffeld 
1356  Lexington  Road,  Louisville,  Ky. 

Merrill  DeMaris 

34   Pierce  St.,   New   Rochelle,   N.   Y. 

Margaret  Embleton 

316  University  St.,  Salt   Lake  City,   Utah 

Grace  V.  Trotter 

4232  Edmondson  Ave.,  Dallas,  Te.xas 

Mrs.  O.  p.  Stites 

Slocums,  Rhode  Island 

Mrs.  Elizabeth  T.  O'Brien 

1230  Jefferson  St.,  N.  W.,  Washington,  D.C. 

Jean  P.\t  Belt 

Route  1,  Midway,  Kentucky 

Catherine  Meers 

1300  West   73rd  Place,   Chicago,   111. 

Mrs.  C.  W.  Myrose 
Route  2,   Pleasantville,  N.  J. 

Mrs.  Dan  Allen 

Box  605,  Livingston,  Montana 

Miss  Simone  Archambault 

4291    Chambord,    Montreal,    Canada 

Charles  P.  Ament 

57    State    Street,    Rochester,    N.    Y. 

K.aty  Zahn 

50  Wilson  Street,  Newark,  Ohio 


Photoplay  Magazine — Advertising  Section 


91 


W/ild  Hours 

"^WVITING 


niien  by  wire  came  something 
that  explained  all! 


A  Real'Life  Story 

by  Elinor  Bradford 

WHEN  Bob  said  six  o'clock  he 
usually  meant  5:53,  but  the 
Uttle  clock  on  Jane's  dressing 
table  had  ticked  its  way  to  6:22,  and 
he  hadn't  kept  his  promise  to  tele- 
phone. .  .  .  They  would  be  late  for 
that  dinner  appointment ....  and 
the  theatre  ....  Why  didn't  he  call? 

It  was  a  very  vexed  Jane  who  tele- 
phoned Bob's  office .  .  .  and  his  bach- 
elor quarters.  No  answer!  Had  he 
forgotten?  Perhaps  (horrible 
thought!)  he  had  even  gone  out  with 
that  cute  little  girl  in  the  accounting 
department.  .  .  . 

An  hour  later  worry  got  the  upper  hand 
of  jealousy.  Jane  decided  definitely  that 
dear  old  Bob  had  been  killed  or  mortally 
wounded  in  an  automobile  accident.  It 
was  about  that  time  she  started  calling 
the  hospitals  .  .  .  then  the  police  station. 
And  finally,  just  as  she  was  wondering, 
tearfully,  how  to  locate  the  morgue,  Sarah 
came  in  with  a  package  and  a  yellow 
envelope.  From  Bob,  of 
how  mysterious! 

Really,  though,  it  wasn't  so  mysterious 
after  all.  The  telegram  explained  every- 
thing. .  .  . 

Called  to   Detroit  this    noon, 
minutes  to  catch  train.    asked 
to  telephone  you  explaining. 
Cooper     contract     this      afte 
means   a   sure   raise   for   me. 

MUCH  I  LOVE  YOU.  SO  I 

FLOWERS.  BOB. 

And  after  that?  Well,  the 
flowers  had  a  great  deal  to  say 
.  .  .  and  Jane  was  an  apprecia- 
tive audience. 


-  advertisers  iil«.i: 


nention  PHOTOPLAY  M.iGAZINE. 


Strictly  Business 


Sir  Bently  Bingham  looked  the  maiden 
full  in  the  eye  and  she  smiled  encourag- 
ingly. He  thought  in  a  hazy  way  of  Lady 
Hazel  Buttercup  Bingham,  but  decided 
that  six  thousand  miles,  and  three  of  them 
rolling  blue  ocean,  was  a  sufficient  dis- 
tance to  be  safe  from  marital  wrath, 
blame  or  disapproval. 

IT  all  sounds  like  a  dashed  excruciat- 
ing fine  idea  to  me, "  agreed  Sir  Bently. 
"We'll  call  it  a  jolly  go." 

The  lady  smiled  happily.  Somehow  her 
smile  seemed  to  potently  carry  a  subtle 
suggestion  that  she  would  profit  enjoyably 
from  the  transaction,  and  she  nodded  her 
head  in  eager  acquiescence  when  Sir 
Bently  asked:  "And  may  I  presume,  my 
dear,  that  you  would  \isit  me  occasion- 
ally for  a  cup  of  tea?" 


[  CONTINUED  FROM  PAGE  51  ] 

"You  bet  I  would,"  heartily  replied 
the  lady  of  the  classy  gray  roadster. 
"But  my  old  man  might  doubt  I  was 
drinking  tea  though,  but  business  is  busi- 
ness." 

"Gracious  me!  Married?  You  don't 
mean  to  tell  me  you  are  married,"  said 
Sir  Bentlv  dubiously,  and  a  little  per- 
turbed. 

"Yeh,"  answered  the  maiden  laconi- 
cally. "But  my  old  man's  okeh,"  she 
added.     "He  don't  object  to  nothing." 

Sir  Bently  Bingham  chuckled  heartily. 
"Very  thoughtful  and  obliging  of  him," 
he  thought.  He  had  gathered  from  the 
London  music  halls  that  his  American 
cousins  were  extremely  good  to  their 
wives,  but  such  rare  and  unparalleled 
generosity  as  tliis  really  tickled  his  British 
funny  bone. 


"Just  as  you  say,  old  bean.  That's  all 
right  with  me  if  it  is  with  your  old  man," 
gleefully  chuckled  Sir  Bently.  "And  now, 
my  dear,"  he  said  with  a  wink,  "please 
give  me  your  card  so  that  I  might  keep 
in  touch  with  you." 

THE  classy  blonde  maiden  of  the  classy 
gray  roadster  again  smiled  happily, 
as  a  stock  and  bond  salesman  will  when 
they  sign  on  the  dotted  line.  She  opened 
her  bag  and  presented  Sir  Bentl}'  Bing- 
ham with  a  large  pasteboard  card. 

The  aristocratic  visitor  from  England 
took  it  in  his  left  hand  and,  holding  it 
well  away  from  him,  stared  at  it.  He 
opened  his  eyes  wider  and  ceased  to 
chuckle  as  he  read: 

"Alice  Blaxenburg — -specialist  in  Holly- 
wood rentals." 


Questions  and  Answers 


.  CONTINUED  FROM   PAGE  82  | 


Mrs.  F.  B.,  Eureka,  Utah.— Dick  Suth- 
erland is  appearing  in  "Uncle  Tom's  Cabin." 
He  was  born  in  Paducah,  Ky.,  the  home 
town  of  Irvin  Cobb.  Dick  weighs  240 
pounds  and  is  six  feet  tall.  He  has  brown 
hair  and  gray  eyes. 

H.  C,  New  York,  N.  Y. — Leo  Duncan 
is  the  owner  and  trainer  of  Rin-Tin-Tin. 
Kichard  .'\rlen  is  leading  man  for  Bebe  in 
"She's  a  Sheik."  Thomas  Meighan  has  no 
children  and  Beth  Sully  was  Douglas  Fair- 
banks' first  wife. 

E.STHER  C,  LiNWOOD,  Pa. — Mae  Murray 
is  now  dancing  in  vaudeville,  so  I  do  not 
know  her  address.  Write  to  Mary  Carr  at 
the  Universal  Studios,  Universal  City, 
Calif.  And  Charles  Chaplin  may  be  ad- 
dressed at_  1416  La  Brea  Avenue,  Holly- 
wood, Calif. 

Ruth  J.,  Oswego,  N.  Y. — Jackie  Coogan 
was  born  on  October  26,  1914.  Your  other 
questions  are  answered  elsewhere  in  this 
Well  of  Pure  Truth. 

E.  M.  L.,  Dayton,  Ohio. — Barry  Norton 
was  Mother's  Boy  in  "What  Price  Glory." 
Take  note,  please,  all  you  other  fans  who 
asked  the  same  question. 

R.  M.,  Los  G.\TOs,  Calif.— William 
Haines  played  opposite  Mary  Pickford  in 
"Little  Annie  Rooney."  That's  the  boy's 
real  name. 

S.  U.,  Savannah,  Ga. — Charles  Rogers  is 
not  married.  John  Gilbert's  first  wife  was 
Olivia  Burwell,  a  non-professional.  I  hear 
that  Clara  Bow  and  Gary  Cooper  aren't 
keeping  comp  iny  any  more.  Gary  was  born 
in  Helena,  Montana,  on  May  7,  1901. 
Eleanor  Boardman  and  King  Vidor  were 
m  irried  on  September  8,  1926. 

"Chakm.\ine,"  Bordentown,  N.  J.— 
You  write  such  a  coaxing,  wheedling,  en- 
treiting  letter  that  it  gives  me  the  greatest 
plerisure  in  the  world  to  tell  you  that  Rarry 
Norton  played  Mother's  Boy  in  "What 
Price  Glory."  And  Ren  Alexander  is  sixteen 
years  old.     Address   Rarry   Norton   at  the 

92 


William  Fox  Studios,  1401  N.  Western 
Avenue,  Hollywood,  Calif.  And  if  you 
don't  write  to  me  again,  I'll  go  into  a 
decline. 


Lewiston,  Idaho. 

Movies  made  my  life  a  success 
instead  of  a  miserable  failure. 

I  was  the  only  child  of  a  darling 
widow  who,  in  her  loneUness,  heaped 
too  much  affection  on  me,  thereby 
making  me  a  mean  bully.  At  the  age 
of  fifteen,  I  was  sent  to  reformatory, 
in  spite  of  poor  mother's  tears. 

There  I  stayed  for  three  years, 
becoming  more  bitter  daily.  On  be- 
ing discharged,  I  would  not  return 
home,  but  as  quickly  as  possible,  put 
fifteen  hundred  miles  between  my- 
self and  home. 

Having  roamed  three  years,  finally 
two  years  ago,  I  staggered  half- in- 
toxicated into  a  theater  and  saw 
"The  Ten  Commandments." 

The  poor  little  mother,  her  grief 
and  finally  her  sad  death  caused  by 
her  adored,  ungrateful  boy!  These 
scenes  awakened  sentiments  that 
had  long  since  been  dead. 

I  returned  at  once  to  mother.  She 
was  delighted  beyond  any  expres- 
sion. I  held  my  head  high,  got  a  good 
paying  job  and  mother  and  I  have 
"lived  happily  ever  after." 

Besides,  I  am  engaged  to  the 
sweetest  girl  in  the  world.  If  we  ever 
have  any  kiddies,  I'll  see  that  they 
see  and  study  every  good  movie  pos- 
sible. 

I'm  for  movies  every  time.  Long 
may  they  Live !  j   ^ 


L.  L.  D. — Richard  Dix  is  not  married. 
Born  in  St.  Paul,  Minn.,  on  July  18,  189.S. 
His  next  film  is  "The  Gay  Defender." 
Richard  is  six  feet  tall  and  weighs  184 
pounds.    Rrown  hair  and  brown  eyes. 

Minnie,  Chattanooga,  Tenn. — Irvin 
Willat  is  Billie  Dove's  husband.  Rillie  is 
twenty-four  years  old  and  is  five  feet,  five 
inches  tall.  She  has  brown  hair  and  ejes  to 
match.  Norma  Talmadge's  husband  is 
Joseph  Schenck.  Doug,  Jr.,  is  Fairbanks' 
son  by  his  first  wife.  Mary  Pickford  has  no 
children. 

R.  J.,  Griswold,  Iowa. — Al\\a\s  glad  to 
oblige  an  old  friend.  Gwen  Lee  is  five  feet, 
seven  inches  tall  and  weighs  135  pounds. 
Phyllis  Haver  is  an  inch  shorter  and  weighs 
126  pounds.  Vilma  Banky  is  just  as  tall  as 
Phyllis  and  four  pounds  heavier. 

Blue  Eyes,  Grandview,  W.\sh. — Nor- 
ma Shearer  has  a  sister;  she  isn't  on  the 
screen.  Marion  Davies  has  three  sisters. 
Their  names  are  Ethel  Douras,  Rosemary 
Van  Cleve  and  Rene  Lederer.  Marion's 
real  name  is  Douras. 

K.  L.,  Norfolk,  Va. — Aileen  Pringle 
played  opposite  John  Gilbert  in  "His  Hour." 
Carmelita  Geraghty's  latest  picture  is  "My 
Rest  Girl."  Write  to  S.  George  Ullman, 
1410  Broadway,  New  York,  for  a  photo- 
graph of  Rudolph  Valentino.  \'ilma 
Ranky's  address  is  in  care  of  Samuel  Gold- 
wyn  Productions,  6800  Washington  Blvd., 
Hollywood,  Calif. 

D.  S.,  Martinsburg,  W.  Va. — John 
Manners  played  Lord  Montgomery  in  "Tip- 
toes." Joan  Crawford  was  born  in  San 
Antonio,  Texas.  She  has  brown  hair  and 
blue  eyes. 

R.  K. — Madge  Bellamy  was  the  leading 
woman  in  "The  Iron  Horse."  Madge  used 
to  have  dark  brown  hair  but  she  dyed  it 
blonde. 

M.  E.  R.,  Marsh.\ll,  Te.x.— Tim  McCoy 
is  married.  Address  him  at  the  Metro- 
Goldwyn-Mayer  Studio,  Culver  City,  Calif. 


Photoplay  Magazine— Advertising  Section 


93 


The  second  time 

IT'S  home,  but  it  isn't  perfect.  You  know  more  now 
A  than  when  you  first  hung  up  those  curtains  and 
moved  your  furniture  in.  You  have  Hved  with  those 
walls,  bookcases,  radiators,  cups  and  saucers  long: 
enough  to  know  their  merits  and  demerits.  The  kind 
you  would  buy  the  second  time,  and  the  kind  you 
wouldn't  buy.  If  you  and  Sarah  could  start  all  over 
agam,  you'd  profit  from  that  experience.  Avoid  what 
has  proved  unwise — study  advertisements,  home-fur- 
nishing pamphlets— let  the  potatoes  scorch  and  the  lima 
beans  boil  dry^ — just  comparing  new  refrigerators,  ra- 
dios, patterns  of  delicate  china.  You'd  want  to  make 
sure  what  you  bought  this  time  would  please  you  as 
much  tomorrow  as  today. 

YET  day  by  day  you  are  making  that  home-place 
over.  ''We  do  need  some  new  curtains."  "Hadn't  we 
better  get  some  butter-knives?"  The  only  difference  is  a 
gradual  instead  of  a  wholesale  affording.  And  by 
knowing  the  advertisements  you  know  the  future  of 
what  you  buy. 

Experience  usimlly  deals  with  the  past.  With  ad- 
vertisements, it  deals  with  the  future!  You  buy  the  now 
and  the  will-he  when  you  buy  advertised  wares. 

^  READ  the  advertisements  to  know  what  is  adver- 
tised— what  is  certain  to  satisfy  you. 


Reading  advertisements  prepares  you 

for  happy,  safe  choices  first  times  as  well  as 

second  times— every  time  yon  buy 


I  niOTOPLAT  MAGAZINE. 


Give  Them  A  Hand 


To  King  Vidor:  Because  he  directed 
"The  Crowd"  and  discovered  James 
Murray ;  and  just  because. 

To  Paramount-Famous-Lask}-:  Be- 
cause it  has  made  the  most  consistent  line 
of  pictures  of  the  >-ear. 

To  Richard  Barthelmess:  Because 
he  made  "The  Patent  Leather  Kid." 
To    Richard    Rowland:      Because    he 
picked  the  story  and  chose  Al.  Santell 
to  direct  it. 

To  Herbert  Brenon:  Because  he  di- 
rected our  Gold  Medal  winner  for  1926, 
and  topped  his  notable  directorial  career 
A\-ith  "Sorrell  and  Son." 

To  Marion  Davies:  Because,  as  a 
comedian,  she  is  getting  better  and  better; 
because  she  is  the  most  popular  woman  in 
Hollywood;  because  we  like  her. 

To  Mary  Pickford:  Because  she 
has  made  another  one  of  her  old- 
fashioned  pictures,  and  just  because. 
To   FBO:      Because,    without    extrav- 
agance   and    without    shouting,    it    has 
given  the  public  what  it  wants  and  what 
it  is  willing  to  pay  for. 

To  Maria  Corda:    Because  she  has  in- 
troduced  the   undress  of   the  Greeks  to 
compete  with  the  undress  of  the  flappers. 
To  Dolores  Del  Rio:    Because  she 
has  the  versatility  to  combine  a  ter- 
rible   "Carmen"    with    a    beautiful 
"Resurrection." 

To  Ruth  Taylor:  Because  she  out- 
witted all  the  well-known  blondes  of 
Hollywood  and  captured  the  role  of 
Lorelei  in  "Gentlemen  Prefer  Blondes." 
To  Laura  La  Plante:  Because  she  al- 
lowed her  husband  to  direct  her  in  a  pic- 
ture after  one  year  of  matrimony. 


[  CONTINUED  FROM  PAGE  50  ] 

To  Ir\-ing  Thalberg:  Because  he 
snatched  ten  days  from  business  to  honey- 
moon with  his  new  wife,  Norma  Shearer, 
and  took  with  him  only  too  four  manu- 
scripts to  read. 

To  Lois  Moran:  Because  she  resisted 
John  Barrymore. 

To  Marceline  Day  and  Mary  Philbin: 
Because  they  broke  their  "beauless" 
record  in  favor  of  James  Murray  and 
Fred  Kohner,  respecti\ely. 

To  Rin-Tin-Tin:  Because  he 
hasn't  bitten  the  Warner  Brothers 
—yet. 

To  Aileen  Pringle:  Because,  although 
she  lives  in  Hollywood,  she  has  kept  her 
sense  of  humor  and  still  remains  the  true 
pal  of  the  intellectuals,  and  just  because. 

To  Janet  Gay  nor:  Because  she  is  a 
great  little  actress,  a  nice  little  girl  and, 
incidentally,  one  of  the  lowest  paid  stars 
in  the  business. 

To  Louis  Wolheim:  Because  he  has 
established  himself  in  the  ranks  of  the 
comics. 

To  Emil  Jannings :  Because  he  has 
kept  his  acting  perspective  in  Holly- 
wood; because  he  gave  'em  the  un- 
happy ending  and  made  'em  like  it. 

To  \\'ilson  Mizner:  Because  he  has 
shaded  all  the  other  wits  in  Hollywood,  so 
that  none  of  them  will  sit  at  the  same 
table  with  him  at  dinner  parties;  because 
he  condensed  in  fifty  words  one  of  his 
plays  that  ran  three  years  on  Broadway; 
because  he  said  that  the  trouble  with 
Hollywood  was  the  persistency  of  the  un- 
inspired; because  he  roars  at  the  pseudo- 
intellectuals  who  would  lionize  him. 

To  Conrad  Xagel:    Because  he  had  the 


courage  to  stand  up  on  his  hind  legs  and 
fight  the  Battle  of  Ten  Per  Cent. 

To  Louise  Brooks:    Because  she 
has  beautiful  legs;  because  she  also 
had    business    acumen    enough    to 
have  her  contract  renewed  just  as 
everyone  was  saying,  "Too  bad  they 
didn't    sign   Louise    again." 
To  "Buddy"  Rogers:     Because  he  has 
refused  to  break  up  any  home,  no  matter 
how  beautiful  and  alluring  the  lady. 

To  Florence  Vidor  and  Frances  Marion: 
Because  they  refused  publicity — ^and 
thereby  got  it. 

To  Ben  Lyon:  Because,  in  spite  of 
romantic  disturbances,  he  has  snapped 
back  to  work. 

To  Francis  X.  Bushman:    Because  he 
made  a  come-back;  because  he  is  one  of 
the  few  stars  who  is  a  good  radio  speaker. 
To  Cecil  B.  De  Mille:     Because 
he  interested  the  clergy  in  motion 
pictures;  because  he  built  up  a  good 
organization  regardless  of  cost. 
To  Jetta  Goudal:      Because  she  is  a 
good  actress,  even  if  she  does  argue  too 
much. 

To  Dorothy  Dwan:  Because  her 
mother  is  her  press  agent  and  gets  more 
publicity  than  many  of  the  bigger  stars; 
because  she  played  in  four  pictures  with 
Tom  Mix. 

To  Phyllis  Haver:  Because  she  has 
achie\-ed  her  five-year  ambition  and 
made  good  in  drama;  because  she  landed 
a  leading  part  in  "Chicago." 

To  Pola  Negri:  Because,  while  work- 
ing at  the  studio,  she  finds  time  person- 
ally to  super\ise  the  construction  of  a 
large  apartment  house. 


IDEA  CONTEST  WINNERS! 


'  I  'HE  full  list  of  winners  in  Photoplay's  big  $15,000  Idea  con' 
■^  test  will  be  published  in  the  February  issue  of  Photoplay. 

QTliis  issue  will  be  on  sale  at  the  newsstands  on  January  15th. 

(j[If  you  entered  this  contest  watch  for  this  issue  of  Photoplay. 

Q  You  may  be  one  of  the  lucky  winners ! 

QA  full  list  of  winners  in  Photoplay's   annual  Cut  Picture 
Pu^2;le  Contest  is  announced  on  pages  40  and  41  of  this  issue. 


H 


The  cigarette  you  can  be  fond  of 


SEEK  and  search  wherever  you  will,  you'll 
never  find  a  smoke  like  Camel.  So  loyal 
and  so  fine.  Camels  reveal  the  delicate 
tastes  and  fragrances  of  the  choicest  to- 
baccos grown.  That  is  why  they  never 
tire.  Why  each  succeeding  Camel  tastes 
more  smooth  and  mellowy  mild. 

Millions  upon  millions  of  smokers  have 
learned  to  rely  upon  this  supreme  tobacco 
quality.     They    are    modern    smokers    in 


the  most  particular  sense  and  they  place 
Camels  first.  They  demand  goodness  and 
enjoyment.  They  have  elevated  Camels 
to  the  highest  popularity  ever  known. 

If  you  smoke  for  pleasure  Camels  will 
prove  the  cigarette  that  you  can  really 
enjoy,  you  can  like  Camels  so  much,  be- 
cause they're  always  so  satisf yingly  mellow. 
So  smooth  and  mild. 

"Have  a  Camel!" 


R.  J.  REYNOLDS  TOBACCO  COMPANY,   W  I  N  S  T  O  N  -  S  A  L  E  M  ,   N.  C. 


My  dear!  If  s  simply 


Thousands  of 
women  are  saying 
this  today  about 
the  new  Vim-Kay 
home  beauty  service 

SCREEN  stars  keep  their  love- 
ly complexions,  in  spite  of  \ 
arduous  work  and  the  ravages  o 
make-up,  by  sunshine  . . .  sunshine 
.  „  and  more  sunshine.  Outdoor  play 
to  keep  them  fit.  .  .and  Cahfornia 
sunshine  to  stimulate  the  delicate 
skin    tissues  .  .  .  keep    the    pores 
open  and  normal  .  .  .  and  keep 
their  beauty  above  par  .  . .  always. 

Science  has  given  you  a  new, 
dependable  ally  in  Vim-Ray.  Vim- 
Ray  never  disappoints.    Ten  minutes'  daily  use  is 
enough.     It  leaves  a  natural  healthy  glow  on  the 
skin  and  a  feeling  of  refreshment  and  rejuvenation. 

You  will  find  new  uses  for  Vim-Ray  every  day . . . 
with  your  face  creams . . ,  with  your  hair  tonic  to  make 
your  hair  thick  and  glossy. . ,  as  a  hair  dryer  and  to  set 


STAR-Rite 


enjoy  the 
benefits  of  sunlight  with  none 
of  its  disadvantages. 

Easy  to  use  .  .  ,  and  im- 
parts a  sense  of  soothing 
comfort  that  is  worth  a  hun- 
dred times  the  price. 


a  finger  wave  ...  to  dry  your 
skin  instead  of  toweling  which 
has  a  tendency  to  roughen. 

Vim-Ray  enables  you  to  in- 
dulge in  luxurious  sun  baths 

.  .  .  day  or  night ...  in  the  privacy 

o  f  y  o  u  r 

Regulate 


own  boudoir, 
at  wi 


FITZGERALD  MANUFACTURING  CO. 

Torrington,  Conn. 
Please  send  me  one  New  STAR-Rite  Vim-Ray  for       ^«] 
which  I  enclose  $6.50.    I  understand  I  can  use  it  for 
ten  days  free  and  have  my  money  back  if  I  am  not  satisfied. 

Street      


The  Man  Who  Fought  Alone 


Farnum  home  at  Sag  Harbor,  Long 
Island.  When  the  following  September 
came  around  William  again  thought  that 
he  had  sufficiently  reco\"ered  his  strength 
and  \  itality  to  return  to  the  public.  He 
felt  that  he  owed  Arthur  Hopkins  and 
those  players  who  were  to  have  been  in 
the  cast  of  "The  Buccaneer"  with  him  a 
debt  for  having  forced  them  out  of  an  en- 
gagement through  his  illness,  so  at  the 
beginning  of  the  theatrical  season  of  1925, 
he  again  started  rehearsals  of  the  play. 

THEN  after  five  weeks  of  actual  play- 
ing, after  the  rehearsal  period  was  over, 
it  was  found  that  the  star  could  not  pos- 
sibly endure  the  hardships  of  traveling 
"on  the  road"  with  the  play.  It  was 
closed  down  and  the  star  returned  to  New 
York,  again  to  enter  a  hospital  and  this 
time  remained  there  for  nine  weeks. 

When  he  finally  emerged  his  physicians 
informed  him  that  under  no  consideration 
must  he  try  to  do  any  kind  of  work.  A 
complete  rest  for  a  full  twelve  months  was 
ordered  and  Farnum  informed  that  if  he 
did  not  heed  the  ad\'ice  the  physicians 
would  not  be  responsible  for  the  result. 
That  was  almost  eighteen  months  ago. 
Part  of  that  time  was  spent  in  the  East 


[  COXTIXUED  FROM  PAGE  32  ] 

on  Long  Island  and  part  of  it  in  his  home 
in  the  Southern  California  hills. 

For  the  first  few  months  in  the  East  the 
enforced  period  of  inactivity  was  not  so 
irksome,  but,  as  the  months  passed  and 
renewed  strength  poured  through  his 
\-eins,  Farnum  began  to  fret  and  fume. 

He  had  been  too  active  in  his  earlier 
days  to  lose  the  desire  to  do  things.  His 
days  of  broadsword  fighting,  those  of  deep 
sea  fishing  and  other  acti\-e  out-of-door 
sports  came  crowding  back  and  he 
wanted  to  be  up  and  doing.  Finally  he 
was  permitted  to  work  off  some  of  the 
excess  energy  through  golf. 

But  e\-en  golf  isn't  enough  for  William 
Farnum — as  a  matter  of  fact,  had  rowing, 
boxing,  bowling,  hunting,  fishing  and 
hiking  all  been  rolled  into  one  it  would 
not  ha\'e  been  enough,  for  William  Far- 
num is  an  actor,  from  a  line  of  actors,  and 
the  theater  is  his  place.  That  is  the  one 
and  only  thing  that  will  complete  the  cure 
for  him.  And  it  seems  that  the  cure  is 
about  to  take  place,  for  William  Fox  and 
Winfield  Sheehan  have  welcomed  William 
Farnum  back  to  the  studios.  His  first  pic- 
ture is  to  be  Donn  Byrne's  "Hangman's 
House"  and  John  Ford  is  directing  it. 

The  call  of  the  studios  did  not  come 


along,  however,  until  Farnum  had  been 
sitting  for  month  after  month  looking 
down  o\er  Hollywood  and  wondering  if 
they  would  e-\-er  send  for  him  again. 

He  told  me  the  other  afternoon  that  the 
watching  and  waiting  were  much  harder 
to  bear  than  the  long  weeks  in  the  hos- 
pital, for  in  the  sickbed  he  felt  sure  that 
he  would  get  well,  while  here,  back  in  his 
full  strength,  he  dreaded  what  the  picture 
producers  were  going  to  do.  But  it  was 
only  a  few  days  after  the  October  issue  of 
Photoplay  appeared  before  he  began 
to  get  a  telephone  call  or  two;  some  came 
from  producers,  others  from  artists'  repre- 
sentatives. Then  finally  the  call  from 
his  old  studio.  That  cheered  him  more 
than  anything  else. 

OF  course  no  matter  how  wealthy  one  is, 
four  yearsofenforced  idleness,  coupled 
with  illness,  represents  a  lot  of  money. 
In  loss  of  salary  it  represents  to  Mr.  Far- 
num just  $2,080,000.  In  addition  to  that, 
his  nurses  and  doctors  cost  him  in  the 
neighborhood  of  $250,000  while  the  o\er- 
head  of  his  homes  amounted  to  $LS0,0C0. 
Possibly  William  Farnum's  $2,330,000 
doctors'  bill  is  the  greatest  pill  that  any 
one  man  ever  had  to  swallow. 


They  Called  Him  Captain 


It's  an  extraordinary  fellow  who  can  look  in- 
teresting in  a  passport  picture.  Above  is  the 
photograph  that  identified  Captain  Adolphe 
Menjou  when  he  went  to  France  to  serve  in 
the  Intelligence  Division.  At  left:  Adolphe 
and  brother  Henry  as  army  officers 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PAGE  13  ] 


Down  With  Abie  and  Mike ! 

Washington,  D.  C. 
Please  do  away  with  those  tiring  Irish  and 
Jewish  comedies.  They  have  been  worn 
threadbare.  There  is  not  enough  originality 
in  them  to  keep  the  interest  of  the  public 
for  long. 

Marjorie  Rearich. 

Pity  the  Poor  Orphans ! 

Washington,  D.  C. 
What  a  menu  is  to  the  hungry  diner, 
Photoplay's  Brief  Reviews  are  to  the  movie 
fan.  If  you're  in  the  mood  for  soft  music 
and  romance,  you  won't  enjoy  seeing  Leon 
Errol  wabble  around  on  his  funny  legs  for  a 
couple  of  hours.  I  know  a  well-meaning 
lady  who  took  a  gang  of  orphanage  young- 
sters to  see  "The  Way  of  All  Flesh!"  You 
probably  got  a  Brickbat  from  her  the  next 
day. 


"Bigger  and  Better"  movies  we  probably 
do  need,  but  I  believe  the  heaviest  brickbats 
are  traceable  to  a  haphazard  selection  of 
pictures.  By  making  use  of  Photoplay's 
varied  and  extensive  menu,  even  the  most 
exacting  person  may  find  a  palatable  dish. 
Lenna  a.  Pedigo. 

In  Defense  of  Renee 

Jacksonville,  Fia. 
If  Renee  Adoree  is  just  "a  fat  peasant 
girl,"  as  some  unintelligent  and  unsympa- 
thetic correspondent  recently  stated  in  your 
magazine,  then  for  the  sake  of  all  that  is 
good  on  the  screen,  give  us  more  of  her 
kind. 

Sherwood  Thaxton. 

She's  an  American  Now 

Colorado  Springs,  Colo. 
Miss  Hard-Boiled  of  Pittsburgh  is  wrong 


in  her  estimation  of  Miss  Vilma  Banky. 
They  say  this  is  a  country  of  justice.  I 
think  there  is  a  certain  clique  of  people  who 
make  it  their  business  to  throw  brickbats 
at  every  European  actress  who  comes  to  the 
United  States.  I  am  glad  America  has 
Miss  Banky  for  a  star. 

Miss  C.  A.  Palmer. 

No,  No,  Mr.  Stephenson! 

Havana,  Cuba. 

I  have  noticed  editorials  in  many  maga- 
zines deploring  the  entry  into  American 
films  of  alien  actors  and  directors.  It  seems 
that  the  writers  of  these  articles  want  the 
movies  tagged  "For  Americans  Only." 

Does  anyone  regret  the  part  Valentino 
played  in  the  American  industry?  Is  the 
performance  of  Emil  Jannings  in  "The  Way 
of  All  Flesh"  detrimental  to  American 
interests? 

T.  D. Stephenson. 


Amateur  Movies 


[  continued  from  page  67 


from  your  audience's  enjoyment  of  the 
picture. 

THE  new  Model  B  Kodascope  16  mm. 
projector  threads  itself.  Just  the 
snapping  of  a  switch  and  a  twist  of  the 
wrist — and  one  of  the  amateur  projector's 
most  trying  tasks  is  done. 

The  new  model,  which  is  the  latest 
Eastman  contribution  to  the  amateur 
movie  field,  is  equipped  with  an  attach- 
ment that  automatically  performs  the 
threading  operation.  Another  exclusive 
feature,  already  mentioned  in  this  de- 
partment, is  the  framing  device  which 
frames  the  picture  without  shifting  the 
illuminated  area  on  the  screen.  It  is 
not  necessary  to  readjust  the  le\elling 
screw  after  framing. 

The  new  model  is  also  fitted  with  a  me- 


chanical, high  speed  rewind,  and  a  safety 
"still"  picture  attachment  that  elim- 
inates all  danger  of  blistering  or  burning 
the  film.  The  motor  is  reversible  and 
may  be  switched  to  forward  or  re\-erse  at 
will,  without  a  pause  in  the  picture. 

A  NUMBER  of  highly  popular  Para- 
mount Pictures  are  now  available  for 
rental  from  the  Eastman  Kodascope 
Library  in  the  16  mm.  size.  "The  Cov- 
ered Wagon"  will  soon  be  available  for 
projection  in  jour  own  home.  Photoplays 
starring  Gloria  Swanson,  Clara  Bow,  Bebe 
Daniels,  Wallace  Beery,  Adolphe  Menjou 
and  others  are  now  available. 

THE    Motion    Picture    Club    of    the 
Oranges    started    work    on   October 
15ih  on  a  one-reel  comedy,  entitled  "And 


How!"  The  complete  picture,  with  the 
exception  of  the  developing  and  printing, 
is  being  done  entirely  by  the  members  of 
this  amateur  group.  The  picture  is  being 
shot  on  standard  film  and  some  stunts  are 
being  attempted,  such  as  the  shooting  of 
night  scenes  in  rain  with  an  f  1.5  lens. 
Homemade  arc  lights  are  being  used  on 
these  scenes,  as  well  as  on  the  interiors, 
which  occupy  about  half  the  action  of  the 
comedy. 

The  story  concerns  a  young  married 
couple  and  a  former  girl  friend  of  the 
husband.  Beatrice  Traendly  plays  the 
bride,  Alfred  Fontana  is  the  husband  and 
Margaret  Ervin  enacts  the  friend.  The 
scenario  and  continuity  were  written  by 
Russell  T.  Ervin,  Jr.,  who  is  directing, 
editing,  photographing  and  titling  the 
comedy.    A  man's  size  job,  indeed. 


Photoplay's  $2,000  Amateur  Movie  Contest 


1  $2,000  in  cash  prizes  will  be  awarded 
by  PHOTOPLAY  as  follows: 

1.  $500  for  the  best  1,000  foot  35  mm. 
film. 

2.  $500  for  the  best  400  ft.  16  mm. 
film. 

3.  $500  for  the  best  60  ft.  9  mm.  film. 

4.  $500  as  an  added  prize  for  the  best 
film  submitted  in  any  one  of  these 
three  divisions. 

In  the  event  that  two  or  more  films 
prove  of  equal  merit  in  any  division, 
prizes  of  $500  will  be  awarded  each  of 
the  winners. 


2  The  submitted  film  need  not  nec- 
•  cssarily  be  a  drama,  it  may  be 
dramatic,  comic,  a  news  event,  home 
pictures,  a  travelogue,  a  diary  or  any 
form  of  screen  entertainment  presented 
within  the  prescribed  length.  It  need  not 
be  narrative.  It  may  be  anything  the 
amateur   creates.     In   selecting   the   win- 


ners the  judges  will  consider  the  general 
workmanship,  as  well  as  the  cleverness, 
novelty  and  freshness  of  idea  and  treat- 
ment. Under  the  head  of  general  work- 
manship comes  photography,  titling,  edit- 
ing and  cutting  and  lighting.  In  con- 
sidering dramas  or  comedies,  amateur 
acting  ability  and  make-up  will  be  con- 
sidered. 

3  Films  are  to  be  submitted  on  non- 
•  inflammable  stock  with  names  and 
addresses  of  the  senders  securely  attached 
or  pasted  to  the  reel  or  the  box  containing 
the  reel. 

4       Any  number  of  reels  may  be   sub- 
•     mitted  by  an  individual. 

5  Any  person  can  enter  this  contest 
•  except  professional  photographers  or 
cinematographers  or  anyone  employed  by 
PHOTOPLAY  MAGAZINE  or  any  relatives 
of  anyone  employed  by  PHOTOPLAY. 


f,  All  films  are  to  be  addressed  to  the 
^*  judges,  The  Amateur  Movie  Pro- 
ducer Contest,  Photoplay  Magazine,  221 
West  57th  Street,  New  York,  and  are  to  be 
submitted  between  June  1,  1927,  andmid- 
night  of  December  31,  1927. 

7  The  judges  will  be  James  R.  Quirk, 
•  editor  of  PHOTOPLAY,  Frederick 
James  Smith,  managing  editor  of  PHOTO- 
PLAY, and  three  others  to  be  selected  by 
them. 

8  PHOTOPLAY  assumes  no  responsi- 
•  bility  for  loss  of  films  in  transit,  and 
while  every  precaution  will  be  taken  to 
safeguard  them,  the  publication  will  not 
be  responsible  for  loss  in  any  way. 


98 


Photoplay  Magazine — AD^ERTISING  Section 


99 


MEN  and 
WOMEN 

This  Amazing  Book 
will  show  you  how 
to  get  BIG  money! 

This  is  your  Big 
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Si 


iiiWi 


successfi.i  _?r^ 


k 


s?m3sm 


■^  one  flu 
and    women     ■>'"  '"^ci 
which  Will   /„  ,*   careful    . 

a«ic,eon  tl!'e%.^^^^^-[s    r  ^^^ 


Mr.  Walsh's  famous  book,  "The 
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One  of  the  nice  features  of  this  new  line  of 
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successful  men  and  women  who  are  making 
anywhere  from  $5,000.00  to  $10,000.00  per  year 
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Address 

City ''tate 

■  rs  lilease  mention  rnOTOPT..\Y  M.XGAZINE. 


Gossip  of  All  the  Studios 


£^ 


iiiP^S*^^«Bj 


An  unposed  picture  of  the  hardest 
working  actor  in  Hollywood.  Jean 
Hersholt  fell  asleep  on  the  set  and 
the  temptation  was  too  much  for 
the  cameraman.  Jean,  born  in 
Denmark  and  a  goy,  has  been  se- 
lected to  play  the  role  of  Solomon 
Levy  in  "Abie's  Irish  Rose" 


Not  custom-made,  if  you  please,  but 
a  hand-made  body,  like  an  imported  hat 
or  evening  creation! 

ALL  the  newspapers  ravenously  de- 
voured the  news  that  Louis  Wolheim 
intended  to  have  his  well-known  map 
renovated.  Wolheim  solemnly  announced 
that  he  was  tired  of  being  homely  and  was 
calling  on  a  facial  specialist  to  have  his 
map  redecorated. 

Whereupon,  LTnited  Artists  stepped  in 
with  an  injunction  to  prevent  Louis  from 
tampering  with  his  features,  and  the 
whole  thing  began  to  look  like  the  in- 
spired proceedings  of  a  press  agent. 

npHE  newest  sizzling  epithet  in 
■*■  Hollywood,  to  be  hurled  as  a 
curse  at  an  enemy,  is  "Poison  at 
the  Box-Office!" 

LOTS  of  film  and  society  notables 
attended  the  opening  of  Marion 
[Javies'  comedy,  "QualitVj  Street,"  at 
the  Embassy  Theater  in  New  York. 
Among  the  social  lights  were  Constance 
Bennett,  now  the  wife  of  Phil  Plant. 
Please  note  that  I  said  "social,"  not 
"film."  For  Constance  no  longer  con- 
siders herself  among  the  movie  celebrities. 
.'\nd  the  film  persons  who  knew  Connie 
wlien  she  flapped  before  the  camera  are 
hereby  warned  not  to  run  up  and  kiss  her 
when  they  meet  her  in  the  Ritz. 

Death  by  freezing  is  horrid  torture. 

SOMETIMES  directors  show  uncanny 
flashes  of  common  sense.  Sophie 
Tucker,  vaudeville  and  night  club  noise- 
maker,  is  now  in  Hollywood.  Tod 
Browning,  directing  "The  Big  City," 
thought  it  would  be  a  swell  idea  to  get 
Sophie  to  appear  in  a  night  club  scene. 
Sophie   said    she   would    love    to — for 

100 


[  CONTINUED  FROM  PAGE  47  ] 

$5,000.  Browning  went  into  a  faint  and 
when  he  recovered,  sent  to  the  Central 
Casting  Office  for  a  woman  to  play  the 
part. 

No,  the  extra  woman  didn't  get  $5,000. 

EXACTLY  one  and  a  quarter  yards  of 
forty-inch  chiffon  velvet  is  used  for 
one  of  the  sophisticated  gowns  which 
Olive  Borden  wears  in  her  new  picture, 
"Come  to  My  House." 

"Excuse  me,"  she  says  to  all  who  seek 
her  on  the  set.  "But  I  cannot  get  up  in 
this  costume." 

Which  proves  that  it  may  be  all  right 
for  a  few  shots  of  her  delectable  figure  in 
the  picture,  but  wouldn't  do  even  for 
01i\'e  in  e\'eryday  usage. 

"D  ALPH  FORBES  was  explaining 
■*^to  Ruth  Harriet  Louise,  Metro- 
Goldwyn-Mayer's    famous    woman 


photographer,  his  opinions  of  fas- 
tidious   dressing. 

"I  would  not  think  of  sitting  at 
my  desk  unless  I  were  dressed  for 
letter  writing !"  he  explained  ear- 
nestly. 

Which  may  or  may  not  throw 
light  upon  Ruth  Chatterton's  divorce 
intentions. 

SIX  years  ago  a  Brooklyn  boy  was  en- 
gaged by  Hugo  Riesenfeld  to  sing  at  the 
Criterion  Theater.  Mr.  and  Mrs.  Samuel 
Eiseman.  nio\ie  fans  from  far  Rockaway, 
heard  the  boy  sing  Tosti's  song,  "Moon- 
light," and  were  so  impressed  with  his 
voice  that  they  sent  him  to  Italy  to  study 
for  cpera. 

Frederick  Jagel,  the  boy  who  made  his 
debut  in  the  movie  theater,  has  now  made 
a  tremendous  hit  at  the  Metropolitan 
Opera  Company.    His  first  appearance  in 


Hollywood's  most  famous  pig  goes  on  to  further  adventures. 
This  is  the  porker  that  Bebe  Daniels  won  as  a  prize  at  a  party  given 
by  Jack  McDermott.  Bebe  presented  him  to  Marion  Davies  and 
Marion  gave  him  to  Captain  Morley  Drury  of  the  University  of 
Southern  California.  The  pig  is  now  the  mascot  of  the  football  team 


Photoplay  Magazine — Advertising  Section 


I 


"Aida"  placed  him  among  the  foremost 
tenors.  And  Mr.  and  Mrs.  Eiseman,  who 
happened  to  hear  the  boy  at  the  movies, 
were  the  proudest  members  of  the  audi- 
ence. 

Jagel,  you  must  remember,  sang  at  the 
movies  in  the  days  when  theaters 
specialized  in  young,  unknown  singers 
with  good  voices  instead  of  elderly 
vaudevillians  with  no  voices  at  all. 

ELSIE  JANIS  has  joined  the  lists  of 
the  women  scenario  writers.  While 
the  musical  comedy,  "Oh  Kay!"  was 
playing  in  Los  Angeles,  Elsie  lost  her 
\oice  and  had  to  withdraw  from  the  cast. 
Then  John  McCormick  bought  the  rights 
to  the  show  for  Colleen  Moore  and  asked 
Elsie  to  try  her  hand  at  adapting  the 
script. 

LEWIS  MILESTONE,  that  ex-cutter, 
who  has  just  won  his  first  spurs  as  a 
director,  was  so  excited  about  the  open- 
ing of  his  heart-child,  "Two  Arabian 
Knights, "  that  he  arrived  with  a  party  of 
twenty  celebrities  more  than  thirty 
minutes  late,  dug  in  his  pockets  and 
found  he  had  forgotten  his  tickets. 

"Sorry,  sir,  but  they  must  have 
thought  you  weren't  coming  and  sold 
them  over.  There  isn't  an  empty  seat 
in  the  orchestra. " 

So  Gloria  Swanson  went  to  the  gallery, 
while  her  I\Iarquis-hubby  found  a  hole  in 
the  rear  of  the  balcony.  Lila  Lee  dis- 
covered that  a  couple  of  electricians  in  the 
balcony  had  forgotten  the  girl  friend  and 
took  the  empty  place  between  them. 
Mer\-in  Le  Roy  posted  himself  on  the 
stairs.  E\-eryone  but  the  host  found 
some  kind  of  a  position. 

^Milestone  stood  dejectedly  in  the  rear 
of  the  building  and  watched  his  picture 
carry  the  crowd  into  roars  of  laughter, 
while  he  remembered  with  longing  the 
irresponsibilities  of  being  a  whistling 
cutting-boy. 

A  HOLLYWOOD  theater  an- 
^*-  nounces  in  electric  lights,  "Titles 
by  Ralph  Spence,"  being  the  first 
time  on  record  a  title-writer  rated 
billing. 

But  if  the  titles  were  NOT  by 
Ralph  Spence,  THAT  would  be 
news. 

DOROTHY  GISH  very  silently  re- 
turned to  England  to  continue  her 
series  of  famous  sirens  of  history  for  a 
British  company.  Dorothy's  new  con- 
tribution to  historic  portraiture  will  be 
"Anne  Boleyn,"  the  recounting  of  the 
life  of  a  lady  who  lost  her  head. 

Ricardo  Cortez  is  also  making  pictures 
in  Europe,  with  a  French  company. 
Ricardo  is  playing  in  a  dingus  called 
"The  Orchid  Dancer,"  directed  by 
Leonce  Perret  who  once  made  films  in 
these  parts. 

THEY  have  had  orchestras  play  on  the 
sets  during  the  filming  of  pictures  for 
some  time  now,  but  it  remained  for  Ramon 
Novarro  to  introduce  the  vocalist  as  an 
accompaniment  for  emotional  acting. 

"E\-ery  musical  instrument  is  merely 
an  imitation  of  the  human  voice,"  he  is 
said  to  have  argued. 

Lillian  Rosine  was  the  singer  borrowed 
from  the  costume  department  to  sing  in 


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m  Transportation  Service  ^\  .  . 


Thus  "Chic"  Sale,  famous 
vaudeville  and  musical  com- 
edy star,  describes  the  "Gold- 
en State  Limited." 

"Go  Golden  State"  is  a  slo- 
gan of  stage  and  screen  celeb- 
rities who  besides  expecting 
the  utmost  in  travel  service, 
know,  too,  that  this  de-luxe 
63  hour  flyer  covers  the  dis- 
tance between  Chicago  and 
Los  Angeles  on  the  fastest  schedule  available. 

Luxuriously  fitted  to  afford  maximum  comfort,  and  serving 
meals  unequalled  for  their  goodness,  the  "Golden  State  Lim- 
ited" is  like  a  great  moving  hotel. 

You  will  be  delighted  with  a  trip  on  this  great  train.  Any 
Southern  Pacific  or  Rock  Island  agent  will  arrange  it  for  you. 

Golden  State 

Southern  W  S^^^SA-^^.^      %ock 

Pacific  Liiiiitea   -  - 


^ 

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Ur.    C.    L.    UcJau 

Traffic   llanoger, 
"alif"""' 

Bear  Mr.    KcPaul 

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I   hare  Bade  many  trips  aero.. 

traJel'ooJSrt.'L^^ee  ^d'th. 
t  go    to  nmi.  traTcllag  a  plsasore. 

S^^i^SoQ^^ 

Island 


F.  S.  McGINNIS.  Pass.  Traffic  Mgr. 
Southern  Pacific  Company 
San  Francisco, California 
Hollywood  Ticket  Office,  6768  Hollywood  Blvd. 


L.  M.  ALLEN,  Vicc-Pres.  and 
Pass.  Traffic  Mgr.  Rock  Island 
Lines,  Chicago,  Illinois 
Los  Angeles  Ticket  Office.  212  West  Seventh 


I  atlvertisers  pleast 


I  niOTOPL.VT  SIAGAZIXE. 


the  new  picture,  but  the  real  thrill  came 
when  No\arro  sang,  according  to  Renee 
Adoree  and  others  in  the  picture. 

His  \-oice  is  as  good  as  any  which  was 
offered  in  the  Grand  Opera,  they  tell  me, 
— which,  by  the  way,  Novarro  attended 
e\-ery  night  during  its  Los  Angeles 
season. 

THE  widow  of  a  certain  prominent 
screen  actor  is  spending  the  winter  in 
New  York.  The  lady  is  a  non-pro- 
fessional and  wealthy  in  her  own  right 
and  so  she  has  flocks  of  suitors  who  send 
her  flowers,  candy  and  perfume. 

Even  the  life-sized  photographs  of  her 
late  husband  which  decorate  her  apart- 
ment cannot  dampen  the  ardor  of  the 
gentlemen  who  are  begging  her  to  cut 
short  her  wdowhood. 

THE  press  agent  for  the  Roumanian 
royal  family  rushes  to  tell  the  world 
that  somebody  or  other  has  pronounced 
the  Princess  Ileana  a  perfect  physical 
specimen  of  glowing  girlhood.  The  dis- 
patch also  adds  that  Ileana  is  interested 
in  amateur  movies  and  is  filming  a  picture 
about  intimate  life  in  a  palace. 

All  of  which  not  only  sounds  sinister 
but  positively  menacing. 

BESS  MEREDYTH  has  one  of  those 
new  talking-machines  which  changes 
its  own  records.  And  it's  a  good  thing, 
she  tells  us,  because  "Changing  phono- 
graph records,  lying  to  people  about  my 
whereabouts,  and  keeping  off  creditors 
used  to  keep  my  secretary  busy  and  now 
she  does  have  a  little  time  for  work 
while  the  twelve  records  are  playing. " 

Oh,  yes,  Bess  does  all  of  her  scenario 
writing  to  music.  Good  inspiration  for 
scenarios  as  well  as  acting,  she  assures  us. 

HERE'S  a  news  item  for  you.    Sam 
Jaffe,  our  production  manager,  has 
a  new  bab3\  " 

"Boy  or  girl?"  we  queried. 
"Just    a    minute,    I'll    telephone    and 
find   out."     She   hung   up    the   receiver 
looking  a  little  flurried. 


"The  news  item  I  saw  was  just  an 
advance  notice.  Mrs.  Jaffe  is  going  to 
the  hospital  Wednesday  afternoon  at 
three  P.  M.  and  the  baby  is  going  to  be 
born  Thursday  morning  at  eight  A.  M. 
And  it  will  be  a  boy. " 

Wonderful,  how  these  movie  people 
have  scientifically  developed  systems. 

HERE'S  one  on  the  New  York  critics, 
to  say  nothing  of  the  United  Artists 
scenario    and    executive    departments. 

"Camille, "  Norma  Talmadge's  latest, 
was  released  with  screen  credit  for  the 
authorship  going  to  Alexander  Dumas. 

Now,  all  those  who  know  their  literary 
onions  realize  that  papa  Dumas,  who 
wrote  "The  Three  Musketeers, "  swung  a 
^•ery  different  pen  from  Dumas  fils  who 
scribed  "Camille." 

Yet  it  was  released  in  New  York  with 
the  credit  going  to  the  father,  and  not  a 
critic  seemed  to  know  the  difference. 

And  a  Frenchwoman  did  the  scenario 
for  United  Artists! 

SAYS  Irene  Thirer  of  New  York's 
Daily  News:  "Al  Jolson  is  scheduled  to 
film  'Pagliacci,'  based  on  the  opera.  The 
picture  will  have  Vitaphone  accompani- 
ment and  will  be  based  on  Puccini's 
opera. "  What  we  would  like  to  see  would 
be"Carmen"  with  a  Vitaphone  accompani- 
ment based  on  Richard  Wagner's  opera. 

WE  were  saved  from  knowing  the 
deep  secrets  of  Clara  Bow's  future 
by  the  United  States  Government. 

Just  as  Hamid  Bey,  that  weird  Oriental 
who  buries  himself  for  six  hours  in  the 
ground,  then  comes  to  life  prepared  to 
tell  all  about  the  unknown,  was  being 
sought  by  the  Paramount  publicity  de- 
partment to  reveal  things  to  the  fair 
Clara,  the  government  decided  it  was 
time  for  Hamid  to  return  to  his  own 
country. 

Safe  to  say,  that  this  future-telling 
business  wouldn't  have  become  a  fad  in 
the  Cinema  City.  For  what  actress  wants 
to  know  where  she  will  be  ten  years  from 
now,  we  ask  vou  ? 


y»«!si'j- 


Another  miracle  in  this  age  of  in- 
vention. Joan  Crawford  carries  a 
hand-bag  with  a  wooden  handle  in 
which  is  concealed  a  lip-stick  and 
a  vial  of  perfume 


The  Noonan  family,  once  an  important  percentage  of  the  popula- 
tion m  Bayonne,  N.  J.  Two  of  the  nine  children  of  Judge  and  Mrs. 
Noonan  are  now  famous  in  the  movies  and  four  others  have 
announced  that  they  are  candidates  for  stardom.  The  baby  at  the 
extreme  right  is  now  known  to  you  as  Sally  O'Neil.  The  next  in 
hne  is  her  sister,  Molly  O'Day.  The  third  from  the  right  is  Isabelle, 
now  playing  small  parts.  And  three  of  the  boys  are  also  in  pictures 
102 


OBSERVED  on  the  M.-G.-M.  lot 
Milton  Work,  the  bridge  expert, 
playing  a  rubber  of  bridge  with  Marion 
Da\ies,  King  Vidor  and  Jane  Winton 
between  the  shooting  of  scenes  on  "The 
Patsy. " 

COMMENDABLE  candor  on  the 
part  of  Pearl  White:  "If  my  old 
serials  were  to  be  re-issued  now,  I  don't 
think  they'd  stand  a  ghost  of  a  show. " 

Thus  the  truthful  Miss  White  in 
answer  to  the  flattering  queries  of  ship 
news  reporters. 

ALTHOUGH  the  representation  of 
the  figure  of  Christ  is  forbidden  on 
the  stage  or  screen,  the  city  of  London 
has  made  an  exception  of  "The  King  of 
Kings"  and  has  permitted  De  Mille's 
film  to  be  presented  in  that  city. 

OF  course,  we've  always  known  that 
Gil  Boag  won  the  silver  toupee  as  a 
publicity  man,  but  his  stock  went  to  even 
a  higher  figure  when  he  tried  to  slip  in  a 
film  advertising  his  wife's  new  picture 
"The  Devil  Dancer"  at  John  W.  Con- 
sidine's  opening  of  "Two  Arabian 
Knights"  in  Los  Angeles. 

Only  John  happened  to  see  Gil  in  the 
lobby. 

"What  you  doing  with  that  film,  Gil," 
he  queried. 

"Gilda's  picture  opens  here  right  after 
j'ours.  Thought  I'dshowabitof  it,  John." 

"Think  again!  You're  not  showing 
anything  here   tonight." 

Blankety-blank-blank — then  a  lot  of 
more    blanks. 

Friends  jumped  between  them,  after 
a  large  side-show  crowd  had  gathered. 

GildaGray 's  new  picture  was  not  shown. 

THE  trail  of  newspaper  folk  seems  to  be 
leading  to  Hollywood  these  dajs.  Not 
as  writers.  No,  indeed!  As  fullfledged 
actors,  if  you  please.  Just  glimpse  this 
list  of  ex-reporters  who  have  succeeded 
in  making  themselves  good  copy  for  their 
former  compatriots  to  wrangle  about. 
Herbert  Moulton  of  the  L.  A.  Times 
broke  into  the  game  in  "The  Trail  of 
'98";  George  Goforth,  the  big  man  who 


Photoplay  Magazine — Advertising  Section 


103 


held  up  the  little  baby  to  the  Tibet  Chief- 
tain in  Gilda  Gray's  "The  Devil  Dancer" 
and  is  now  working  in  John  Gilbert's 
"The  Cossacks,"  was  formerly  an 
Associated  Press  representative;  Grant 
Withers,  until  recently  of  the  L.  A. 
Record,  had  a  part  in  "Bringing  Up 
Father";  Roland  Drew  used  to  tramp 
the  streets  of  New  York  digging  up  news, 
but  is  now  playing  the  Spaniard  in 
"Ramona";  Larry  Grey,  now  in  the 
thousand  dollar  a  week  class,  formerly 
pounded  the  typewriter  on  the  San 
Francisco  Bulletin;  J.  Ferrell  McDonald, 
Fox  player,  plugged  on  the  Den\er  Post; 
and  Betty  Blaire,  now  playing  in  a  Lon 
Chaney  picture,  was  club  editor  of  the 
Minneapolis  Tribune  until  she  got  the 
Hollywood  fe\er. 


Pueblo,  Colo. 

Thirty  years  ago  I  was  enjoying 
some  of  the  prosperity  that  at  that 
time  was  flourishing  around  such 
mining  camps  as  Cripple  Creek  and 
Leadville,  Colorado.  But  a  few  years 
later  I  had  a  little  misfortune,  just 
enough  to  make  me  lose  confidence 
in  myself,  and  that  finished  me. 
Three  years  ago,  I  was  down  and  out 
and  all  in. 

It  was  in  August,  1924,  that  my 
daughter  bought  me  a  ticket  and  pre- 
vailed on  me  to  go  to  the  theater  with 
her  and  see  "The  Covered  Wagon." 

While  watching  the  heroic  char- 
acters in  that  play,  I  became  em- 
barrassed. To  see  those  grim  old 
characters  actually  accomplishing 
things  that  I  was  then  too  cowardly 
to  undertake,  really  made  me 
ashamed  of  my  weakness. 

The  psychological  effect  that  that 
picture  had  on  my  mind  cannot  prop- 
erly be  explained.  I  fully  decided  to 
use  the  heroic  characters  of  that  play 
as  honorable  examples  the  rest  ot 
my  life.  I  rolled  up  my  sleeves  and 
went  to  work  with  a  determination 
that  I  had  not  had  for  years.  A  few 
months  later  I  was  doing  well,  or 
"having  good  luck"  as  some  men 
would  say. 

During  my  success  thirty  years  ago 
I  planned  to  build  me  a  good  home. 
But  a  few  years  later  I  gave  up  all 
hopes  of  ever  having  a  home  of  any 
kind,  much  less  the  elaborate  one  I 
had  dreamed  of. 

Today  I  own  and  live  in  that  home. 
As  I  write  this  letter  in  the  den  of  the 
home  of  my  dreams,  I  look  at  the 
good  books,  pictures  and  other  things 
I  have  always  wanted,  and  my  ac- 
complishments of  only  three  years 
seem  almost  like  a  nuracle. 

But  it  isn't.  The  mind  is  the  cre- 
ator of  every  good  and  evil  thing  in 
this  world.  Put  a  man  in  the  proper 
state  of  mind  and  he  can  accomplish 
almost  anything.  I  can  easily  trace 
my  recent  success  to  that  moving 
picture  I  saw  on  the  night  of  August 
4th,  1924.  So  I  say,  three  cheers  for 
all  such  noble  pictures  as  "The 
Covered  Wagon."  B.  F.  C. 


V 


mm  Alt  Ability 

L\NALYZED  FREE 


r 


HERE  is  your  opportunity  to  find  out  how  much  artistic 
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What  Does  Acting  Do  to  the  Actor? 


[  CONTINUED  FROM  PAGE  69  ] 


but  a  gold-digger.  She  was  very  highly 
esteemed — most  unselfish  and  most  trust- 
worthy. I  personally  made  inquiries  to 
settle  these  points.  Still,  she  thought  thty 
did! 

And  to  think  a  thing  is  to  make  you  be- 
have in  accordance  with  that  particular 
thing. 

The  effect  of  acting  the  same  kind  of 
role  year  in  and  year  out  is  not  necessarily 
as  striking  in  the  average  actor  as  in  the 
case  of  Miss  B.  Still,  there  can  be  no 
question  but  what  too  frequent  type 
parts  do  have  a  similar  influence. 

THE  man  who  plays  the  villain  un- 
doubtedh-  is  anything  but  a  villain. 
The  woman  who  plays  a  dissolute  street 
female  is  probably  most  refined  and  cul- 
tured. 

Ne\ertheless  my  work  with  actors  has 
convinced  nie  that  such  a  screen  villain's 
viewpoint  of  life  is  so  strongly  influenced 
by  his  \illainous  acting — and  the  same 
holds  true  for  the  wayward  woman  or  any 
other  screen  part — that  he  automatically 
watches  himself  lest  he  display  \illainous 
tendencies  in  his  e^•e^yday  personal  asso- 
ciations. 

Sometimes  this  reaction — and  often  it 
is  entirely  unconscious  to  the  actor- 
takes  the  form  of  what  in  psychoanalysis 
is  called  a  "defense  reaction." 

In  a  defense  reaction  you  do  exactly 
the  opposite  of  what  you  fear  you  may  do 
or  be  suspected  of  doing,  and  j-ou  do  it 
in  an  exaggerated  way. 

THE  mental  anahsis  of  an  actor  friend 
of  mine  re\  ealed  the  fact  that  although 
he  is  always  placing  the  ardent  lover  in 
pictures,  in  pri\ate  he  is  most  shy  and 
timid  and  as  cold  as  an  iceberg. 

What  his  wife  told  me  is  amusing.  She 
said:  "If  Frank  would  only  court  me 
with  one  twentieth  the  amount  of  passion 
he  shows  wiih  these  movie  queens  I'd 
consider  myself  a  \er3'  lucky  woman." 

"I  love  my  wife,  all  right,"  the  actor 
countered.  "And  I  also  know  how  to 
make  love.  But  I  do  it  so  much  it  sickens 
me.  I  want  to  do  anything  but  that  when 
I  get  home." 

This  was  a  conscious  and  deliberate 
defense  reaction. 

Defense  reactions  may  be  set  up  against 
any  part  the  actor  happens  to  be  doing, 
.^s  a  general  principle  it  may  be  said 
that  what  the  actor  is  compelled  to  do 
as  an  actor  he  will  react  to  in  an  opposite 
way  as  a  private  indi\idual. 

Where  the  actor  has  not  been  identified 
with  a  certain  t>pe  part,  I  have  found  that 
his  charai  tcr  becomes  exceedingly  pliable, 
otitn  so  much  so  that  it  amounts  to  abso- 
lute unreliability. 

Al\\a\s  being  somebody  else  makes  the 
actor  lose  hib  own  personality. 

I  ha\  e  seen  it  affect  men  and  women  of 
the  screen  so  much  that  they  became 
rather  spineless.  They  lose  their  sureness 
and  force.  They  respond  too  readily  to 
environment.  They  allow  the  feeling  of 
the  moment  to  dominate  them.  Their 
will  power  weakens.    They  vascillate  and 


change.  They  become  passive.  Often 
they  become  undependable. 

Actors  will  admit  that  theinsehes. 
Their  work  makes  them  that  way. 

Women,  of  course,  are  fundamentally 
more  pliable  than  men. 

A  woman  by  nature  willingly  subserves 
her  indi^•iduality  to  her  husband  or  her 
child  or  to  a  cause. 

That  is  why  directors  in  the  end  have 
more  success  with  women  than  with  men. 
Women  have  more  little  vanities  to  be 
catered  to,  but,  unless  they  harbor  a 
strong  personal  dislike  to  a  director,  their 
characters  are  much  more  responsive  all 
the  way  through. 

WOMEN  are  less  markedly  affected 
by  acting  than  are  men.  Women 
are  alwa^-s  acting  more  or  less,  anyway, 
whether  they  be  professionals  or  not. 

When  they  change  from  a  private 
status  to  a  picture  career  the  change  is  not 
so  great  after  all.  Acting  also  tends  to 
make  actors  jealous  of  each  other. 

In  the  first  place,  competition  is  keen. 
Secondly,  any  art  that  depends  so 
strongly  upon  the  individual's  own  efforts 
is  bound  to  lay  unusual  stress  upon  the 
personal  equation. 

One  finds  the  same  thing  true  in  all 
artistic  endeavors.  There  is  no  abstract, 
non-personal  standard  to  go  by.  The 
actor  is  forced  always  to  depend  upon 
himself.  For  success  or  failure  he  must 
in  the  end  hold  himself  accountable. 
Hence  his  ego  continually  makes  him 
compare  himself  with  other  actors.  Hence 
he  becomes  very  critical  of  others  and,  if 
he  is  not  careful,  jealous  of  others. 

Acting  makes  actors  excessively  opti- 
mistic. The  actor  always  feels  certain 
that  the  production  he  is  in  will  be  a 
great  triumph. 

This  is  another  variety  of  defense 
really.  The  actor  himself  is  so  helpless  in 
the  face  of  the  commercial  elements  that 
go  into  film  production  as  well  as  the 
whims  of  the  public — o\-er  all  of  which  he 
exercises  no  control  whatever — that  he 
must  needs  be  excessively  hopeful  in 
order  to  be  able  to  put  forth  his  best 
efforts. 

Never  depend,  therefore,  upon  what  an 
actor  tells  you  about  the  picture  he  is 
pla>-ingin. 

The  emotional  factors  are  such  that  he 
cannot  gain  the  proper  detached  per- 
spective to  form  an  unbiased,  critical 
opinion.  Lastly,  actors  on  the  whole  are 
a  nervous  lot. 

I  have  still  to  meet  one  who  is  not  a 
neurotic.  Each  and  every  one  is  high- 
strung,  keyed-up,  over-emotionalized. 

I I  is  acting  that  does  that  to  them. 

YES,  acting  has  its  hazards  like  most 
other  worthwhile  occupations.  Indeed, 
it  can  undermine  andi  wear  and  tear  in  a 
surprisingly  short  time. 

I  don't  claim  that  actors  are  to  be 
pitied.     Far  from  it. 

I  do  say,  though,  that  they  are  not 
specially  to  be  envied. 

They  deserve  everything  they  get ! 


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Intimate  Visits  to  the 

Homes  of  Famous 

Film  Magnates 


[  CONTINUED  FROM  PAGE  49  ] 

sections  of  geography  in  the  rough.  He 
paused  a  bit  in  his  rambles  in  that  ^vild 
region  known  as  Chicago  and  from  the 
advantageous  position  of  a  bellboy  in  the 
old  Saratoga  hotel  in  Dearborn  Street  he 
studied  the  life  of  "the  Loop." 

BUT  young  Martin  was  destined  for 
places  far  over  the  sea,  some  of  those 
shipping  label  places  he  had  studied  in  the 
woodshed  in  Independence.  So  it  came 
in  time  that  he  slipped  ashore  from  a 
cattle  boat  in  Liverpool  and  presently 
found  himself  living  in  Whitechapel  in 
London,  with,  among  and  after  the  man- 
ner of  costers  and  cockneys. 

There  is  a  certain  previously  unwritten 
economic  and  social  law  to  the  general 
effect  that  the  less  one  has  to  live  upon 
the  more  one  really  lives.  Young  Mr. 
Johnson  did  a  deal  of  living  in  White- 
chapel, cautiously  conserving  his  re- 
sources and  continually  whetting  the 
edge  of  eager  experience.  This  shortly 
brought  him  in  touch  with  one  of  the  pun- 
gent personages  of  Whitechapel,  whom  we 
may  as  well  label  as  Bill,  since  his  name 
has  been  lost  utterly  under  the  potpourri 
of  intervening  Johnson  memories. 

Now  Bill  took  this  young  Johnson 
under  his  wing  in  Whitechapel  because 
the  lad  was  an  American.  Bill  had  known 
a  certain  other  American  whom  he 
deemed  of  large  importance.  This  other 
American  was  an  erratic  two-fisted  chap 
named  Jack  London,  who  came  telling 
strange  tales  of  the  Barbary  Coast  and 
the  Klondike  and  other  unbelievable 
places,  the  while  seeking  yet  other  tales  to 
him  just  as  wild  and  fantastic. 

AFTER  a  while  the  wonders  of  White- 
chapel palled  on  Martin.  He  began 
to  think  a  shade  wistfully  about  home, 
mother  and  mince  pie.  One  quiet,  dark 
hour  in  the  night  he  slid  down  a  mooring 
hawser  on  a  slip  at  Liverpool,  swung  into 
a  cargo  port  and  felt  his  way  up  the  com- 
paniomvays  and  in  the  shadows  until  he 
came  to  the  boat  deck  of  the  liner.  W'ith 
a  jug  of  water  and  a  box  of  ship's  biscuits 
he  took  up  quarters  in  a  life  boat, 
most  carefully  adjusting  the  tarpaulin 
cover  against  discovery  by  the  deck 
watch.  When  the  tide  turned  in  the  early 
morning  the  big  liner  nosed  into  the 
Mersey,  cast  off  her  tugs  and  headed  for 
Hoboken,  with  one  Martin  Johnson 
aboard  but  exclusively  withholding  his 
name  from  the  passenger  list. 

Through  the  long  days  Johnson  lay 
a-drowsing  in  his  hiding  place,  that  life 
boat  set  in  its  cradle  with  the  davits  and 
blocks  creaking  with  the  roll  of  the  ship 
overhead. 

By  night  Johnson  emerged  and  cau- 
tiously roamed  the  ship,  dodging  about  in 
the  shadows  and  playing  hide  and  seek 
with  the  sailors  on  watch,  as  he  went  to 
fill  his  water  jug.  On  one  of  these  noc- 
turnal adventures -JxjknsQn  picked  up  a 
fragment    of    an    American    newspaper 


For 

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which  he  bore  back  with  him  to  his  hiding 
place.  In  the  tedious  hours  of  the  next 
day  he  read  this  paper,  which  he  found 
to  be  a  section  of  the  New  York  Times. 
In  it,  to  Johnson's  vast  interest,  was  a 
story  about  this  Jack  London  of  whom  he 
had  heard  so  much  from  Bill  in  White- 
chapel.  The  story  announced  London's 
plan  for  the  now  historic  cruise  of  the 
Snark,  the  yacht  with  which  he  proposed 
to  go  around  the  world,  sailing  first  from 
San  Francisco  and  out  through  the  Golden 
Gate  into  the  South  Seas. 

JOHNSON  tore  out  that  bit  of  a  story 
and  stowed  it  in  his  pocket.  Almost 
hourly  he  reread  it  and  built  fancies  on 
that  prospect  of  adventure. 

When  the  \-oyage  was  over  and  the 
ship  tied  up  safely  in  the  port  of  New 
York,  Johnson  slipped  over  the  gang 
plank  one  auspicious  moment  and  faded 
into  the  waterfront.  His  first  purchase 
was  a  dollar's  worth  of  ham  and  eggs  and 
coffee.  His  second  was  twelve  cents 
worth  of  postage,  a  tw^o  cent  letter  stamp 
and  a  special  delivery.  Then  with  a  bit  of 
hotel  stationery  and  a  lead  pencil  he  most 
carefully  composed  a  letter  to  Jack  Lon- 
don, just  as  one  adventurer  to  another, 
suggesting  that  one  Johnson  would  be  a 
\aluable  addition  to  the  Snark  expedition. 
Martin  made  passing  reference  to  Bill  in 
Whitechapel  and  "The  People  of  the 
Abyss,"  and  told  something  of  his  runaway 
adventures. 

There  w^ere  two  important  aspects  of 
that  letter.  First  it  was  an  effecti\^e  job 
of  writing  in  that  it  said  a  number  of 
things  with  great  directness  and  accu- 
racy; and  second,  it  bore  a  special  de- 
livery stamp.  Johnson  gave  his  address 
as  Independence,  Kansas,  and  hurried 
across  the  Hudson  shortly  to  make  ar- 
rangements with  a  railway  company  to 
go  home  and  get  the  reply.  He  was  sure 
there  would  be  one. 

NOW  a  whole  series  of  coincidental 
facts,  chances  and  happenings  began 
to  conspire  concerning  the  destiny  of  our 
ad^■enturer.  Johnson's  letter  was  one 
among  thousands  written  to  London 
seeking  a  share  in  the  projected  cruise  of 
the  Snark.  The  London  bungalow  was 
littered  w'ith  stacks  of  such  letters,  most 
of  them  unopened.  But  this  particular 
letter  so  laden  with  the  whims  of  fate 
came,  not  in  the  regular  mail,  but  all  by 
itself  in  the  hands  of  a  special  delivery 
messenger.  And  it  chances  that  it 
was  put  into  the  hands  of  Mrs.  London. 
And  she,  instead  of  tossing  it  into  the 
closest  con\enient  heap,  spent  one  idle 
moment  reading  it.  It  made  an  impres- 
sion on  her. 

Now  at  this  precise  juncture  entered 
Jack  London,  in  a  mood  of  petulance  and 
disappointment.  He  had  just  came  from 
an  inspection  of  the  Snark,  which  was 
even  then  outfitting  for  the  cruise.  It 
appears  that  in  the  enthusiasm  of  an 
abundance  of  goodfellow'ship  and  warm- 
ing wines  the  chef  of  the  Bohemian  club 
in  San  Francisco  had  \olunteered  to  ship 
as  the  Snark' s  cook  for  the  world's  cruise. 
But  it  also  seems  that  on  this  day  only 
two  weeks  before  the  sailing  the  cele- 
brated chef  had  gone  to  inspect  the  gal- 
leys over  which  he  expected  to  preside 
and  then  and  there  fainted  and  made  a 
scene  expressive  of  his  contempt  of  the 

1  rnOTOPLAT  M.\G.\ZINE  Is  Riiariintei 


rude  and  tiny  craft.  What  the  chef  had-; 
heard  around  the  club  had  led  him  to  e.x- 
pect  a  yacht  of  liner  dimensions  and  Ritz 
appointments.  What  he  found  was  a 
little  ruffian  of  a  smack.  What  he 
said  was  in  broken  hearted  but  profane 
French.  What  London  said  was  in  the 
most  simple,  limpid  American.  In  other 
words  the  deal  was  oft'.  The  Snark  had  no 
cheL 

LONDON  had  no  more  than  given 
%'oice  to  his  lament  when  Mrs.  London 
ofl'ered  Martin  Johnson's  letter. 

"This  sounds  like  that  boy  might  have 
something  in  him, "  she  suggested. 

London  glanced  through  the  letter. 
"Wire  him  that  if  he  can  cook  he  can  sign 
up  for  twenty  a  month." 

When  Martin  strolled  up  the  home 
street  in  Independence  for  the  welcome 
home  there  was  a  job  already  waiting 
to  take  him  off  to  the  end  of  the  world 
again. 

Martin  sent  London  a  wire  that  indeed 
he  could  cook.  Then  the  young  man 
went  into  intensive  training  under  his 
mother's  skilled  tutorship  to  make  good 
on  that  boast.  When  that  brave  day  the 
Snark  put  to  sea  Martin  Johnson  was 
aboard  as  the  official  sea-going  cook, 
trained  on  the  prairies  of  Kansas. 

THE  cruise  of  the  Snark  encountered 
many  adventures  and  came  to  an  end 
far  short  of  the  intended  circumna\igation 
of  the  world,  but  that  was  all  just  a  con- 
tribution to  Martin  Johnson's  destiny, 
anyway.  When  the  expedition  paused, 
hesitated  and  ended  in  the  Society  Islands 
of  the  South  Seas,  Martin  went  ashore 
and  went /a'  Tahiti.  He  got  a  grass  house 
on  the  rim  of  a  silvery  beach  fringed  with 
feathery  cocoanu  t  pal  ms.  There  was  su  n- 
shine  and  fruit  and  fish  and  nothing  to  do 
and  a  great  deal  of  time  and  space  in 
which  to  do  it  thoroughly. 

When  now  and  then  Martin  tired  of  the 
play  of  the  palms  and  the  surf  he  did  him- 
self up  in  his  natty  white  ducks  and  w^ent 
to  chat  for  a  while  with  the  traveller 
guests  on  the  verandah  of  the  Tiare  Hotel 
in  Papeete,  to  get  the  news  of  the  world 
he  had  left  behind. 

On  one  such  day  in  1908  Johnson  met 
two  puzzled  and  marooned  French 
cameramen  from  the  Paris  office  of  Pathe. 
They  had  been  assigned  to  co\er  the 
cruise  of  "The  Great  White  Fleet,"  that 
American  naval  gesture  of  President 
Roosevelt's,  but  they  had  failed  to  con- 
nect because  of  the  lack  of  adequate  cre- 
dentials. There  they  were  on  the  beach 
at  Papeete  with  cameras,  miles  of  film  and 
nothing  to  do.  Johnson  was  curious 
about  the  cameras.  The  obliging  French- 
men taught  him  how  to  operate  them  and 
allowed  him  to  picture  the  nati\-es  and 
South  Sea  life.  The  film  that  he  made 
they  sent  back  to  Paris  to  explain  their 
long  absence.  But  they  incidentally  had 
made  a  cameraman  of  Johnson. 

In  due  season  Martin  again  felt  the  call 
of  home,  mother  and  mince  pie.  He 
went  back  to  Independence  and  arrived' 
to  find  himself  in  the  way  of  being  a 
celebrity,  what  with  the  publicity  which 
had  attended  the  Jack  London-5«ar^  ex- 
pedition. Also  he  had  learned  about  the 
films  and  the  nickelodeon  wa\e  of  mo- 
tion picture  theater  development  that  was 
sweeping  the  country.     With  a  partner 


Photopi^y  Magazine — Advertising  Section 


Johnson  became  a  motion  picture  mag- 
nate with  a  string  of  storeshows,  all 
named  "The  Snark"  and  numbered  from 
1  to  10.  The  Snark  circuit  was  one  of  the 
earliest  of  the  theater  chains. 

While  Martin  was  film  magnating  on 
the  Snark  circuit  he  stepped  into  the 
ticket  booth  to  check  up  receipts  one 
night  and  chanced  to  catch  a  merry  smile 
and  a  hello  from  a  diminutive  and  decid- 
edly pretty  girl  in  the  line  of  patrons. 
He  abandoned  the  statistical  and  fiscal 
matters  in  hand  and  dashed  out  to  see 
about  this  more  important  matter. 

ALMOST  immediately  there  was  a 
threatened  storm.  It  seems  that  it 
was  all  a  mistake.  The  girl,  IMiss  Osa 
Leighty  of  Chanute,  had  thought  he  was 
someone  else.  She  wassorr\-,  also  haughty. 

But  to  a  joung  man  who  had  learned 
things  all  the  way  from  Whitechapel  to 
Papeete,  this  was  no  serious  difiiculty. 
He  did  a  great  deal  of  talking. 

So  soon  the>-  were  married. 

Now  the  Snark  circuit  of  nickelodeons 
began  to  hit  hea^•y  gojng  and  rough 
weather. 

But  Martin  Johnson  had  become  some- 
thing of  a  showman  now.  He  had  found 
that  he  could  entertain  his  audience  with 
pictures  and  talks  about  the  South  Seas 
and  the  Jack  London  expedition.  Now 
to  meet  the  crisis  on  the  Snark  circuit 
he  hurried  away  to  Kansas  City  and  got 
booked  into  small  time  \aude\ille  with  a 
South  Seas  talk  and  pictures.  The 
pictures,  it  must  be  confessed,  were  straj- 
fragments  of  Hawaiian  scenics  which  had 
nothing  to  do  with  the  South  Seas  but 
Johnson  had  imagination  and  many 
ardent  words.  The  act  was  a  mild  suc- 
cess. Presenth-  Martin  Johnson  blossom- 
ed out  on  the  big  time  of  the  Orpheum 
circuit,  and  when  his  lecturing  career 
began  to  wane  he  became  the  editor  of 
the  Orpheum  Tra\  el  XA'eekly. 

But  Johnson  was  not  to  be  held  to  the 
staid  ways  of  business  too  long. 

Came  a  dawn  which  found  Martin  and 
Osa  aboard  ship  bound  for  the  South  Seas 
with  a  tiny  bankroll  and  a  camera. 

A  succession  of  extraordinary  expedi- 
tionary and  ad\  enture  pictures  followed, 
notable  among  them  "Captured  by 
Cannibals,"  and  "The  Headhunters  of 
the  South  Seas."  There  were  other  ex- 
cursions into  the  savage  Solomons  and 
to  Borneo  and  all  manner  of  the  remote 
places  with  exotic  names  like  Suva  and 
Raratonga  and  others  with  no  names  at  all. 

WITH  a  showman's  flair  for  a  dram- 
atic feat,  or  else  with  a  scientist's 
curiosity  concerning  reactions  of  primitive 
men,  Johnson  went  back  to  the  South  Seas 
to  revisit  the  royal  old  cannibal  chieftain, 
Nagipate  of  Malekula.  equipped  with  a 
projection  machine  and  portable  electric 
light  plant  to  show  the  natives  motion 
pictures  of  themselves  and  of  the  white 
world. 

More  recently  the  Johnsons  have 
abandoned  the  South  Seas  for  the  lure 
of  Africa  where  they  ha\-e  made  their 
home  on  the  danger  trails,  producing  a 
number  of  adventure  and  animal  pictures, 
latest  among  them  "Simba, "  a  dramatic 
study  of  the  wars  of  the  lion  and  the 
native  herdsmen  of  Tanganyika. 

Osa,  who  if  it  had  not  been  for  that 
picture  show  incident,  might  easily  have 


been  just  a  "home  girl"  with  a  small 
town  life,  is  a  full  partner  in  the  adven- 
tures and  exploits  of  her  husband,  with 
many,  and  many  a  feat  of  daring  to  her 
score  and  a  collection  of  trophies  of  which 
any  sportsman  might  be  proud.  She, 
with  her  rifles,  stands  guard  over  the 
photographic  daring  of  Martin's  pictorial 
pursuits. 

WE  have  to  let  them  get  close  for 
the  pictures,"  she  explains,  "be- 
cause one  doesn't  miss  when  they  are 
very  close." 

But  the  Osa  of  the  game  trails  is  not 
after  all  one  of  these  manly  women  given 
to  flat  heels  and  a  collar  and  tie.  E\ery 
African  sojourn  is  followed  bj-  a  shopping 
spree  on  the  Rue  de  la  Paix  and  Fifth 
Avenue.  Her  picture  work  is  done  in 
khaki,  but  she  has  a  star  wardrobe  for 
entireh'  personal  reasons  and  delights. 
She  turns  lightly  from  double  barrelled 
heavy  bore  elephant  rifles  to  the  utterly 
female  consideration  of  things  in  chiffon 
and   laiiic  and   hianchiani  and   Rodier. 

Meanwhile  the  photographic  attain- 
ments of  the  Johnsons  with  their  extraor- 
dinary records  of  the  wild  life  of  Africa 
have  gi\en  them  a  status  quite  beyond  the 
mere  approval  of  the  box  office.  Martin 
Johnson  has  become  world  famous  as  the 
adventure-photographer.  Each  of  his 
motion  picture  negatives,  after  its  theatri- 
cal career,  goes  into  the  collection  of 
priceless  record  archives  of  the  American 
Museum  of  Natural  History,  a  tribute 
to  their  sincerit}",  authenticity  and  acute 
realism  without  screen  hokum. 

Now  Martin  and  Osa  call  Nairobi  in 
British  East  Africa  home.  There  they 
ha\"e  a  residence  which  looks  for  all  the 
world  like  a  Long  Island  villa,  and  up  in 
the  deep  of  the  "blue,"  which  of  course 
means  "out  back  of  bej'ond"  up  at  Lake 
Paradise  near  the  border  of  Abysinnia 
the}-  ha\-e  what  might  be  called  their 
"country  place,"  a  headquarters  camp 
for  their  camera  safaris  on  the  big  game 
trails  of  the  elephant  and  rhinoceros 
countr}-.  The  Lake  Paradise  camp  sug- 
gests not  at  all  the  American  idea  of  a 
hunting  camp.  It  is  in  fact  a  little  town, 
built  of,  for  and  by  photography,  with 
houses  for  the  Johnsons,  film  darkrooms 
and  laboratories,  and  houses  to  care  for 
two  hundred  black  porters  and  garages 
for  the  motor  cars  with  which  the  John- 
sons go  racing  o^■er  the  veldt. 

Johnsonburgh-on-the-Lake  is  a  little 
oasis  of  civilization  in  a  wilderness  ruled 
by  sa\"age  beasts  and  more  savage  men. 
It  is  fi^■e  hundred  miles  from  Nairobi 
which  is  considered  a  metropolis  with 
its  fifteen  hundred  whites.  Up  at  Lake 
Paradise  the  Johnson  gardens  are  looted 
for  sweet  potatoes  by  the  grazing  ele- 
phants and  chattering  baboons  try  to 
steal  the  electric  light  bulbs  out  of  the 
bungalows.  Leopards  raid  the  chicken 
pens  and  lions  waylay  the  black  porters. 

THAT  is  the  place  that  the  Johnsons 
call  home.  And  it  must  be  home  be- 
cause they  always  go  there  for  the  purpose 
of  getting  ready  to  go  away  somewhere 
else  in  quest  of  excitement. 

.\\\  of  which  shows  what  can  happen  to 
a  boy  who  dreams  dreams  in  the  wood- 
shed and  to  a  pretty  little  girl  who  makes 
a  mistake  and  smiles  on  the  handsome 
stranger  at  the  picture  show — in  Kansas. 


i  mention  PHOTOPLAY  MAGAZINE. 


107 


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'ill  cJ^ovio    (fyla 


IVll 


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Ten  Years  Hence 


[  CONTINUED  FROM  PAGE  43 


my  first  real  vacation.  I  think  we  must 
have  a  headquarters  home  in  Beverly." 

"And  what,"  I  asked  severely,  "will 
you  do  with  the  children?" 

Colleen  dimpled  joyously.  "Oh,  we 
will  leave  them  at  home  with  mother 
in  California,"  she  bubbled,  "it's  the  best 
climate  in  the  world  for  children. 

"But  you  know,  what  I  probably 
really  shall  be  doing  ten  years  hence," 
laughed  Colleen,  "is  being  nice  and  plump 
and  matronly,  utterly  absorbed  in  a 
possible  two  children,  and  telling  my 
John  we  must  put  off  the  yachting  cruise 
until  the  children  are  a  little  older." 

I  TOLD  Colleen's  fortune  with  the  cards 
— just  for  fun.  The  cards  told  that  this 
little  Colleen  is  curiously  beset  by  other 
people's  financial  worries.  She  cannot 
make  a  move,  or  change  her  plans  a 
fraction  without  affecting  somebody  else's 
pocket    book. 

The  cards  also  told  of  a  contented  but 
slightly  wistful  old  age  for  Colleen,  with 
her  interests  affectionately  concentrated 
on  one  man. 

When  I  confronted  Dick  Barthelmess 
with    my    question,    he    looked    serious. 

"I  don't  expect  to  be  acting  then,  but 
I  would  like  to  be  in  the  producing  end 
of  the  game — perhaps  in  Europe.  But 
I  would  like  to  have  made  at  least  two 
more  pictures  as  good  or  better  than 
'Tol'able  Da\-id'  and  'Broken  Blossoms.' 
I  think  Europe  will  be  doing  big  things 
in  pictures  ten  years  hence. 

"I  hope  I  shall  be  surrounded  by  nice 
intellectual  friends,  and  be  happily 
married  with  a  little  family.  No,  I  am 
afraid  I  have  no  ambition  to  found 
orphanages  or  museums  or  libraries  or 
homes  for  sick  cats.  I  shall  still  want 
to  be  making  pictures,  preferably  inde- 
pendently. My  contract  with  First 
National  has  18  months  to  run,  and  I  am 
fairly  independent  here,  of  course." 

Dick  looks  such  a  verj'  romantic 
young  man — but  I  did  catch  him  lunch- 
ing off  corned  beef  and  cabbage,  and 
talking  stern  business  with  directors  and 
business  managers.  Dick  will  have 
achieved  matrimony  by  the  time 
this  story  appears,  and  he  already  has 
little  Mary,  aged  4,  towards  the  founding 
of  that  happy  family. 

I  CAUGHT  Gloria  Swanson  on  a  day 
when  she  was  "all  mother."  She  had 
completed  Sadie  Thompson  in  "Rain"  a 
few  days  before, — a  role  she  adored.  It 
was  her  little  girl's  seventh  birthday  and 
a  big  cake  was  being  carried  in  by  a 
haughty  butler.  The  little  boy  and  girl 
were  telling  about  a  moving  picture  they 
had  been  shown  at  school,  and  another 
they  were  to  see  later. 

Also  the  Marquis  had  just  arrived 
from  the  East. 

So  it  was  difficult  to  get  this  maternal- 
wifely  Gloria  to  concentrate  on  ten  years 
hence.  Today  and  the  immediate  to- 
morrow    were    so    enthralling. 

"Ten  years  hence?"  mused  Gloria. 
"Oh,  I  would  have  to  be  doing  something. 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


I  should  die  if  I  were  inactive.  I  won't 
care  what  it  is  so  long  as  it  is  interesting. 
The  stage,  perhaps,  as  an  experience, 
but  I  should  not  expect  to  make  the 
same  success  as  in  pictures. " 

Gloria,  too,  wants  to  be  living  in  the 
South  of  France,  even  as  Norma,  even 
asMenjou. 

Gloria  hopes  she  will  not  become  a 
grey-haired  grand-dameish  mother,  not 
plump  and  maternal  either.  There  was  a 
worried  little  crinkle  in  her  forehead  as 
she  tried  to  envision  herself  ten  years 
hence.  Being  anything  but  the  same 
Gloria  was  rather  disturbing. 

"But  I  am  going  to  work  hard  and 
make  a  great  many  pictures  in  the  next 
three  years, "  says  Gloria, 

THEN  I  tackled  Douglas  Fairbanks, 
with  his  newest  picture  "The  Gaucho" 
about  to  be  released,  and  a  new  one 
sizzling  in  his  head. 

"Search  me,"  laughed  Doug  boyishly. 
"I  haven't  an  idea  what  I'll  be  doing 
ten  3'ears  from  now.  I  never  think  about 
it.  I  just  live  each  day  as  it  turns  up.  I 
am  even  a  bit  vague  about  yesterday. 
I'm  a  little  afraid  of  tomorrow.  I  am 
always  getting  very  enthusiastic  about 
something,  getting  involved  in  all  sorts 
of  schemes — and  then  sweating  to  carry 
them  out  or  crawl  out  from  under.  My 
besetting  sin   is   making  rash   promises. 

"Ten  years  hence  .  .  .  umph.  I  am 
greatly  influenced  by  Mary.  She  has 
such  a  sane,  well-balanced  head.  I  shall 
probably  be  doing  what  Mary  thinks 
advisable,"  grinned  Doug,  who  does 
really  consult  Mary  about  every  little 
thing. 

"I  have  a  lot  of  wanderlust  to  get 
out  of  my  system  yet.  So  far  our  tra\el- 
ing  has  only  whetted  my  appetite  for  it. 
We've  done  Europe  pretty  well,  now 
there  is  the  Orient  and  the  tropics.  I 
have  some  illusions  about  China,  for 
instance,  that  I  don't  want  dispelled. 
I  am  going  to  try  to  arrange  to  see  China 
only  by  night. 

"I  have  young  Doug,  too,  you  know. 
He  is  writing  some  quite  good  poetry  now, 
and  trying  out  on  the  stage.  Good  at 
title  writing  too — he  titled  The  Gaucho' 
for  me  so  well,  that  Sam  Goldwyn  wanted 
the  name  of  my  title  writer  when  he  saw  a 
preview.  I  put  one  over  on  Sam,  told  him 
the  fellow  wasa  shy,  sensitive  chap — better 
make  business  arrangements  through  me. 
So  3'oung  Doug  got  $250  for  editing  a 
few  titles  for  Sam,  who  ne\er  would 
have  believed  a  se\enteen-year-old  boy 
could  have  been  worth   that." 

Doug  had  a  good  chuckle  over  hood- 
winking Sam  Goldwyn  about  young  Doug. 

PRESENTLY  he  was  discussing  the 
nasty  age  contro^•e^sy  that  has  been 
raging — about  scrapping  men  at  forty 
in  big  business.  ... 

"I  am  forty-four  myself,  but  in  the 
main  I  agree  with  Durant.  Here  on  the 
lot  we  notice  it.  Under  forty  men  m.ove 
by  their  own  momentum,  but  after  forty 
we  have  a  sense  of  having  to  pull  and  push 


Photoplay  Magazine — Advertising  Section 


109 


them — mentally.  But,  of  course,  I  am 
one  of  the  numerous  exceptions,"  grins 
Doug. 

"Ten  years  hence  I'll  be  fifty-four  .  .  . 
umph!  I  wonder  what  I  will  be  doing. 
Dashed  if  I  know." 

Doug,  like  a  ^•eritable  school-boy, 
can't  keep  still.  He  is  the  embodiment 
of  activity.  It  will  take  more  than  ten 
1  years  for  Doug  to  ossify.  He  is  no  more 
capable  of  contemplating  settled-dowii 
retirement  than  a  twehe-year-old. 

In  the  meantime  Doug  and  JMary  are 
regarded  as  co-so\-ereigns  by  numerous 
crowned  heads.  The  King  of  Spain,  the 
Prince  of  \\'ales,  Mussolini,  all  correspond 
with  them  as  fellow  rulers.  The  King  of 
Spain  wanted  Doug  to  make  a  picture  in 
Spain  and  offered  to  appear  personally  in 
it. 

They  entertained  the  j'oung  King  and 
Queen  of  Siam  not  long  ago,  the  country 
which  "Chang"  depicts.  Doug  says  the 
King  of  Siam  is  \ery  up-to-date  and  Siam 
has  had  airplane  postal  serxice  for  years. 

So  Doug  and  ^lary  may  easily  settle 
down  to  simple  ruling  monarchy  in 
Filmland  ten  j^ears  hence,  and  do  their 
domain  infinite  royal  credit  in  the  job, 
too. 

WHEN  I  interviewed  John  Gilbert, 
he  had  just  rushed  up  from  his 
yacht,  down  in  the  Los  Angeles  harbor 
and  looked  properly  romantic  in  immacu- 
late white  flannel  pants  and  rich  white 
sport  sweater.  John  is  just  naturally 
dazzling,  smile,  eyes,  teeth  and  all.  Yacht- 
ing thrills  him.  He  calls  his  recently  ac- 
quired schooner  "The  Temptress."  The 
motor  boat  is  "The  Vampire."  The  sail 
boat  is ' '  The  Harpie"  and  the  dinghy  "The 
Witch."  \\'hich  selections  give  a  peep 
into  John's  present  psychology. 

Ten  years  hence  John  will  be  forty — 
just  thirty  now,  the  age  Sir  Conan  Doyle 
says  that  all  men  will  be  in  heaven. 
(Sir  Conan  likewise  says  all  women  will 
be  beautiful  up  there!)  Sir  Conan  was 
devising  John  Gilbert's  idea  of  hea\en. 

John  was  emphatic  in  saying  he  would 
be  producing  pictures,  if  not  still  acting 
in  them,  ten  years  hence.  He  says  he 
lias  done  e\-erything  in  pictures,  writing, 
directing,  titling,  acting.  His  main 
quarrel  with  his  own  producers  now  is 
not  that  his  pictures  are  poor,  but  that 
they  could  be  so  infinitely  better.  But 
while  he  is  saying  that  he  is  making  all 
sorts  of  naughty  dangerous  comments  on 
the  side,  and  grinning  impishly  at  in- 
discretions he  knows  we  will  protect 
him  from. 

Yes,  John  hopes  he  will  be  married 
ten  3'ears  hence,  but  children  ...  oh,  Lord. 
Well,  maybe  a  couple  of  little  Gilberts — 
if  the  house  is  big  enough  for  safe  re- 
treats. 

"Preferably  little  Gilberts,"  grins 
John.  He  says  he  goes  to  see  his  little 
girl  at  the  home  of  his  former  wife, 
Leatrice  Joy,  "but  somehow,  although 
she  calls  me  'Daddy,'  I  can't  feel  properly 
paternal,"  confesses  John. 

AVERY  different  person  is   Ronald 
Colman,  all    gentlemanly  reticence 
and    polite    discretion,    intermixed    with 
attractive  half-embarrassed  little  smiles. 
Ten  years  from  now  Ronald  will  be  a 
trifle  over  forty.    "So  perhaps  I  shall  not 


OFFER 


used  Menthola 


223ZEEES3 


By  Note  . 


Ear 


begin 


No  I 


Self-Instruction  (^onrse 

■259  stylesof  Biae  684  -lyncopated  ttlects  BlueHa 
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including  Ear  PlaMng      133  pages  of  REAL  Jazz,  25  OOU 
words,    A  PoBtal  brings  oni  »  RFE  Specnl  Offer 

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Base, 


How  to  banish  them 

A  simple,  safe  home  treat- 
ment—la  years'  success  in  my 
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WM.  DAVIS.  M.  D..  124-D  Grove  Ave.,  Woodbridge,  N.J. 


For  a  Good  Christmas  Suggestion,  See  Page  115 


INCREASE   YOUR   HEIGHT 

Rp'fiilt-.  have  been  remarkable.     From  three  to  five  inches  gained 
—  ,  m  2  months,    as   well   as  improved  health,    buoyant   pep,    and 

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I  ha've  no  drugs,  dope,  or  medicines  to  sell,  but  a  new  apparatus  I 
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C'lvihzed  habits  cause  a  flattening  of  the  vertebrae  and 'their  carti- 
1  iffinous  pads      Mj    


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1     rijom     the 

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til  Igl 

a  rati 

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from  the  spine  are  then  no  longer  impinged  upon,  consequently, 
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Sausalito,  Calif. 


PHOTOPLAY  MAGAZINE. 


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ms  is  the  GUITAR 

you  hear  on  the  radio  and  records. 
The  Gibson  Mascertone  Guitar 
with  its  rich  tone  of  such  depth 
beauty  and  carrying  pow 
embodies  finest  matei 
and  most  expert  craft 
manship;  acclaimed  as 
world's  finest  guitar. 
Easy  playing 


For  a  ^ood 

XMAS 

SUGGESTION 

see  pa^e  115 


[antworKm^^;^? 


be  acting  on  the  screen.  Oh,  no,  I  could 
ne\-er  do  my  own  producing.  I  hold  pro- 
ducers in  proper  respect.  But  perhaps 
I  shall  be  back  on  the  stage.  I  should  like 
to  be  Ii\-ing  in  Southern  Italy,  and  maybe 
own  a  3'acht  by  then,  for  trips  to  the 
Orient  and  the  tropics — and  only  work- 
ing say,  twenty  weeks  in  the  }-car  instead 
of  fifty-two. 

"I  should  like  a  fine  library — oh,  not 
necessarily  rare  first  editions.  I  should 
like  to  have  a  son.  .  .  .  (Ronald's  wife 
li\-es  in  England.) 

"  I  hope  my  best  virtue  will  be  charity, 
and  that  I  shall  only  indulge  the  more 
gentlemanly  and  discreet  vices.  Ves,  I  do 
like  a  game  of  poker  .  ,  ."  he  admits  depre- 
catingly,  "a  mild  gamble,  and,  and  .  .  ." 

Ronald's  pet  sport  at  present  is  tennis, 
which  he  is  so  proficient  in  that  he  gi\"es 
some  of  California's  champions  a  first 
class  fight. 

RICHARD  DIX,  Paramount's  star, 
says  he  will  be  a  motion  picture 
director  ten  j-ears  hence.  "Only  the  sur- 
face of  motion  picture  potentialities  has 
been  scratched,  "  said  Richard.  ' '  I  would 
like  to  do  my  part  in  ad\"ancing  them 
further  as  a  uni^'ersal  international  force 
for  good,  for  international  peace  and 
understanding,  new  methods  in  education, 
and  with  far  greater  entertainment 
qualities. 

"I  am  an  actor  now,"  says  Dix,  "but 
no  star  in  the  industry  has  succeeded  in 
maintaining  his  or  her  popularity  up  to 
the  age  I  shall  be  in  ten  years  from  now. 
I  want  to  retire  while  I  am  at  the  top, 
not  wait  till  it  is  whispered  I  am  slipping. 
But  I  don't  want  to  lea\'e  the  industrv. 


My  desire  to  direct  grows  upon  me  and  I 
feel  sure  there  will  be  a  place  for  me. 

"  I  also  expect  to  be  married  and  be  th,e 
father  of  four  children,  two  boys  and  two 
girls,"  laughs  Richard.  "  I  shall  be  living 
in  Southern  California  if  I  ha\'e  my  way, 
in  a  nice  roomy  Spanish  type  house  on  a 
ranch  where  I  can  breed  blooded  horses. 
I  should  like  a  trip  to  Europe  and  the 
East  at  least  once  a  j-ear. " 

Although  Dolores  del  Rio  is  too  young 
to  include  in  this  story — only  twent3--two 
now,  after  two  brilliant  years  in  pictures, 
she  has  her  future  all  marked  out. 
Dolores  is  burning  to  be  a  stage  actress. 
She  is  deliberately,  earnestly  intending  to 
attack  the  stage  as  her  supreme  ambi- 
tion. Ten  years  hence  Dolores  expects 
to  be  among  the  Ruth  Chattertons, 
Lenore  Ulrics,  Florence  Reeds  and 
Helen  IMenckens.  Some  of  them  desert 
the  stage  for  pictures  to  make  money. 
.Dolores  is  making  money  in  pictures 
with  intent  to  desert  them  for  the  stage. 

MxA.E  iMURILW,  now  returning  to  the 
stage  after  ten  years  in  pictures,  is 
buoyant  and  youthful  as  ever.  Alae 
comfortabl}'  wipes  the  next  ten  years 
awaj'  like  a  mere  tomorrow.  After  a 
spell  of  stage  appearances  and  enchant- 
ment with  her  dancing,  JMae  intends  re- 
turning to  the  screen  in  her  own  pro- 
ductions. Mae  also  gave  me  to  under- 
stand that  she  was  very  happy  with  her 
husband.  "He  was  the  lo\-e  I  was  wait- 
ing for  all  my  life,"  she  said.  "And  we 
were  married  in  the  Roman  Catholic 
Church  because  they  do  not  countenance 
divorce — and  so  my  former  marriages 
did  not  exist  for  them. " 


Making  a  Million 


[  CONTINUED  FROM  PAGE  39  ] 


Eye"  an'  me  spent  the  long  nights  a 
plannin'.  Everything  pointed  to  sad  days 
ahead  for  Mexico,  until  an  old  cattleman 
I  knew  came  a  visitin'  our  camp.  As  he 
had  been  down  in  Mexico,  I  asked  him 
what  part  of  the  country  would  be  the 
quickest  and  easiest  to  make  a  million 
dollars,  in.  "A  million,"  he  said,  "why 
son,  there  ain't  half  that  much  money  in 
all  Mexico.  There  ain't  a  million  dollars 
anywhere,  except  in  two  places — Wash- 
ington an'  Texas."    So  that  was  that. 

I  LOST  my  last  bit  of  respect  for  "  Good 
Eye"  when  he  proposed  that  him  and 
me  get  the  million  by  goin'  out  to  Aus- 
tralia an'  raisin'  sheep.  I  told  him  I 
didn't  mind  bein'  a  bandit  as  we  had 
planned,  or  even  a  first  class  pirate  or  a 
good  bankrobber  for  a  few  days  in  order 
to  get  the  million,  but  I  made  it  plain  to 
old  "Good  Eye"  with  much  Texas  word- 
trimmin's,  that  I  was  a  cattleman  an' 
hadn't  sunk  as  yet  to  the  low  down  of 
bein'  a  sheepherder. 

The  only  way  to  get  to  Washington, 
where  the  other  million  was,  I  figured 
was  for  me  to  hold  office,  an'  I  knew  there 
wasn't  much  chance  for  a  twenty-six  j-ear 
old  cowhand  to  go  office  seekin'. 

So  it  was  that  I  drifted  around,  always 
with  the  million  in  mind,  doin'  a  little 

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ranchin'  here,  a  little  cowpunchin'  there 
an'  sheriffin'  quite  a  bit  now  an'  then. 
One  day  I  found  my  way  into  Southern 
Colorado  an'  was  a  li\in'  near  Canon 
City.  Remember,  I  was li\in'  near  Canon 
City  and  not  in  it,  as  that's  a  town  where 
a  lot  of  the  citizens  are  plumb  permanent, 
stayin'  there  by  the  year  on  the  state's 
invite.  A  little  somethin'  of  no  great 
importance  except  to  three  or  four  of  us 
happened  about  that  time,  which  made  it 
necessar)-  for  me  to  go  south,  an'  until  I 
reached  the  state  line,  do  most  of  mj^ 
ridin'  at  night.  As  an  eagle  would  fly,  it 
was  about  450  miles  to  El  Paso,  an'  that 
was  where  I  was  headin'  for.  I  made  a 
few  quick,  night  horse  trades  as  I  went 
along,  but  I  usually  left  a  better  horse 
than  the  one  I  rode  away.  In  about  four 
weeks  I  got  to  El  Paso,  and  friends. 

ABOUTthis  time  across  the  RioGrande, 
-  Madero  was  a  fightin'  the  Mexican 
Federal  forces  and  he  organized  an  outfit 
of  half  a  dozen  Americans  willin'  to  takea 
long  chance.  I  was  among  the  first  picked 
an' strung  along  with  the  insurrectos.  We 
Americans  captured  a  few  machine  guns 
in  the  battle  an'  takin'  of  Juarez  an'  for 
this  service,  IMadero  in  person,  paid  eath 
of  us  Americans  $500  in  gold.  When  I 
felt  how  much  the  $500  in  gold  weighed, 


Photoplay  Magazine — Advertising  Section 


I  abandoned  my  original  idea  of  luggin' 
my  million  around  with  me.  But  I'd 
made  a  good  start — all  I  needed  now  was 
the  trifle  of  $999,950. 

Madero  wanted  me  to  go  into  Mexico 
with  him,  promisin'  that  when  he  be- 
came president — which  he  did — that  I 
could  have  a  big  government  job,  such  as 
chief  of  police  or  chief  of  the  supreme  court, 
or  somethin'  like  that.  I  told  him  I  wasn't 
a  lawyer  an'  couldn't  be  a  supreme  court 
judge,  but  he  said  the  Mexican  Supreme 
Court  would  never  meet  anyway  so  that 
wouldn't  make  any  difference.  I  decided 
that  Juarez  was  as  far  below  the  border  as 
I  wanted  to  troupe.  I  didn't  mind,  I  ex- 
plained, shiftin'  state  lines  now  an'  then 
as  occasion  demanded,  but  I  didn't  like 
to  get  very  far  away  from  that  big  sign  a 
readin'  "U.  S.  Border." 

ABOUT  this  time,  several  white  jacket- 
ed friends  of  mine — not  barbers  or 
waiters — told  me  there  was  a  man  'round 
El  Paso  a  lookin'  for  me.  I  replied  that 
if  the  visitin'  brother  was  from  Canon 
City,  or  anywhere  in  Colorado,  me  an' 
him  had  nothin'  in  common  but  an  argu- 
ment. One  day — entirely  by  accident — I 
run  into  this  inquirin'  gent.  He  said  he 
had  been  hired  to  look  for  me — that  the 
SeligPolyscopeCompanyof  Chicago,  stood 
ready  to  pay  me  good  money  to  come 
there  an'  help  'em  make  a  mo\in'  picture. 
How  much  was  there  in  it?  I  wanted  to 
know. 

"There's  millions  in  the  movin'  picture 
business  if  you  go  at  it  right,"  the  man 
told  me. 

That  word  million  decided  me.  There 
was  millions  in  sight  an'  I  only  wanted 
one  of  'em.  Personal,  I  didn't  care  who 
got  the  rest  as  long  as  I  got  my  one,  so  to 
Chicago  him  an'  me  went. 

Now  this  wasn't  exactly  my  first  tie-up 
with  the  movin'  pictures.  A  company 
came  down  to  a  little  ranch  of  mine  in 
Oklahoma  an'  used  my  place  an'  stock  to 
make  a  film  showin'  the  life  an'  uses  of  a 
steer.  It  was  one  of  the  early  educational 
pictures.  Me  an'  my  cowboys  appeared 
in  it,  an'  it  was  this  same  concern  that 
wanted  me  to  go  back  to  Chicago. 

Once  there,  a  feller  out  at  the  studio 
asked  me  if  I  could  kill  a  wolf  with  my 
bare  hands?  "I  dunno  about  that,"  I 
told  him,  "I  might  if  I  got  the  first  hold, 
but  who  wants  to  kill  a  wolf  with  his 
hands?  I'm  willin'  to  shoot  'em  one  at  a 
lime  or  by  the  carload,  but  I'm  not 
hankerin'  to  wrestle  with  'em.  What's  in 
it  for  me? 

"Big  money,"  the  gent  proceeded, 
"you  see,  it's  thisaway.  In  the  story  we 
are  about  to  make,  a  man  has  been  licked 
in  Wall  Street  by  the  human  wolves,  an' 
bein'  broke,  his  wifequits  him,  an' — " 

WHAT  did  you  expect  her  to  do?" 
I   put  in,  but  the  man  paid   no 
attention  to  what  I  said  an'  went  on. 

"This  busted  Wall  Street  gent,"  he 
says,  "after  a  losin'  of  his  bankroll  slips 
away  into  Colorado,  an'  finds  himself  a 
little  hideaway  spot  in  the  mountain. 
One  day  he  meets  up  with  a  bunch  of 
timber  wolves  an'  takes  refuge  in  an  old 
deserted  shack,  where  the  wolves  corner 
him.  The  Wall  Street  gent,  still  husky, 
puts  up  a  battle  with  his  bare  hands, 
strangles  the  biggest  wolf  an'  the  rest  of 


the  pack  goes  sneakin'  away.  Then,  says 
this  man  to  himself,  I've  met  the  real 
man  eatin'  wolf  an'  licked  him.  I'm  a 
goin'  back  to  Wall  Street  and  whip  the 
human  wolves  that  put  me  on  the  run. 
Thereupon,  so  the  man  told  me,  this  feller 
goes  back,  puts  the  Injun  sign  on  the 
Wall  Street  wohes,  recovers  his  bankroll 
an'  li\-es  happy  ever  after. 

Bein'  much  interested  by  this  time,  1 
inquires  if  the  wolf  whippin'  gent  got  his 
wife  back? 

"Hell,  no,"  says  the  studio  man,  "this 
story  is  a  goin'  to  ha\e  a  real,  happy 
endin' — she  don't  get  back." 

"Now,"  he  rambled  on,  "we  got  a  fine 
young  man  to  play  the  Wall  Street  gent, 
except  the  killin'  of  the  wolf  with  his  bare 
hands.  That's  where  you  come  in  as  a 
double  for  theleadin'man."  Then  he  told 
me  they  had  the  wolves,  fresh  from  Mon- 
tana, out  in  a  pen.  I  took  a  look  at  'em 
an'  they  was  sure  wolves  all  right.  Four 
were  about  the  average  size,  one  a  little 
runt  an'  one  old  boy,  bigger'n  the  rest  by 
twenty  pounds.  I  decided  that  it  was  the 
little  feller  that  was  goin'  to  be  out  of  luck. 
So  far  as  I  was  concerned,  the  big  one  had 
nothin'  to  worry  about.  The  picture  man 
said  there  would  be  big  pay  an' a  lot  more 
for  me  in  the  future. 

Now,  says  I  to  myself,  here  is  where  I 
get  my  million  dollar  start.  To  get  a  mil- 
lion, you  first  got  to  be  wherea  million  is, an' 
now  I'm  right  in  that  town,  so  I  told  the 
studio  feller  he  could  turn  his  wohes 
loose  an'  me  an'  them  would  have  it  out. 

I  WAS  introduced  to  the  leadin'  gent  of 
the  picture.  If  I  had  taken  a  good  look 
at  this  bird  an'  his  hair,  this  story  would 
never  have  been  written,  an'  mebbe  I'd 
never  got  the  million.  They  built  the 
shack  in  one  of  the  studio  stages,  and  I 
helped  'em  rig  somethin'  like  a  shute  up  to 
a  window,  an'  the  wolves  was  to  come  in 
on  me  thataway. 

Before  day  light,  I  sneaked  over  to  the 
wolf  pen  an'  slipped  in  about  ten  pounds 
of  raw  meat  for  each  wolf  an'  made  it  my 
business  to  see  that  the  biggest  one  got 
the  hea^•iest  hunk.  I  had  to  put  on  the 
hero's  clothes.  A  dapper  little  feller  said 
he  was  there  to  curl  my  hair.  Now  I'xe 
been  in  a  few  tight  places  where  I  thought 
my  hair  was  curlin'  but  to  have  a  bird  do 
it  with  a  pair  of  pincers  was  like  a  wet 
saddle  blanket  to  me.  Anytime,  I  told 
him,  that  I  had  to  get  my  hair  curled  to 
fight  a  coupl'a  wolves,  it  was  time  for  me 
to  get  back  to  the  west  where  I  belonged, 
exceptin'  of  course,  the  state  of  Colorado. 

The  director  explained  that  as  the 
leadin'  gent  had  curly  hair,  I'd  have  to 
get  mine  fixed  that  way.  Havin'  a  little 
Injun  in  me,  I  was  never  very  strong  on 
the  curly  hair  stuff,  an'  what  I  suffered 
with  that  bird  a  twistin'  my  hair  around 
with  a  pair  of  tongs,  no  one  will  ever 
know.    At  last  they  got  me  fixed. 

I  was  afraid  to  take  a  peep  in  a  lookin' 
glass  for  fear  I'd  take  a  punch  at  some 
one,  havin'  both  the  director  an'  the  curly 
haired  leadin'  gent  in  mind. 

NOW,"  says  the  director,  "remember 
while  you're  a  killin'  the  wolf,  keep 
your  back  to  the  camera.  We  don't  want 
to  see  your  face — ^keep  your  back  to  the 
camera." 

Everything  was  set.    I  got  up  near  the 

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ALWAYS  Ask  For  DENISON'S-52  Years  of  Hits 

Comedy-Dramas,    Ml     M  U A    Vaudeville  Acta. 
Farces,    Musical    HI    l||\    Monologs,  Dialoits. 


dropped  the  \\o\i  an'  there  was  a  mad 
race  for  the  door.  He  managed  to  get  out 
an'  they  yelled  for  me  to  come  back.  I 
shot  the  wolf  with  a  sL\  shooter,  which  is 
the  way  it  should  have  been  done  in  the 
first  place. 

In  the  afternoon  while  I  was  waitin'  for 
my  money,  a  big  bird  comes  in  an'  asks 
if  my  name  is  Rli.x.  I  admitted  the  truth, 
addin'  that  the  stranger  had  had  his  trip 
for  nothin'  as  I  was  aimin'  to  go  back  to 
Colorado  in  the  mornin'  an'  surrender 
myself.  "I  don't  know  nothin'  about 
that,"  says  he,  "I'm  an  officer  from  the 
Bergh  Society  here,  an'  I  got  a  warrant 
for  you.  You're  charged  with  killin'  a 
wolf  in  a  cruel  an'  inhuman  manner  an' 
without  a  permit  an'  besides,  givin'  the 
wolf  no  chance  to  defend  himself,  thereby 
takin'  a  cruel  an'  unnatural  ad^•a^tage 
of  him." 


shack  window  an'  waited.  I  d  slipped  the 
feller  handlin'  the  wolves  a  coupl'a  bucks 
to  shoot  the  little  one  in  first — the  one  I 
was  a  aimin'  to  grab.  Mebbe  he  did — I 
don't  know — he  says  he  did.  The  wohes 
came  through  the  shute  so  fast  I  missed 
the  first  two  an'  grabbed  the  third.  I 
don't  need  to  tell  nobody  it  was  the  big 
boj  an'  he  started  doin'  every  thing  I  had 
jjlanned  for  a  wolf  not  to  do.  Notwith- 
standin'  all  the  raw  meat  I'd  slipped  him, 
this  wolf  didn't  like  me.  I  sure  was  mad 
an'  wished  then  that  I  had  that  meat 
back. 

He  commenced  by  bitin'  me  in  the  left 
arm  an'  then  on  the  leg.  Me  an'  the 
wolf  got  started  as  I  missed  his  neck  an' 
nailed  him  by  the  hind  feet  an'  tried  to 
shift  him  around  so  he  couldn't  bite  until 
I  could  grab  him  by  the  throat. 

JUST  as  we  got  to  wrasslin'  good,  the     ^^ 
director  yelled,  "  Keep  your  back  to  the    '  I  'HE  arrestin'  gent  wasn't  so  bad,  as  he 


camera — keep  your  back  to  the  camera! 
I  told  you  about  that." 

"You  sure  told  me,"  I  hollered  back, 
"but  you  didn't  tell  the  wolf.  You're 
wastin'  words  on  me.  Any  time  j'ou 
don't  like  the  way  I'm  a  doin'  this  wolf 
killin'  there's  nothin'  to  prevent  any  of 
j-ou  birds  from  steppin'  in  an'  doin'  it 
right." 

That  wolf  sure  was  ornery.  I  held  on 
to  his  hind  legs  an'  was  a  swingin'  him 
around,  tryin'  to  hit  his  head  on  some  of 
the  tables  and  chairs,  but  they  were  all 
movie  "  break-aways  "  an'  crumbled  when 
the  wolf  hit  'em. 

The  director  kept  on  a  j'ellin'  for  me  to 
keep  my  back  to  the  camera,  but  what  he 
had  to  say  about  that  time  meant  nothin' 
in  my  young  life. 

The  rest  of  the  woh-es  in  the  meantime 
was  doin'  hurdlin'  acts  o\er  me  an'  their 
brother,  not  knowin'  just  who  to  bite. 
They  just  naturally  had  to  bite  somethin' 
so  they  got  to  bitin'  each  other  an'  now 
an'  then  takin'  a  nip  out  of  yours  truly. 

AT  last  I  got  a  fresh  hold  on  the  old  boy 
from  Montana  an'  brought  him  to  the 
floor  with  a  crash  that  straightened  him 
out  for  keeps,  an'  there  he  lay.  We 
shooed  the  rest  of  the  pack  in  the  iron 
barred  box,  an'  about  the  only  thing  I 
could  ha\e  returned  to  the  leadin'  gent 
in  the  way  of  clothes  was  the  curly  hair 
an'  e\-en  some  of  that  had  got  to  be 
natural. 

Then  I  went  out  to  find  a  doctor. 

After  I  left,  the  leadin'  man  came  out 
from  behind  the  iron  screen  that  was  pro- 
tectin'  the  rest  an'  fi.xin'  himself  in  a  fine 
dramatic  pose  an'  facin'  the  camera, 
picked  up  the  wolf  by  the  throat  an'  was 
about  to  shake  him  good  and  proper  for 
the  closeup,  when  the  wolf  came  to  and 
took  a  chunk  out  of  his  left  leg.  It  seems 
he  only  got  stunned  when  I  interrupted 
his  intake  an'  output.     The  leadin'  gent 


-t-  took  me  to  a  doctor  friend  on  the  waj' 
to  jail,  who  sewed  in  a  few  stitches  an' 
fi.xed  me  up. 

After  I  got  locked  in,  I  tried  to  get  in 
touch  with  the  bird  who  told  me  there  was 
millions  in  the  movin'  pictures,  but  he 
was  out. 

About  dusk  a  young  man  came  in  an' 
handed  me  $100,  which  he  said  was  my 
pay  for  killin'  the  wolf.  He  didn't  know 
nothin'  about  gettin'  me  a  lawyer  or  sup- 
plyin'  bail. 

Next  mornin'  they  took  me  before  a 
judge.  He  looked  me  over  an'  said,  "Oh, 
I  see,  another  gang  war  on  the  east  side. 
They  must  have  been  usin'  a  machine 
gun  on  3'ou."  Then  he  listened  to  the 
humane  officer's  side  of  the  e\ent.  The 
judge  said  the  wolf  killin'  was  about  the 
crudest  thing  he  had  e\'er  heard  of  an' 
it  was  time  these  movin'  picture  folks  was 
made  an  example  of  an'  he  was  intendin' 
to  start  on  me. 

""LJOW  much  did  you  get  for  perform- 
-L^in'   this   wanton   act  of  cruelty?" 
says  he. 

I  told  him  $100.  "That,"  he  announces, 
"is  just  what  your  fine  is  a  goin'  to  be^- 
$100."_ 

I  paid  it. 

I  went  back  to  the  jail  to  thank  the 
head  jailer  for  some  kindnesses,  stoppin' 
in  to  see  the  doctor  who  fixed  me  up.  I 
paid  him  $20  out  of  my  Madero  gold,  a 
leavin'  me  a  bankroll  of  $480.  The  old 
jailer  asked  how  I  came  out. 

I  told  him  what  I  got  for  killin'  the  wolf, 
what  the  fine  was  an'  what  I  had  paid  the 
doctor. 

"Young  feller,"  says  he,  "what  are  you 
in  this  movie  game  for?" 

"For,"  says  I,  "to  make  a  million." 

"\\^ell,"  he  says  as  I'm  a  leavin. 

"I  must  say  you've  got  a  hell  of  a  fine 
start." 

(To  Be  Continued) 


T    S.  bENISON  &  CO..  623 


6omedy  SonKS.  Chalk  Talk  Books,  Min^ 
Make-up  Goods.  CaUloK  FRKE. 
~  '    Wabash,  Dept.  7  CHICAGO 


NEXT  MONTH 

Tom  has  a  narrow  escape  from  owning  twenty  rich  oil 
wells,  gets  buncoed  out  of  $5,000  for  arresting  a  bank 
robber,  gets  another  picture  offer  and  has  a  nightmare. 


riroTt)rT..VY  magazine  is  cuaranteed. 


Photoplay  Magazine — Advertising  Section 


113 


Always  a  Tree 


[  CONTINUED  FROM  PAGE  66  ] 


"Honest  to  goodness,  Jer — "  he  chuck- 
led, "  the  woman  proposed  to  me!  Out  of 
a  clear  sky.  And  so  we  hopped  a  taxi — 
and  went  to  the  first  J.  P.  I'm  not  one  to 
take  a  joke.    And — here  we  are — " 

TO  Jerry's  eternal  credit  he  made  no 
remonstrances.  To  Jerry's  everlasting 
goodness!  He  did  not  say  that  he  was 
disappointed  in  the  lack  of  preparation, 
in  the  fact  that  he  had  not  even  let  his 
smile  falter — he  wore  it  in  as  jaunty  a 
manner  as  one  wears  a  new  top-coat. 

"Well,"  he  said  briskly,  and  there  was 
only  warmth  in  his  tone,  "well,  you 
stole  a  march  on  me,  old  man!  I — I'll 
do  the  same  by  you,  some  day.  And 
now;  you'd  better  take  your — bride — up- 
stairs— ^and  get  ready  for  dinner.  I'll  tell 
Annie"  (Annie  was  the  lady  of  color, 
who  came  in,  by  the  day,  to  scrub  and  to 
cook)  "to  set  an  extra  place  at  the  table." 

But  Ralph  was  all  at  once  faltering. 

"Where  will  I  take  her?"  he  ques- 
tioned, almost  helplessly.  "To  what 
room,  I  mean?" 

Still  briskly  Jerry  answered. 

"Why,  you  and  Winifred  will  have  our 
place,"  he  said,  for  the  twins  had  shared 
— as  they  had  shared  everything — a 
Inroad,  many  windowed  bed-chamber; 
"you  will  have  our  place,  of  course  ..." 

Winifred,  self-possessed,  cool  as  ever, 
was  moving  already  in  the  direction  of  the 
stair.     But  Ralph  still  lingered. 

"And  where  will  you  stay — Jer?"  he 
asked,  a  trifle  wistfully.  "It's  kind  of — ■ 
well,  rough  on  you!    Pushing  you  out — " 

But  Jerry  had  interrupted. 

"Oh,"  he  told  his  brother,  "I'll 
camp  out  in — "  he  faltered,  somehow, 
over  the  loved  name,  "in  mother's  room. 
For — awhile!" 

WINIFRED  fitted,  rather  well, 
into  the  home.  That  first  night, 
at  the  table,  the  conversation  was  gay — 
almost  brilliant.  Ralph's  blue  eyes  were 
dancing  at  the  thrill  of  the  moment. 
Jerry's  grey  ones  were  not  too  blank. 
But  it  was  Winifred  who  dominated  the 
conversation.  It  was  she  who  asked  the 
questions — who  supplied  most  of  the 
answers. 

"I  believe,"  she  said,  at  the  last — over 
Annie's  really  excellent  cofTee,  "I  be- 
lieve that  I  married  Ralph  because  of  the 
picture  that  he  painted  of  your  lonely 
lives  together.  Living  in  such  a  woman- 
less  way.  I  declare — I  expected  to  find 
the  place  a  perfect  hurly-burly — un- 
darned  socks  on  the  piano,  and  shaving 
soap  on  the  sideboard.  And  when  Ralph 
opened  the  door,  well  I  couldn't  believe 
my  eyes.  The  place  is  so  neat!  And 
flowers  all  about — " 

It  was  Jerry  who  tried  to  explain — 

"We  used  to  do  a  good  bit  of  the  work 
for  mother,"  he  said,  "before  we  could 
afford  help.  We  got  in  the  habit  of  being 
neat.    And  mother  was  fond  of  flowers — " 

Winifred  laughed.  Her  cool  little  laugh 
worried  Jerry — had  worried  him  from  the 
very  first. 

"Oh,  flowers  are  lovely  in  their  place," 


she  said,  "but  of  course  they're  not — 
necessary.  .  .  Ralph  has  told  me  of  your 
mother.  She  must  have  been  a  quaint, 
childish  person.  She's  been  dead  several 
years,  hasn't  she?" 

HELPLESSLY  Ralph  tried  to  meet 
the  grey  eyes  that  were  suddenly 
trying — just  as  hard — to  avoid  his  own. 
It  was  only  after  a  long  moment  that 
Jerry  spoke.    And  then — ■ 

"Mother?"  he  said;  "yes,  perhaps 
you're  right.  She  had  the  quaint  sim- 
plicity of  a  child.  But  neither  Ralph 
nor  I  have  ever  let  ourselves  think  of  her 
as — dead — " 

After  that,  a  little  bit  silently,  they 
went  into  the  living  room.  Went  rather 
silently,  but  it  wasn't  long  before  Wini- 
fred's crisp  voice  was  filling  the  four 
corners  with  her  thoughts. 

Somehow,  although  Jerry  had  meant 
to  move  out — to  give  up  the  house  to 
Ralph  and  Winifred — he  didn't  go.  As 
the  months  crept  along  he  found  himself 
staying  on  in  his  mother's  room.  Watch- 
ing beside  the  drama  that  was  Ralph's 
marriage. 

Jerry  had  meant  to  move  away — to 
take  a  bachelor  apartment  in  the  more 
modern  part  of  the  town.  But  the 
appeal  in  Ralph's  eyes  had  stayed  him. 
An  appeal  that  never  found  its  way  into 
words.  It  was  as  if  Ralph  were  asking 
something  dumbly,  as  a  dog  begs.  Some- 
thing that  his  brother  could  only  answer 
by  continuing  to  occupy  a  room  in  the 
home. 

It  was  not  that  Ralph  was  unhappy. 
Certainly  his  marriage  had  been  of  his 
own  choosing.  Winifred  was  clever,  she 
was  attractive,  she  was  charming.  She 
and  Ralph  loved  each  other — of  that 
Jerry  was  sure — very  deeply.  He  had 
seen  their  fingers  touch  in  passinr.  He 
had  seen  Ralph  pause,  on  his  way  out,  of 
a  morning,  to  take  her  into  his  arms. 
Quite  fiercely.  He  had  even  seen  the  look 
in  Winifred's  level  eyes  as  she  smiled 
across  the  coffee  pot,  at  her  husband. 

BUT — it  was  the  changing  of  the  little 
things!  The  constant,  ceaseless  chang- 
ing. The  very  coffee  pot  over  which 
Winifred  smiled!  It  had  been  squat  and 
dully  shining,  in  the  mother's  day.  A 
pewter  coffee  pot  that  had  long  been 
in  the  family.  At  Winifred's  advent  the 
pewter  somehow  disappeared.  And  a 
shiny  nickel  one  that  worked  by  electric- 
ity took  its  place.  And,  following  the 
coffee  pot  went  the  oval  braided  rugs, 
and  the  familiar,  old-fashioned  portraits 
that  lined  the  walls.  Of  course,  the  blue 
and  mulberry  Chinese  rug  was  charming. 
Of  course!  And  the  Wallace  Nutting 
prints — Jerry  supposed  that  one,  in  time, 
might  get  used  to  them!  Indeed  the 
changes  were  all  things  that  one  might 
get  used  to — ^superficial  things.  But  they 
made  the  home  very  different.  That 
was  why  Ralph's  look  begged  that  Jerry 
stay  on.  Jerry  was  the  last  link  to  an 
old  content. 

Winifred  had  come  in  the  summer.    At 


Up  to  the-Minute  Styles 
for  Less  Money 

WHAT  do  you  look  for  in  clothes — for 
yourself  and  for  your  daughter?  What 
does  every  woman  look  for? 

Style  and  exclusiveness,  first  of  all,  of 
course.     But  do  you  not  also  seek  economy? 

Suppose  someone  whose  style  judgment 
you  valued  told  you  that  you  could  buy 
prettier  clothes,  more  daintily  made  and  at 
a  big  saving — without  leaving  your  home! 
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the  twilight  of  a  drowsy  day.  When 
autumn  had  swept  across  the  land  her 
presence  lay  in  every  corner  of  the  little 
home.  Her  ledgers,  her  small  filing 
cases — in  which  were  placed  the  house- 
hold   bills    and    receipts — crowded    the 


to  live  on  turkey  hash  and  turkey  soup! 
It  will  be  much  simpler  to  go  to  a  restau- 
rant." 

And  to  a  restaurant  they  went.  And, 
although  Ralph  was  just  a  trifle  sulky 
above  his  thin  slab  of  white  meat  and 


very  roses  from  the  table.     Her  French     his  spoonful  of  soggy  dressing,  Winifred 


grammars — she  and  Ralph  were  taking 
a  home  course  in  French,  against  a  trip 
abroad — were  side  by  side  with  the  old 
books  of  \-erse  on  the  mahogany  shelf. 
The  frilled  calico  curtains — the  little 
mother  had  made  them  with  her  own 
wrinkled  hands — had  been  supplanted 
by  velour.  But,  most  of  all,  \\'inifred 
had  spread  a  layer  of  matter  of  factness 
o\-er  the  quiet  room.  Draining  the 
sense  of  latent  magic  from  the  place. 


N  the  first  small  anniversary  of  their 


o 


had  been  man  and  wife — Ralph  came 
home,  bearing  orchids  and  a  gift  done  in 
white  tissue,  Winifred  accepted  them 
with  a  small  cry  of  pleasure — but  bewil- 
derment lay  across  her  face.    And — ■ 

"Why  the  party?"  she  questioned,  as 
she  raised  her  face  for  a  kiss, 

Ralph's  expression  was  also  one  of 
bewilderment. 

"But  don't  you  remember  ■'"he  queried. 

"Just  a  month  ago,  this  very  day — " 

\\  inifred  was  laughing. 

"Sentimental  boy!"  she  said,  gently, 
"It  was  sweet  of  you!"  She  paused,  mo- 
mentarily. "But  orchids  and  this — " 
she    had    opened    the    bo.x — -"this   jade! 


didn't  seem  to  notice.  She  talked  just  as 
cleverly  as  e^-er  and  ate  her  rather  taste- 
less dinner  with  a  seeming  relish. 

And  they  all  cheered  up  when  they  got 
to  the  game — for  it  was  a  very  e.xciting 
game. 

And,  coming  home  in  a  taxi,  Ralph  had 
his  wife's  hand  in  a  clasp  that  was  a 
flag  of  truce  between  them. 

BUT,  beginning  at  Thanksgiving,  Jerry 
began  to  wonder  ahead  to  Christmas. 
Winifred,  who  laughed  at  the  old  order — 
with  her  laugh  that  was  like  a  bell  chim- 
ing over  fields  of  snow,  Winifred  who 
thought  anniversary  presents  too  costly, 
and  Thanksgi\ing  turkeys  a  waste. 
Winifred — what  would  she  say  to  the  so 
juvenile  Christmas  that — to  the  boys — 
was  more  than  a  Christmas?  What 
would  she  think  of  a  candle,  .set  in  the 
window  to  light  the  Holy  Child  on  His 
way?  What  would  she  think  of  the 
festoons  of  green  upon  the  walls,  the 
strung  popcorn?  Would  she  remind 
them,  mirthfully,  of  their  mounting  toll 
of  years — when  they  mentioned  the 
hanging  of  stockings?  Would  she  scoiT 
at  the  tinsel  trimmed  hemlock  branches? 
That    were — in    some    curious    way — a 


Why,   they're  far  too  lo\ely.     And  too     tribute  to  dear  memory? 


expensne.  They  would  have  gone  quite 
a  long  way  toward  an  electric  washer — " 
Oh,  she  wasn't  ungracious.  Not  that. 
Only — Jerr)',  entering  at  that  moment, 
and  seeing  his  twin's  fallen  face,  told 
himself  that  she  didn't  understand. 
Winifred  had  come  of  people  who  went  in 
for  necessities  rather  than  beauties.  Her 
mother — Jerry  could  almost  see  Wini- 
fred's mother — would  never  have  under- 
stood the  creed  of  the  mother  who  had 
sacrificed  to  purchase  candy  canes! 

WHEN    Thanksgiving    came    they 
went  out  for  dinner.    It  was  Wini- 
fred's idea. 

"There's  a  football  game,"  she  said 
"on  Thanksgi\-ing  afternoon.  And  all 
three  of  us  want  to  go.  It  will  be  easier — 
and  cheaper — to  dine  at  a  restaurant. 
I've  ne\'er  been  in  iavor  of  those  huge 


Jerry  wondered,  but  he  did  not  put 
his  wonderings  into  words.  He  waited. 
And  the  week  before  Christmas  he  had 
done  with  waiting.  For  Ralph,  looking 
up  from  the  French  grammar  that 
\\'inifred  has  thrust  into  his  hands,  had 
grinned   at   his   brother.     And: 

"I've  been  looking  at  trees,"  he  said. 

Winifred  glanced  at  the  two  of  them, 
across  the  French  grammar  that  she 
held, 

"A  nice  harmless  pastime!"  she  told 
her  husband.  "  I  can't  think  of  any  more 
innocuous  way — ■" 

Ralph  interrupted. 

"  Don't  be  silly, "  he  told  her,  "  I  mean 
Christmas  trees.  We're  going  to  ha\"e  the 
biggest  tree  in  town,  this  year!" 

WINIFRED   laid   down  her  French 
grammar.     Carefully,    as   she   did 


meals,     anyway.       They're     epochs    of    everything — -so  that  the  place  might  not 
gluttony!     And  we'd   never  get   to  the     be  lost. 


game,  m  time,  if  we  had  to  worry  our 
way  through  one  of  them!" 

It  was  Ralph  who  protested.  Ralph, 
who  had  let  the  small  changes  pass  with- 
out comment,  spoke  for   the  first   time, 

"But,"  he  told  his  wife,  "Thanks- 
giving— without  a  turkey?  It  wouldn't 
be  right.  Ever  since  we  could  afford  it 
we've  had  turkey.  Lots  of  times — " 
he  laughed  out,  suddenly  remembering 
the  first  scraggly  turkeys — "lots  of  times 
when  we  couldn't  afford  it!" 

Winifred  had  answered.  Coolly,  logi- 
cally— as  she  always  answered. 

"The    trouble    with    you    boys,"    she 


"But  you're  joking!"  she  said  slowly. 
"Why,  Christmas  trees  are  the  stupidest 
things  in  the  world!  They  clutter  up  the 
room.  The  needles  from  them  get  into 
the  rugs.  The  trimmings  for  them  cost 
a — a  small  mint  of  money.  We  never  had 
a  Christmas  tree — at  home — " 

Jerry  did  not  speak.  After  all,  Wini- 
fred was  Ralph's  wife.  He  drummed  on 
the  arm  of  his  chair  with  a  nervous 
hand. 

It  was  Ralph  who  broke  into  excited 
speech, 

"But  we've  always  had  a  tree,"  he 
told  his  wife,     "Always  we've — " 

Winifred    interrupted,      \\'as   there  a 


told  the  twins,  "is  that  you're  all  bound 

up  in  custom!    Why  keep  Annie  o\er  the  touch  of  scorn  in  her  practical  voice.' 
stove  all   day  and   make  ourselves  late         "Next  thing,"  she  told  her  husband — 

for  a  good  game?      And,  incidentally  eat  but  her  eyes  were  on  Jerry — ^"next  thing 

too  much?     And  have  stacks  of  dinner  you'll  be  telling  me  that  you  two  babies 

left  over — so  that  for  a  week  we'll  have  hang  up  your  stockings!" 

Every  advertisement  In  PnoTOPLAY  M.^G.VZIXE  is  Euaranteed. 


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Ralph   was   flushing. 
swered. 

"We  always  have,"  he  told  his  broth- 
er's wife.    Simply,  like  that. 

WINIFRED  was  laughing.  The  scorn 
had  gone  out  of  her  \oice.  It  was 
the  indulgent  voice,  now,  of  a  kinder- 
garten teacher. 

"It's  just  as  well  that  I  married 
into  this  family,"  she  said.  "You  two 
would  never  ha^-e  been  able -to  manage 
alone — -much  longer.  We  won't — "  there 
was  a  note  of  finalit}'  in  her  voice — "wc 
won't  mention  the  tree,  again." 

But  Ralph,  for  once,  was  not  to  be 
silenced. 

"But  we've  always  trimmed  it,  Christ- 
mas eve,"  he  said,  slowl}'.  "Mother — 
she  loved  Christmas — and  all  the  fussy 
little  things  about  Christmas.  She 
would  want  us,  I  think,  to  keep  up  the — 
tradition — " 

Winifred  had  not  mentioned  the  little 
mother  since  that  first  night  of  her  home- 
coming. She  was  not  slow  to  learn  cer- 
tain lessons.  And  her  voice  was  kindly, 
tolerant,  when  she  spoke. 

"Your  mother  has  gone  on,"  she  said, 
"to  a  place  where  Christmas  has  ceased 
to    be — important — " 

Ralph  started  to  speak.  And  thought 
better  of  it.  But  Jerr^'  knew  that  his 
brother  was  remembering  a  certain  con- 
\-ersation  that  they  had  held  on  the  first 
holiday  after  the  little  mother's  going. 
For  that  reason  he  tried  to  say  some- 
thing lightl}'.  Only  the  lightness  stuck 
in  his  throat. 

"After  all,"  he  said,  "it's  a  pretty 
custom.  Trimming  a  tree.  It  helps  to 
fill  Christmas  eve — " 

Winifred  answered. 

"But  r\e  made  plans  for  the  filling 
of  Christmas  eve,"  she  told  him.  "I've 
tickets  for  a  concert.  We'll  all  go,  to- 
gether." 

rr  wasn't  that  they  lacked  initiative. 
Xot  that.  Neither  of  the  twins  would 
have  failed  to  assert  himself  had  it  been 
a  question  of  business  that  confronted 
him.  But  this — this  question  was  not  one 
of  business  1  It  was  intangible.  Precedent 
concerning  a  Christmas  tree  is  hard  to 
explain.  Especially  if  the  explanation 
must  be  made  to  a  young  woman  who  is 
able  to  meet  whimsicality  with  matter-of- 
factness.  Who  can  bring  logic  to  play 
upon  the  most  in\"olved  reasoning?  And 
so,  during  the  week  that  preceded 
Christmas,  neither  Ralph  nor  Jerry 
spoke  of  the  matter  that  lay  hea\-ily 
upon  their  hearts.  Any  mention  of  it 
would  have  made  a  serious  matter 
(serious,  at  least,  to  theml)  seem  more 
stupid.  They  resigned  themsehes,  ap- 
parently, to  the  concert  that  Winifred 
had  chosen  for  them.  Only  when  the 
time  arrived,  they  didn't  all  go  to- 
gether. For,  after  the  forcedly  cheerful 
Christmas  e\-e  supper,  Ralph  suddenly 
felt  a  dizziness  about  the  eyes.  He  said 
that  the  lights  bothered  him — that  his 
head  ached  abominably. 

"A  fussy  day  at  the  office,"  he  ex- 
plained to  Winifred  (an  explanation  that 
rather  puzzled  Jerry,  as  Ralph  had  been 
away  from  his  desk  during  the  whole  of 
the  afternoon).  "No — don't  worry. 
I'm  not  ill.  I'll  take  a  couple  of  asperins, 
and  put  an  ice  bag  on  my  forehead.    And 


ena  ivie 
To  Friends 
■fistmas 


I  am  not  just  a  little  Christmas  card,  or  a  present  that 
turns  green  with  the  spring.  You  can't  lose  me  because  on 
the  15th  of  every  month  I  go  to  your  friend's  house  and 
say,  "Phyllis  sent  me  here  again  because  she  wants  you  to 
remember  me  all  through  the  year."  I  know  you  will  like 
me  because  everybody  does.  I  won't  allow  any  season  to 
snuff  me  out.     I  am   Santa   Claus   throughout   the  year. 

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and  send  them  in  right  away.  You  can  send  one  or  twenty. 
There's  no  limit.  Get  your  Christmas  shopping  off  your  mind. 

To  enable  you  to  send  this  gift  subscription 
in  a  correct  and  most  attractive  way,  this 
artistic  Christmas  Card  has  been  provided, 
stating  that  Photoplay  Magazine  will 
be  sent  for  whatever  period  you  desire. 

return  coupon,  attach  a  Postal  or  Express  money  order  or  a  Check 


When  )c 

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750  No.  Michigan   Avenue  Dept.  CSl-28         CHICAGO,  ILL. 

r- CHRISTMAS  SUBSCRIPTION  COUPON 

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PHOTOPLAY  MAGAZINE,    Dept.  CSl-28,  750  No.  Michigan  Ave.,  Chicago,  1 


Gentlemen:  —  Enclosed  find  $. 


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b}-  the  time  you're  back  from  the  concert 
— for  you  two  must  go  along,  without 
me! — Vl\    be  much  better — ■" 

JERRY  watched  his  brother  anxiously. 
Ralph  was  not  given  to  headaches. 

"I  think,"  he  said,  "that  we'd  rather 
stay  home  with  you,  Winifred  and  I! 
We  wouldn't  enjoy  the  concert,  knowing 
you  were  sick — " 

But,  before  Winifred  could  agree, 
Ralph  was  speaking.  And  his  voice  was 
almost  irritable. 

"\Miat  I  want,"  he  said,  rudely,  "is  to 
be  alo)ie.  I've  a  headache — see?  Having 
people  fuss  about  wouldn't  make  me  feel 
a  bit  better." 

Winifred,  unruffled,  placed  a  slim, 
friendh'  hand  upon  her  husband's  fore- 
head. 

"Certainly  he  hasn't  a  fe\"er, "  she 
said.  "Not  a  sign  of  temperature.  And, 
so  long  as  he  doesn't  want  us,  Jerry,  it 
would  be  a  shame  to  miss  the  concert. 
I've  really  perfect  seats!" 

But  still  Jerry  hesitated.  The  break 
in  a  lo\-ed  routine  had  been  disconcerting 
enough.  To  lea\-e  Ralph  home  alone,  on 
Christmas  E\"e,  was  e\"en  worse. 

"Are  you  sure,  old  chap,"  he  queried, 
"are  j-ou  certain — ?" 

His  twin's  voice  held  an  angry  note. 

"Oh,  for  hea\-en's  sake — "  he  said, 
"I'm  out  of  my  cradle.  Go  along,  the 
both  of  you — " 

Aod  there  wasn't  anything  else  to  do. 

ALL  during  the  concert — \\hich  was 
good — Jerry  found  himself  thinking 
of  his  brother.  And  of  the  little  mother. 
And  of  other  Christmas  Eves.  He  found 
himself,  when  the  music  swung  around  to 
the  carols,  shading  his  eyes  w-ith  a  shak- 
ing hand.  The  whole  thing  was  so — so 
wrong.  He  couldn't  help  feeling  that 
Ralpii,  in  the  choice  of  a  helpmate,  had 
made  a  gra\e  error.  Somebody  who 
could  play — who,  at  least,  understood 
play  should  have  stepped  into  the  place 
left  \acant  by  the  little  mother. 

And  yet,  even  while  he  fostered  the 
thought — Jerry  was  conscious  of  Wini- 
fred's charm.  The  decision  of  her,  the 
poise,  the  vi\"id  conversation  that  never 
grew  tiresome.  All  of  these  things  were 
important.  Perhaps,  in  the  final  analysis, 
they  would  be  more  important  than  the 
little  lovely  things.  Who  was  he  to 
judge? 

On  the  w-ay  home  he  was  not  talkative. 
Winifred  chided  him,  gaily,  for  his  lack 
of  words. 

"I  believe,"  she  told  him,  "that  you're 
mourning  the  stocldng  that  Santa  won't 
fill!" 
And— 

"I  belie\"e  I  am,"  Jerry  answered  her, 
soberlj-. 

They  found  Ralph  asleep  on  the  living 
room  sofa,  when  thej-  came  into  the  house. 
So  calmly,  peacefully  asleep — in  his  best 
pajamas  and  his  woolly  bath  robe — that 
Winifred  tiptoed  past  him.  And  beck- 
oned Jerry  to  do  the  same  thing. 

"Poor  boy,"  she  said,  as  they  gained 
the  stairs — -"he's  worn  out  with  the 
pain.  He  was  probably  waiting  up 
for  us,  and  couldn't  quite  make  the 
grade.  I  won't  waken  him — "  she  cast 
a  really  tender  glance  back  across  a  silken 
shoulder —  "the  headache  might  come 
back,  if  I  did — " 

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Jerry  nodded  his  head  in  agreement. 

"I'll  bring  an  extra  blanket  down," 
he  said,  "and  throw  it  across  his  legs. 
If  he  wakes  he'll  understand. " 

WINIFRED  was  hesitating  on  the 
landing  of  the  stairs.  And  quite 
suddenly,  she  spoke. 

"Jerry,"  she  questioned,  "do  you 
think  that  Ralph  is  happy?  Do  jou 
think  I'm  a  good  wife  to  him?" 

Oh,  there  were  many  things  that  Jerry 
would  ha\-e  liked  to  say!  Perhaps  that 
moment  would  have  been  the  time  to  say 
them.  But  can  one,  by  the  saying  of  a 
few  words,  change  a  woman's  whole 
viewpoint?  And  so  Jerry  answered  as 
he  knew  that  he  was  expected  to  answer. 

"Of  course,  Ralph  is  happy,  Winifred," 
he  told  his  sister-in-law — ^"of  course, 
jou're  a  good  wife. " 

But  soiTie  twenty  minutes  later,  when 
he  came  tiptoeing  downstairs  with  the 
extra  blanket,  he  wasn't  so  sure.  Now 
that  Winifred's  brightness  was  shut 
away  in  her  room,  as  he  bent  o\'er  his 
brother's  quiet,  relaxed  form,  he  felt 
suddenly  years  the  older  of  the  two. 
There  was  something  so  pathetically  re- 
laxed about  that  resting  body.  Some- 
thing so  quiet  about  the  sleeping  face. 
Something  in  the  droop  of  the  eyelids 
that  was  so  childish,  so — 

Jerry's  train  of  thought  went  crashing 
to  sudden  collision  with  reality!  For 
one  of  his  brother's  eyelids  had  raised, 
ever  so  lightly,  in  a  wide-awake  wink. 
And  Ralph's  finger — touching  his  lips  in 
a  gesture  that  begged  silence — ^was  elo- 
quent. 

JERRY'S  hand  had  loosened  on  the 
blanket — it  was  sliding,  to  the  floor,  in 
a  heap.  Ralph's  covering  joined  it,  as  he 
struggled  noiselessly  to  his  feet.  In  sheer 
bewilderment  Jerry  followed  as  his  twin 
tiptoed  in  the  direction  of  the  kitchen. 
It  was  only  when  they  had  reached 
Annie's  spotless  domain,  only  after  the 
door  of  the  kitchen  had  been  closed, 
that  Ralph  spoke.  Spoke  as  he  switched 
on  the  light. 

"There!"  he  said.  That  was  all.  But 
his  hand  was  pointing  in  the  direction  of 
the  kitchen  table. 

And  Jerrj-,  following  the  pointing  hand, 
was  seeing,  upon  the  table,  a  tree.  A 
bra\e  evergreen  tree  with  pointed  branch- 
es. Not  a  \'ery  large  tree — but  a  pretty 
one.  L'ntrimmed,  as  yet.  But  with  a 
great  box  of  tinsel,  of  colored  glass 
bulbs,  of  silver  and  gold  icicles,  lying 
beside  it. 

"I  brought  them  all  this  afternoon," 
Ralph  was  saying;  "I  left  'em  on  the 
back  porch;  and  Annie  carried  them  in 
— while  you  and  Winifred  were  at  the 
concert.  And  then,  I  got  undressed  and, 
when  I  heard  you  coming,  I  played  pos- 
sum.   And — " 

Jerry  was  groping  for  some  mode  of  ex- 
pression.   Which  he  couldn't  quite  find. 

"But,"  he  said,  rather  foolishly, 
"your  head?" 

Ralph  was  smiling. 

"Im'ented  for  a  special  occasion,  that 
pain,"  he  told  his  brother.  "When  Wini- 
fred said  I  hadn't  a  temperature  I  like 
to  died,  laughing.  And  when  you  were 
too  dumb  to  get  the  drift  of  things — " 
He  chuckled  delightedly.  And  then,  all 
at  once,  he  turned  serious. 


"Jer, "  he  said  slowly,  "Winifred's  my 
wife.  I  love  her — and  I  wouldn't  do  a 
thing  to  make  her  unhappy.  But  you 
and  I — "  Suddenly  Ralph  had  ceased 
to  be  the  less  vigorous  of  the  twins,  sud- 
denly his  chin  had  as  firm  a  line  as  his 
brother's  chin —  "You  and  I  have  a  tryst 
to  keep.  A  tryst  that  we'd  made  before 
ever  I  met  Winifred.  We  planned,  al- 
ways, you  and  I — "  He  didn't  say  any 
more.  For  Jerry's  hand,  reaching  out  to 
clasp  his  own,  made  other  speech  quite 
unnecessary. 

AND  so,  together,  they  set  a  candle  in 
the  kitchen  window.  And  together, 
with  the  light  of  memory  standing  in 
their  grave  eyes,  they  strung  the  silver 
tinsel  across  the  gay  branches  of  the  tree. 
Just  as  they  had  in  other  years.  And  so 
absorbed  were  they  in  their  task  that 
they  did  not  hear  the  swinging  in  of  the 
kitchen  door.  Ralph  started,  and 
dropped  the  star  that  he  was  holding 
in  his  hand,  at  the  sound  of  a  cool,  crisp 
^'oice. 

"I  heard  Jerry  go  down  the  stairs," 
it  said,  "and  I  didn't  hear  him  come  back. 
It  worried  me.  I  was  afraid  that  some- 
thing was  wrong.     I  was  afraid — " 

For  the  first  time  since  Winifred's 
homecoming  the  cool  voice  faltered. 
For  Winifred,  standing  in  the  kitchen 
doorway,  in  a  rosy  negligee,  had  noticed 
the  tree.    And — 

"But  what — "  she  queried,  "what  are 
you  doing?" 

What  were  they  doing?  The  twins, 
staring  into  each  other's  blank  faces,  were 
suddenly  echoing  ^^'inifred's  question. 
Quite  absurdly  conscious  of  a  stealth  that 
was  childish  in  the  extreme.  Seeing 
themselves  as  Winifred  must  see  them. 
Men  who,  in  a  few  years,  would  be 
middle-aged.  But  men  who  still  played 
with  the  spirit  of  make-belie\-e;  with  a 
handful  of  glittering  toys.  It  was  Jerry 
who  finally  spoke  their  answer. 

"Of  course,  you  think  that  we're 
fools — "  he  said  slowlj'.  "I  guessweare, 
rather.  Only — just  this,  Winifred.  We 
weren't  trying  to  hurt  you.  Or  to  be  smart. 
We  didn't  even  exactly  mean  to  sneak 
away  by  ourselves.  Of  course — "  the 
words  were  coming  e\'en  more  slowlj', 
"of  course,  we  didn't  mean  to  tell  you 
what    we'd    done.      As    soon    as    we'd 


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finished  with  it  we  would  have — "  Oh,  it 


was  hard  to  go  on — "have  taken  the  tree 
to  the  cellar,  I  think.  You'd  never  have 
known  .  .  .  We  weren't  going  to  carry  it 
inside,  to  get  on  the  rugs.  We  weren't 
planning  to  go  against  your  wishes." 

Ralph  broke  in  upon  his  brother's  ex- 
planation.   Ralph  took  up  the  story. 

"Of  course,"  he  said,  "you  think 
we're  insane.  I  don't  suppose  I  blame 
you  for  thinking  it!  But — well,  we've 
never  been  without  a  tree.  And  it  has  come 
to  fill  a  place  in  our  lives.  That  if  it 
weren't  filled,  would  ha\e  fairly  hurt — 
with  emptiness.  1  — "he  tried  tolaugh,  but 
the  effort  was  a  failure.  "There's  no  use 
lying!  I  didn't  have  a  headache.  It  was 
just  an  excuse.  Only  don't  blame — "  no 
one  hearing  that  guilty  little  boy  note, 
would  have  guessed  Ralph's  age — "don't 
blame  Jer!  He  didn't  know  what  was  in 
my  mind.  Not  until  he  came  down  with 
the  blanket.  I — "  he  paused- — "I'm 
sorry,  \A'inifred.  I  wouldn't  for  the 
world  .  .  .  Why — why,  darling  ..." 

FOR  standing  in  the  doorway,  in  her 
pretty  negligee,  Winifred  was  crying. 
Crying  great  tears  that  ran  down  her 
cheeks.  Great  tears  that  were  not  in 
the  least  angry  tears.  Tears  that  told 
a  story  of  realization,  of  an  understand- 
ing that  had  come  in  time.  For  a  mo- 
ment she — the  self-possessed,  the  poised 
—seemed  to  be  fighting  for  composure. 
And  then  all  at  once  she  ga\e  up.    And: 

"But  We  been  so  hard,"  she  choked, 
between  sobs,  "so  stupid!  To  think  that 
I  made  you  afraid — of — me!  To  think 
that" —  her  breath  came  in  small  gasps — • 
"3'ou  had  to  come  off,  by  yourselves — " 
All  at  once  her  arms  were  reaching 
toward  her  husband — "Oh,"  she  cried, 
"how  was  I  to  know  that  a  tree  could 
mean — so  much — " 

And,  as  she  came  stumbling  forward, 
into  the  kitchen,  there  was  nothing  cool 
about  her — nothing  chill.  It  was  as  if 
something  had  melted,  in  Winifred,  for 
all  time. 

As  Ralph  went  swiftly  to  meet  that 
stumbling,  hesitant  woman,  he  saw  only 
his  wife. 

But  Jerry — there  beside  the  tree — 
could  almost  glimpse  another  figure  in 
the  shadows.  A  fragile,  old  little  figure 
with  a  gallantly  lifted  head. 


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When  Rudy  Was  a  Boy 


[  CONTINUED  FROM  PAGE  84  ] 


sugar  is  the  physiological  supplier  of 
energy — and  his  supervitality  required  an 
extra  supply. 

His  desire  for  sweets,  and  for  demon- 
strating his  cleverness  and  daring,  made 
of  him,  the  townfolks  say,  an  accom- 
plished thief.  But  not  a  thief  of  the  ordi- 
nary acquisitive  type.    The  candy  which 


ago,  in  a  high-powered  motor  car,  accom- 
panied by  his  sister  and  sister-in-law, 
nobody  wished  to  recognize  him.  He 
asked  for  Rosa;  she  could  not  be  found. 
He  sought  out  the  family  which  had  been 
friendly  with  his  father  and  mother;  they 
were  cool  to  him.  It  is  a  point  of  honor  in 
Italy  that  those  who  become  rich  shall 


he  stole  was  distributed  with  slgnorial     gi^■e  money  to  their  native  town,  and  Val- 


generosity  to  his  friends.  And  once,  at 
least,  it  served  his  passion  for  inflicting 
pain.  He  offered  a  piece  of  candy  to  a 
smaller  boy,  and  then,  when  the  first  bite 
was  taken,  snatched  it  back;  the  boy 
broke  into  tears,  and  was  consoled  with 


entino  had  failed  to  do  so.  He  found  one 
woman  who  gave  him  a  cup  of  coffee.  He 
wrote  a  grateful  line  in  her  visitor's  book, 
cleared  away  the  vines  and  photographed 
the  gra\e  of  his  baby  sister  Bice,  in  the 
village  cemetery,  took  a  snapshot  of  the 


another  piece  of  candy,  whereupon  the  central  square,  visited  the  monument  to 
process  was  repeated,  until  little  Rodolfo  the  Unknown  Soldier,  and — within  two 
'      '  '  '  •    ■      ■  ^  hours  of  his  arrival — departed. 

But  now  Castellaneta  is  proud  of  him. 
Within  twenty-four  hours  of  his  death 
the  following  handbill,  printed  in  enor- 
mous letters  and  deeply  bordered  with 
black,  was  posted  everywhere  in  the  town: 
FELLOW  CITIZENS: 

The  efforts  of  science  were  wiavail- 
ing  to  rescue  from  the  claws  of  death 
that  son  of  ours  who,  in  faraway 
America,  was  able  to  evoke  all  the 
ardours  of  our  land  and  was  pro- 
claimed the  sovereign  of  the  cine- 
matographic art. 

RODOLFO  GUGLIELMI 
has  died,  invoking  the  s-iveet  name  of 
mother. 

Sublime  interpreter  of  earthly  pas- 
sions, he  fascinated  people  by  his  great 
gifts  of  mind,  and  in  varied,  living 
expression  he  was  tmique,  a  maiestic 
master  of  mimicry.  Every  day  news- 
papers and  magazines  from  every 
corner  of  Europe  and  America  report 
the  delirium  of  acclaiming  mtdtrtudcs. 

No  one  was  able  to  excel  him  and  his 
magnetic  expression  entranced  tnasses 
of  spectators,  who  everywhere  fervently 
adored  him. 

He  was  the  genuine  expression  of  our 
countryside  and  of  our  spirit. 

He  was  the  son  of  the  veterinary 
surgeon.  Dr.  Giovanni  Guglielmi,  who 
did  so  much  good  in  our  town,  and  of 
his  gifted  wife,  whose  noble  qualities 
of  heart  everyone  kneiv.  Rodolfo  Val- 
entino, as  he  called  himself  in  art,  was 
born  in  this  land  of  sun. 

Now  he  is  no  more  and  we  feel  the 
need  of  commemorating  him. 

HE  BELONGS  TO  US  AND  THE 
EYES  OF  ALL  THE  WORLD  ARE 
FIXED  ON  US  EXPECTING 
THAT  HIS  REMAINS  MA  Y  BE 
WORTHILY  PRESERVED  IN 
HIS  NATIVE  SOIL.  _ 

The  sincere  expression  of  our  sor- 
row goes  to  his  memory,  the  sorrowful 
greeting  of  all  our  citizens,  who  will 
forever  imtnortalize  his  genius. 

Everyivhere  great  honor  being  ren- 
dered to  the  hero  of  art,  such  as  few  in 
the  world  have  received,  and  Castella- 
neta remembering  him  sorrowfully 
offers  him  the  last  and  best  tribute  of 
affection. 

The  Committee. 
Castellaneta,  Italia. 


had  sated  his  lust  for  power. 

OF  course,  Rodolfo  organized  a  club  of 
"bandits"  with  headquarters  in  the 
many  caves  of  the  romantic  gorge  of  Cas- 
tellaneta. He  was,  needless  to  say,  leader 
of  the  gang.  He  used  to  ask  the  boys  of 
the  town,  his  fists  clenched  the  while, 
whether  he  was  not  a  greater  bandit  than 
Musolino,  the  legendary  Robin  Hood 
of  Calabria.  The  boy  who  denied  it 
nursed  his  bruises  at  home. 

But  there  was  one  person,  above  all 
others,  to  whom  he  lo\-ed  to  give  his 
candy.  That  was  his  nurse,  Rosa.  Rosa 
has  no  last  name.  At  least  she  has  for- 
gotten it  and  the  townsfolk  ne\er  knew  it. 
Rosa  was,  next  to  his  mother,  the  idol  of 
his  boyhood. 

Rosa,  when  I  finally  found  her  in  Cas- 
tellaneta, was  placidly  riding  her  donkey 
on  her  way  to  her  vegetable  garden.  She 
is  now  nearly  se\"enty  and  she  showed  an 
old  woman's  suspicion  of  a  stranger.  But 
once  her  confidence  had  been  obtained, 
she  poured  out  reminiscences  of  her 
Rodolfo. 

ROSA  didn't  like  sweets.  But  when 
>-  Rodolfo  brought  her  a  gift  of  cand\-, 
he  insisted  on  her  eating  it.  For  the  true 
sheik  must  dominate  not  only  his  rivals 
but  also  the  woman  he  loves.  Sometimes 
he  stole  bright  colored  ribbons  for  her,  and 
she  would  accept  them  in  order,  the  next 
day,  to  return  them  to  the  original  owner. 
Any  boy  to  whom  Rosa  was  friendly  re- 
ceived a  beating.  The  youthful  sheik 
showed  the  jealousy  which  is  but  the 
other  side  of  romantic  love.  Once,  in  a 
jealous  rage,  Rodolfo  threw  at  Rosa  one 
of  the  copper  kettles  in  which  Italian 
women  carry  water  on  their  heads.  She 
bears  the  scar  on  her  chin  to  this  da\-. 

Rosa  told  of  the  time  Rodolfo  rode 
bareback  a  wild  donkey  whom  nobody 
else  could  mount — -and  stayed  on.  She 
told  of  the  time  he  stretched  a  rope  from 
the  balcony  of  his  house  to  that  of  the 
house  opposite,  and  walked  across  it, 
fifteen  feet  above  the  pavement.  She  told 
of  the  days  he  played  hookey,  and  of  his 
long  periods  of  absent-mindedness. 

A  bully  and  a  dreamer.  Such  a  boy 
could  hardly  be  a  favorite  in  the  town. 

Castellaneta  breathed  a  long  sigh  of  re- 
lief when  he  left. 

When  he  returned,  one  day  two  years 

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The  True  Life  Story  of  Lon  Chaney 


[  CONTINUED  FROM  PAGE  37  ] 


Some  of  the  women  made  rag  dolls 
from  bits  of  old  dresses — not  that  any- 
body wanted  a  rag  doll.  It  was  the  best 
they  could  devise.  Lon  could  sketch  a 
bit.  He  made  caricatures  of  each  mem- 
ber of  the  company  and  for  the  helpless 
ones  who  couldn't  think  of  anything  to 
make  or  how  to  make  it,  he  drew  extra 
sketches  so  that  everyone  had  something 
to  give,  something  to  get. 

THEY  made  a  brave  show  of  it  that 
night.  They  danced.  They  sang.  But 
the  homely,  dreaming  boy  who  was  their 
second  comedian  stayed  back  in  the 
shadow  so  they  couldn't  see  the  tears  of 
homesickness  in  his  eyes. 

Eventually  they  got  back  to  Chicago, 
the  Mecca  of  all  barnstormers.  Lon 
looked  about  the  agencies  but  he  could 
only  sign  for  another  tour.  He  got  S14 
a  week  as  second  comedian  with  "The 
Cowpuncher." 

Only  one  night  of  that  hinterland 
hegira  stands  out  in  Lon's  memory'.  It 
was  the  performance  when  the  under- 
study' took  the  sick  leading  lady's  place. 
Lon  had  to  rush  to  her  rescue  in  a  scene 
where  she  ^vas  holding  the  villain  at  bay 
with  a  small  revoU-er. 

There  was  a  real  bullet  in  the  gun. 
Nervous  over  her  part,  as  she  pressed 
the  gun  in  Lon's  hand,  the  girl  pulled 
the  trigger.  Lon  had  five  acts  and  sexen 
scenes  to  go  through  before  he  could  ha\'e 
his  hand  treated.  He  was  a  trouper.  The 
show  went  on.  But  to  this  day  his  right 
hand  bears  the  scar. 

The  next  year  he  was  out  with  "The 
Beggar  Prince. "  In  Champaign,  Illinois, 
the  prima  donna  lost  her  -voice.  The 
theater  manager  finall}'  soh-ed  the 
problem  of  who  was  to  take  her  place 
when  he  suggested  his  wife's  sister.  Lon 
saw  the  girl  come  to  the  theater,  a  lo\-ely 
blonde  youngster  with  a  magnificent 
voice.  He  watched  her  through  the  four 
hour  rehearsal  she  had  for  the  role 
which  she  sung  that  night.  It  was  her 
professional  debut  and  Lon  stood  in  the 
wings  and  envied  her  the  bright  future 
he  saw  ahead  of  her. 

TODAY,  as  successful  as  she  has  been, 
she  must,  -nevertheless,  envy  Lon 
Chaney.  For  she  is  Myrtle  Stedman,  a 
fine  competent  actress,  but  far  from 
stardom. 

"The  Beggar  Prince"  stranded  in 
Columbus,  South  Carolina.  Now  when 
companies  strand.  Equity  sends  for 
them  and  that  is  all  there  is  to  it.  But 
twenty  years  ago  stranding  meant  the 
troupe  was  absolutely  broke.  All  that 
saved  this  group  was  the  fact-  that 
William  Cranston,  a  Canadian  manager, 
was  aware  of  their  existence.  He  sent 
them  fare  enough  to  reach  Halifax,  Nova 
Scotia,  and  then  routed  them  westward 
through  the  mining  camps,  the  dance 
halls,  and  the  snow-bound  hills,  west- 
ward to  Vancouver. 

The  Canadians  had  some  critical 
faculty.  They  fiocked  to  see  "The 
Beggar  Prince"  because  they  had  seen 


no  play  for  months  and  months.  But 
when  the  same  troupe  tried  to  repeat  the 
tour  from  West  to  East  the  Canadians 
knew  more.  The  company  had  added 
two  new  bills  to  the  repertoire,  "The 
Royal  Chef"  and  "A  Knight  for  a  Day," 
but  the  public  stayed  away  with  great 
force.  Again  they  stranded.  By  organizing 
a  benefit  and  playing  three  days  in  one 
town  they  finally  eked  out  their  return 
fare  to  Chicago. 

Back  in  Chicago,  out  of  work,  in 
debt,  all  that  lay  ahead  of  him  another 
road  tour  with  stretches  when  a  few 
dollars  could  be  accumulated  to  be  fol- 
lowed by  stretches  when  those  dollars 
had  to  be  spent.  Lon  was  not  so  lonely 
now  but  he  was  more  frightened.  For 
he  had  married  a  girl  of  the  troupe  and 
he  lo\-ed  her.  But  they  were  both  out  of 
work  and  there  was  a  babj-  coming. 

ALL  the  tenderness  and  compassion 
of  his  boyhood  days  came  into  flower. 
He  wanted  to  take  care  of  that  girl-wife. 
He  wanted  to  give  her  luxuries.  He 
wanted  to  prove  himself  the  greatest 
song-and-dance  man  in  the  world  for  her. 
But  in  his  secret  heart  he  knew  just  what 
he  was,  a  bum  comedian,  lucky  to  sign 
on  with  a  ten-twent-and-thirt  outfit  that 
would  tour  the  tanks. 

I  tried  to  get  Lon  to  tell  me  more  about 
his  wife  but  there  I  met  with  flat  refusal. 
He  is  proud  of  his  son  and  his  son's  wife. 
"Gosh, they're  great  kids,"  he  says.  But 
his  lo\e  for  his  wife  he  holds  inviolable 
from  the  public.  Finall}'  he  showed  me 
her  picture,  taken  on  one  of  their  season- 
able camping  trips  into  the  High  Sierras. 
A  little  broad,  smiling  woman  holding 
her  morning  catch  of  fish.  I  asked  Lon 
if  she  wasn't  less  than  five  feet  tall. 
"Four  feet  ten, "  said  Lon,  "and  being 
part  Italian  she  eats  too  much  spaghetti. " 
He  grinned  reminiscently.  "She's  cou- 
rageous," he  said  finally.  "We've  gone 
through  e\-erything  together.  Let  it  go 
at  that." 

Lon  tramped  the  streets  of  Chicago 
hunting  a  cheap  room.  When  he  found 
it  finally  in  one  of  the  city's  shabbiest 
districts,  he  installed  his  wife  in  it  and 
went  searching  food. 

HE  went  to  a  saloon.  He  was  no  drink- 
er then,  anymore  than  he  is  today. 
But  the  musical  director  of  "A  Knight  for 
a  Day"  had  a  piano-playing  job  in  a 
saloon  that  boasted  a  free  lunch.  He  and 
Lon  were  pals  and  he  loaned  the  comedian 
a  daily  nickel  with  which  to  purchase  the 
glass  of  beer  that  led  to  the  free  lunch. 
The  lunch  oft'ered  husky  sandwiches. 
Lon  would  eat  one  for  himself,  smuggle 
away  one  for  his  wife.  That  way  they 
lived  until  he  got  the  post  of  stage  man- 
ager with  "The  Girl  in  the  Kimono." 

The)-  had  to  take  the  baby  on  the 
road  with  them.  There  was  no  help  for 
it.  Lon  worked  hard.  He  wanted  the 
second  comedian's  place  but  a  better  man 
than  he  held  it.  The  actor's  name  was 
Lee  Moran.  He  is  still  a  comedian  in 
two  reelers. 


Sister  Susie  and 
the  Steno' Job 

She  finished  High  School— with  honors! 
Then  business  college  gave  her  a  "train- 
ing" in  six  months  and  she  started  out  to 
beat  typewriters  for  a  living. 
Fine!  But  Susie  was  temperamental.Grindingdnidg- 
eo'  might  do  for  the  t>-pe  of  girl  whose  ONLY  aim 
is  an  early  marriage.  For  Susie  it  was  killing.  So 
Sister  Susie  "took  up  the  Saxophone." 
Now  Susie  was  just  an  average  girl.  You  could 
never  call  her  gifted  or  talented.  But  within  a  week 
she  was  playing  tunes  and  in  six  months  she  could 
handle  her  Saxophone  like  a  veteran. 
Then  things  happened.  First,  a  little  club  orches- 
tra. Next,  a  local  sextette.Then,  some  "home  town" 
entertainment;  —  a  sharp-eyed  scout  from  a  well- 
known  booking  office— a  contract— and  linle  Miss 
Susie  hit  the  "big  time"  vaudeville,  drawing 

down  as  much  cash  weekly  as  the  salaries  of  half 
a  dozen  stenographers. 

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BUNIONS  ?Sil^ 

Clip  This  and  Prove  It  FREE.' 

The  pedodyne  solvent  treatment  is  a  boon  to  those  whose 
bunion  joints  cause  constant  foot  trouble  and  an  ugly  bulge 
to  the  shoes.  Pain  stops  almost  instantly;  actual  reduc- 
tion of  enlarged  parts  begins  within  a  few  days.  Your 
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I  SUGGESTION 
see  pa^e  115 


Baby  Loves 

A  Bath  With 

Cuticura 

Soap 

Bland  and  Soothing  to 


Cold,  jolting  trains.  Foul  theaters 
where  the  rats  stole  into  the  trunks  to 
eat  the  grease  paint.  Bedrooms  with 
the  paper  peeling  from  the  rotting  walls 
and  the  smell  of  leaking  gas  jets.  Eternal 
fried  steak  and  lumpy  potatoes.  Little 
sheds  along  the  single  railroad  track 
affording  but  the  slightest  protection 
against  the  midnight  winds.  The  bril- 
liant future  which  Lon  Chaney  had 
\isioned  became  now  a  grey  monotony 
getting  worse  and  worse  e\"ery  season. 

John  Chaney  was  in  Los  Angeles, 
manager  of  a  theater,  with  a  permanent 
home,  a  permanent  address.  When  "The 
Girl  in  the  Kimono"  folded  up  on  the 
road,  Lon  headed  for  the  Pacific  Coast. 
He  knew  that  nothing  worse  than  what 
he  had  gone  through  could  lie  ahead  of 
him  and  at  least  the  weather  would  be 
kindly. 

There  was  a  tabloid  musical  comedy 
stock  company  playing  at  the  Olympic 
Theater  on  Los  Angeles'  Main  Street. 
Se\-en  shows  a  da}-,  from  one  thirty  to 
eleven  at  night,  se\en  days  a  week. 
Wages,    thirty-fi\e   dollars. 

Killing,  prostrating  work,  but  perma- 
nent. Lon  played  there  six  months. 
Then  he  joined  the  Grand  Opera  House 
Company  across  the  street.  The  leading 
comedians  there  were  Roscoe  Arbuckle 
and  Robert  Z.  Leonard.     The  soubrette 


was  Francis  White.  Lon  played  German 
comedy,  Jewish  comedy,  old  men,  young 
men,  all  the  bits.  He  knew  enough  about 
make-up  that  he  could  play  five  r61es 
in  one  bill  and  not  have  the  audience  be 
aware  of  it.     He  was  something  terrible. 

Slowly  he  began  toimpro\  e.  The  show- 
manship that  is  like  a  lucky  talisman  for 
his  career  today  began  operating.  He 
got  his  first  reward  when  Dill  of  the 
producing  firm  of  Kolb  and  Dill  sent 
for  him. 

"The  Rich  Mr.  Hoggenheimer"  was 
going  on  tour  and  Dill  wanted  Lon  as 
stage  manager.  Lon  had  to  break  up  his 
home  but  he  could  not  resist  a  part  that 
had  actually  been  offered  him,  that  he 
hadn't  had  to  beg  for.  When  he  got  to 
San  Francisco  and  Kolb  and  Dill  decided 
they  were  going  to  center  their  producing 
acti\ities  there  and  wanted  Lon  as  stag£ 
manager,  he  was  in  hea\'en. 

In  the  two  years  in  San  Francisco  he 
not  onlj'  made  a  li\ing  wage  with  Kolb 
and  Dill  but  earned  a  little  on  the  side. 
Once  he  staged  "Forty-Fi\e  Minutes 
from  Broadway"  at  the  Alcazar  Stock 
Company.  Lon  as  song-and-dance  man 
staged  the  dances.  He  had  to  put  the 
leading  man  through  his  steps  and  the 
leading  man  was  nice  about  it  but  he 
kept  Lon  in  his  place.  The  leading  man's 
name  was  Bert  Lytell. 


Together  they  made  good,  Betty  Compson  and  Lon  Chaney,  in 
"The  Miracle  Man."  They  both  went  up  in  the  electric  lights. 
Then  Betty  got  a  bunch  of  bad  releases,  while  Lon  went  steadily, 
consistently  ahead.  Now  they  are  reunited  again  in  Lon's  next 
picture,  "The  Big  City" 

Every  ndvcTtlseim-iit  In  PTtOTOPLAY  MAGAZINE  is  Bimrantcod. 


Photoplay  Magazine — Advertising  Sec 

A  little  money  gave  Lon  poise  enough  he  had  been  when  he  started  out  from 

to  look  once  more  toward  the  future.  He  home,    twehe    years    before.      He    was 

kept  hearing  of  the  mo^•ing  pictures  down  thirty  years  old.     But  he  was  a  trouper, 

the  Coast.    The  three  Chaneys  packed  up.  He  saw  only  happiness  ahead.     He  saw 

Lon  was  going  to  try  his  luck  again.  fame.    He  so  thoroughly  belie\ed  in  him- 

Lon  hunted  up  his  friend,  Lee  Moran,  self  as  a  comedian  he  couldn't  know  he 

who  was  working  out  in  a  suburb  of  Los  was  to  find  no  success  until  he  changed 

Angeles  called  Hollywood.    At  the  corner  his  acting  completely.    And  he  certainly 

of  Sunset  and  Gower  Streets  behind  what  would  have  believed  no  one  if  they  had 

had  been  a  cattle  corral  was  one  ram-  told  him  that  his  success  was  to   come 

shackle  building.    This  was  the  L^niversal  through  one  woman's  keenness. 

Film  Company.     Lee  got  Lon  a  chance  Today  that  woman  is  a  scenario  writer 

there  at  three  dollars  a  day.  one  of  the  finest.    Then  she  was  an  actress,' 

The   comedy   man   strutted   his  stuff,  not  one  of  the  finest.    Yet  even  then  she 

He  quite  truthfully  believed   there  was  had  perception.     Her  name  was  Jeanie 

nothmg  he  could  not  do  by  way  of  pulling  Macpherson  and  she  was  the  first  person 

io„„hc    „^  ^oi-„_„„  1,.  .^,.M   „...  ^„.,  ^^.jjQ     insisted    that    Lon    Chanev,    the 


laughs,  no  make-up  he  could  not  di 
The  lack  of  word  gags  to  get  over  the 
slap-stick,  which  bothered  the  others, 
troubled  him  not  at  all.  He  was  back  in 
the  dumb  atmosphere  of  his  childhood 
where  he  clowned  for  his  mother's 
amusement.  They  signed  him  for  a 
company  making  one-reelers  in  which  the 
other  players  were  Louise  Fazenda,  Max 
Ascher  and  Gale  Henry. 

He  was  making  very  little  more  than 


comedian,  be  cast  in  one  of  her  pictures 
in  a  tragic  character  role. 

He  thought  he  was  going  to  be  terrible 
in  Jeanie  Macpherson's  picture.  Actually 
it  was  the  turning  point  of  his  career, 
leadmg  to  "The  Miracle  Man"  and  star- 
dom. Read  how  Lon  Chaney  found  suc- 
cess. In  the  February  issue  of  Photo- 
play. 


The  Shadow  Stage 


ONE 

You  try  it  first  on  a 
single  lock  of  your 
hair  to  see  what  it 
does.  Thus  have  no 
fear  of  results. 


TWO 

Then  simply  comb 
water-like  liquid 
througrh  hair. 
Clean,  safe.  Takes 


[  CONTINUED  FROM  PAGE  55  ' 


NIGHT  LIFE— Tiffany 

A  LONG  step  toward  stardom  is  achieved 
•**■  by  two  people  in  this  picture.  They  are 
Alice  Day  and  Eddie  Gribbon,  while 
Johnnie  Harron  is  rig^t  behind  them. 
The  locale  is  laid  in  Vienna  before  and  after 
the  World  War — that  latter  period  being 
most  deftly  covered  in  less  than  100  feet  of 
film  and  in  a  most  effective  manner.  Harron 
and  Gribbon  are  the  performers  in  a  beer 
garden — the  former  a  sleight-of-hand  manip- 
ulator and  the  latter  his  assistant.  They  are 
on  their  way  to  success  but  the  war  inter- 
venes. On  their  return  from  the  front  they 
join  the  starving  throng  in  the  bread-line. 
It  is  there  that  the  thought  comes  to  the 
pair  that  the  dexterity  of  the  fingers  of  the 
one  might  be  employed  to  effect  their  salva- 
tion from  starvation.  Harron  turns  pick- 
pocket and  Gribbon  disposes  of  the  loot. 
The  tale  is  about  half  told  before  the  heroine 
enters.  Then  Alice  Day  appears  and  she, 
too,  has  turned  crook  to  keep  alive.  She 
tries  to  lift  Harron's  watch  but  he  catches 
her,  feeds  her  and  falls  in  love  with  her. 
The  advent  of  the  girl  creates  a  triangle 
situation  which  brings  the  picture  to  an 
end  with  a  most  effective  twist  that  will  be 
adored  by  audiences.  There  is  a  lot  of 
colorful  atmosphere  and  a  sustained  sus- 
pense to  the  story  and  the  manner  of  its 
unfoldment  that  will  grip  the  fans. 

THE  WISE  WIFE—Pathe-De  Mille 

'T'HIS  is  a  fair  comedy — though  not 
-•■  original — of  domestic  troubles  and 
triangles.  Hubbies  do  have  a  weakness  for 
peppy  flappers,  so  friend  wife  gets  herself 
all  modernized  and  lets  Cupid  do  the  rest. 
You  won't  be  bored  for  the  cast  boasts  of 
Phyllis  Haver,  Jacqueline  Logan  and  Tom 
Moore. 

THE  RACING  ROMEO— FBO 

A  NOTHER  of  the  motor  maniac  yarns 
•'  Where  the  hero  just  must  win  the  race. 
The  story  is  slim  and  the  comedy  gags 
obvious.  The  chief  claim  to  your  attention 
is  Red  Grange  and  a  cute  little  pup. 
Jobyna  Ralston  is  the  girl.  As  you  might 
suppose,  this  is  very  poor  entertainment. 


THEIRRESISTIBLE  LOVER— Universal 

A  FROTHY  piece  of  nonsense  concerning 
-*  *-a  handsome  bachelor  wh©  has  escaped 
from  the  matrimonial  ties.  And  into  his 
life  comes  a  sweet  young  thing  who  changes 
everything — and  there  you  ha\-e  it.  William 
Beaudine's  skillful  direction  makes  this 
real  good  entertainment.  Norman  Kerry 
and  Lois  Moran  head  the  cast.  You  really 
shouldn't  miss  this  under  any  circumstances. 

RAGTIME— First  Division 

'X'HIS  is  nothing  but  an  old  song  re- 
■*■  vamped  with  a  tin-pan  alley  composer  as 
the  hero  and  a  charming  debutante  as  the 
heroine.     Pass  this  up. 

EAST  SIDE,  WEST  SIDE— Fox 

npHE  celluloid  version  of  Felix  Riesen- 
•'-  berg's  popular  novel  is  filled  with  all 
the  ingredients  that  make  good  movie  en- 
tertainment. It  has  a  realistic  background 
of  New  York  and  tells  the  tale  of  a  river 
waif  who  fights  his  way  to  the  top  step  of 
the  ladder  of  success.  George  O'Brien  and 
Virginia  Valli  give  splendid  performances. 
Allan  Dwan  directed.  We  recommend  this 
to  you  without  any  reservation. 

THE  COLLEGE  WIDOW— Warners 

"r\OLORES  COSTELLO  goes  collegiate 
-'-^and  vamps  a  flock  of  football  players. 
They  all  enter  her  daddy's  school  and  what  a 
team  old  Whozis  has.  The)'  win  the  big 
game — Dear  Old  Alma  Mater  is  saved — and 
incidentally  pop  keeps  his  job — that's  why 
Dolores  did  all  the  vamping.     Trite  stuff. 

LADIES  MUST  DRESS— Fox 

TpHE  let-down  in  the  last  half  of  this 
■'-  picture  spoils  it  for  being  a  truly  hila- 
rious comedy.  The  first  half  is  one  laugh 
after  another.  Virginia  Valli  learns  that 
even  a  poor  department  store  stenographer 
must  dress  to  hold  her  man — and  attract 
others.  Lawrence  Grey  portrays  a  boy 
worth  holding,  while  Earle  Fox  makes  an 
attractive  third  to  the  triangle.  Nancy 
Carrol  and  Hallam  Cooley  are  a  joy  to 
behold  as  the  jealous,  nagging  young 
married  pair. 


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THE  LOVELORN— M.-G.-M. 


The  Luxury 
of  Doing  Good 

CHRISTMAS  Seals  en- 
able one  to  enjoy  the 
"luxury  of  doing  good." 
They  have  become  the  thing 
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HOOK   and    Offel 


BEATRICE  FAIRFAX  brings  her  ex- 
periences with  "The  Lovelorn"  to  the 
screen  in  a  simple  heart-interest  story  which 
is  lightened  by  deft  touches  of  comedy. 
Sally  O'Neil  and  Molly  O'Day,  interpret 
sisters  fall  in  love  with  the  same  man. 
Had  soulful,  serious  Molly  listened  to  Miss 
Fairfax's  advice,  she  would  have  saved  her- 
self and  her  flapper  sister,  Sally,  much 
suffering.  Larry  Kent  gives  a  creditable 
performance  as  the  coveted  man.  James 
Murray  and  Charles  Delaney  are  the  stand- 
by-lovers. Assures  an  evening  of  light, 
pleasant  entertainment. 

MY   FRIEND    FROM    INDIA—Pathe- 
DeMille 

AXOTHER  dear  old  stage  farce  has 
■'^■been  resurrected  for  the  screen.  It 
contains  all  the  old  situations  and  strenuous 
physical  comedy  that  was  in  vogue  a  quarter 
of  a  century  ago.  In  this  case,  however,  it 
isn't  the  action  or  the  situations  that 
provoke  the  laughs — the  titles  do  the  trick 
and  they  are  far-fetched  and  verging  on 
the  douijle  entendre  at  all  times.  Funny 
nevertheless.  E.  Mason  Hopper  was 
selected  to  direct  the  picture,  which  has 
Franklyn  Pangborn  and  Elinor  Fair  as  its 
principal  features,  with  Ethel  Wales  and 
Ben  Hendricks  given  lesser  screen  credit. 

ON  YOUR  TOES— Universal 

THE  sequel  to  "The  Leather  Pushers" 
series  gives  you  another  fight  with  many 
thrills.  Also,  proves  what  an  excellent 
athlete  Reginald  Denny  is.  Many  humor- 
ous situations  arise  in  Denny's  efforts  to 
live  up  to  the  aristocratic  ideas  of  his 
Grandmother.  'She  would  have  him  teach 
aesthetic  dancing,  but  the  fighting  blood  of 
his  ancestors  conquers,  even  as  he  teaches 


Murray.  The  change  from  a  clean,  admi- 
rable fellow,  to  a  dissolute,  irresponsible 
gambler,  is  beautifully  done.  Proves  that 
Murray's  work  in  "The  Crowd"  was  not 
"a  happen  so."  John  M.  Stahl  gives  us 
remarkable  negro  atmosphere  and  a  por- 
trayal of  their  love  of  the  white  people  that 
has  not  been  equaled.  Helene  Costello 
neither  acts  nor  looks  pretty — a  combination 
that  is  fatal.  Eddie  Martindel  does  good 
work  as  the  father  and  Wesley  Barry  does 
an  exceptionally  nice  bit  as  jockey. 

THE  CABARET  KID— Peerless 

A  FOREIGN  made  picture,  with  locale 
■'*■  in  England  and  France.  An  enmity  of 
long  standing  between  two  aristocratic 
English  families  is  straightened  out  through 
the  association  of  the  younger  generation. 
Accidentally,  the  girl  meets  t  he  boy  aviator. 
The  development  of  their  love  affair  will 
interest  you,  but  the  story  is  disconnected. 
George  Hackathorne  is  lovable  as  the  boy, 
and  Betty  Balfour  (the  Mary  Pickford  of 
England)  plays  sympathetically. 

MUM'S  THE  WORD— Fox 

ANOTHER  fast-moving,  two-reel  com- 
edy, with  that  youthful  team,  Sally 
Phipps  and  Nick  Stuart  ._  .  .  the  boy  who 
"for  years  had  been  looking  for  a  Sunday 
girl  and  all  he  had  ever  known  had  been 
weak  sisters."  A  new  director,  Eugene  J. 
Ford,  handles  the  megaphone.  The  tempo 
of  this  clean  comedy  would  indicate  that  he 
will  make  good. 

IF  I  WERE  SINGLE— Warners 

ANOTHER  highly-amusing,  domestic 
comedy,  starring  May  McAvoj',  with 
Conrad  Nagel  as  her  leading  man.  In  this 
case,  Nagel  promised  to  "love,  honor  and 
behave."     The  complicated  situations  keep 


he  "Tunney  Back  Step."     Mary  Carr  is     you  delighted,  and  Nagel  proves  that  he  is  a 
^        '        '  .    T,     ■  comedian  of   first   order.     May   McAvoy's 

work  is  very  sincere.  The  rnusic  teacher, 
Andre  Beranger,  is  screamingly  funny, 
with  his  refined  effeminacy  and  overstrained 
gracefulness.  Merna  Loy  is  the  capable 
vamp.  The  flappers,  the  brides,  and  the 
long-married  will  love  this  clean  comedy. 


the  pleasing  Grandmother,  and  Barbara 
Worth,  the  girl  of  his  eye,  looks  like  she  is 
worth  fighting  for.     Plenty  of  laughs. 

MAN  CRAZY— First  National 

THIS  is  another  of  the  series  of  pictures 
with  Dorothy  Mackaill  and  Jack 
Mulhall  co-featured.  The  picture  is  founded 
on  the  storj',  "Clarissa  of  the  Post  Road." 
It  is  the  type  of  light  fiction  tale  that  most 
fans  will  like.  The  heroine  springs  from 
stock  that  holds  great  family  pride,  the  hero 
likewise.  However,  the  heroine  has  the 
urge  to  do  things.  She  maintains  a  quick 
lunch  on  the  post  road;  the  hero,  with  similar 
ideas,  owns  and  drives  an  express  truck 
between  New  York  and  Boston.  Neither 
suspects  the  true  identity  of  the  other. 
Finally  it  is  disclosed  who  they  are  and  there 
is  a  happy  ending.  Dorothy  Mackaill  is 
responsible  for  a  fair  performance  while 
Jack  Mulhall  is  as  always — likable.  Edythe 
"Chapman   scores   as   a  stern  grandmother. 

BUCK  PRIVATES— Universal 

TUST  another  laugh  at  the  World  War.  It 
J  is    the    Americans    occupying    Germany 


THE  MAIN  EVENT- 


-Pathe-De  Mille 

of 


A  HACKNEYED  story  ot  a  prize 
fighter,  his  devoted  father  and  a 
traitorous  girl  who  reforms  is  made  under 
William  K.  Howard's  direction  quite 
human.  Every  scene  has  been  handled  with 
imagination  and  directorial  cleverness  j'et 
the  performers  are  never  lost  beneath  the 
camera  tricks.  Vera  Reynolds,  in  fact, 
gives  her  best  performance  to  date  and 
Charles  Delaney  and  Rudolph  Schildkraut, 
the  reliable,  are  excellent. 

ALIAS  THE  LONE  WOLF— Columbia 

IT  is  interesting  to  again  see  Bert  Lytell  on 
the  screen  impersonating  the  famous 
"Lone  Wolf"  character,  Michael  Lanyard, 
which  he  created  ten  years  ago.  There  are 
mystery,  intrigue,  and  romance,  and  the 
after  the  Armistice,  with  two  buck  privates  denouement  (which  can't  be  told)  is  star- 
falling  in  love  with  the  village  belle.  Her  tlmg  enough  to  satisfy.  Bert  looks  marvel- 
father  is  a  rabid  pacifist  and  willing  to  fight  ous  and  gives  a  beautiful  characterization 
to  gain  his  point.  Lya  De  Putti  is  the  belle  and  Lois  Wilson  fal  s_  for  him  hard.  Lois 
and  both  Malcolm  McGregor  and  Eddie  work  shows  marked  iniproyement  also.  A 
C.riljbon  fall  in  love  with  her.  But  daddy  crook  picture  the  family  will  enjoy, 
throws  them  both  out  of  the  house;  in  the 


end,  however,  McGregor  wins  her  favor, 
while  Gribbon  is  captured  by  ZaSu  Pitts 
who  gives  the, picture  some  of  the  greatest 
laugh  moments. 

IN  OLD  KENTUCKY— M.-G.-M. 

A  KENTUCKY  DERBY  is  always  good 
for  thrills  and  this  one  does  not  dis- 
appoint you.  Also,  it  makes  plain  the  effect 
the   war  had   on   one   young   man — James 

■ery  advertisement  In  riI0TOPI...\Y  M.\G.\ZIXE  is  suarantee 


HONEYMOON  HATE— Paramount 

FLORENCE  VI  DOR  again  makes  a 
picture  in  which  she  looks  beautiful  and 
keeps  you  interested.  The  story  is  of  a 
wealthy  American  girl,  who  goes  abroad. 
She  is  fortified  by  all  that  wealth  can  furnish 
and  thinks  there  is  nothing  in  Italy  that 
cannot  be  purchased  for  a  price.  She  en- 
counters a  few  obstacles.  Also,  she  adds  a 
husband  to  her  entourage,  in  the  person  of 


Photoplay  Magazine— Advertising  Section 

Tullio  Carminati,  who  quicklv  proves  a  menace.  Three  underworld  gangsters 
thorn  m  the  flesh.  He  came  of  a  fam.lv  changed  their  lives  because  of  the  influence 
who      import   tiger  cubs   for   the   thr.ll   of     of  a  sweet  child,  whom  thev  had  adopted 

She  had  to  grow  up  before  the  picture  was 
finished.  Because  of  her  trust  in  him,  Monte 
was  compelled  to  be  worthv  of  the  place  of 
"Daddy."  He  thought  he  had  only  parental 
love  for  her,  but  when  she  stepped  out  with 
his  chum,  the  awakening  came.  Consist- 
ently good  work  by  all. 


taming  them,"  and  his  ring  bore  the  inscrip- 
tion, "We  Shall  Be  6be\ed."  When 
Florence  learned  this,  she  wanted  to  "put 
cyanide  in  his  orange  juice."  Instead  she 
taught  him  how  to  obey.  See  the  picture 
and  learn  the  art.  Incidentally,  the  sets 
are  gorgeous — and  Carminati  is  a  real  man. 


OPEN  RANGE— Paramount 

y\7ITH  a  thrilling  Western  by  Zane  Gre}-, 
*^  Betty  Bronson  in  the  leading  fern- 
inine  role.  Lane  Chandler,  on  his  white  horse 
"Flash,"  this  could  never  be  termed  a 
"typical  Western."  It  is  far  above  the 
average.  We  have  surprise  attacks  by  the 
Indians,  an  up-to-the-minute  rodeo,  cattle 
stampedes,  runaway  horses  dri\-en  by 
B^etty,  and  villainous  work  done  by  Fred 
Kohler.  The  picture  is  exciting  and  vou 
need  not  be  afraid  the  family  will  be  dis- 
appointed. 

A  BOY  OF  THE  STREET— Rayart 

'T'HIS  is  the  story  of  love  between  a  young 
■••  boy  and  his  older  brother,  the  latter 
having  the  responsibility  of  the  child's  up- 
bringing. For  the  boy's  sake,  the  older 
brother  steals,  and  for  the  boy's  sake  he 
goes  straight,  and  thereby  wins  the  girl 
the  kid  brother  has  selected  for  him.  Betty 
Francisco  is  the  girl  and  Johnnie  Walker 
plays  the  older  brother.  The  title  role  is 
played  by  little  Alickey  Bennett,  who  scores 
another  home-run.    This  boy  is  a  trouper. 

BRASS  KNUCKLES— Warners 

XTO\'EL  story  of  the  underworld,  co- 
■•-^  starring  Monte  Blue  and  Betty  Bron- 
son. Fans  will  like  Monte  in  this  role  and 
he  and  his  pal,  George  Stone  (the  sewer  rat 
in  "7th  Heaven"),  furnish  some  good  laughs 
without  comedy  gags.     Bill  Russell  is  the 


THE  BATTLE   OF   THE   CENTURY— 
M.-G.-M. 

THIS  latest  two-reel  comedy  of  Oliver 
■*■  Hardy  andStan  Laurel  is  a  burlesque  of  the 
recent  Dempsey-Tunney  fight.  It  is  slightly 
remmiscent  of  the  old  pie-throwing  days, 
e.xcept  for  the  la\-ish  scale  with  which  it  is 
done-;-more  than  three  thousand  pies  being 
used  in  one  sequence.  You  can  guess  what 
a  "soft"  production  it  is. 

HOOF  MARKS— Pathe 

CTEP  right  up,  boys  and  girls,  and  meet 
'-'>-our  new  boy  friend.  Jack  Donovan, 
Bathe's  newest  Western  star.  Jack  seems  to 
be  a  nice  big  bra\e  hero,  has  a  nice  per- 
sonality and  can  ride  like  a  streak  of  light- 
nin'.  Now  as  for  the  picture,  it's  just 
another  of  those  cattle  stealing  episodes 
wherein  the  hero  is  right  smart  and  captures 
the  rustlers  and  the  gal's  heart.  Drop  in 
and  see  Jack! 

THE  HARVESTER— FBO 

A  PPEALIXG  to  youngsters  who  look 
-*  »-_upon  the  late  Gene  Stratton  Porter  as 
their  favorite  author,  but  grownups  will  be 
bored  to  tears.  If  you're  one  of  those 
meanies  who  must  know  what  it's  all  about 
—here  goes.  A  herb  grower  has  a  dream 
girl.  He  builds  a  home  for  her — hoping 
some  day  to  meet  her.  He  finally  does  and 
woos  and  wins  her.  There's  a  lot  of  mystery 
bunk  that's  never  explained.  You  know- 
just  as  much  about  the  picture  now  as  we  do. 


Lina  Basquette  was  playing  in  "Serenade"  with  Adolphe  Menjou 
when  her  husband,  Sam  Warner,  died.  Miss  Basquette  gamely  hid 
her  grief  and  went  on  with  her  work,  rather  than  delay  production 
or  necessitate  retakes.  Her  bravery  won  the  admiration  of  every- 
one in  the  studio 


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Does  She  Love  You  Enough? 

Give  a  Thought  to  Your  Physical  Self 

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J  athletic  field,  on  the  dance 

When  you  hear  a  woman  exclaim:  "Oh,  what  a  hand- 
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"CIRCUS,  THE"— United  Artists.— 
Written  by  Charles  Chaplin.  Directed  by 
Charles  Chaplin.  The  cast:  C/mW/e,  Char- 
lie Chaplin;  The  Equestrienne,  Myrna  Ken- 
nedy; The  Vanishing  Lady,  Betty  Mornssey; 
Rex,  King  of  the  High  Wire,  Harry  Crocker; 
The  Circus  Proprietor,  Allan  Garcia;  The 
Merry  Clown,  Henry  Bergman;  The  Tent 
Master,  Stanley  J.  Sanford;  Tlie  Magician, 
George  Davis;  The  Property  Man,  John 
Rand;  The  Pickpocket,  Steve  Murphy. 

"SORRELL  AND  SON"— United  Art- 
ists.— Story  by  Warwick  Deeping.  Directed 
by  Herbert  Brenon.  Photographed  by 
James  Wong  Howe.  Scenario  by  Esther  B. 
Meehan.  The  cast:  Sorrell,  H.  B.  War- 
ner; Kit,  Nils  Asther;  Kit,  as  child,  Mickey 
McBan;  Dora  Sorrell,  Anna  Q.  Nilsson; 
Fanny  Garland,  A\ice]oyce: FlorencePalfrey, 
Carmel  Myers;  Serg.  Major  Buck,  Louis 
Wolheim;  Roland,  Norman  Trevor;  Dr. 
Orange,  Paul  McAllister;  Molly,  Mary  Nolan. 

"SHE'S  A  SHEIK"— P.\r.a.mount.— 
From  the  story  by  John  McDermott.  Con- 
tinuity by  Lloyd  Corrigan.  Directed  by 
Clarence  Badger.  The  cast:  Zaida,  Bebe 
Daniels;  Captain  Colton,  Richard  Aden; 
Kcida,  William  Powell;  Miss  Fowler,  Jose- 
phine Dunn;  Jerry,  James  Bradbury,  Jr.; 
Joe,  Billy  Franey;  The  Sheik,  Paul  McAl- 
lister; The  Major,  Al  Fremont. 

"PRIVATE  LIFE  OF  HELEN  OF 
TROY,THE" — First  N.VTION.VL. — Storyby 
John  Erskine.  Directed  by  Alexander  Korda. 
The  cast:  Helen,  Maria  Corda;  Menelaus, 
Lewis  Stone;  Paris,  Ricardo  Cortez;  Eteo- 
neus,  George  Fawcett;  Adraste,  Alice  White; 
Telemachus,  Gordon  Elliott;  Ulysses,  Tom 
O'Brien;  Achilles,  Bert  Sprotte ;  ^ia.v,  Mario 
Carillo;  Malapokitoratoreadetos,  Charles 
Puffy;  Hector,  George  Kotsonaros;  Aeneas, 
Constantine  RomanofT;  Sarpedon,  Emilio 
Borgato;  Aphrodite,  Alice  Adair;  Athena, 
Helen  Fairweather;  Hera,  Virginia  Thomas. 

"GRANDMA  BERNLE  LEARNS  HER 
LETTERS"— Fox.— From  the  story  by 
I.  A.  R.  Wylie.  Scenario  by  Philip  Klein. 
Directed  by  John  Ford.  Photography  by 
George  Schneidermann.  The  cast:  Joseph, 
James  Hall;  Grandma,  Margaret  Mann;  Von 
Strom,  Earle  Foxe;  Franz,  Francis  X.  Bush- 
man, Jr.;  Andres,  George  Meeker;  Letter- 
carrier,  Albert  Gran;  School  Master,  Frank 
Reicher;  Inn  Keeper,  L.  J.  O'Connor;  Von 
Stromm's  orderly,  Michael  Mark;  Johann, 
Charles  Morton;  Burgomaster,  August  Tol- 
laire;  American  Girl — Ann,  June  Collyer; 
James  Henry,  Wendall  Franklin;  Johann' s 
girl,  Ruth  Mix. 

"GORILLA,  THE"— First  N.\tion.\l.— 
From  play  by  Ralph  Spence.  Directed  by 
Alfred  Santell.  The  cast:  Gam7y,  Charlie 
Murray;  Mulligan,  Frank  Kelsey;  Alice 
Townsend,  Alice  Day;  William  Townsend, 
Tully  Marshall;  Cyrus  Townsend,  Claude 
Gillingwater;  Stevens,  Walter  Pidgeon; 
Marden,  Gaston  Glass;  The  Reporter,  Brooks 
Benedict;  The  Cook,  Aggie  Herring;  The 
Butler,  Syd  Vrossley;  A  Sailor,  John  Gough. 

"GAUCHO,  THE"— United  Artists.— 
Story  by  Elton  Thomas.  Directed  by  F. 
Richard  Jones.  The  cast:  Lead,  Douglas 
Fairbanks;  Madcap  lead,  Lupe  Velez;  Spirit- 
teal  lead,  Eve  Southern;  Dictator,  Gustave 
von  Seyffertitz;  Padre,  Nigel  de  Brulier; 
Commandantc,  Michael  Vavitch;  Dancer, 
Carlo! t a  Monti. 


Directed  by  Alfred  Raboch.  The  cast: 
Takla,  Gilda  Gray;  Stephan  Athelstan,  Chxe 
Brook;  First  Devil  Dancer,  Anna  May  Wong; 
Sadik  Lamas,  Sojin;  Grand  Lamas,  James 
Leong;  Hassim,  Michael  Vavitch;  Isable, 
Martha  Mattox;  Tana,  Anna  Schaeffer; 
Takla's  Mother,  Barbara  Tennant. 

"MAN,  WOMAN  AND  SIN"-M.-G.-M. 
— From  the  storv  bv  Monta  Bell.  Scenario 
by  Alice  D.  G.  Miller.  Directed  by  Monta 
Bell.  Photography  by  Percy  Hilburn. 
The  cast:  Al  Whitcomb,  John  Gilbert;  Al 
Whitconib,  as  a  child,  Philip  Anderson;  Vera 
Worth,  Jeanne  Eagels;  Mrs.  Whitcomb, 
Gladys  Brockwell;  Bancroft,  Marc  MacDer- 
mott;  Star  Reporter,  Hayden  Stevenson; 
City  Editor,  Charles  K.  French. 

"UNCLE  TOM'S  CABIN"— Universal. 
— Written  by  Harriet  Beecher  Stowe. 
Directed  bv  Harry  Pollard.  Photography 
by  Charles  Stumar.  The  cast:  Uncle  Tom, 
James  B.  Low;  Eva  St.  Clair,  Virginia 
Grey,  Simon  Legree,  George  Siegmann ;  Eliza, 
Margaret  Fisher;  Cassie,  Eulalie  Jensen; 
George  Harris  (slave),  Arthur  Edmund  Ca- 
rewe;  Haley,  Adolph  Milar;  Mr.  Shelby, 
Jack  Mower;  Mrs.  Shelby,  Vivian  Oakland; 
Tom  Loker,  J.  Gordon  Russell;  Ceo  Harris 
(Slaveowner),  Skipper  Zeliff;  Little  Harris, 
Lassie  Lou  Ahern;  Topsy,  MonaRay;  Miss 
Ophelia,  Aileen  Manning;  St.  Clair,  John 
Roche;  Lawyer  Marks,  Lucien  Littlefield; 
Uncle  Tom's  wife,  Gertrude  Howard;  Mrs. 
St.  Clair,  Gertrude  Astor;  Adolph,  Rolfe 
Sedan;  Mammy  in  St.  Clair  House,  Marie 
Foster;  Lieutenant,  Francis  Ford;  The 
Doctor,  Geoffrey  Grace;  Landlady,  Martha 
Franklin;  Phineas  Fletcher,  Nelson  McDow- 
ell; Mrs.  Fletcher,  Grace  Carlisle. 

"GOOD  TIME  CHARLIE"— W.\RNER's. 
— Story  by  Darryl  Francis  Zannuck. 
Directed  by  Michael  Curtiz.  Photography 
by  Barney  McGill.  The  cast:  Rosita 
Keene,  Helene  Costello;  Good  Time  Charlie, 
Warner  Oland;  Bill  Collins,  Clyde  Cook; 
John  Hartwell,  Montagu  Love;  John  Hart- 
well,  Jr.,  Hugh  Allen;  Elaine  Keene,  Julanne 
Johnston. 

"SPOTLIGHT,  THE"— P.\ramount.— 
From  the  story  by  Rita  Weiman.  Scenario 
by  Hope  Loring.  Directed  by  Frank  Tuttle. 
The  cast:  Lizzie  Parsons,  Esther  Ralston; 
Brett  Page,  Neil  Hamilton;  Kane,  Nicholas 
Soussanin;  Ebbetts,  Arthur  Housman;  Mag- 
gie Courtney,  Arlette  Marchal. 

"SYMPHONY,  THE"  —  Universal.  — 
Story  by  Sven  Gade.  Directed  by  F.  Har- 
mon Weight.  The  cast:  Franz  Hausmann, 
Jean  Hersholt;  Elsa  Hausmann,  Marion 
Nixon;  Leopold  Ostberg,  George  Lewis;  Sol 
Levy,  Roscoe  Karns;  Kline,  Torben  Meyer; 
Schmidt,  Andrew  Arbuckle;  Mr.  Ostberg, 
Charles  Clary;  Mrs.  Ostberg,  Clarissa  Sel- 
wynne;  Miss  Ostberg,  Patricia  Carron;  Con- 
ductor of  Symphony,  Alfred  Hertz. 

"WILD  GEESE"— Tiffany.— From  the 
story  by  Martha  Ostenso.  Adapted  by 
A.  P.  Younger.  Directed  by  Phil  Stone. 
The  cast:  Amelia  Care,  Belle  Bennett; 
Caleb  Care,  Russell  Simpson ;  Judith  Gare, 
Eve  Southern;  Sven  Sandbo,  Donald  Keith; 
Mark  Gordon,  Jason  Robards;  Lynn  Archer, 
Anita  Stewart;  Martin  Gare,  Wesley  Barry; 
Ellen  Gare,  Reta  Rae;  Charles  Gare,  Austin 
Jewel;  Mrs.  Klovatz,  Evelyn  Selby;  Mr. 
Klovatz,  Frank  Austin;  Bart  Nugent,  Bert 
Starkey;  Parson,  Jimmie  Mack. 


"DICVIL     DANCER,     THE"— United         "CHINESE    PARROT,    THE"— Uni- 
Aktists. — From  the  story  by  Harry  Harvey,     versal. — From    the    story    by    Earl    Derr 


Photoplay  Magazine — Advertising  Section 


125 


Diggers.  Scenario  by  J.  Grubb  Alexander. 
Directed  by  Paul  Leni.  The  cast:  Sa/ly 
Phillimore,  Marion  Ni.\on;  Sally  PhiUimore 
[older),  Florence  Turner;  Phillip  Madden, 
Hobart  Bosworth;  Jerry  Delaney,  Hobart 
Bosworth;  Robert  Eden,  Edmund  Burns; 
Martin  Thome,  Capt.  Albert  Conti;  Charlie 
Chan,  K.  Sojin;  Alexander  Edev,  Fred  Es- 
melton;  Maydorf,  Ed.  Kennedy;  Louie 
Wong,  George  Kuwa;  Prospector,  Slim  Sum- 
merville;  Prospector,  Dan  iMason;  Naiitcli 
Danter,  Anna  May  Wong;  Gambling  Den 
Habitiie,  Etta.  Lee;  Jordan,  jack  Trent. 

"A  TEXAS  STEER  "—First  N.\tioxal. 
— From  the  play  by  Charles  H.  Hojt. 
Titles  by  Will  Rogers.  Directed  by  Richa'rd 
Wallace.  The  cast:  Maverick  Brander,  Will 
Rogers;  Mrs.  Ma  Brander,  Louise  Fazenda; 
Brassy  Gall,  Sam  Hardy;  Bossy  Brander, 
Ann  Rork;  Farleigh  Bright,  Douglas  Fair- 
banks, Jr.;  Dixie,  Lilyan  Tashman;  Fish- 
lack,  George  Marion,  Sr. ;  Othello,  Bud 
Jaimison;  Knott  Innitt,  Arthur  Hoyt;  Bragg, 
Mack  Swain;  Blow,  William  Orlamond; 
Yell,  Lucien  Littlefield. 

"A  BOY  OF  THE  STREETS  "—Ray- 
art.— From  the  play  by  Charles  T.  Vin- 
cent. Continuity  by  Arthur  Hoerl.  Di- 
rected by  Charles  J.  Hunt.  The  cast:  Ned 
Dugan,  Johnny  Walker;  Alary  Callaghan, 
Betty  Francisco;  Jimmy  Dugan,  Mickey 
Bennett;  Lewis  Wainright,  Henry  Sedley; 
Dan  Gallagher,  Wm.  H.  Armstrong;  Patrick 
Gallagher,  Charles  Delaney;  Rags,  Himself. 

"ON  YOUR  TOES"— Universal.— Di- 
rected by  Fred  Newmeyer.  The  cast :  Kane 
Halliday,  Reginald  Denny;  Alary  Murphy, 
Barbara  Worth;  Joe  Murphy,  Hayden 
Stevenson;  Mello,  Frank  Hagney;  Grand- 
mother, j\Iary  Carr;  Mammy,  Gertrude 
Howard. 

"RACING    ROMEO,    THE"— FRO.— 

From  the  story  by  BjTon  Morgan.  Adapted 
by  Byron  Morgan.  Directed  by  Sam  Wood. 
Photography  by  Charles  G.  Clarke.  The 
cast:  Red  Walden,  Harold  ("Red")  Grange; 
Sally,  Jobyna  Ralston;  Aunt  Hettie,  Trixie 
Friganza;  Sparks,  Walter  Hiers;  Rube  Old- 
ham, Ben  Hendricks,  Jr.;  Silas,  the  chauffeur, 
\^'arren  Rogers;  Motion  Picture  Director, 
Ashton  Dearholt ;  Leading  Lady,  Jerry  Zier. 

"OPEN  RANGE"— Par.\mount.— From 
the  story  by  Zane  Grey.  Scenario  by  John 
Stone  and  J.  Walter  Ruben.  Directed  by 
Clifford  Smith.  The  cast:  "Tex"  Smith, 
Lane  Chandler;  Lucy  Blake,  Betty  Bronson; 
Sam  Hardman,  Fred  Kohler;  Brave  Bear, 
Bernard  Siegel;  Jim  Blake,  Guy  Oliver;  Red, 
Jim  Corey;  Sheriff  Daley,  George  "Buck" 
Connors. 

"MUM'S  THE  WORD "-Fo.x.— From 
the  story  by  Arthur  Greenlaw  and  Lew 
Breslon.'  Directed  by  Gene  Forde.  Photog- 
raphy by  George  Meehan.  The  cast:  The 
G/r/,'Saily  Phipps;  The  Boy,  Nick  Stuart; 
Detective,  Fred  Spencer;  Detective,  Morris 
Cannon;  Father,  Harry  Dunkinson. 

"  RAGTIME  "—First  Division.— From 
the  story  by  Joseph  Mitchell.  Scenario  by 
George  Drumgold  and  Jean  Plannette.  Di- 
rected by  Scott  Pembroke.  The  cast:  Ted 
Mason,  John  Bowers;  Beth  Barton,  Mar- 
guerite de  la  Motte;  Steve  "Slick"  Martin, 
Robert  Ellis;  Yvonne  "Goldie"  Martin,  Rose 
Dione;  Max  Ginsberg,  Wm.  H.  Strauss; 
Airs.  Alason,  Kate  Bruce;  Prof.  August 
Schultz,  Bernard  Siegel. 

"MAN  CRAZY"— First  National.— 
Written  by  Grace  Sartwell  Mason.  Directed 
by  John  Francis  Dillon.  The  cast:  Clarissa 
Jaueway,  Dorothy  Mackaill;  Jeffery  Pell, 
Jack  Mulhall ;  Grandmother  Janeway,  Edythe 
Chapman;  James  Janeway,  Phillips  Smal- 
ley;  Van  Breamer,  Walter  McGrail;  Danny, 
Ray  Hallor. 


"MAIN  E\"ENT,  THE "— P.\the-De 
MiLLE.— From  the  story  by  Paul  Allison. 
Continuity  by  Rochus  Gliese.  Directed  by 
William  K.  Howard.  The  cast:  Glory 
Frayne,  Vera  Reynolds;  i?fga;;,  Sr.,  Rudolph 
Schildkraut;  Alargie,  Julia  Faye;  Johnnie 
Regan,  Charles  Delaney;  Red  Lucas,  Robert 
Armstrong;  Slug — Nutty  Fighter,  Ernie 
Adams. 

"IRRESISTIBLE  LOVER,THE"-Uni- 
Versal. — Story  by  Evelyn  Campbell.  Sce- 
nario by  Beatrice  Van.  Directed  by  William 
Beaudine.  Photography  by  John  Stumar. 
The  cast:  7.  Harrison  Gray,  Norman  Kerry; 
Betty  Kennedy,  Lois  Moran;  Dolly  Carleton, 
Gertrude  Astor;  Lawyer,  Lee  Moran;  Hor- 
tense  Brown,  IMyrtle  Stedman;  Air.  Brown, 
Phillips  Smalley;  Jack  Kennedy,  Arthur 
Lake;  Air.  Kennedy,  Walter  James;  Smith, 
George  Pearce. 

"HONEYMOON  HATE"— Par.\mount. 
— From  the  story  b3'  Alice  M.  Williamson. 
Continuity  by  Ethel  Dohertv.  Directed  by 
Luther  Reed.  The  cast:  Gail  Grant,  Flor- 
ence Vidor;  Prince  Dantarini,  Tullio  Car- 
minati;  George  Banning-Green,  William 
Austin;  Aliss  Alolesey,  Effie  Ellsler;  Bueno. 
Genaro  Spagnoli;  Pietro,  Marcel  Guillaume. 

"NIGHT  LIFE"— Tiffany.— From  the 
story  by  Albert  Shelby  Le\'ino.  Directed 
by  George  Archainbaud.  The  cast:  Anne, 
Waif  of  the  War,  Alice  Day;  Alax,  Sleight-of- 
hand  artist,  John  Harron ;  Bick,  his  coadju- 
tor, Eddie  Gribbon;  Alanager  of  beer  garden, 
Walter  Hiers;  War  profiteer,  Lionel  Braham; 
His  wife,  Kitty  Barlow;  His  daughter.  Dawn 
O'Day;  His  daughter,  Audrey  Sewell; 
Amorous  maid,  Patricia  Avery;  Amorous 
siL'ain,  Earl  Metcalf ;  Alerry-go-Round  Man- 
ager, Snitz  Edwards;  Beer  Garden  Waitress, 
\'iolet  Palmer;  Landlady,  Lydia  Yeamans 
Titus. 

"WISE  WIFE,  THE"— Pathe-De 

MiLLE. — From  the  stor>'  by  Arthur  Somers 
Roche.  Adapted  by  Zelda  Sears  and  Tay 
Garnett.  Directed  by  E.  Mason  Hopper. 
Photography  by  Frank  Good.  The  cast: 
Helen  Blaisdell,' Phyllis  Haver;  John  Blais- 
dell,  Tom  Moore;  Helen's  Father,  Fred  Wal- 
ton; Jenny  Lou,  Jacqueline  Logan;  Carter 
Fairfax,  Joseph  Striker;  Jason,  the  hutler, 
Robert  Bolder. 

"BUCK  PRIVATES"  —  Universal.  — 
Story  by  Mehille  Brown.  Directed  In- 
Lieut.  Stuart  N.  Lake.  Scenario  by  John 
B.  Clyner.  The  cast:  Anne,  Lya  De  Putti: 
John  Smith,  Malcolm  McGregor;  Hiilda, 
ZaSu  Pitts;  Alajor  Martman,  James  Marcus; 
Sergt.  Butts,  Eddie  Gribbon;  Capt.  Alarshall, 
Capt.  Ted.  Duncan;  Cupid  Dedds,  Bud 
Jamison;  Alose  Bloom,  Les  Bates. 

"EAST  SIDE,  WEST  SIDE"— Fox.— 
From  the  story  by  Felix  Riesenberg.  Di- 
rected by  Allan  Dwan.  The  cast:  John 
Breen,  George  O'Brien;  Becka,  Virginia 
Valli;  Pug  Malone,  J.  Farrell  Macdonald; 
Channon  Lipvilch,  Dore  Davidson;  Airs. 
Lipvitch,  Sonia  Nodalsk->';  Josephine,  June 
CoUyer;  Gerrit  Rantoul,  John  Miltern; 
Gilbert  Van  Horn,  Holmes  Herbert;  Judge 
Kelly,  Frank  Dodge;  Grogan,  Dan  Wolheim; 
One  of  Grogan  Gang,  John  Dooley;  Police- 
man, John  Kearne}';  Fight  Second,  Edward 
Garv'ey;  "Flash",  Frank  Allsworth;  Engi- 
neer, Gordon  MacRae;  Engineer,  Harold 
Levett. 

"MY  FRIEND  FROM  INDIA"— 
Pathe-De  Mille. — From  the  play  byH.  A. 
de  Souchet.  Adapted  by  Red  Ta>lor.  Di- 
rected by  E.  Mason  Hopper.  Photography 
by  Dewey  Wrigley.  The  cast:  William 
Valentine,  Franklin  Pangborn;  Bernice, 
Elinor  Fair;  Charles,  Ben  Hendricks,  Jr.; 
Arabella  Alott,  Ethel  Wales;  Alarion,  Jean- 
ette  Loff;   Judge  Belmore,   Tom   Ricketts; 


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eczerii  I     c  hlir-..]  [„jrfs,  oily  or  sliiny  skin, 


friends;  ll   not.    the;  liws  la  mine.      VVIIITK   TODAY. 

E.  .S.  GIVENS,  439  Chemical  Bldg.,  Kansas  City,  Mo. 


R.  Austin  Webb,  Lewis  Natheaux;  Bogus 
Hindu  Prince,  Tom  Dugan;  Hindu  Prince's 
Valet,  George  Ovey. 

."COLLEGE  WIDOW,  THE"— War- 
ner's.— From  play  by  George  Ade.  Directed 
by  Archie  L.  Mayo.  Photography  by  Bar- 
ney McGill.  The  cast:  Jane  Witberspoon, 
Dolores  Costello;  Billie  Bolton,  William 
C^ollier,  Jr.;  Prof.  Jelicoe,  Douglas  Gerrard; 
Hiram  Bolton,  Anders  Randolf ;  Prof.  With- 
er spoon,  Chas.  Hill  Mailes;  Jack  Larrabee, 
Robert  Ryan;  Jimmie  Hopper,  Sumber 
Getchel;  Don  White,  Big  Boy  Williams; 
Flora,  Grace  Gordon, 

"IF  I  WERE  SINGLE"— Warner's.— 
From  the  story  by  Robert  Lord.  Scenario 
liy  Robert  Lord.  Directed  by  Roy  Del 
Ruth.  Photography  by  Ed  Du  Par.  The 
cast:  May  Howard,  May  McAvoy;  Ted 
Howard,  Conrad  Nagel;  Joan  Whitley, 
Myrna  Loy;  Claude  Debrie,  Andre  Beranger. 

"  BR.ASS  KNUCKLES  "—Warner's.— 
From  the  story  by  Harvey  Gates.  Scenario 
li>-  Harvey  Gates.  Directed  by  Lloyd 
Bacon.  The  cast:  Zac  Harrison,  Monte 
Blue;  June,  Betty  Bronson;  Stanley  La- 
mont,  William  Russell;  Velvet  Smith,  Georgie 
Stone;  Detective,  Paul  Panzer. 

"IN  OLD  KENTUCKY"— M.-G.-M.— 
From  the  play  by  Charles  Dazey.  Scenario 
by  A.  P.  Younger,  Directed  by  John  M, 
Stahl.  Photography  by  Maxmilian  Fabian. 
The  cast:  Jimmy  Brierly,  James  Murray; 
Nancy  Holden,  Helena  Costello;  "Skippy" 
Lowry,  Wesley  Barry;  Mr.  Brierly,  Edward 
Martindale;  Mrs.  Brierly,  Dorothy  Cum- 
mings;  High-Pockets,  Stephin  Fetchit;  Dan 
Lowry,  Harvey  Clark;  Lily  May,  Carolynne 
Snowden;  Uncle  Bible,  Nick  Cogley. 

"  CABARET  KID.  THE  "—Peerless.— 
Directed  by  Graham  Cutts.  The  cast:  Fay 
Wynchebec,  Betty  Balfour;  Jack  Trebarrow, 
Geo.  Hackathorne;  Mary  Wynchebec,  Hai- 
dee  Wright;  Minnie  Wynchebec,  Marie 
Wright;  Rivoli,  Cronin  Wilson;  Sir  Trevor 


Trebarrow,  Morton  York;  Sullivan,  Clifford 
Heatherly;  Orphanage  Matron,  Irene  Tri- 
pod; Janitor,  A,  G,  Poulton;  Seaman, 
Benson  Kleve, 

"LOVELORN,  THE"  —  M.-G.-M,  — 
Written  by  Beatrice  Fairfax.  Directed  by 
John  P,  McCarthy,  The  cast:  Sally,  Sally 
O'Neil;  Molly,  Molly  O'Day;  Larry,  Larry 
Kent;  Jimmie,  James  Murray;  Charlie, 
Charles  Delaney;  George,  George  Cooper; 
Allan,  Allan  Forrest, 

"HARVESTER,  THE"— FBO.— Writ- 
ten by  Gene  Stratton  Porter,  Directed  by 
James  Leo  Meehan.  The  cast:  David 
Langston,  Orville  Caldwell;  Ruth,  Natalie 
Kingston;  Henry  Jamison,  Will  R.  Walling; 
Dr.  Carey,  Jay  Hunt;  Nurse,  Lola  Todd; 
Dr.  Harmon,  Edward  Hearn;  Granny  More- 
land,  Fanny  Midgley, 

"HOOF  MARKS"— Pathe.— From  the 
story  by  Joseph  Anthony  Roach.  Scenario 
by  Joseph  Anthony  Roach.  Directed  by 
Tenny  Wright.  The  cast:  Cal  Wagner, 
Jack  Donovan;  Rawhide  Smith,  Edward 
Brady;  Harold  Cole,  Edward  Cecil;  Sam 
Trapp,  William  Steele;  Alice  Dixon,  Peggy 
Montgomery;  Henrietta  Bowers,  Peggy 
O'Day;  Marie  Hudson,  Peggy  Shaw. 

"ALIAS  THE  LONE  WOLF"— Colum- 
bia.— From  the  story  by  Louis  Joseph 
Vance.  Directed  by  E.  H.  Griffith.  The 
cast :  Michael  Lanyard,  Bert  Lytell ;  Eve  de 
Montalais,  Lois  Wilson;  Whitaker  Monk, 
William  V.  Mong;  Phinuit,  Ned  Sparks; 
Popinot,  James  Mason;  Liane  Delorme, 
Paulette  Duval. 

"LADIES  MUST  DRESS"— Fox.— From 
the  story  by  Victor  Heerman.  Scenario  by 
Reginald  Morris.  Directed  by  Victor  Heer- 
man. Photography  by  Glenn  MacWilliams, 
The  cast:  Eve,  Virginia  Valli;  Joe,  Lawrence 
Gray;  Art,  Tom  Cooley;  Mazie,  Nancy  Car- 
rol; George  Ward,  Jr.,  Earie  Foxe;  Office 
Manager,  Wilson  Hummell;  Mr.  Ward,  Sr., 
William  Tooker, 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED  FROM  PAGE   13  ] 


In  full  colors.  G«t  our  dlrect-to.y 

rj  In.riay  free  trial  ofTar.  Z/im 

iTypewrltor  LX.1I86  W.  Lai 


*PATENTLEATHER  kid,  the— First  National. 
Richard  Barthelmess  gives  a  truly  great  performance 
of  a  prize-fighter  who,  drafted  into  the  War,  turns 
out  a  hero,  A  picture  we  are  proud  to  recommend. 
(September.) 

PERFECT  GENTLEMAN,  A— Pathe,— Monte 
Banks  in  a  stries  of  unusually  good  gags.  Good  fun. 
(November.) 

POOR  NUT,  THE— First  National.— A  stage 
play  that  misses  fire  on  the  screen  because  of  over- 
drawn characterizations.     Not  so  much.   (September.) 

PRICE  OF  HONOR,  THE— Columbia.— An  old- 
time,  tear-jerking,  heart-stirrins  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.     (December.) 

PRINCE    OF    HEAD    WAITERS,    THE— 

Paramount. — Wherein  a  noble  head  waiter  saves  his 
son  from  the  clutches  of  a  vamp.  Well  told  and 
well  acted  by  Lewis  Stone.  Eminently  satisfactory. 
(September.) 

*OUALITY  STREET— Metro-Goldwyn-Mayer,— 
Marion  Davies  is  delightful  in  Sir  James  Barrie's  fra- 
Krant  romance.  A  picture  you'll  be  glad  to  see. 
(October.) 

RED  RAIDERS,  THE— First  National.— Ken 
Maynard  does  his  version  of  the  Irish-Jewish  story. 
Thanks  to  the  star,  it  isn't  so  bad,      (October.) 

REJUVENATION   OF   AUNT   MARY,   THE— 

Palhe-UcMillc. — May  Robson  plays  the  screen  ver- 
yiiin  of  her  famous  old  play.  It's  still  lots  of  fun. 
(October.) 

RENO  DIVORCE— Warner  Bros.— Ralph  Graves 
wrote  the  story,  directed  it  and  acted  in  it.  The  strain 
w;is  too  much  for  him.  A  fair  film  with  May  McAvoy 
as  its  ornamental  heroine.     (November.) 

■TV  lulv-rllkcmciil  in  I'IKlTlll'l.AY  MAO.VZINB  is  (Ciiarantee 


RITZY — Paramount. — The  story  of  a  little  snob, 
concocted  by  Elinor  Glyn  for  Betty  Bronson,  Not 
Betty's  stuff  but  amusing,  nevertheless,    (September.) 

ROAD  TO  ROMANCE,  THE— Metro-Goldwyn- 
Mayer. — -Joseph  Conrad's  novel  comes  out  as  an  un- 
real movie.  Not  congenial  stuff  for  Ramon  Novarro. 
(December.) 

ROLLED  STOCKINGS  —  Paramount.—  The 
younger  set  cut  loose  in  a  peppy  college  story.  James 
Hall,  Richard  Arlen  and  Louise  Brooks  run  away 
with  the  honors.      (September.) 

*ROSE  OF  THE  GOLDEN  WEST— First  Na- 
tional.— Flappers  will  be  more  interested  in  the  ro- 
mantic love  scenes  between  Gilbert  Roland  and  Mary 
Astor  than  they  will  be  in  the  story.  It's  a  beautiful 
picture.      (November.) 

ROUGH  HOUSE  ROSIE— Paramount.— A  Tenth 
Avenue  gal  discovers  that  ritzy  society  is  just  a  lot  of 
cracked  ice.  A  nice  picture,  thanks  to  Clara  Bow. 
(Ausust.) 

RUBBER  HEELS— Paramount.— One  gorgeous 
stunt  filmed  at  Niagara  Falls  and  that's  all.  The 
rest  just  proves  that  Ed  Wynn  is  no  screen  comic, 
(September.) 

RUNNING  WILD— Paramount,— You'll  get  a 
real  laugh  from  W,  C,  Fields  as  the  hen-pecked 
husband  made  suddenly  brave  by  a  hypnotist.  Great 
stuff,     (September.) 

SAILOR  IZZY  MURPHY— Warner  Bros.— 
George  Jessel  in  a  comedy  that  has  thrills  and  a  bit  of 
pathos.     Lots  of  laughs.     (November.) 

SAILOR'S  SWEETHEART,  A— Warner  Bros.— 
They  have  nerve  to  call  this  "comedy."  Don't  do  it 
again,  Louise  Fazenda!     (December.) 

SATIN  WOMAN,  THE— Gotham.— One  of  Mrs. 
Wallace  Reid's  little  preachments — if  you  cnre  for 
them.      (October.) 


Photoplay  Magazine — Advertising  Section 


SECRET  HOUR,  THE — Paramount. — A  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted."  which  proves  that  you  can't  make  pictures 
to  please  the  censors  and  have  "era  good.    {December.) 

SECRET  STUDIO,  THE— Fox.— Olive  Borden 
is  the  only  attraction  in  a  trite  and  cheap  story  of  a 
poor  girl's  troubles  in  a  big  city.     (September.) 

SERVICE  FOR  LADIES— Paramount.— Adolphe 
Menjou  again  toys  with  the  caviar  as  a  head  waiter. 
Light  but  amusing.     (.August.) 

*SHANGHAI  BOUND  —  Paramount.  —Adven- 
ture, action,  romance — all  set  in  the  vi\-id  background 
of  rambuctious  China.     Plus  Richard  Di.x.  (October.) 

SHANGHAIED— FBO.—Eat-em-up  love  story 
about  a  sailor  and  a  dance-hall  girl.  You'll  laugh  in 
the  «Tong  places.     (Ncmember.) 


SHOOTIN'  IRONS— Paramount.— Jack  Luden 
and  Sally  Blane  in  a  jitney  story  of  the  great  hokum 
places.      (November.) 

SILENT  HERO,  THE— Rayart.— A  new  dog- 
one  Napoleon  Bonaparte — in  the  same  old  storv.  But 
you'll  like  Nap.      (October.) 

SILK  STOCKINGS— Universal.— Proving  that 
divorce  mav  be  worse  than  marriage — of  all  things! 
Laura  La  Plante's  best  comedy.  But  not  for  the 
little  darUngs.     (September.) 

SILVER  COMES  THRU— FBO.— A  really  good 
horse  picture  with  Fred  Thomson  and  your  old  friend. 
Silver  King.     (August.) 


SIMPLE  SIS — Warner  Bros. — In  spite  of  Louise 
Fazenda,  this  one  \vill  bore  you.  Louise  deserves  a 
better  break.     (August.) 

SINEWS  OF  STEEL— Gotham.— A  story  of  big 
business  showing  how  the  big  steel  corporations  eat  up 
the  little  ones.     (November.) 

SINGED — Fox. — Blanche  Sweet  as  a  dance  hall 
queen  and  a  man's  loyal  pal.  And  very  fair  stuff, 
Mortimerl     (September.) 

SLAVES  OF   BEAUTY— Fox.— This  one  has  a 

beauty  shop  background  that  will  interest  the  girls. 
Just  a  fair  story.     (August.) 

SMILE,  BROTHER,  SMILE— First  National.— 
Jack  Mulhall  in  an  amusing  ston.-  of  a  shipping  clerk 
who  would  be  a  salesman.      (October.) 

SOFT  CUSHIONS— Paramount.— Douglas  Mac- 
Lean  tries  Broadway  gags  in  a  Bagdad  harem.  A  lot 
of  wise-cracking  and  a  real  hit  by  a  newcomer — Sue 
Carol.     (November.) 

SPRINGFEVER—Metro-GoldwTn-Mayer.— Wil- 
liam Haines  and  Joan  Crawford  in  a  mildly  funny 
comedy  built  about  the  golf  mania.      (October.) 

STOLEN  BRIDE,  THE  —  First  National.  —  A 
young  countess,  a  stern  parent,  a  marriageable  officer 
— there  jou  have  it.  It's  a  light  farce  with  Billie 
Dove  as  its  star.     (August.) 

STRANDED— Sterling.— A  little  girl  goes  to  Hol- 
lywood to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  WTOte  the  story.     (December.) 

*STUDENT  PRINCE,  THE— Metro-Goldwyn- 
Mayer. — Ramon  Novarro  in  one  of  the  best  love 
stories  ever  written.  Unfort  unately  Norms.  Shearer  is 
mis-cast  and  Lubitsch  isn't  completely  in  his  element. 
Very  much  worth  seeing,  nevertheless.     (November.) 

*SUNRISE— Fox.— F.  W.  Murnau  makes  the  camera 
do  everjthing  but  talk.  Short  on  story  interest  but 
long  on  beauty.     (December.) 

SUNSET  DERBY,  THE  —  First  National.  —  A 
jockej-,  a  girl,  a  horse  and  a  race.  Not  very  original 
nor  very  exciting.  With  Buster  Collier  and  Mary 
Astor.     (August.) 

SURRENDER— Universal.— An  interesting  and 
sincere  portrayal  of  racial  conflict  in  Russia  between 
Christians  and  Jews.  Mary  Philbin  does  some  fine 
acting.     (August.) 

*SWIM,  GIRL,  SWIM— Paramount.— Credit 
Bcbe  Daniels  nith  another  personal  hit  in  a  stor>-  of 
college  life.  "Trude"  Ederie  is  in  it,  too.  Take  the 
whole  family.      (October.) 

TARTUFFE.  THE  HYPOCRITE— UFA.—  Prov- 
ing that  when  the  Germans  make  a  bad  one,  they  can 
equal  Hollywood's  worst.  Even  Emil  Jannings  can- 
not save  it.     (October.) 

TEA  FOR  THREE— Metro-Goldw>'n-Mayer.— 
The  second  of  the  Lew  Cody-Aileen  Pringle  comedies, 
neatly  and  subtlely  acted.     (November.) 

TELL  IT  TO  SWEENEY— Paramount.— Chester 
Conklin  and  George  Bancroft  in  a  comedy  that  is  just 
plain  nickelodeon.      (November.) 

TEN  MODERN  COMMANDMENTS  —  Para- 
mount.— A  back-stage  story  of  chorus  girls  and  such- 
like, made  better  than  it  really  is  by  the  presence  of 
Esther  Ralston.      (September.) 

TENDER  HOUR,  THE— First  National.— Gor- 
geous setting,  that  means  nothing,  and  a  plot  that 
means  less.  One  of  those  "vou  must  marrv  the 
Duke"  stories.    With  Billie  Dove.     (August.) 


THANKS  FOR  THE  BUGGY  RIDE— Universal. 
■ — Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and,  incidentally,  Laura  La  Plante's 
best.     (December.) 

THIRTEENTH  JUROR,  THE— Universal.  —  A 
satisfying  and  well-made  picture,  with  Francis  X. 
Bushman  and  Anna  Q.  Nilsson  doing  fine  work.  See 
it.      (October.) 

THREE'S  A  CROWD— First  National.— Harry 
Langdon  attempts  too  much  in  this  one.  The  bov's 
good,  but  he's  not  Chaplin  yet.  Better  luck  next 
time.     (October.) 

TILLIE  THE  TOILER— Metro-Goldwjn-Mayer. 
— Marion  Da  vies  plays  the  typewriting  gold  digger  in 
an  amusing  film  adapted  from  the  popular  comic 
strip.     (August.) 

TIME  TO  LOVE— Paramount. — Raymond  Grif- 
fith tr\ing  to  prove  how  silly  he  can  be— and  proving 
it.  too.  Of  course,  if  you  have  a  lot  of  time  to  waste — 
(September.) 

TIP  TOES— British  National.— Dorothy  Gish  in 
another  English  picture  that  is  just  a  filler-in.  A 
brief  moment  of  Will  Rogers  makes  it  worth  your 
money.     (October.) 

TOPSY  AND  EVA— United  Artists.— Broad 
burlesque  of  the  old  story  with  Rosetta  Duncan 
snatching  most  of  the  footage.  Funny  in  a  way 
and  slightly  vulgar.     (September.) 

TUMBLING  RIMER- 

ture  and  one  of  his  besi 
know.      (October.) 

TWELVE  MILES  OUT— Metro-Gold w>n-Mayer. 
—Rum-running  off  our  dry  coasts.  A  highly  popu- 
lar film  with  Jack  Gilbert  giving  a  sound  and  inter- 
esting performance.      (September.) 

*TWO  ARABIAN  KNIGHTS— United  Artists.— 
Proving  that  there  can  be  something  new  in  war 
comedies.  Bright!  Original!  Entertaining!  With 
Louis  Wolheim  and  William  Boyd.  See  it,  by  all 
means.     (November.) 

♦UNDERWORLD  —  Paramount.  —  Great  stor^', 
great  direction,  great  acting.  A  raw,  red  drama  of 
the  seamy  side  of  life.  George  Bancroft,  Evelvn 
Brent  and  Clive  Brook  are  credited  with  hits.  Not 
for  the  children.      (September.) 

*UNKNOWN,THE— Metro-Goldwyn-Mayer.— A 
fine  sinister  plot,  a  lot  of  macabre  thrills  and  great 
acting  b>'  Lon  Chancy.  Also  Joan  Crawford  helps  a 
lot.    Don't  go  if  you're  easily  scared.    (August.) 

VANITY— Producers  Dist.  Corp.— A  society  girt 
goes  into  war  work  and  forthwith  renounces  the  high 
hat.  All  right,  if  you  like  this  sort  of  thing.  With 
Leatrice  Joy.      (September.) 

WANTED,  A  COWARD— Sterling.— If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

*WAY  OF  ALL  FLESH,  THE— Paramount.— Emil 
Jannings  is  the  whole  picture.  Such  acting!  The 
story  has  its  powerful  moments,  weakened  by  senti- 
mentality. But  no  one  can  afford  to  miss  Jannings. 
(.4«g»5/.) 

WEDDING  BILLS— Paramount.— A  deft  comedy 
with  Raymond  Griffith  making  the  most  of  every 
chance  for  comedy.    You'll  like  it.     (August.) 

WE'RE  ALL  GAMBLERS— Paramount.— In 
spite  of  Thomas  Meighan  and  the  direction  of  James 
Cruze,  this  is  disappointing.      (October. ) 

WHAT     HAPPENED     TO     FATHER— Warner 

Bros. — Warner  Oland's  first  starring  vehicle  and  a 
picture  quite  unworthy  that  gentleman's  talents. 
(September.) 

WHIRLWIND  OF  YOUTH,  THE— Paramount. 
— A  war  story  told,  not  from  the  spectacular  angle, 
but  as  an  intimate  study  of  a  young  couple  affected 
by  the  conflict.  Lois  Moran  gives  a  good  perform- 
ance.    (August.) 

WHITE  PANTS  WILLIE— First  National.— Some 
snappy  celluloid  dedicated  to  the  Art  of  Johnny 
Hines.     (October.) 

*WIND,  THE — Metro-Goldwyn-Mayer. — Lillian 
Gish  in  a  fine  and  impressive  drama  of  life  on  a  Texas 
ranch.  Excellent  support  by  Lars  Hanson  and 
Montagu  Love.     (November.) 

*W1NGS— Paramount.— The  War  in  the  Air— a 
thrilling  spectacle  that  is  nicely  timed  to  your  in- 
terest in  aviation.      (September.) 

*WOMAN  ON  TRIAL,  THE— Paramount.— An 

unusually  fine  story  and  one  that  offers  Pola  Negri 
a  chance  for  penetrating  character  study.  Not  for 
children.     (August.) 

WOMEN'S  WARES— Tiffany.— Evelyn  Brent  as 
a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.      (December.) 

*WORLD  AT  HER  FEET,  THE— Paramount.— 
The  battle  of  the  sexes,  cleverly  directed  by  Luther 
Reed.  Florence  Vidor  is  good  as  a  woman  lawyer  who 
always  loses  her  husband  in  her  quest  for  independ- 
ence.    (August.) 


127 


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It    Co..    131,    LaGranse,    Ind. 


HOW    TO    ENTERTAIN 


76,    Chicago. 


MUSICAL  COMEDIES  AND  KEVUES. 
sic.  biacliface  skits,  vaudeville  acts,  mono- 
.  recitations,  entertainments,  musical  read- 
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Attachment.  Fits  any  sewing  machine.  60c  prepaid 
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YOURLUCHBAD? 

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i  please  mention  PHOTOPLAY  MAGAZINE. 


28 


Photoplay  Magazine — Advertising  Section 


^M25c 


SECOND 

EDITION  \A         ^ 

NOW  READY 


100 

favorite  recipes 
of  famous  film  stars 

Photoplay^s  Cook  Book 

Edited  by  Carolyn  Van  Wyck 


PHOTOPLAY  readers  do  enjoy  good  things  to 
eat.  We  are  convinced  of  that,  as  the  entire  first 
edition  of  our  new  Cook  Book  was  completely  sold 
out  only  a  few  months  after  the  appearance  of  the 
first  announcement.  The  second  edition  is  now 
ready  for  distribution,  so  you  will  not  be  disap- 
pointed. 

PHOTOPL.'W'S  Cook  Book,  of  course,  is  in  no  sense  a 
book  on  HOW  TO  COOK.  It  is  merely  a  guide  of  WHAT 
TO   COOK.     The  recipes  are  not   beyond  the  skill   of  the 


Photoplay  Publishing  Co., 

750  N.  Michigan  Ave., 

Chicago,  111. 

Gentlemen: 

Enclosed  please  find  25  cents  C'"/''!"''^)  for  which  kindly 
•^  V  stamps  /  •' 

send  me  Photoplay's  Cook  Book  containing  100  favorite 
recipes  of  the  film  stars. 

Name 

.Address 

City State Ph-1-2S 

Every  advcrtlsomtnt  In  riK 


average  housewife.     In  fact,  very  few  of  them  call  for  any 
delicacies  that  are  not  in  stock  in  every  kitchen. 

You  will  not  find  any  charts  or  calories,  proteins  or  vita- 
mins in  this  book,  but  you  will  find  among  its  recipes  some 
very  delicious  vegetable  and  fruit  salads  that  should  be  on 
the  menu  of  every  woman  who  values  her  health,  her  com- 
ple.xion    and    her    figure. 

Menus  for  All  Occasions 

The  many  "party"  recipes,  the  many  dishes 
that  are  appropriate  for  luncheons,  teas  or  suppers 
will  make  this  little  book  priceless  to  the  hostess. 
The  foreign  recipes  furnished  by  prominent  French, 
German,  Swedish  and  Hungarian  Stars  will  add 
a  welcome  variety  to  your  menus.  Also  included 
in  this  amazing  little  book  are  22  favorite  recipes 
for  desserts  and  candies,  for  which  you  would 
gladly  pay  double  its  price.  Tasty  desserts  and 
delicious  candies,  just  the  thing  to  serve  after  an 
evening  of  Bridge  or  after  the  theater. 

Write  your  name  and  address  plainly  in  the  space  provided 
in  the  coupon,  and  enclose  only  25  cents  (stamps  or  currency), 
and  you  will  receive  your  copy  of  this  wonderful  little  Cook 
Book  by  return   mail. 


JTorLAY  :VIAGAZI.\B  Is  guaranteed. 


Constance  Talmadge 
^  Says: .' 


'The  demand  i 


The 
Vleasant  ^ay  ^ 
to  Danish 
l^xcess  Vat 


This  is  to  women — and  to  men — who 
admire  and  desire  the  slender  figures 
shown  by  movie  stars. 

There  are  several  ways  in  which  mil- 
lions now  attain  them.  One  is  self-denial 
in  the  diet,  one  is  excessive  exercise. 
Both  require  discretion,  both  stamina, 
and  both  must  be  continued  long.  Excess 
fat  was  very  common  when  these  were 
the  only  ways  to  end  it. 

The  Modern  Way 

Twenty  years  ago  another  method  was 
developed,  based  on  wide  research  and 
scientific  tests.  The  purpose  is  to  aid 
the  natural  process  of  turning  food  into 
fuel  and  energy,  rather  than  into  fat.  It 
supplies  an  addition  to  the  substance 
which  does  that  in  the  body. 

This  discovery  was  embodied  in  Mar- 
mola  Prescription  Tablets.  People  have 
used  them  for  20  years  —  millions  of 
boxes  of  them.  And  delighted  users 
have  told  the  results  to  others. 

The  use  has  grown  to  very  large  pro- 
portions. Now  note  how  slenderness 
prevails  wherever  you  look  today.  Excess 
fat,  once  so  common,  is  the  exception 
now.  Anyone  can  see  that  overweight 
is  generally  inexcusable. 

No  Starvation 

Users  of  Marmola  are  not  required  to 
adopt  abnormal  excercise  or  diet.  Mod- 


'  for  slender  figures 

_  so  universal  that  movie  stars 

^^^-,^||k^  must  have  them.  Not  only  beauty, 

but  good  health  and  "citality 

argue  against  excess  fat." 


ditartnota  prescription  tahUts  are 
sold  by  all  druggists  at  ^/  a  box. 
If  your  druggist  is  out,  he  ivill 
get  them  at  once  from  his  jobber. 


Picture  shows  Miss 
Talmadge  as  she  ap- 
pears in  her  latest 
European  farce  -  hit 
"Breakfast  at  Sunrise" 


eration  aids  results,  but  extremes  are  not 
advised.  Users  depend  for  the  main  re- 
sults on  the  factors  in  Marmola. 

Take  four  tablets  daily  until  the  right 
weight  is  attained,  then  stop.  If  again 
you  start  to  gain  weight  take  a  little 
more  Marmola.  Simply  use  Marmola  to 
supply  missing  factors,until  Nature  keeps 
the  slenderness  you  desire. 

No  Secrets 

Marmola  is  not  a  secret  prescription. 
The  factors  are  known  and  recognized 
by  authorities  everywhere.  The  complete 
formula  comes  with  every  box,  also  an 
explanation  of  results.  This  is  done  to 
avoid  any  fear  of  harm  from  what  Mar- 
mola does. 

Anyone  who  suflFers  excess  fat,  in  any 
part,  should  try  Marmola.  Test  it  because 
of  what  it  has  done  for  so  many.  Also 
because  of  the  scientific  reasons  told  in 
every  box.  Learn  why  it  has  held  for 
so  many  years  the  top  place  in  its  field. 
Watch  the  results  for  a  month,  then  tell 
others  your  decision.  You  can  do  no 
greater  kindness  to  friends  who  over- 
weigh. 

Start  now.  Order  a  box  before  you 
forget  it.  You  cannot  afford  to  stay  fat. 
Beauty,  health  and  vitality  forbid  it. 
Learn  now  how  easily  Marmola  corrects 
this  ill  condition. 


p.      'J>re$cripiion  'tablets 

Jhe  7>leasant  IDay  to%duce 


Will  her  hands  keep  their  loveliness,  too? 


She  is  going  to  be  married,  this  girl. 

And  soon  after  the  magic  wedding  circle 
joins  her  gleaming  solitaire,  she  will  preside 
at  her  own  tea-table! 

Will  her  lovely  hands  keep  their  loveliness 
when  they  busy  themselves  with  daily  tasks 
of  housekeeping? 

They  can — if  she  will  protect  them  as  she 
has  always  protected  her  face — with  Ivory 
Soap. 


When  she  washes  her  silver  and  china  .  .  . 
or  fragile  wisps  of  lingerie  .  .  .  indeed,  in 
every  task  where  her  hands  must  touch  soap — let 
her  use  Ivory,  in  cake  or  flake  form,  and  her 
hands  will  be  safe! 

Ivory's  rich,  lasting  suds  are  safe  for  the 
most  delicate  skin  because  Ivory  is  pure. 
Have  you  discovered  this  secret  of  lovely 
hands,  too? 


PROCTER    &    GAMBLE 


Ivory  Soap 

Kind  to  everything  it  touches 


99 


Vc  PURE 


V()h; 


"IT   FLOATS 


The  National  yuide  to  Motion  Pictures 


Clara 


c^sr/si  Htia, 


The  Dramatic  Story  of 

Clara  Bow's  Life 

Told  For  The  First  Time 


Cnrichym 
IBeaupwith 

REALLY 

NATURAL 

ROUGE 


You  can  have  color  trhich 
seems  your  own  .  .  .  but  do 
youl  Nof  mere  faint  tints, 
mind  you,  but  color  as  deep 
and  rich  as  you  desire. 

No  great  tragedy,  you 
think,  if  rouge  betrays 
itself!  Possibly  not.  But 
that's  because  custom 
sanctions  it,  and  not  be- 
cause your  fastidious  de- 
sire approves.  Then  what 
if  beholders — especially 
men — might  actually 
%DlJ  ol  you,  "she  has  the 
most  marvelous  com- 
plexion," all  unknowing  that  you  used 
rouge.  Ah,  that  is  a  thought! 

Always  Coi?2plimented! 
Precisely  this  praise  is  the  compliment 
always  paid  women  who  use  Princess 
Pat  Rouge.  Nor  is  it  the  impossible 
thing  it  seems,  judging  by  experience. 
You  see  there  is  a  curious  oddity 
about  the  human  skin — never  before 
taken  into  account.  It  does  not  pos- 
sess definite  color.  Just  try  to  name  it! 
Actually  the  skin's  tones  are  neutral,  a 
background!  Too,  the  skin  is  trans- 
parent. When  Nature  gives  you  color, 
she  suffuses  this  neutral  background 
from  within! 

Any  fixed,  definite,  unyielding  color  you 
put  upon  your  face  will  clash,  inevi- 


A  scene  from  Uiiivirsal's  }iew  picture,  "Surretider," 
shouing  Alary  Philbhi,  the  famous  star,  who  says,  "/ 
love  Princess  Pat  Preparations."  The  handsome  lo 
IS  Ivan  Mosjoiikitie. 


tahly.  This  is  known  in  making  Princess 
Pat  —  and  provided  for.  There  are,  in 
Princess  Pat,  neutral,  background  col- 
ors that  come  to  life  instantly  as  they 
are  warmed  by  the  skin.  Too,  the  colors 
have  transparency,  so  that  they  do  not 
blot  out  the  skin  tones. 

And  so  you  have  the  secret,   the 
scientific  reason.  Thus  does  Princess 


PRINCESS  PAT  LTD.. 

2709  S.  WcllB  St.,  Dcpt.  No.  A-«2.   Chicago 
Knclosod   find    2Sc   for   which  send   mc    the 
PrinccBS  Pat  Week  ICnd  Set. 
Name  [prinll 


Get  This  Week  End  Set— 


SPECIAL 


The  Very  pupular  I'rin 
iifftred  fur  a  Umiled  Urn 


■CSS  Pat  Week-End  Set  is 
:  for  THIS  COUPON  and  25c 
Hcrnicr.  Besides  Rouge,  set 
's  supply  of  Almond  Base 
Powder  and  SIX  other  Princess  Pat  preparations, 
including  perfume.  Packed  in  a  beautifully  dec- 
orated boudoir  box.   Please  act  promptly. 


Pat  Rouge  give  its  marvelously  lifelike 
color.  "Thus  does  it  harmonize  with 
every  skin  individually.  Thus  does  your 
color  seem  actually  to  come  from  tvithin. 
It  is  a  most  remarkable  and  beautiful 
effect. 

Almond  Base  for  the  Skin 
And  to  crown  the  achievement  of  true 
natural  color.  Princess  Pat  Rouge  is 
made  with  its  oivn  exclusive  base  of  pre- 
cious Almond,  to  make  it  good  for  the 
skin,  to  help  keep  pores  fine  and  the 
skin  soft  and  pliant. 

No  woman  living  can  help  wanting 
to  try  a  rouge  with  all  these  advan- 
tages— one  that  gives  beauty  hitherto 
impossible.  Of  course,  your  favorite 
shop  can  show  all  six  shades. 


T 


T, 


RINCESS    XAT 


PRINCESS  PAT  LTD.  CHICAGO,  ILLINOIS 
Princess  Pat  Lip  Rouge  a  «<;i«JtKSa(io;!— nothing  less. 
For  it  does  what  no  other  lip  rouge  has  ever  done. 
Princess  Pat  Lip  Rouge  colors  that  inside  moist  surface 
of  lips  as  well  as  outside.  You'll  love  this  new  beauty. 
Keepslips  soft  and  free  of  chap  and  dryness.  Perma- 
nent. Dainty  enameled  metal  box. 


Photoplay  Magazine — Advertising  Section 

\Nkf  are  modern  gums 
so  tender  and  so  frail  ? 

The  dental  profession  clearly  and  logically  points  out 
both  the  reason  and  the  remedy 


IF  you  or  any  member  of  your  family  have 
suffered  from  troubles  of  the  gums,  you 
know  how  stubborn  and  destructive  these 
ailments  often  prove  to  be. 

So,  perhaps,  there  is  welcome  news  for  you 
in  the  findings  of  the  eminent  men  who  have 
so  constantly  studied  these  disorders.  For 
they  now  offer  us  protection  against  this 
enemy.  They  point  out  a  means  to  prevent 
and  to  defeat  its  ravages  —  a  method,  fortu- 
nately, as  simple  in  its  performance  as  it  is 
effeaive  in  its  results. 


^ow  our  diet- 
breaks  down 
the  health  of 
ourgums 

Very  logically,  the  dentists  begin  by  getting 
at  the  cause  of  the  difficulty.  Why  are  soft 
and  tender  gums  so  widely  prevalent  today.' 
What  makes  "pink  tooth  brush"  almost  a 
national  complaint? 

The  profession  at  large  lays  the  blame  at  the 
door  of  soft  food  —  a  viewpoint  summed  up 
by  this  "keynote"  statement  from  the  con- 
vention address  of  a  gum  specialist: 

"The  majority  of  tis  (the  dental  profession) 
■would  attribute  the  cause  of  dental  disease  pri- 
marily to  modern  d'et. " 


^qftfood  <^  'I 

weakens gum&  ,^_ 

bydepnving  *^^\^^^ 
them  of  work  ift^J      SfW^ 

For  the  gums,  like  all  living  tissue,  need  exer- 
cise and  stimulation  to  speed  an  energizing 
flow  of  blood  within  their  walls.  And  another 
investigator  briefly  explains  nature's  plan  to 
accomplish  this  when  he  writes : 


"The  rough,  unprepared  food  of  primitive  man 
necessitated  a  vigorous  and  complete  mastication, 
which  meant  that  the  vascular  and  nervous  supply 
received  continual stim.ulation. " 


But  our  modern  cuisine,  with  its  soft,  de- 
licious foods,  stripped  of  fibre  and  roughage, 
has  defeated  this  plan.  And,  as  if  that  were 
not  enough,  our  national  bad  habit  of  hasty 
eating  still  further  reduces  the  amount  of 
mechanical  stimulatio  i  that  our  food  yields 
to  our  gums.  Dental  writers  do  not  mince 
words  on  this  point,  one  of  them,  in  a  widely- 
quoted  professional  paper,  putting  it  like 
this: 

"Take  an  ordinary  dinner,  for  instance, 
fmm  the  soup  to  the  sweets;  if  there  were  anything 
ihat  demanded  real  mastication  we  should  soon 
grumble  at  the  cook.  The  habit  of  bolting  food  and 
the  lessened  mastication  required  with  our  more 
elaborate  dietary  supply  the  clue  to  many  matters 
now  engaging  the  attention  of  the  profession. " 


H^W'IPANA 

and  massage 
strengthen^      \^»  "^^ 
tender  gums   \  >^ 

Gums  that  are  soft  and  weak,  gums  that  bleed 
easily,  or  are  tender  to  the  brush  —  these 
are  the  common  symptoms  of  gingival  break- 
down. They  herald  the  approach  of  more 
stubborn,  more  distressing  troubles  against 
which  we  must  guard  ourselves  if  we  are  to 
keep  our  mouths  healthy  and  our  teeth 
sound,  white  and  strong. 

Massage  of  the  gums— with  the  brush  or 
silh.  the  fingers— is  the  great  restorative  agent 
the  dentists  propose  For  through  massage  we 
may  renew  the  flaggmg  circulation,  bringing 
fresh  vigor  and  health  to  the  depleted  tissues 
— a  process  which  one  practitioner  outlines 
as  follows: 


"Another  striking  feature  of  this  {gum 
tissue)  circulatory  system  is  the  effect  produced  by 
pressure  .  .  .  This  will  cause  blanching  of  the 
gum  tissue,  and  blanching  is  followed  by  'blushing' 
due  to  the  influx  of  arterial  blood.  " 

And  it  is  so  simple,  this  gentle  frictionizing 
of  the  gum  tissues !  You  may  easily  perform 
it,  twice  a  day,  as  you  care  for  your  teeth  in 
the  regular  way. 


Xour  own-     \ 
dentistwill 
confirm  this      <  V^ 
reasoning 

Ask  your  dentist  to  explain  the  benefits  of  this 
massage,  and  its  simple  technique. 

And  ask  him  about  Ipana  Tooth  Paste,  too. 
Thousands  of  the  best  dentists  now  order  the 
exclusive  use  of  Ipana,  for  the  regular  cleaning 
of  the  teeth  as  well  as  for  the  massage.  For 
Ipana  is  a  tooth  paste  of  peculiar  virtue  for 
the  gums.  It  contains  ziratol,  a  heahng  and 
stimulating  hemostatic  long  used  by  dentists. 

If  you  wish  to  try  a  sample  of  Ipana,  by  all 
means  send  the  coupon.  But  the  simpler  and 
quicker  way  is  to  get  a  full-size  tube  from  the 
nearest  drug  store  and  use  it  faithfully,  twice 
a  day,  for  30  days.  Then  you,  too,  will  prob- 
ably share  the  enthusiasm  of  the  well-known 
authority  who  makes  this  statement: 

"One    cannot  help  being  enthusiastic  when 

viewing   the    rapid    improvements     in     the 

health   of  the  dental 

tissues  under  artificial 

-^    stimulation. " 


BRISTOL-MYERS  CO.,  Dept.  1-28,  73West  Street,  New  York,  N.Y 

Kindly  send  me  a      'Name 

trial  tube  of  IPANA 
TOOTH    PASTE. 

Enclosed  is  a  two-      Address 

cent  stamp  to  cover 
partly  the  cost  of 
packingandmailing.      City State.. 


ention   rHOTOPLAT    MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Paramount  ?p,  mm 

greater  than  ever  {^< 
in  1928! " 


% 


fc 


r^SKt^: 


q  "Beau  Geste,"  "Chang,"  "Underworld,"  "The      ' 
Way  of  All  Flesh,"  "Wings"— only  a  few  of  the  high 
spots  but  enough  to  show  that  1927  was  Paramount's 
V       year  by  a  wide  margin.    ^  Now  look  at  1928! 
These  eight  are  only  the  start!   Then  there  are 
Clara    Bow,   Richard    Dix,   Bebe    Daniels, 
Adolphe    Menjou,   Pola    Negri,  Wallace 
Beery,    Raymond    Hatton,    Thomas     ' 
Meighan,  George  Bancroft,  Esther  Ral-     \ 
^^y>^^  \       ston,  Florence  Vidor   and  the  rest !     • 
fc^V^^k^^^k.       ^  Paramount  will  be  greater  than 
-<$r!y>V^X^^^.  ever  in  1928!    Because  only 

^^'\-  y^Hj^^PI^         Paramount  is  making  pictures    \ 
^   ^''[^^■^'^^^^^^y^<       ^^^   *^®  "new   world"  with 
^^^V  t'Cj^^n^^  ^H^        stars   attuned  to  these 
changing  times!     ^  See 
them  or  you  miss  the 
best  screen  entertain 
mentof  1928! 


XEGION  OF  THE  ^^    *<*^ES 


Produced  by  Paramount  Famous  Lasky  Corp.,  Adolph  Zukor,  Pres.,  Paramount  Bldg.,  N.Y.  C. 


[•lIOTorl-AY   M.N 


The  World's   Leading   Motion   Picture   Publication 


JAHES   SMITH 


Contents 


For 

February 

1928 


Vol.  XXXIII 


■James  R.  Quirk 


No.  3 


The  HigL-Lights  of  This  Issue 


Cover  Design  Charles  Sheldon 

Clara  Bow — Painted  from  Life 

As  We  Go  to  Press 

Latest  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 


What  Happened  to  Mary? 

The  Golden   Child,   Now   a 
Voluntary  Exile  in  Paris 


Jane  Dixon 
Mature  Woman,  Is   a 


10 


16 


27 


29 


My  Life  Story  Clara  Bow    30 

As  Told  to  Adela  Rogers  St.  Johns 

Dodging  the  Wedding  Ring  Ruth  Biery     32 

Where  Cupid's  Darts  Fail  to  Penetrate  in  Cinemaland 

The  Ask  Me  Another  Man 

Fred  Gilman  Jopp    34 
The  Answer  to  Hollywood's  Strangest  Questions 

Haven  in  The  Port  of  Missing  Girls 

Ruth  Biery     39 
It's  Provided  by  a  Los  Angeles  Woman  Judge 

How  the  Screen  Hypnotises  You 

Dr.  Louis  E.  Bisch    40 

Psycho-Analysis  Reveals  It 

The  Banker  Who  Trusted  Pictures 

Terry  Ramsaye    43 
Another  Famous  Film  Magnate— Dr.  A.  H.  Giannini 


Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folks  Are  Doing  and  Saying 

Sweet  Sixteen  (Fiction  Story) 

Phyllis  Duganne 
She  Learned  the  Truth  About  Love 

The  Shadow  Stage 

Reviews  of  Newest  Pictures 

The  True  Life  Story  of  Lon  Chaney 

Ruth  Waterbury 
Conclusion  of  a  Remarkable  Narrative  of  a  Remark- 
able Character 

Will  Ruth  Elder  Screen? 

The  Heroine  of  the  Atlantic  to  Try  Hand  at  Flying  in 
the  Films 

Making  a  Million  Tom  Mix 

He 's  Still  Trying  to  Lasso  the  Elusive  Dollar 

A  Lady  Surrounded  by  Men  Herb  Howe 

The  Hollywood  Boulevardier  Returns  to  the  Photo- 
play Family  to  Tell  About  Aileen  Pringle 

Better  Than  Pickford!  (Fiction  Story) 

Grace  Mack 

The  Story  of  an  Extra  Who  Jumped  Into  the  Ocean 
for  Fifty  Dollars — and  Couldn't  Swim 

Amateur  Movies  Frederick  James  Smith 

Photoplay's  $2,000  Contest  Is  Extended  to  February 
15th 

Let  Photoplay  Do  Your  Shopping 

Helps  to  Complete  or  Replenish  Your  Wardrobe 
Sweets  for  Valentine's  Day 

Photoplay's  Cook  Book  Will  Aid  You 
Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film  Folk 
Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


49 


52 


56 


58 


64 


66 


68 


70 


72 


75 


99 


142 


A  complete  list  of  all  photoplays  reviewed  in  the   Shadow  Stage  this  issue  will  be  found  on  page   12 


I 


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Copyright,  1928,  by  the  PHOTOPLAY  PUBLISHING  COMPANV.  Chicago. 


J2ast  Minute  Mews  from  8ast  and  West 

s  Ave  go 
to 

Press 


M 


RS.  TOM  MIX  gave  Tom  a  set  of 
books  dealing  with  psychology  for 
Christmas. 


THEY'VE  changed  the  title  of  Pmero's     HnHERE  seems  to  have  been  an  adjust- 
"Trelawney  of  the   Wells,"   in    which       ■»-  ment  of  the  difficulties  between  the  F02 
Norma  Shearer  is  to  be  starred 


■pvOLORES  DEL  RIO  received  a  set  of 
-L-'gold  service  plates  from  her  husband. 


Actress." 
office  title. 


'The 

This  is  called  creating  a  box- 
Ralph  Forbes  will  play  opposite. 


Fox 
studios  and  Janet  Gaynor.  They  say  she 
is  to  play  the  lead  in  F.  W.  Mumau's  circus 
story,  "The  Four  Devils." 


WILLIAM  BOYD  gave  his  wife.  El 
Fair,  an  emeralfl  and  diflmnnd  hr: 
let. 


*IM  McCOY  was  given 
saddle  by  Mrs.  McCoy. 


R 


ENEE  ADOREE  has  been  resigned  by 
Metro-Goldwyn. 


■\X7'HILE  making  "Laugh,  Clown,  Laugh," 
"*  which  stars  Lon  Chaney,  Herbert 
Brenon,  the  director,  celebrated  the  eight- 
eenth anniversary  of  his  picture-making 
in  California.  Brenon  made  "The  Heart 
a  hand  carved  of  Maryland,"  starring  Mrs.  Leslie  Carter, 
in  California  eighteen  years  ago.  At  that 
time  Fort  Lee,  N.  J.,  was  the  capital  of 
film  making. 


WITH   the   closmg   of   "The    King 
Kinps ."     "Winps"     became     Bro£ 


of 


OLIVE  BORDEN  is  reported  to  be  going       »  *  Kings,"     "Wings"    became     Broad- 
with  Tiffany-Stahl  pictures.  way's  longest  run  picture  of  current  pro- 


EDNA  MURPHY 
married. 


Mervyn  Leroy  are 


'Wings"   opened  on  Aug.   12, 


TX/ILLIAM  BOYD  is  going  to  do  "The 
"  "  Cop,"  a  story  of  the  New  York  Police 


force. 

LEW  CODY  is  plan- 
ning to  make  a  series 
of  domestic  comedies 
with  a  company  of  his 
own. 

CECILS.  DeMILLE'S 
next  big  film  will  deal 
with  the  well  known  col- 
lapse of  the  Roman  Em- 
pire. Jacqueline  Logan 
has  been  selected  to 
play  the  role  of  Placidia, 
Empress  of  Rome,  and 
the  time  will  be  405  A. 
D.  Thus  you  will  see 
the  struggles  between 
the  Romans  and  the 
Goths. 

TT-ATHRYN  CARVER 
•'^•and  Adolphe  Men- 
jou  will  be  married  late 
in  May  or  in  June.  They 
both  admit  it. 

JACK  DEMPSEY  is 
likely  to  do  a  picture 
or  two  for  Tiffany- 
Stahl.  Guess  what 
one  of  them  will  deal 
with?     The  prize  ring ! 

6 


way's 

ductions. 

1927. 


CLARENCE  BROWN,  the  director,  has 
signed  a  new  three-year  contract  with 
Metro-Goldwyn. 


Virginia  Pearson  was  once  a  vamp  star.       Today  she 

plays  a  bit — a  Texas  Guinan  character — in  "The  Big 

City,"  with  Lon  Chaney 


'many.    She  is  to  do  a  film  for  Universal. 

HARRY  LANGDON  has  completed  his 
new  comedy,  "The  Chaser,"  and  all 
Langdon  fans  are  in  a  flutter.    It's  gotta  be 


THEY  say  that  Gilda  Gray  is  getting  a 
divorce  from  her  husband,  Gil  Boag. 
As  this  issue  goes  to  press,  the  rumor  is 
both  denied  and  affirmed.  Take  your 
choice. 

^yOU'LL  see  Clara  Bow's  flaming  hair 
^  in  its  true  colors  in  her  next  film,  "Red 
Hair."    They  are  filming  it  in  Technicolor. 

WILL  ROGERS  is  planning  to  make 
the  late  John  Kendrick  Bangs'  grimly 
fantastic  "The  House- 
boat on  the  Styx." 


ROMAINE  FIELD- 
ING, the  veteran 
film  actor,  died  in  Holly- 
wood on  December  15. 
He  was  a  star  in  Lubin 
Western  melodramas  in 
the  old  days. 

T  LOYD  HAMILTON 
J— 'is  no  longer  a  star  in 
Educational  releases. 

METRO-GOLDWYN 
announces  a  renew- 
al of  Conrad  Nagel's 
contract. 

■DEGINALD  DENNY 
-^^has  gone  serious. 
Denny  is  tired  of  playing 
in  farces.  So  Universal 
has  promised  to  let  him 
do  a  big  production  of 
"Ivanhoe." 


sons  have  sailed  for 
Africa  on  another  camera 
hunting  trip.  George 
Eastman  is  their  guest. 


Photoplay  Magazine — Advertising  Secj 


^hn  Novel  you  loved  ^ 


is  to-day  the 

dramatic 
sensation 

of  the  screen 


Mickey  McBann  as 
Kit  in  younger  years 


Anna  Q.  Nilsson 


HERBERT  BRENON'S 


WHAT 
CRITICS   SAY 

"Life's  very  own  drama 
crammed  with  heart- 
aches, smiles,  hope  and 
the  thousand  and  one 
other  things  which 
make  everything  seem 
worth  while.  Don't 
miss  it." 

— Neiv  York  American 
"Deserves  place  among 
the  screen's  elite." 
—  N.  Y.  Ef  enmg  WorXd. 
"The  greatest  father- 
love  story  ever  told  on 
the  screen.  I  know  of 
no  greater  love  story 
than  this  one." 

—  Cleveland 
Vlain  Dealer 
"'Sorrell  and  Son',  is 
great  photodrama. 
Compares  most  favor- 
ably with  the  greatest 
creations  for  the  silver 
sheet.  A  photoplay 
which  should  find 
place  on  the  entertain- 
ment schedule  of  every 
devotee  of  the  films." 
— San  Francisco  News 
"'Sorrell  and  Son',  a 
great  novel  in  its  book 
form,  is  as  great  a  pic- 
ture." 

—Washington  Star 


viorrelkSon 


V,^^^^  By  Warwick  Deeping 


To  the  millions  who  have  read  and  discussed  this  great  novel,  let 
it  be  said  that  all  the  power,  sweep,  heart-gripping  and  beautiful 
moments  so  vi\  id  and  enjoyable  in  the  reading,  have  been  caught 
and  brought  to  life  before  your  eyes  in  a  motion  picture  that  easily 
wins  its  place  among  the  finest  ever  made. 

To  you  who  have  not  read  this  best  seller, 
"Sorrell  and  Son"  portrays  a  boy's  love  for  a  girl, 
a  father's  love  for  his  son,  and  a  mother's  love  for  -  -   '4 

her  boy. 

The  pleasure  of  viewing  one  of  the  greatest  love 
dramas  ever  filmed  awaits  you  when  you  see  this 
outstanding  film  achievement. 


Mary  Nolan 


Norman  Trevor 


UNITED  ARTISTS  PICTURE 
Now  Showing  at  Finest  Theatres-^Everywhere 


•IIOTOI'LAY    JIAGAZIXE. 


Brief  Reviews  of 


*Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


Current  Pictures 


ADAM  AT  EVIL— Metro -Goldwyn- Mayer  — 
Clever  and  amusing,  mth  a  smooth  performance  by 
Aileen  Pringle  and  Lew  Cody  in  a  dual  rdle.  What 
could  be  sweeter?     {September.) 

AFTER  MIDNIGHT— Metr'o-Goldwyn-Mayer.— 

In  spite  of  its  modern  veneer,  just  the  story  of  the 
good  girl  who  never  slips  from  the  straight  and  narrow 
path.    Not  worths'  of  Norma  Shearer.      (Oclober.) 

ALIAS  THE  DEACON— Universal.— A  good 
show,  thanks  to  Jean  Hersholt  who  plays  a  psalm- 
singing  card  sharp  with  fine  gusto.  See  it  and  enjoy 
yourself.      {September.) 

ALIAS  THE  LONE  WOLF— Columbia —Bert 
L>'tell  returns  to  the  character  that  made  him  famous 
ten  years  ago.  .\  crook  story,  well  told,  agreeably 
acted  and  safely  presented  for  the  family.  (January.) 

AMERICAN  BEAUTY— First  National.— Billie 
Dove  has  her  fling  at  pla>ing  a  modern  Cinderella. 
Frothy  but  nice.      (December.) 

ANGEL  OF  BROADWAY,  THE  —  Pathe  -  De 
Mille. — In  which  a  Night  Club  hostess  joins  the  Sal- 
vation .•\rmy  to  look  for  drama.  She  finds  it.  Vou'U 
like  Loatrice  Joy  and  Victor  Varconi.   (November.) 

BACK  STAGE— Tiffany.— Social  research  into 
the  lives  of  dancing  girls.  It  will  excite  only  the  very 
naive.     (November.) 

BACK  TO  GOD'S  COUNTRY— Universal.— 
Written  by  James  Oliver  Curwood  and  set  in  a  beauti- 
ful background.  .Mso  splendidly  played  by  Renee 
Adoree  and  a  fine  cast.  '  (September.) 

BARBED  WIRE— Paramount.— The  romance  of 
a  Frcncli  peasant  girl  and  a  German  prisoner  of  war. 
A  sincere  ston'  of  the  war,  enacted  bv  Pola  Negri, 
Clive  Brook  and  Einar  Hansen.      (September.) 

BATTLE  OF  THE  CENTURY,  THE— Metro- 
fioldwyn-Mayer. — More  than  three  thousand  pies 
wire  used  in  one  sequence  of  this  two  reel  comedy.  A 
burlesque  on  the  fistic  doings  in  Chicago.  (January.) 

BEAUTY  PARLOR,  THE— FBO  — A  swell 
s<  ries  of  two  rcelers.  adapted  from  H.  C.  Witwor's 
stories.     Worth  your  steady  patronage.    (September.) 

BIRDS  OF  PREY— Columbia.— Priscilla  Dean 
Kims  in  for  a  little  ladylike  banditry.  The  results 
aren't  thrilling.     (December.) 

BLONDES  BY  CHOICE— Gotham.— The  ad- 
vinturi  •'  of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  sex  but  no 
appeal."     Not  bad,  Mortimer!     (December.) 

BLOOD  SHIP,  THE— Columbia.— Mutiny,  bru- 
t:ilityiind  murder.  A  fine  performance  bv  Hobart 
Hosworlh.  Too  gruesome  for  good  entertainment. 
(Orlober.) 

BODY  AND  SOUL— Metro-Goldwvn-Mayer — 
Shoiilil  :i  surgeon  kill  liis  wife's  boy  friend?  Even  the 
actiUK  of  Aileen  Pringle,  Lionel  Barrymore  and  Nor- 
iirin  Kerry  can't  enliven  this  cheery  little  problem. 


BOY  OF  THE  STREET,  A-Rayart.-Wherein  a 
little  hrothir  reforms  a  crook.  Young  Mickey  Ben- 
nett makes  the  sentimental  yarn  agreeable.  (/aKuary.) 

BOY  RIDER  THE-FBO.-Thc  exploits  of  one 
Buzz  Barton,  a  freckle-faced  kid  who  can  ride  a  boss. 
I'or  tlie  less  critical  of  the  younger  generation. 
(Nmemher.) 

BRASS  KNUCKLES-Warncrs.-More  crooks  re- 
'','"'.','•  '''""'"<  'V  ""■  ""'"it  presence  of  Betty  Bronson. 
With  M<,nte  Blue  and  Bill  Russell.    And  rather  good. 


BREAKFAST  AT  SUNRISE— First  National — 
Lively  little  French  farce  about  one  of  those  trick 
marriages.  Deftly  played  by  Constance  Talmadge. 
The  children  will  prefer  Tom  Mix.     (December.) 

BROADWAY  KID,  THE— Warner— A  George 
Jessel  comedy  that  looks  like  a  convention  of  old 
gags.  A  good  performance  by  Audrey  Ferris,  a  new- 
comer.     (Oclober.) 

BROADWAY     MADNESS— Excellent.— Proving 

that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  whiff  of  country  air.    (December.) 

BUCK  PRIVATES— Universal.— Laughing  off  the 
War.  Malcolm  McGregor,  Eddie  Gribbon,  Lya  de 
Putti  and  ZaSu  Pitts  are  the  members  of  an  excellent 
cast.     (January.) 

BUSH  LEAGUER,  THE— Warners.— Monte  Blue 
makes  the  big  team  and  wins  the  love  of  the  own- 
er's daughter.     Need  we  say  more?    (November.) 


Pictu  res    You 
Should  Not  Miss 

"The  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Sorrell  and  Son" 

"The  Circus" 

"The  Gaucho" 

"Love" 

"The  Way  of  All  Flesh" 

"Underworld" 

"The  Patent  Leather  Kid" 

"The  Crowd" 

"My  Best  Girl" 

.\s  a  service  to  its  readers,  Photo- 
PL.\Y  Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  re\iews 
have  always  been  the  most  author- 
itative published.  And  its  taI)loid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the 
review  appeared. 


at  that.      I  January.) 


♦BUTTONS— Metro-Goldwyn-Ma\er.— A  sea.storv. 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  b.v  Jackie. 
For  the  who!,,  family.      (December.) 


CABARET  KID,  THE— Peerlcfs.— Made  in  Eng- 
land and  France,  with  Betty  Balfour,  the  Belle  of 
Britain,  as  its  star.  Some  good  scenes  but  a  discon- 
nected story.    (January.) 

CALLAHANS  AND  THE  MURPHYS,   THE— 

Metro-Goldwyn-Mayer. — Polly  Moran  and  Marie 
Dressier  are  a  panic  in  tliis  slapstick  story  of  life  as 
it  is  supposed  to  be  led  among  the  Irish.  (September.) 

CHAIN    LIGHTNING— Fox.— If    you    like    to 
watch   Buck  Jones  chasing  horse  thieves,  here  is  a  ^ 
picture  in  which  Buck  Jones  chases  horse  thieves. 
(November.) 

CHINESE  PARROT,  THE— Universal.— Who 
swiped  the  pearl  necklace?  The  mystery  is  well  sus- 
tained and  the  Oriental  backgrounds  are  interesting. 
And  Sojin  does  a  real  Lon  Chaney.   (January.) 

*CIRCUS,  THE— United  Artists.— The  triumphant 
return  of  Charles  Chaplin.  Must  we  waste  space  ad- 
vising you  to  see  it?     (January.) 

CIRCUS  ACE,  THE— Fox.— Tom  Mix  bursts  into 
a  circus  and  saves  the  little  circus  gal  from  a  terrible 
his  heart!    Good  for  the  children  and  just 
(August.) 

CITY  GONE  WILD,  THE— Paramount.— Thom- 
as Meighan  in  a  livelj'  meller  of  the  Chicago  Under- 
world.   Good  stuff.      (Oclober.) 

CLANCY'S     KOSHER    WEDDING  —  FBO.— 

This  Irish-Jemsh  non.sense  has  gone  far  enough.  All 
infavorsay  "Aye!"    (October.) 

CLOSED  GATES— Sterling.— The  war  breaks  out 
just  in  time  to  save  the  soul  of  a  wild  voung  mil- 
lionaire. Johnny  Harron  and  Jane  Novak  are  in  it. 
Fair.     (August.) 

COLLEGE — United  Artists. — Buster  Keaton  as  a 
wet  smack  who  would  be  an  athletic  hero.  Not  over- 
whelmingly funny.     (November.) 

COLLEGE  WIDOW,  THE— Warners.— Dolores 
Costcllo  vamps  the  football  team  and  the  boys  win 
the  game  for  dear  old  Whoozis.  Just  another  one  of 
those  tilings.    (January.) 

COMBAT— Pathe.— Bad  direction  and  heavy 
mugging  b\-  George  Walsh  eliminate  this  as  entertain- 
ment.     (December.) 


♦COUNTRY  DOCTOR,  ITHE—Producers  Dist. 

Corp. — Sound  New  England  drama  and  a  masterly 
performance  by  Rudolph  Schildkraut  in  the  title  r6le. 
For  discriminating  audiences.      (September.) 

COWARD,  THE— FBO.— Warner  Baxter  as  a 
wealthy  sap  who  turns  out  to  be  a  hero.  Old  stuff  but 
always  good.      (November.) 

*CRADLE  SNATCHERS— Fox.— Rough,  racy 
and  rowdy.  Lock  up  the  kids,  but  go  yourself  because 
it's  funny  and  because  Louise  Fazenda  Is  in  the  cast. 
(.August.) 

*CROWD,  THE  —  Metro-Goldwjn-Mayer.  —  The 
story  of  a  wliite-collar  man  and  his  wife  and  tlieir 
struggles  in  a  big  city.  Truthfully  and  beautifully 
told  by  King  Vidor  and  s\'mpathetically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.) 

CRUISE  OF  THE  HELLION,  THE— Rayart. 


CRYSTAL  CUP,  THE— First  Xational.— Dorothy 
Mackaill  in  the  drama  of  a  man-hater  that  sometimes 
approaches  the  weird.  Only  for  tlie  sophisticated. 
(October.) 

[  CONTINUED  ON  PAGE   12  ] 


Photoplay  Magazine — Advertising  Section 


OX  PIL 


When  you  vrrite 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$25,  $10  and  $5 


The  Real  CriticSy  the  Fans,   Give  J  heir  Views 


The  MontKly  Barometer 

Photoplay's  article  on  "Youth"  by 
Ruth  Waterbury  was  the  storm  center  of 
the  month.  The  consensus  of  opinion  is 
that  it  is  not  a  question  of  years  but  of 
ability. 

"Seventh  Heaven,"  "The  Way  of  All 
Flesh,"  "Wings,"  and  "Beau  Geste"  are 
still  the  most  popular  pictures. 

Charles  Farrell,  John  Gilbert,  Emil  Jan- 
ningsand  Ramon  Novarro  are  the  gentlemen 
most  favored  by  bouquets,  while  Dolores 
Del  Rio,  Greta  Garbo,  Janet  Gaynor  and 
Clara  Bow  are  the  girls  who  received  the 
most  flowers. 

"Copy  Cat"  pictures  are  widely  and 
heartily  panned.  The  public  wants  no 
imitations. 

Photoplay  takes  a  deep  bow  in  acknowl- 
edgment of  all  the  kind  things  said  about 
its  review  department. 

The  Brickbats  and  Bouquets  department 
is  your  open  forum. 

Speak  your  mind! 

$25.00  Letter 

Montreal,  Canada. 

Moving  pictures  have  been  the  means  of 
making  both  my  husband  and  myself  get 
on  in  the  world.  When  we  were  first  married 
we  had  very  little  to  live  on  and  our  only 
I>leasure  was  a  movie  every  Saturday 
night. 

Every  movie  lover  knows  the  dreams 
that  come  to  us  while  watching  some 
lovely  picture. 

I  dreamed  myself  the  heroine  surrounded 
by  beautiful  things  and  found  myself  mak- 
ing those  dreams  come  true  by  degrees. 
Every  lovely  room  I  saw  on  the  screen,  I 
began  copying  certain  things  from.  A 
|)retty  chmtz  covered  chair  would  take  my 
fancy  and  I  would  buy  several  yards  of 
chintz  and  cover  a  chair.  Then  I  would 
copy  pretty  window  hangings,  cushions  and 
odd  lamp  shades. 

In  two  years,  I  had  the  sweetest  apart- 
ment, all  from  ideas  I  had  seen  in  the  movies. 

Now  we  can  afford  t  wo  movies  a  week  and 
my  husband  is  doing  fine,  thanks,  he  says, 
to  the  cheerful  atmosphere  I  have  created 
from  my  movie  ideas. 

Myrtle  Whitehouse. 
10 


The  readers  of  Photoplay  are  in- 
vited to  write  this  department— to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


$10.00  Letter 

San  Diego,  Calif. 

I  am  the  widowed  and  employed  mother 
of  a  fourteen  jear  old  son.  My  only  hours 
with  him  are  in  the  evenings  and  on  Sundays. 
Almost  my  only  recreation — the  movies  and 
my  good-looking  escort,  my  son.  We  both 
enjoy  the  same  kind  of  pictures,  although 
we  sometimes  disagree  about  the  merits  of 
this  or  that  actor  or  actress.  Such  pictures 
as  "Stella  Dallas,"  "Slide,  Kelly,  Slide," 
"Beau  Geste,"  "Ben-Hur,"  and  "The  Big 
Parade,"  stay  with  us  a  long  while,  for  we 
talk  them  over  and  over. 

I  think  I  am  only  one  of  many  mothers 
who  are  eternally  grateful  to  the  movies 
for  providing  thrilling,  yet  wholesome,  en- 
tertainment for  growing  boys,  and  by  so 
doing,  help  much  to  keep  them  off  the 
streets. 

And  just  a  word  for  Photoplay:  It 
visits  our  little  home  each  month. 

Mrs.  Zelma  Pico. 

$5.00  Letter 

Washington,  D.  C 
Pride  and  formality  have  so  over-run  the 
modern  church  that  I  seldom  feel  worship- 
ful  therein.      More  often   I   f^nd   the  still 


sense  of  beauty  and  praise  filling  my  heart 
in  some  good  theater.  The  music,  shadows 
and  pictures — the  majority  of  which  I 
believe  depict  only  the  highest  ideals  and 
preach  the  greatest  sermons — work  upon 
my  spiritual  self  in  an  unusual  way.  Often 
I  feel  the  throb  of  praise  or  a  reverent 
"thank  God  for  the  beautiful  privilege  of 
living"  singing  in  my  heart. 

So  I  do  not  understand  this  constant 
knocking  of  the  screen.  In  more  than 
fifteen  \'ears,  I  do  not  recall  a  single  picture 
that  had  a  bad  influence  on  my  life.  I  do 
recall  scores  of  pictures  that  thrilled,  en- 
couraged, inspired!  The  good  and  the 
beautiful  so  far  overbalanced  the  dress  that 
I  have  forgotten  it  entirely. 

Ever>-  great  picture  is  an  objective  ser- 
mon. Which,  after  all,  is  the  strongest 
teaching  method. 

Mary  Norris. 

More  Art,  Less  Youth 

Vienna,  Austria. 

Excessive  youth,  according  to  the  Novem- 
ber Photoplay,  is  the  one  new  demand  of 
the  screen.  But  Cecil  B.  De  Mille  says 
that  a  star  needs  at  least  seven  years'  routine 
to  be  anything.  Judging  by  the  infantile 
efforts  of  the  "baby"  stars,  we  should  say 
give  them  fifteen  years'  schooling  at  least. 

We  want  more  art,  not  more  youth.  Let 
the  puppies  play  for  those  who  have  no 
judgment  and  are  satisfied  with  vapor.  We 
want  more  experienced  actors.  No  one 
cares  how  old  they  are. 

J.\CK  Stuart. 

Correct! 

Chicago,   111. 
Censorship    is    the    motion    picture   pro- 
hibition, which  permits  no  picture  to  con- 
tain more  than  one-half  of  one  per  cent  of 
the  truth. 

J.J. 

Where  Parents  Are  to  Blame 

Bethlehem,  Pa. 
.Some  folks  who  carefully  supervise  their 
children's  reading  matter  do  not  hesitate  to 
trot  these  children  along  to  "the  pictures" 
without  knowing  what  they  are  going  to  see. 
Then  they  become  indignant  and  denounce 
[  continued  on  page  90  ] 


Photoplay  Magazine — Advertising  Section 


This  Singular  Book  Wields  a 
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Giving  them  a-  MAGNETIC  PERSONALITY  almost  instantly! 


Will  You  Read  It  5  Days  FREE-to  Prove 
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A  STRANGE   book !      A    book    that  of  the  human  mind,  set  out  to  discover 

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even  their  actual   features  seem  to  change — seem  to 
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The  eyes — windows  of  the  soul — become  clear, 
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bell.  Folks  listen  spellbound — charmed  by  the  fine 
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Why  are  men  and  women  so  pro- 
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His  students  and  friends  embraced  such 
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Until  recently,  Shaftesburv's  teachings 


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minds    and    emotions.      They 

are    able   to   play  on  people's     ^-^^^  

feelings  just  as  a  skilled  violinist 
plays   upon   a  violin. 

Folks    are    never    the    same    after      A.ldress    

reading  this  book.  Their  manner 
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ertiscrs  please  mcnliun   riloTiirl.AY  MAGA/IXE. 


.\nd  furthermore  Shaftes- 
bury has  consented  to  reveal 
hundreds  of  new  discoveries 
never  before  put  into  print. 

Strange  Effect 
on  Readers 


Photoplay  Magazine — Advertising  Section 


^  ITMf\7CDCAI    # 


UNIVERSAL 

WANTS  A 

SLOGAN 

for 

Carl  Laemmle's 

New  Screen  Comedy  Find 

GLENN 
TRYON 


Universal   Pictures 

Corporation  wants  a  slogan 
to  be  used  under  my  name. 
A  slogan  that  will  typify  me. 

A  catch  line  that  means  "me."  It  must 
suggest  snap,  pep,  bubbling,  sparkling 
personality.  Universal  will  use  it  every- 
where. If  you  give  Universal  a  slogan 
they  can  use  you'll  win  a  cash  prize 
and,  furthermore,  your  slogan  will  be 
used  in  billboards,  posters,  in  national 
magazines — everywhere!  You  can  then 
point  with  pride  to  your  handiwork. 
You  can  say,  "See  that  Glenn  Tryon? 
He's  a  big  star — everybody  knows  him 
and  I  did  it — I  helped  to  make  him — 
he's  a  personal  friend  of  mine — he's  my 
boy."  Yes,  sir — that's  the  kind  of  a 
slogan  Universal  wants — and  you  can  do 
it.  DO  IT!  There's  money  in  it  for  you  I 

Here  are  the  rules 

1  Slogans  must  consist  of  one  sentence 
— theshorterandsnappierthebetter. 

2  The  slogan  must  get  over  to  the 
public  the  new,  unique  and  different 
personality  of  Glenn  Tryon. 

3  The  contest  opens  January  15th 
and  closes  April  4th,  1928. 

4  Contestants  are  limited  to  six 
slogans  each. 

5  In  the  event  of  a  tie  the  entire 
amount  of  the  prize  involved  will 
be  paid  to  each  contestant. 

6  This  contest  is  open  to  every  one  ex- 
cept employees  of  the  Universal 
Pictures  Corporation. 

7  No  manuscripts  will  be  returned. 

8  We  reserve  the  right  to  use  any 
slogan  submitted  to  us  whether  it 
wins  a  prize  or  not. 

9  Judges:  Carl  Laemmle, President  of 
Universal  Pictures  Corp.,  and  the 
editors  of  the  leading  national  film 
trade  papers. 


10  Send  your  slogans  to  Dept.  Ph., 
Universal  Pictures  Corp.,  730  Fifth 
Avenue,  New  York  City. 

11  Be  sure  to  write  your  name  and 
address  plainly. 

73  Cash  Prizes 

First  prize,  $100 
Second  prize,  $25 
Third  prize,  $  1 0 
Five  prizes  of  $5  each 
Fifty  prizes  of  $2  each 
Fifteen  prizes  of  $  1  each 

And  here  are  some  pointers  on 

Tryon  personaUty — ^just  to  help 

you  originate  your  slogans 

1  I'm  the  phenomenon  that  comes  once 
in  a  generation— A  NEW  AND  RE- 
FRESHING PERSONALITY! 

2  I'm  a  totally  new  type  with  dyed- 
in-the-wool  appeal  to  all  AGES, 
SEXES  and  CLASSES! 

3  I  combine  boyish  charm,  manly 
vigor,  romance,  physical  grace  and 
a  fascinating,  never-forgettable 
SMILE! 

4  I'm  an  athlete  and  I  can  dance — 
how  I  can  DANCE ! 

5  I'm  a  magician  with  NEW  gags 
and  SURPRISE  tricks! 

6  My  comedy  is  clean,  wholesome — 
and  FUNNY! 

7  Men  ADMIRE  me — women 
ADORE  me! 

8  I've  got  a  line  that  will  split  your 
sides  with  laughter. 

9  I'm  a  cave  man  and  I  make  the 
girls  on  and  off  the  screen  LOVE  IT ! 

10  I'm  handsome — I  sparkle!  I  bubble! 
I  scintillate  Good  Cheer!  But,  above 
all,  my  work  is  as  NEW  as  a  fresh 
laid  egg!  I'm  clever  and  I  know  it  — 
it's  a  gift! 

— Glenn  Tryon 


UNIVERSAL  PICTURES 


730  Fifth  Ave.  (Dept.  Ph) 


New  York  City 


Brief  Reviews  of 
Current  Pictures 


1  CONTINUED  FROM  PAGE  8  ' 


DEARIE  —  Warners.— A  so-called  noble  woman 
becomes  a  red  hot  mama  in  a  night  club  all  for  tlie 
sake  of  her  no-good  son.  Labelled  an  epic  of  mother 
love.  Ouch!  Irene  Rich  and  Buster  Collier  are  in  it. 
{AugusQ 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors. Stay  home  and  catch  up  with  the  darning. 
{December.) 

*DEVIL  DANCER,  THE— United  Artists.— Gilda 
Gray  among  the  Llamas  of  Thibet.  The  lady  can  act. 
and  her  dancing  would  insure  the  success  of  a  far  less 
interesting  picture.  A  good  show  for  the  grown-ups. 
(Jamcary.) 

DOG    OF   THE   REGIMENT  — Warners.— Rin- 

Tin-Tin  plus  a  good  story  plus  good  acting.  In  other 
words,  a  good  picture.     (December.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  States  Military  Academy  at 
West  Point.  Real  entertainment,  thanks  to  William 
BoN'd,  Bessie  Love  and  Louis  Natheaux.     (December.) 

DROP  KICK,  THE— First  National.— It  is  now 
Richard  Barthelmess'  turn  to  win  the  game  for  dear 
old  Alma  Mater.     Who's  next?     (November.) 

EAST    SIDE,     WEST    SIDE— Fox.— A    modern 

Horatio  Alger  story  of  New  York,  with  some  fine 
rcaUstic  backgrounds.  Well  played  by  George 
O'Brien.    See  it.    (January.) 

[  CONTINUED  ON  PAGE   136  ] 


Photoplays  Reviewed  in  the 
Shadow  Stage  This  Issue 

Save  this  magazine — refer 
to  the  criticisms  before  you 
pick  out  your  evening's 
entertainment.  Make 
this   your  refere7ice    list. 

Page 

Across  the  Atlantic — Warners 81 

A  Light  in  the  Window— Rayart 81 

Baby  Mine— M.-G.-M 81 

Becky— M.-G.-M 55 

Casey  Jones — Rayart 81 

Cheating  Cheaters — Universal 81 

Chicago — Pathe-De  Mille S3 

Come  to  My  House— Fox 81 

Dead  Man's  Curve— FRO 81 

Desired  Woman,  The — Warners 81 

Discord— Pathe 81 

Enemy.  The— M.-G.-M 52 

French  Dressing — First  National 54 

Gallagher— Pathe-De  Mille 55 

Garden  of  Eden— United  Artists 81 

Gay  Defender,  The— Paramount 81 

Gentlemen  Prefer  Blondes — Paramount  52 

Get  Your  Man — Paramount 52 

Girl   in    the    Pullman.    The— Pathe-De 

Mille 81 

Her  Wild  Oat— First  National 55 

Ladies  Must  Dress — Fox 81 

Last  Moment,  The — Fine  Arts 81 

Legion  of  the  Condemned — P;iramo\int.  .53 

Legionnaires  of  Paris— FBO 55 

LighterThatFailed.  The— M.-G.-M...  .    81 
London  After  Midnight — M.-G.-M  .....    54 

Love  Mart,  The — First  National 54 

Pajamas — Fox -..,.:..    55 

Pretty  Clothes — Sterling 81 

Red  Riders  of  Canada— FBO '.  .   81 

Serenade — Paramount 55 

Silver  Slave,  The— Warners 81 

Stand  and  Deliver- Pathe-De  Mille      .    54 

Thirteenth  Hour,  The— M.-G.-M 81 

Tigress,  The— Columbia 81 

Two  Girls  Wanted— Fox 81 

Valley  of  the  Giants,  The— First   Na- 
tional      53 

Very  Confidential — Fox 81 

West  Point— M.-G.-M 54 

Wizard.  The— Fox 81 

Wizard  of  the  Saddle— FBO 81 

Wolf  Fangs— Fox 81 

Woman  Wise— Fox 81 

Wreck  of  the  Hesperus,  The — Pathe-De 
Mille 54 


rrioTori..\Y  m.\g.vzixe 


Photoplay  Magazine — Advertising  Section 


13 


An  Impression  <?/^ CHARLEY  BOWERS 


by  JAMES  R.  QUIRK 


HIGHBROW  critics  talk  in  ornate  polysyllables  about 
the  ingenuity  and  art  of  the  German  film  makers    If 
they  condescended  to  witness  the  nonsensical  genius 
of  a  Charley  Bowers  comedy  they  could  drool  dictionaries. 

In  the  world's  most  individualistic  industry,  he  is  Aladdin  and 
the  camera  is  his  lamp.  He  is  a  Jack  of  all  trades  and  a  master 
of  one.  Hecanact.  Hecan  direct.  Hecan  write.  He  can  conceive 
the  most  glorious  idiocy.  He  is  a  master  of  camera  wizardry. 

Every  short  feature  bearing  his  name  proves  the  camera  is 
a  monumental  liar.  He  makes  hard  boiled  eggs  hatch  little 
Fords,  turns  time  upside  down  and  releases  the  blessing  of 
laughter.  Once  in  a  comedy  he  drove  a  herd  of  elephants  and 
donkeys  into  the  Capitol  at  Washington.  The  learned  Solons 
got  so  excited  they  demanded  an  investigation.  They  had 
been  deceived  by  trick  photography.  Charley  and  the  elephants 
had  never  been  near  the  District  of  Coolidge. 

I  suspect  Charley  of  a  conspiracy  against  the  school  system. 
He  is  a  living  proof  of  the  bliss  of  booklessness.  All  the  educa- 
tion he  ever  received  consisted  of  six  months  in  kindergarten. 
Then  he  was  kidnapped  by  a  circus.  And  look  at  him  now.  In 
(ine  of  his  recent  comedies  I  witnessed  a  former  Biograph 
director  playing  an  extra  bit. 


EDITOR  OF  PHOTOPLAY  MAGAZINE 


His  life  has  been  almost  as  goofy  as  his  genius.  His  mother  was 
a  French  countess,  his  father  an  Irish  doctor,  and  Charley  was 
born  in  Iowa.  After  that  anything  was  possible. 
It  happened.  At  five  a  tramp  circus  performer  taught  him  to 
walk  rope.  At  six  the  circus  kidnapped  him.  He  didn't  get  home 
for  two  years  and  the  shock  killed  his  father. 
Before  he  was  nine  Chariey  was  supporting  his  mother.  He 
walked  rope,  mowed  lawns,  ran  elevators,  printed  menus, 
broke  broncos,  jockeyed  horses,  packed  pork,  sketched  car- 
toons, toured  vaudeville,  directed  plays,  designed  scenery, 
produced  advertising,  wrote  history,  animated  one  hundred 
reels  of  cartoons,  worked  out  the  Bowers  process,  invented 
a  camera  and— grew  up. 

Naturally  the  impossible  is  a  joke  to  him.  His  whole  life  has 
been  impossible  and  as  a  practical  joker  he  is  a  near-millionaire. 

Give  this  little  lad  a  great  big  look. 


Educational  is  the  world's  greatest  producer  and 
distributor  of  Short  Features — exclusively.  The 
name  Educational  Pictures  means  the  best  in 
comedies,  novelties  and  news  reels. 


LLOYD  HAMILTON 


McCALL  COLOUR 
FASHION  NEWS 


.MERMAID  COMEDIES 

Uaik  IVhitc  Prtduclicni) 


w 


"BIG  BOY" 

Big  Biy-Iuitnilt  Comtdii 


LARRY  SEMON 

in  Larrj  Stmen  Ccmtditl 

KINOGRAMS 

Th,  New,  Rtil  That 
Tcp,  Th,  FUld 

CAMEO  COMEDIES 


^ 


LL FIND  LANE 

Luftn.  Lant  Com,. 


0 


JOHNNY  ARTHUR 

m  lux, do  Com,di„ 

OUTDOOR  SKETCHES 

bj  Robrrt   C.  Bruce 

LYMAN  H.  HOWE'S 
HODGE-PODGE 


DOROTHY  LEVORE 

in  Dorothy  Devore  Comedies 

CURIOSITIES 

The  Movie  Side- Shorn 
Produced  by   If 'niter  Futter 


EDUCATIONAL  FILM   EXCHANGES,    Inc.,    E.   W.  Hammom,  President 
Executive  Offices:  ijoi  Broadway,  New  York,  N.  Y. 

When  you  write  to  advertisers  please 


PHOTorLAT   MAGAZINTl 


Photoplay  Magazine — Advertising  Section 


Prodigally  in  this  one  month  that  hundreds  of  theatres 

have  automatically  turned  their  screens  over  to  First 

National  exclusively  for  January! 


John  HcCormick  Preienrt 

COLLEEN    NOORE 
in  "Her  Wild  Oaf' 

From  Rags  to  Ritzy — from  Lunch  Wagon 
^«^  ■  to  Limousine — from  Soapsuds  to  Society 
^^W  M  — from  Comedy  to  Romance — and  back 

again ! . . .  All  her  best  roles  rolled  in  one. 

Marshall  Neilan's  direction. 


RICHARD    BARTHELNESS 

•n  The  Patent  Leather  Kid 

Directed  by  ALFBED  SANTELL 
an  ALFBED  SANTEU  Producfien 

The  spectacular  romance  that  was  the  hit 
of  the  season  in  New  York  ...  16  weeks 
at  the  GLOBE...  More  People  paid  More 
Money  to  see  it  than  any  other  picture 
on  Broadway. 


THE    GORILLA 

with  Charlie  Murray  and  Fred  Kelsev 
Directed  by  ALFBED  SANIELL 
An  ALFBED  SANYELL  Production 

In  St.  Louis — in  Toledo — in  Cleveland 
this  unique  rnystery-comedy  drew  some 
of  the  biggest  crowds  in  the  history  of 
the  theatres  that  played  it! 


THE  PRIVATE  LIFE    OF 
HELEN  OF  TROy  with 

Maria  Corda-Lewis  Stone— Bicarde  Cortex 

New  York  paid  $2.00  a  seat  to  see  this 
sumptuously  spectacular  screen  version 
of  the  John  Erskine  novel  that  made 
America  hysterical.  "A  new  and  intelli- 
r?|  gent  step  in  movies". .  ."Side-splitting," 
said  N.  Y.  critics. 


A    TEXAS 

with  WILL  BOCEBS,  Louise 

and  5  other  fa\ 
Will  Rogers,  the  famous  i 
ist — favorite  fun-maker  ot  monarcr 
millionaires — in  an  American 
that  has  been  popular  for  nearly  ^ 
Will   Rogers'  own   titles!     Directed   by 
RICHARD  WALLACE. 


THE  SHEPHERD  OF  THE  HILLS 
by  HAROLD  BELL  WRIGHT 

Dramatically  beautiful  screening  of  one 
of  the  greatest  best-sellers  ever  written 
by  the  most  popular  of  all  American 
authors.  Brilliant  cast  including  Molly 
O'Day.  Directed  by  Al  Rogell.  Produced 
by  Charles  R.  Rogers. 

A  Ceortfe  Filzmaurice  Production 
slarrini!    BILLIE    DOVE  in 

THE    LOVE  NART 

A  slashing,  sparkling  romantic  drama  of 
the  days  when  a  sword-thrust  was  the 
password  to  youth's  ambition,  and  beau- 
ty could  be  bought  on  the  auction  block. 
It  makes  you  wish  YOU  had  lived  in 
gay  New  Orleans  of  100  years  ago. 

RICHARD  BARTHELNESS 

in  '-The  Noose'' 

New  York  —  night  life  —  a  side  street 
Honky  Tonk — a  shot  above  the  blare  of 
jazz!  Just  a  kid — but  he  faced  the  Noose 
rather  than  betray  his  mother's  shame- 
ful secret  .  .  .  And  a  mother  who  could 
save  him  —  if  she  ^  would  tell  the 
fearful  Truth. 


letsgQ 


\Y   MAOA/.IXE  is  Kuar.intceil. 


Photoplay  Magazine — Adveutising  Seci 


15 


national 
Pictures 

Take  the  Guesswork  Out 
of  "Going  to  the  Movies" 


\Vhen  you   write  to  advertisers  please  mcntioTi   rHOTOri-AY  MAGAZINE. 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


/-T>.Girls' 
/-^oblems 


Is  the  Bob  Banished? 

Is  This  Month's  Problem 


DEAR  CAROLYN  VAX  WVCK, 
What  can  I  do  about  my  hair?  It's 
thin  and  the  color  looks  so  drab. 
It's  cut  now  in  a  boyish  bob,  but  I 
hear  long  hair  is  coming  back.  If  that's 
true,  shall  I  let  my  hair  grow  or  is  there 
some  distinctive  bob  I  can  acquire?  Though 
I'm  eighteen  I've  never  had  long  hair,  as  I 
had  a  "Dutch  cut"  when  I  was  little  and 
all  varieties  of  bobs  since.  Please  advise 
me  how  I  can  make  this  dull  "crowning 
glory"  an  asset. 

Lelia. 

T  ELIA  is  quite  right.  Long  hair  is  com- 
-^ing  back.  Only  a  little  while  ago  the 
big  question  for  every  girl  was  "To  Bob 
or  Not  to  Bob."  This  spring  for  really 
smart  girls  the  problem  will  be  "To  Grow 
or  Not  to  Grow. "  The  answer,  I'm  sure,  is 
"To  Grow. " 

I  have  this  information  from  many 
authorities.  A  friend  of  mine  who  is  one  of 
the  smartest  designers  in  America  warned 
me  months  ago  I  must  let  my  hair  become 
long. 

A  fashion  artist  recently  returned  from 
Paris  astonished  me  by  the  crop  of  combs, 
hairpins  and  barrettes  she  had  purchased  for 
her  own  use. 

At  the  opera,  the  young  debutantes 
appear  in  new  dignity  with  tiny  chignons 
Oil  their  lovely  necks  and  recently  when  I 
visited  my  fifteen-year-old  niece  at  board- 
ing school  I  observed  that  all  those  young 
things  were  letting  their  hair  grow  to  the 
pinning-up  length  in  order  to  gi\e  them- 
selves the  air  of  sophistication  and  charm. 

But  don't  weep,  Leiias  and  Kates  and 
.Marys  and  Susans  because  your  pretty 
lK)bs  are  no  longer  fashionable.  The  hair 
prospect  for  1928  is  much  more  exciting 
than  ever.  The  bob  taught  most  of  us  for 
the  first  time  how  to  care  for  our  hair.  Now 
longer  hair  will  teach  us  how  to  dress  it  to 
give  ourselves  distinction  and  beauty. 

Paris  will  never  admit  it,  I  suppose,  but 
I  think  the  movies  are  entirely  responsible 
for  this  return  to  longer  locks.  Every 
woman  star  in  movies  uses  her  hair  to  ex- 
l>ress  moods  and  character,  though  none 
does  it  so  superlatively  as  Greta  Garbo, 
whose  fascinating  face  decorates  this  page. 
Greta  dre.sses  her  hair  high,  she  dresses  it 
low,  she  slicks  it  back,  as  it  suits  her  mood 
and    the    character   she    is    playing.      She 

16 


fairly  makes  her  hair  talk  for  her  and  it 
gives  her  an  unfathomable  attractiveness. 
To  do  this,  of  course,  her  hair  has  to  be 
beautifully  taken  care  of  and  at  a  very 
adaptable  length.  But  granting  that,  every 
girl  can  make  her  hair  as  e.xpressive  as 
Greta's,  if  she  will  expend  an  equal  amount 
of  thought  and  attention  upon  it. 

So  the  problem  for  all  you  Leiias  is  to 
sit  before  your  mirror  and  to  decide  upon 
what  )-ou  want  to  make  yourselves,  fluffy 
girls,  or  tailored  girls,  or  sophisticates,  or 
darlings  with  a  piquant  touch  of  girlish 
dignity.  Then  let  your  hair  grow  accord- 
ingly. 

Long  hair  in  the  1914  sense  will  never 
return.  Few  of  you  will  want  your  hair 
to  reach  below  5'our  shoulders.  Some  of  you 
will  find  tricky  ways  of  having  it  cut.  Some 
of  you,  depending  upon  your  faces,  will 
let  your  back  hair  grow,  while  keeping  the 
sides  short  as  ever.  Others  will  let  one 
side  grow,  swirling  that  long  lock  over  the 
shingled  back  to  make  a  coiffure  new  and 
different.  A  few  will  have  the  sides  grown 
very  long,  while  the  back  stays  short,  and 
curl  the  long  side  pieces  around  tiny  ears 
to  come  up  on  the  cheeks  in  flattering  arcs. 
It's  simply  limitless  what  one  can  do. 

But  remember  the  head  line  is  still  to  be 
kept  as  small  as  possible  in  the  same  svelte 
manner  the  bob  initiated.  The  only  real 
change  is  toward  a  new  picturesqueness  and 
away  from  the  definite  restrictions  the  bob 
set. 

Then  while  your  bobs  are  growing,  take 
the  opportunity  to  bring  to  jour  hair  real 
life,  vigor  and  tone.  Fifteen  minutes'  care, 
night  and  morning,  plus  a  good,  sane  diet 
for  health — for  physical  health  affects  the 
hair  more  than  any  other  factor — will  make 
the  dullest  head  of  hair  a  thing  of  beauty. 
All  hair  colors  are  beautiful,  you  know, 
when  given  their  natural  sheen. 

Lelia  should  brush  her  hair  one  hundred  , 
strokes  before  retiring  and  upon  arising, 
for  lustre  and  to  restore  its  natural  oil. 
If  her  scalp  is  not  so  pliable  that  it  moves 
freely  over  the  bones  of  the  skull,  she  must 
correct  this  tightness,  due  largely  to  ner- 
vousness, with  massage.  Kneading  the 
scalp  with  the  fingertips  until  it  feels  warm 
and  alive  will  accomplish  this. 

When  Lelia  shampoos  her  hair  she  must 
make  sure  her  hair  is  thoroughly  rinsed 
and  dried.    Sun  drying  is  most  beneficial. 


LAST  year  one  was  old-fashioned 
if  long  haired.  Will  the  reverse 
be  true  when  spring  comes  round? 
Hairdressers  say  "No."  Fashion 
advisers  say  "Yes.'"  Here's  my  ad- 
vice to  help  you  in  deciding  this 
most  important  problem  in  chic. 
I  will  be  glad  to  help  you  indi- 
vidually on  this  or  any  other 
problem  relating  to  beauty,  health 
or  happiness.  Letters  with  stamped 
envelopes  enclosed  will  be  answered 
by  return  mail;  those  without  re- 
turn postage,  in  the  columns  of 
Photoplay.  Pamphlets  on  the  care 
of  the  skin  will  also  be  yours  for 
the  sending  of  a  stamped,  self- 
addressed  envelope  and  a  booklet 
on,  weight  reduction  may  be  had 
for  ten  cents. 

Carolyn  Van  Wyck. 


Such  methodical  treatment  combined 
with  eight  hours'  sleep  nightly  and  a  diet 
in  which  green  vegetables  predominate  will 
make  Leila's  hair  so  strong  no  number  of 
marcels  can  harm  it.  And  when  it  has 
grown  to  an  adaptable  length  Lelia  can 
make  it  so  beautiful  and  so  changing  a 
frame  for  her  face  people  will  murmur, 
"That  girl  always  manages  to  be  distincti\e 
and  full  of  personality." 

And  isn't  that  comment  worth  every 
girl's  working  for  a  half  hour  a  day? 

Betty  H: 

Rubber  reducing  anklets  will  help  to  keep 
the  lines  of  your  lower  leg  trim  and  shapely. 
"  Piano  legs,"  since  you  ask  the  question,  are 
legs  that  appear  fat  and  bulgy — they 
evidently  get  their  name  from  their  resem- 
blance to  the  legs  of  a  baby  grand.  Exercise 
may  develop  the  leg  muscles  but  it  will  not 
alter  the  bone  formation.  Do  not  give  up 
either  tennis  or  walking — thej'  are  both 
good  for  you. 

W.  D.: 

As  your  boy  friend  dropped  one  girl  flat 
to  go  about  with  you,  you  mustn't  be  too 
surprised  if  he  drops  you  flat  to  go  with 
another  girl.  It  is  always  wisest  to  be  pre- 
pared for  what  may  be  part  of  a  man's  char- 
acter.   Usually  this  rushing  from  girl  to  girl 

[  CONTINUED  ON  P.\GE  107"] 


Photoplay  Magazine — Advertising  Section 


17 


S  POUDRES 


COTY 

DOUBLE 

COMPACTE 

\  / 


WITH  COTY  ROUGES  FOR  PERFECT  COLOURING 

avzsnind  aeucacy  of-  t/ifi/und 

Dfiuzance  —  vou?^  own  ti/pe  of 

oeauty  is  loveuesi  when  it  zs 

dlofzfzea  zoitn  zYs  &ue  sAaaes 

^COT Y  Face  Powders  and 

Rouges.  COT  Y  Face  Powders 

a?^e  v.sea  aazly  btf  iwenti/  mz/- 

Izon  women^  a  zoof/atnoute 

to  mezf  pez^fect  oeauty 

-dzvind  auatztzj. 


FACE  POWDER 
Blanc  Naturil  Rachel  No.  1 

Rose  No.  1  Ocri  Rachel  No.  2 

Rose  No.  2  Mauvi  Ocre-Rose 


ROUGE   IN  FI^^E   GLORIFYING  TONES 
Bright-Light- Medi::m-Dark-ln-jisihle 


'PERSONAL  SERVICE  BUREAU" 

djr  ffuiJ.ir.ce  in  cliojstn^  tlxc  correct 
Face  Powdcn  shade  aruL  expressive 
perfume  odcixr  to  mtensify  individuality 

c3<o-rv  ,Mc. 

71-1-  C7ifch  S3:jenue,<7l(euj<l/ork, 


Photoplay  Magazine — Advertising  Section 


FEET 

.  .  .  that  talk! 


COUNTLESS  thousands  have  watched  the  won- 
derful dancing  of  Gilda  Gray.  "She  has  feet 
that  talk,"  they  say.  "What  grace  and  activity! 
What  Charm!" 

Feet  that  talk  are  feet  free  from  abuse,  free  from 
strain  and  pinching  and  distortion.  And  because  the 
famous  stars,  such  as  Gilda  Gray,  must  have  active 
and  youthful  feet,  they  are  turning  to 

^RCHPHBERVER 

the  superbly  styled  shoe  that  keeps  feet  youthful, 
vigorous  and  comfortable. 

The  sheer  loveliness  of  the  Arch  Preserver  Shoe  is 
in  no  way  marred  by  the  scientific  built-in  princi- 
ples. There  is  an  ingenious  concealed  arch  bridge 
that  prevents  sagging,  a  flat  inner  sole  that  prevents 
pinching,  and  a  metatarsal  support  that  prevents 
distortion. 

A  correct,  normal  walking  base,  assuring  foot 
happiness  —  foot  help  —  clear  through  the  busiest 
day.  The  Arch  Preserver  Shoe  will  give  you  "feet 
that  talk."  Try  one  pair  and  you'll  understand. 

Wr^te  for  booklet  and  name  of  your  dealer. 

THE  SELBY  SHOE  COMPANY 

Portsmouth,  O. 


There  is  only  one  Arch  Preserver  Shoe.  Its 
principles  of  construction  are  fully  protected  by 
patents.  No  shoe  is  an  Arch  Preserver  Shoe 
unless  stamped  with  the  Trade-Mark.  Made  for 
women  and  misses  by  The  Selby  Shoe  Co.. 
Portsmouth,  Ohio.  For  men  and  boys  by  E.  T. 
Wright  &  Co.,  Inc.,  Rockland,  Mas:. 


^^(V(Tm/)7)//< 


EEPS  THE  FOOT  WEI 


<J)(Cail 


coupon  or  write  to  Tlie  Selby 
Co.,  950  Seventh  St.,  Ports- 
mouth, Ohio,  for  new  free  booklet  No.  T-50 
"Feet— the  New  Source  of  Youth  and  Smartness" 
and  name  of  dealer. 


Addn 
City. 


TheCildaGray  pattern  in  Silver  Kid 
with  Silver  Lizard  trimming. 


NOT  America's  Sweetheart,  but  America's  Suppressed  Desire — 
Greta  Garbo.     What  every  woman  wantfe  to  look  like.     The 
Eternal  Feminine  to  every  man.     One  of  the  reasons  why  people 
.run,  not  walk,  to  the  nearest  theater. 


p'DUCATED  at  dear  old  Universal  for  the  last  four  years,  Laura  La  Plante  wins  her 
B.  O.  degree— meaning  box-office.    With  only  three  remote  exceptions,  all  her  films 
have  been  made  by  one  company,  a  rare  record  these  days. 


wmmmmmmmm 


i 


T)ETER  PAH  has  been  locked  out  of  the  Gardens.     Betty  Bronson  refused  to  play  a 

■^  scene  she  considered  naughty.     Her  contract  was  not  renewed.     She  is  the  sole  sup' 

port  of  a  family  of  four.     Say  you  believe  in  her! 


Cf    i      J  R    MILLE  IS  training  her  for  ultimate  glory.     Her  name  is  Virginia  Brad- 

^-■tord  and  she  had  her  first  real  Bing  as  the  Cap  n's  little  daughter  in  "The  Wreck  of  the 

Hesperus,"  adding  IT  to  Longfellow's  ballad. 


JUST  a  Mexican  wild  kitten  and  Douglas  Fairbanks'  contribution  to  the  game  of  New 
Faces.     In  "The  Gaucho,"  Lupe  Velez  plays  with  so  much  ease  and  spontaneity  that 
it's  hard  to  believe  she  is  a  novice  before  the  camera.   ' 


Ruth  Harriet  Louise 


■EXEMPLIFYING  the  new  type  of  movie  hero— Johnny  Mack  Brown.     He  came  to 
rtollywood  as  a  football  star;  he  remained  to  estabhsh  himself  as  one  of  its  most  promis- 
ing and  popular  young  leading  men. 


THE     GOSSARD     LINE     OF      BEAUTY 


C^ 


QyAiiLiiirY^ 


TIHII IC  CWEIEID 
OrfASHII 


'OMEN  of  the  fashionable  world  have 
come  to  have  a  fine  appreciation  for 
Gossard  foundations— an  appreciation  which 
comes  from  the  pliant  texture  of  materials, 
the  unusual  smartness  of  the  patterns,  and 
the  surprising  durability  hidden  in  the  soft- 
nesses of  their  weave,  which  is  realized  only 
after  constant  wear.  Beauty  and  quality  are 
inseparable  characteristics  of  Gossard  gar- 
ments, from  the  design  of  the  garment  to 
the  weave  of  the  fabrics,  and  because  of  this 
fact  they  are  the  foundation  creed  of  the 
fashionable  wardrobe. 

Go  to  your  Gossard  corsetiere  and  ask  to 
see  the  various  kinds  of  Gossard  garments. 
In  Qossard  Completes,  Clasp-arounds,  Combi- 
nations, Step-ins  and  Front-lacing  Corsets  you 
will  find  the  same  choice  of  materials,  the 
same  exquisite  texture. 


m 


\%,  \;  1 


This  front-lacing  corset,  a  garment  which 
gives  unusual  support,  is  made  of  a  lovely 
brocade,  and  combined  with  a  smart 
checked-weave  elastic.  Average  and  heavier 
figures  find  its  long  graceful  lines  particu- 
larly suited  to  their  needs.  Model  1052,  $10. 


THE  H.  W.  GOSSARD  CO..     Chicago,     New  York,     San  Fran 


Dallas,     Atlanta,     London,    Toronto,     Sydney,    Buenos  Aii 


AiUEEN  Prfngle  (above) 
Immensely  proud  of  her  beautiful  neg- 
ligee of  real  lace  (once  belonging  to  the 
Czarina  Alexandra  of  Russia),  Aileen 
Pringle  supervises  its  tcashing—in  Lux, 


Don  Jtjan  (right) 
Costumes  costing  $300,000  were  used  in 
this    Warner    Bros,    picture,    starring 
John  Barrymore.    Their  loveliness  was 
guarded  by  safe  cleansing  tenth  Lux. 


In  Every  Great  Motion  Picture  Studio 

costumes  stay  New-Looking  twice  as  long 
through  the  use  of  Lux 


Bennett  Nathan 
designer  for  Meiro-Goldwyn-Mayer,  at  work  in 
his  studio  on  a  new  fabric  pattern.  "A  box  of 
Lux  seems  like  a  small  thing,"  says  Joseph 
Rapf,  wardrobe  supervisor,  "but  it  stands  for 
dollars  upon  dollars  saved  in  the  Metro-Gold- 
wyn-Mayer  Studios.   We  insist  upon  Lux." 


S  out  of  every  10  families  in  cities  from 
New  York  to  San  Francisco— investigations 
show—save  money  with  Lux!  Like  the  great 
studios,  they  find  (hat  magical  bland  Lux  suds 
double  Ihc  near  of  silks,  chiffons,  vMolens 
and  gay  colored  cottons,  too. 


WITH  millions  of  dollars  invested 
in  beautiful  clothes  for  stars  and 
players  and  "extras" — in  gorgeous  ma- 
terials for  hangings  and  sets — 

the  movies  face  a  fine  fabrics  problem 
every  woman  meets — on  a  vast  scale! 

For  these  costumes  must  be  kept  bril- 
liant and  new-looking,  in  spite  of  long, 
hard  wear.  It  may  take  months  to 
"shoot"  a  big  picture. 

Often,  too,  there  are  priceless  his- 
toric garments  —  irreplaceable — to  be 
cared  for. 

When  just  one   mistake  might  cost 
so  much,  motion  picture  studios  dare 
not  guess — they  must  know 
the  best  way  to  care  for  their 
vast  stock   of  clothes   and 


L«T«r  Brot.  Co..  CftmbrJdsa.  Mut. 

SO     SAFE     AND     A     LITTLE     GOES     SO      FAR 


fine  fabrics.  And  it  has  been  found  that 
the  07ie  safe  way  to  cleanse  all  washable 
fabrics  is  with  Lux! 

Through  the  use  of  Lux,  the  studios 
say,  sheer,  filmy  materials  and  the  more 
substantial  and  brilliant  fabrics,  too, 
stay  beautifully  lustrous  and  new-look- 
ing through  repeated  cleansings — more 
than  twice  as  long  as  when  washed  any 
other  way! 

This  means  a  saving  of  more  than  a 
million  a  year  in  wardrobe  expenses! 

As  Travis  Banton,  costume  director  for 
Paramount- Famous- Lasty,  puts  it: 
"We  no  longer  discard  costumes  which 
have  lost  their  new  look.  We  '  Lux  them' 
— they  come  out  looking  as  though  they 
had  never  been  washed — wear  longer 
than  I  ever  thought  possible." 

Now  all  the  great  motion  picture  stu- 
dios— 

Metro -Goldwyn -Mayer.  Para- 
mount-Famous -Lasky,  Universal, 
Pathe-DeMille,  Fox,  First  National, 
United  Artists  and  Warner  Bros. — 

use  Lux — the  same  Lux  in  the  same 
familiar  blue  boxes  found  in  homes  all 
over  the  country! 


IT'S      AN      ECONOMY     TO      USE      LUX 


t 


The     National     Guide     to     Motion     Pictures 

ITRADE   MARK) 

PHOTOPLAY 


February,  1928 


Close-Ups  and  Long-Shots 


DR.  WILL  HAYS,  the  eminent 
specialist,  like  any  other  good 
surgeon,  is  willing  to  adopt  any 
new    improvements    in    operative 
methods  if  it  will  help  his  patient,  the 
screen. 

Only  a  few  decades  ago  surgeons 
assumed  that  all  operative  wounds  would 
putrefy  because  of  the  introduction  during  the 
operation  of  malignant  germs.  So  they  laved 
the  cut  tissues  liberally  with  chemicals  that 
were  calculated  to  kill  the  germs,  and  often 
killed  the  tissue  also. 

Then  came  the  modern  aseptic  method  which 
was  based  on  the  wholesome  theory  that  if  the 
surgeon  did  not  permit  the  introduction  of 
germs  he  wouldn't  need  chemicals  to  kill  them. 

'"pHREE  years  ago  Will  Hays,  as  head  of  the 
^  organization  of  motion  picture  producers 
and  distributors,  adopted  a  formula.  In  his  own 
words  this  was  "to  prevent  the  prevalent  type 
of  play  and  novel  becoming  the  prevalent  type 
of  picture." 

Briefly,  the  formula  worked  this  way:  If  a 
questionable  play  or  novel  was  rejected  by  one 
producer,  or  if,  in  the  opinion  of  the  Hays 
organization,  it  contained  objectionable  ele- 
ments for  screen  production,  it  was  barred  to 
all  producers. 

npHAT   worked — with   a  lot  of   groans   and 
-*-  creaks  to  be  sure — for  a  while.     It  was  the 
best  method  that  had  been  evolved  up  to  that 
time. 

At  least  it  cannot  be  said  that  it  was  not  a 


sincere  effort  on  the  part  of  Mr.  Hays 
and  the  producers,  and  at  a  time 
when  the  stage  and  the  novel  were 
sufifering  from  an  epidemic  of  smut, 
it  was  instrumental  in  keeping  the 
screen  comparatively  healthy. 

Mr.  Hays  is  now  working  with  a 
committee  of  the  Authors'  League,  a  militant 
and  efficient  group  organized  to  demand  and 
enforce  a  square  deal  for  writers. 

They  are  trying  to  evolve  a  new  formula, 
based  on  the  aseptic  and  more  modern  method- 
For  it  has  demonstrated  that  a  motion  pic- 
ture can  be  made  from  a  play  or  story  by  re- 
moval of  questionable  situations  or  episodes  or 
single  lines,  and  kept  clean. 

npHE  issue  is  this:  Should  all  plays  and  stories 
-^  containing  episodes,  permissible  on  the 
stage  or  printed  page  but  questionable  in 
motion  pictures,  be  barred  outright,  or  is  the 
screen  entitled  to  be  considered  as  a  distinct 
medium  which  can  adapt  and  expurgate,  and 
in  picture  form  be  considered  on  its  own  merits, 
if  no  attempt  is  made  by  use  of  title  or  inference 
to  deceive  the  public  into  thinking  it  is  to  see 
the  original  objectionable  features? 

In  other  words:  Shall  a  motion  picture  be 
adjudged  guilty  before  it  is  made,  or  shall  it  be 
given  a  fair  trial  and  judged  on  its  merits? 

ALONG  comes  a  desperate  case,  a  gal  named 
"Sadie  Thompson,"  who  was  brought  into 
the    hospital    late,    and    demanded    desperate 
methods  of  treatment  to  save  her  screen  life. 
Frantic  for  a  picture  that  would  retrieve  her 

21 


prestige  and  fortunes,  with  her  whole  future  at  stake, 
Gloria  put  over  a  fast  outside  curve  on  the  old  formula, 
and  bought  the  original  story  from  which  "Rain"  was 
made  into  a  play.  The  title  of  that  story  was  "Sadie 
Thompson." 

The  objectionable  element  of  that  play  was  that  a 
sanctimonious  minister  fell  for  a  South  Sea  trollop, 
Sadie,  and,  conscience-stricken,  committed  suicide. 

Gloria  transformed  the  minister  into  a  hypocritical 
lay  reformer,  and,  it  is  announced,  cooled  down  other 
objectionable  features.  I  hope  so,  but  I  have  not  seen 
it  and  am  in  no  position  to  judge  it. 

IF  it  is  "Rain"  in  substance  and  spirit  it  will  furnish 
ammunition  to  the  censors  and  to  that  detestable 
group  of  ignorant  and  professional  busybodies  who  are 
seeking,  by  argument  or  political  blackjack,  by  fair 
means  or  foul,  by  half  truth  or  deliberate  misrepresen- 
tation, to  bring  about  Federal  screen  prohibition  and 
Volstead  movies. 

Whatever  the  outcome  the  case  of  "Sadie  Thompson" 
has  opened  the  eyes  of  the  producers  to  the  vulnerabil- 
ity of  the  old  formula,  and  the  necessity  of  a  new  one. 

Sadie  was  a  tough  baby  and  all  wet.  But  the  dif- 
ference between  this  gal  and  Du  Barry,  Nell  Gwyn, 
Helen  of  Troy,  Carmen,  Camille,  and  Lorelei  is  purely 
a  question  of  clothes,  manners,  methods  and  weather. 

If  one  hundred  per  cent  virtue  and  righteousness  is  to 
be  demanded  of  every  screen  character  and  this  should 
be  carried  through  to  its  logical  conclusion  in  plays, 
novels,  bibles,  magazines,  radio,  operas  and  sermons, 
this  would  not  be  such  an  interesting  world. 

IN  any  event  such  subjects  demand  delicate  handling. 
Produced  crudely  and  with  salacious  intent  they  are 
screen  abominations.  With  delicate  treatment  and  deft 
direction  Lubitsch  and  St.  Clair  fashion  delightful  and 
unobjectionable  if  sophisticated  entertainment.  Given 
the  same  material  clumsy  workmen  smear  the  screen. 
It  is  all  in  the  treatment.  Fine  watches  are  not  made 
by  blacksmiths. 

The  methods  by  which  Mr.  Hays  and  the  motion  pic- 
ture producers  work  out  their  problems  is  their  worry, 
and  not  the  public's.  It  is  their  problem  and  they 
should  be  permitted  to  settle  it  among  themselves  with- 
out interference. 

The  screen  must  be  kept  clean  and  no  one  knows  it 
more  than  they,  for  it  has  been  amply  demonstrated 
that  the  American  people  who  want  entertainment  and 
pay  for  it  have  a  code  that  must  not  be  violated.  But 
that  public  is  interested  only  in  the  picture  as  it  ap- 
pears on  the  screen  and  is  fair  enough  to  judge  by  that 
and  that  alone. 


NOTE  on  the  untold  wealth  that  awaits  the  girl 
who  goes  to  Hollywood  to  break  into  the  movies. 

Central  Casting  Corporation,  the  free  employment 
bureau  for  extras  on  which  all  the  studios  call  when 
"atmosphere"  is  required,  has  come  forward  with  its 
semi-annual  statistics. 

It  has  6,000  women,  including  girls  from  sixteen  to 
sixty,  registered  on  its  books. 

Within  the  past  six  months  one  girl  out  of  this  6,000 
has  averaged  five  days'  work  a  week. 

Eight  in  the  6,000  have  averaged  four  days  a  week. 
Twenty-one  have  averaged  three  days  a  week.  The 
other  5,970  have  worked  two,  one  or  no  days. 

FOR  all  this  stunning  array  of  employment  the 
average  pay  is  $8.32  daily.  Figure  that  out  and 
you'll  see  that  the  most  successful  girl,  the  five-day-a- 
week  darling  who  scores  the  3,000-to-l  chance,  has 
made  slightly  over  $40  a  week. 

This  girl  and  the  lucky  eight  in  the  next  classification 
are  "dress  extras,"  which  means  they  have  a  very  ex-  , 
pensive,  very  elaborate  wardrobe  of  their  own  which 
they  wear  for  society  pictures,  opera  scenes  and  the  like. 
Deduct  that  cost  from  the  weekly  $40. 

Then  make  your  decision.  Are  you  going  to  Holly- 
wood? 

I  AM  sick  and  tired  of  hearing  the  motion  picture 
audiences  of  this  country  referred  to  as  "morons." 

The  term  is  usually  applied  by  self-styled  "intel- 
lectuals," folks  overburdened  with  education  and  ego- 
mania, and  deficient  in  normal  intelligence  and  com- 
mon sense. 

The  charge  is  usually  based  on  the  results  of  the  old- 
fashioned  mentality  tests  applied  to  the  lads  who 
served  in  the  ranks  of  the  American  army  during  the 
late  war. 

The  allegation  is  triple-barrelled,  for  it  is  a  direct 
slam  at  the  army,  and,  as  motion  picture  audience  is  al- 
most synonymous  with  population  in  this  country,  it 
means  that  this,  the  most  prosperous  and  contented 
nation  in  the  world,  is  mentally  sub-normal. 

Photoplay  has  taken  the  case  to  a  distinguished 
psychiatrist  who  served  in  the  American  forces,  and 
submitted  many  thousands  of  our  boys  to  mental  tests. 

He  will  report  in  next  month's  issue  of  the  magazine. 

OVERHEARD  at  The  Union  League  Club,  one  of 
New  York's  most  conservati^•e. 
"Yes,    I'm   going   to   spend   the   winter   at   Miami, 
George,  but  you  see  I've  got  to  have  at  least  ten  rooms 
for  my  family — and  a  house  is  too  far  out.     They  all 
want  to  be  near  the  movies,  so  we're  going  to  a  hotel." 


hat  Happened  to  Mary: 


By   Jane    Dixon 


Seven  years 
ago,  Mary  Miles 
Minter  was  the 
screen's  symbol 
of  Cinderella. 
Then  came  the 
Taylor  murder, 
the  first  of  a 
series  of  mis- 
fortunes 


Today,  Mary  is 
a  voluntary  exile 
in  Paris.  The 
golden  child 
has  grown  into 
a  mature  woman. 
Read  this  story 
of  a  vanished 
star 


Mary    and    her    mother,    Mrs.    Charlotte 
Shelby,  at  the  height  of  their  glory 


ONCE  there  was  a  little  girl  with  golden  hair,  blue 
eyes   and   a  face   that   was   fashioned   for  the 
camera.     For  the  most  part  she  was  a  good 
child;  a  little  selfish  perhaps,  slightly  wilful  and 
not  particularly  clever.     She  didn't  have  to  be  clever, 
because  she  was  beautiful  and  she  had  a  shrewd  mother. 
But  she  wasn't  bad  or  vicious  or  mean. 

For  a  few  brief  years,  she  had  a  most  amazing  run  of 
luck.  She  received  one  of  the  highest  salaries  ever  paid 
to  a  star.  By  careful  publicity,  she  became  the  living 
symbol  of  innocent, 
happy  girlhood.  Her 
future  was  so  bright 
that  she  was  hailed  as 
the  successor  of  Mary 
Pickford  herself. 

Then,  at  the  height 

of  the  fairy  tale,  the 

-- ^  clock    struck    twelve 


and  as  strange  a  series  of  misfortunes  descended  upon 
Mary  Miles  Minter  as  ever  befell  a  human  being. 

And  after  these  calamities,  Mary  Miles  Minter  faded 
away  as  completely  as  a  discredited  myth. 

First  there  was  the  William  Desmond  Taylor  case — 
Hollywood's  one  classic  murder.  Taylor  was  found 
dead  in  his  bungalow  with  a  bullet  through  his  back. 
In  the  investigation  that  followed,  love  letters,  silly  aqd 
pathetically  girlish,  were  discovered  written  by  Mary 
on  butterfly-crested  notepaper. 

Mary's  name  became  inseparably  linked  with  a  par- 
ticularly sordid  and  sinister  murder.  The  mystery  never 
has  been  solved  and  stalks  about  even  now,  like  a  rest- 
less ghost,  to  haunt  those  who  were  even  remotely  con- 
nected with  it. 

Then  Mary  left  her  mother  and  brought  suit  against 
her  for  an  accounting  of  the  money  that  the  mother,  as 
IVIary's  guardian,  controlled  for  her.  Not  a  pretty 
spe<M,iclf  -  a  ^irI  suing  her    [CONTINUED  ON  PAGE  132] 


Miss  Juliet  Shelby 
of  Paris.  The  famous 
curls  are  bobbed. 
Mary  has  grown 
plump.  "People 
aren't  interested  in 
me  any  more,"  she 
says.  "They  don't 
remember  me.  My 
name  is  forgotten" 


Life 

First  Installment  of  the  touch- 
of  a  tragic  child  who  became 


Illustrated  by 
Corinne  Dillon 

WHEN  I  write  down  at  the  very  beginning 
that  I  am  twenty-two  years  old,  I  can  hardly 
believe  it. 

I  feel  much  older  than  that.  I  feel  as 
though  I  had  lived  a  long,  long  time.  That  is  because 
I  have  suffered  so  much,  and  suffering  makes  you  feel 
old  inside,  just  as  happiness  makes  you  feel  young  even 
when  your  hair  is  white. 

I  think  this  story  will  surprise  you  very  much.  It 
isn't  at  all  the  sort  of  life  story  you  would  expect  to 
belong  to  Clara  Bow.  For  you  know  the  Clara  Bow 
who  has  been  driven  by  misery  and  loneliness  to  clutch 
at  joy  and  merriment  almost  wildly. 

There  is  only  one  thing  you  can  do  when  you  are  very 
young  and  not  a  philosopher,  if  life  has  frightened  you 
by  its  cruelty  and  made  you  distrust  its  most  glittering 

SO 


X- 


promises.    You  must  make  living  a  sort 
of  gay  curtain   to  throw  across  the 
abjss  into  which  you  have  looked 
and  where  lie  dread  memories. 

I  think  that  wildly  gay  people 
are  usually  hiding  from  some- 
thing in  themselves.  They  dare 
not  be  quiet,   for  there  is  no 
peace    nor    serenity    in    their 
souls.  The  best  life  has  taught 
them  is  to  snatch  at  every  mo- 
ment of  fun  and  excitement, 
because  they  feel  sure  that 
fate  is  going  to  hit  them  over 
the  head  with  a  club  at  the 
first  opportunity. 


"When  they  played 
baseball  in  the  eve- 
ning in  the  streets,  I 
was  always  chosen 
first  and  I  pitched. 
I  always  played  with 
boys.  I  never  had 
any  use  for  girls  and 
their  games" 


T  DON'T  want  to  feel  that 
-^way.  But  I  do.  When  I 
have  told  you  about  my  short 
life,  maybe  you  will  under- 
stand why,  in  spite  of  its  in- 
congruity, I  am  a  madcap, 
the  spirit  of  the  jazz  age,  the 
premier  flapper,  as  they  call 
me.  No  one  wanted  me  to  be 
born  in  the  first  place. 

And  when  I  was  born,  at 
first  they  thought  I  was 
dead.  They  thought  every 
spark  of  life  had  been  stran- 
gled out  of  me  during  my 
long  and  stormy  entrance 
into  this  world.  They  fought 
for  hours,  fanning  the  poor, 
feeble  little  flame  of  life  that 
was  in  me,  and  it  would 
flare  up  and  then  die  down 
again,  quite  as  though  I 
didn't  want  to  stay. 
Everything  was  against  my  coming  here  at  all,  every- 
thing was  against  my  staying  here. 

There  have  been  a  great  many  times  when  I  wish  they 
hadn't  fought  quite  so  hard  to  keep  me  here.  But  I 
don't  feel  that  way  any  more. 

I  don't  know  an  awful  lot  about  my  ancestors  or  rela- 
tions. It  isn't  really  strange  if  my  memory  is  not  good, 
if  I  am  not  very  definite  about  facts  and  dates.  I  have 
been  trying  all  my  life  to  forget,  not  to  remember.  Be- 
sides, young  people  aren't  much  interested  in  family 
history.  At  least  I  wasn't.  I  don't  like  my  relations, 
anyway.  They  never  paid  any  attention  to  me  until  I 
was  successful  and  they  weren't  kind  to  me  or  to  my 
mother  when  we  needed  it  so  much.  I  try  not  to  have 
resentment  against  them,  but  I  don't  care  anything 
about  them. 


Story 


ing  human  document 
the  very  spirit  of  gayety 


My  father  is  the  only  person  I  care  for,  really. 

My  mother  was  a  very  beautiful  woman.  She  came  of  a 
good  family  in  New  York  State  and  her  mother  was  French 
and  her  father  was  Scotch.  They  lived  on  a  country  place 
a  few  hours  from  New  York  City.  I  was  never  there,  be- 
cause it  was  gone  before  I  was  born.  But  from  what  my 
mother  told  me  it  must  have  been  quiet  and  beautiful  and 
prosperous. 

Perhaps  that  was  the  reason  that  my  mother  didn't  want 
to  marry.  She  idolized  her  father  and  loved  the  home  where 
she  had  been  born  and  brought  up,  and  that  was  all  she 
wanted  from  life.  Marriage  frightened  her.  She  felt  no 
need  of  anything  more  in  her  life  than  her  father  and  mother 
and  the  quiet  life  she  led  in  the  country. 

On  an  adjoining  farm  lived  a  family  named  Bow.    They 
had  always  been  neighbors.     The  Bows  were  Scotch  and 
English,  of  the  kind  I  guess  that  make  landed  farmers  and 
squires  in  the  old  country.    There 
were  thirteen  children  in 
the   Bow  family  and 
my  mother  had  al- 
ways played  with 
t  h  e  m  .     T  h  e 
youngest  of 
them  was  a 
boy,  Harry 
Bow.     And 


4 


By 
CLARA  BOW 

as  told  to 

Adela  Rogers  St.  Johns 


"I  would  massage  her  throat.    It  is  terrible  to  see  some- 
one you  love  suffer  like  that" 


Clara  Bow's  first  professional  photo- 
graph,  taken  at  the  age  of  sixteen, 
when  she  won  the  contest  that  put 
her  on  the  screen 


he  was  the  darling  of  the  family  and 
just  about  my  mother's  age.    He  was 
a  handsome,  talented  boy  who  cap- 
ti^•ated  everybody.     He  just  made 
people  like  him  so  much  that  they 
didn't    stop    to    think    much    else 
about  him.    He  had  a  merry  laugh, 
and  he  could  ride  and  play  and  was 
always  good-natured  and  happy. 
My  mother's  mother  adored  him. 
When  she  knew  that  she  was  dy- 
ing, she  called  my  mother  to  her 
and  told  her  that  this  young  man 
had  asked  for  her  hand  and  that 
she  must  marry  him.      My  grand- 
mother was  very  old-fashioned,  very 
French  in  her  thoughts  and  traditions, 
and  she  did  not  believe  that  a  girl  could  be 
happy  unless  she  was  married.     She  said 
she  couldn't  die  happ\'  imless  she  knew  that 
her  daughter       [continued  on  page  78] 

31 


Ten  little  "no" 
girls;  ten  little 
girls  wedded  to 
their  Art,  and 
coyly  dodging 
the  wedding  ring 
which  never  stops 
chasing  them. 
They  are  Clara 
Bow,  Greta 
Garbo, Bebe 
Daniels,  Sally 
O'Neil,  Madge 
Bellamy,  Joan 
Crawford,  Olive 
Borden,  Phyllis 
Haver,  Janet 
Gaynor  and  Lois 
Moran.  What  will 
the  story  be  in  a 
year? 


]3odging/A^  Wedding  Ring 


By  Ruth  Biery 


BEBE  DANIELS  sank  In- 
to Harrison  Ford's  arms. 
Her  face  was  enrap- 
tured;  his   impassioned. 

Their  lips  met. 

"Bebe!" 

A  voice  from  off-stage  inter- 
rupted the  fervid  scene  in 
"Lovers  in  Quarantine." 

Bebe  turned  to  face  her 
fiance  who  had  come  onto  the 
lot  unannounced.  She  finished 
the  scene;  then  joined  him. 

"You're  going  to  leave  this 
business,"  was  his  guttural 
greeting. 

"Why,  what  do  you  mean? 
It  is  understood  that  you  are  never  to  interfere  with  my 
business,  darling."    Bebe's  tones  were  beseeching. 

"This  changes  matters.  You  can't  tell  me  you  can 
make  love  to  a  man,  kiss  him  like  that  and  have  abso- 
lutely no  feeling  for  him."  His  speech  had  grown 
louder.    Bebe  glanced  hurriedly  around  her. 

"Why,  you  big  silly!"  She  drew  him  adroitly  to  one 
side,  away  from  the  others.  "That  means  nothing. 
It's  only  acting." 

"But  there  was  no  argument  that  could  convince 
him.    So  that  was  the  end  of  that  matter! " 

Bebe  looked  at  me  half  wistfully,  half  humorously, 
across  the  shining  mahogany  of  the  desk,  over  which  we 
were  talking. 

"And  that  wasn't  all."  She  shook  her  head  sadly. 
"He  couldn't  understand  why  I  couldn't  go  to  lunch 
with  him  whenever  he  wanted.  You  know  we  always 
have  story  conferences  at  noon,  or  see  the  rushes  of  the 
picture  and  talk  things  over.  Naturally,  I  couldn't 
take  an  outsider  in  on  my  business,  and  that's  just  what 
he  would  have  been.  So,"  she  dimpled,  then  gradually 
grew  pensive,  sighed  a  little, — "so  there  was  nothing  to 
do  but  make  him  a  real  outsider  and  not  marrj^." 

"Which  man  was  it,  Bebe?" 

She  shook  her  head.  "  'Twouldn't  be  fair,"  she 
answered.     "You  can  guess,  but  I  won't  tell  you." 

IRAN  my  mind  over  the  list.  Harold  Lloyd,  Jack 
Gilbert,  Michael  Arlen,  Phil  Corss,  Charlie  Paddock, 
and  that  silk  king  somebody  or  other.  These  I  knew 
had  been  among  those  definitely  reported  to  marry 
Miss  Daniels. 

"And  I'm  never  going  to  be  engaged  again,"  she  in- 
terrupted my  silent  reminiscing.  "No!  If  I  ever  make 
up  my  mind  to  it,  I'll  just  get  married.  No  more 
formal  betrothals  foi  mine." 

"And  do  you  plan  on  marriage,  eventually,  Bebe?" 

She  laughed,  hesitated  a  moment.  "The  man  who  is 
the  husband  of  a  motion  picture  actress  must  have  the 
disposition  of  an  angel,"  she  evaded.  "And  I  haven't 
met  that  perfect  being  yet. 

"Of  course  I've  been  in  the  game  too  long  to  think  of 
giving  it  up  for  anyone.  Just  think  what  marriage 
would  mean.  Hubby  coming  home  tired,  wifie  not 
there  yet.  She  comes  in.  There's  a  six  o'clock  call  at 
the  studio  for  the  next  morning.  Or  she  has  to  return 
and  work  all  night.    What  chance  is  there  for  '  home '  in 


Here  are  five  reasons  why  girls  do 
not  leave  home — for  a  husband. 

Because  divorces  are  too  preva- 
lent in  Hollywood.  Because  men, 
particularly  when  they  are  hus- 
bands, are  jealous.  Because  studio 
hours  prevent  a  real  domestic  life. 
Because  they  love  their  work.  Be- 
cause they  want  to  be  1  oved  for  them- 
selves alone,  and  not  because  they 
are  rich  and  famous.     So  they  say. 


an  arrangement  like  that? 
"The  unhappy  marriages  in 
this  business  are  not  because 
we  are  more  or  less  human 
than  others,  but  because  our 
business  is  not  standardized. 
We  have  no  certain  hours. 
We  don't  start  at  one  definite 
time  and  close  at  another. 
Yet  a  man's  nature  remains 
the  same.  He  is  possessive. 
He  wants  to  ha\e  something 
to  say  about  his  woman — " 

Thus  did  Bebe  organize  in- 
to words  the  whyfore  of  the 
wedding  ring  business  in  the 
Cinema  City. 
No  place  in  the  world  are  divorce  rumors  more  ram- 
pant than  in  this  unique  movie-city.     Pola  and  her 
prince;  Gloria  and  her  marquis.    Always  it's  the  same 
story — 

"  I  hear  Gloria  was  lunching  at  the  Montmartre  with 
Raoul  Walsh." 

"Did  you  know  that  Pola  was  thinking  of  divorcing 
her  prince?" 

"Norma  Talmadge  has  gone  to  Paris.  You.  know 
what  that  means.    Poor  Joe  Schenck!" — 

And  so  on,  in  that  endless  procession  of  "they  say" 
marriage  gossip. 

'Y'OU  know,  I  have  been  really  happy  for  Gloria  Swan- 
-'-  son  during  the  filming  of  "Sadie  Thompson."  At 
least  Henri  was  in  Paris.  If  only  all  the  Hollywood 
hubbies  could  take  a  vacation  during  the  filming  of  each 
of  their  wives'  productions !  Can  we  wonder  that  Clara 
Bow,  the  one  youngster  in  the  whole  city  who  craves 
marriage  as  an  antidote  for  her  lonely  unhappiness, 
quivers  and  hesitates  at  each  new  wedding  ring  offered ! 

"I  want  to  get  married,"  Clara  told  me.  "I'm  so 
lonesome.  But  I  want  the  kind  of  man  who  will  under- 
stand always.  Someone  who  will  stroke  my  hair  and  pet 
me  at  the  end  of  each  day  and  tell  me  not  to  worry. 

"But  I'm  afraid.  I  want  someone  to  love  me  for 
myself,  love  me  just  because  I'm  the  girl  I  am,  not  be- 
cause I'm  Clara  Bow,  the  screen  actress.  My  life 
hasn't  been  any  too  happy,  and  I  don't  want  any  more 
heart-breaks.    So  I  keep  holding  back. 

"For  two  years  I  was  engaged  to  Gilbert  Roland — 
and  I  loved  him.  Loved  him  madly.  And  Gilbert  loved 
me,  I  am  certain.  I  was  never  engaged  to  Bob  Savage. 
He  just  came  out  here  and  made  himself  silly.  Why,  I 
was  still  engaged  to  Gilbert  and  in  love  with  him.  And 
Gilbert  was  sick  and  couldn't  understand  about  Bob 
Savage. 

"Then,  of  course,  I  was  reported  married  to  Donald 
Keith.  But  there  was  nothing  to  it.  And  I  was  sup- 
posed to  get  my  ring  from  Victor  Fleming  last  Christ- 
mas. Then  two  days  before  we  had  a  fight.  I  had 
been  seeing  too  much  of  Gary  Cooper! 

"  Engagements  are  so  silly.  Two  weeks  and  no  more. 
Just  get  married  is  the  only  way.  That's  what  I'm 
going  to  do  next  time.  At  least  if  you  once  know  you're 
married,  you  won't  look  around  for  awhile. 

"  But  I  want  to  fall  in  love,  [  continued  on  page  140] 

S3 


How  big  was 
Louis  XVI's 
head?  How 
tall  was  Cleo- 
patra? Was 
Joan  of  Arc 
Noah's  wife? 


The  Library  of  the  Western 
Costume  Company.  These 
reference  books  make  pos- 
sible accurate,  realistic  de- 
tail you  see  on  the  screen 


Edward  Phillips 
Lambert,  who 
not  only  owns 
books  but  reads 
them,  thereby 
saving  directors 
a  lot  of  time  and 
money 


The  greatest 
"prop"  picture 
ever  taken.  How 
many  articles 
can  you  find  and 
identify  in  this 
photograph  ? 


Qk  Ask  Me 

HELLO!  ....  Hello!  ....  This  is  Assistant  Director 
Zero  of  the  Hysterical  Studios.  What  would  be  the  great- 
est necking  party?" 

A  break  in  the  connection  as  the  switchboard  operator 
plugs  in  the  library  telephone.    And  the  director  of  research  replies: 
"That  between  an  octopus  and  a  giraffe." 

The  assistant  director  gives  a  sigh  of  relief.  A  question  answered 
in  a  minute  that  would  have  taken  his  studio's  research  department 
a  week  or  more  to  unravel.  For  little  things  like  this  bit  of  absurdity 
are  not  always  as  trivial  as  they  may  seem.  In  motion  picture 
making  they  sometimes  amount  to  magnitudinous  proportions  and 
suspend  all  activities  until  they  are  solved.     No  one  knows  this 

better  than  the  research 
"~  ~      director  of  the   Western 

Costume  Company. 

Throughout  the  day 
questions  and  requests 
pour  into  this  amazing 
establishment,  the  like  of 
which  can  scarcely  be 
imagined : 

"What  was  the  subject, 
title  and  artist's  name  of 
the  oil  painting  that  hung 
in  the  Hofifman  House 
Bar,  New  York  City?" 

"What  figure,  or  ob- 
ject issymbolicof  virtue?" 
"Is  it  true  that  Louis 
the  Sixteenth's  head  size 
was  seven  and  three-quar- 
ters? Was  this  with  or 
without  his  wig?" 

"What  does  a  Siamese 
dancer  wear  —  on  hei 
head?" 


Read  the  story 
of  Ed  wa  r  d 
Lambert,  the 
man  who  an- 
swers Holly- 
wood's strang- 
est questions 


Need  a  hat?  Here  are  the 
lids,  with  uniforms  to 
match,  of  all  the  nations. 
They  can  be  delivered  in  a 
minute's  notice 


Another  Man 


By 

Fred  Oilman 

Jopp 


"Get  us  a  bottle  of  colic  cure,  eight  men-sized  dum- 
mies and  John  Doe's  Magazine  for  March,  1886." 

And  in  all  seriousness:     "Was  Joan  of  Arc  Noah's 
wife?" 

This  latter  type  of  question  is  not  frequent.  It 
usually  comes  from  some  dumb,  to  say  the  least,  yes- 
man  who  is  apt  to  make  an  error  if  not  carefully 
watched.  Nor  is  it  the  purpose  of  this  article  to  en- 
courage or  engage  in  a  controversy  with  "Ask  Me 
Another"  fans.  Its  aim,  rather,  is  to  direct  the  spot- 
light upon  Edward  Phillips  Lambert,  the  comprehen- 
sive human  dictionary  who  functions  within  a  twelve- 
story  encyclopedia  de- 
voted to  the  motion 
picture  art  and  science. 

There  are  two  reasons 
for  Edward  Lambert's 
success.  One  is  his  calm, 
pleasing  way  of  handling 
people;  the  other  the 
man's  natural  cleverness. 
He  solves  problems  by 
letting  his  mind  stay  pas- 
sive; by  not  trying  to 
force  things  into  it.  Noth- 
ing ever  worries  him.  His 
is  the  happy  faculty  of 
doing  many  things  at 
once,  yet  always  return- 
ing to  where  he  left  off, 
even  completing  an  un- 
finished sentence.  He  has 
the  unique  gift  of  being 
able  to  photograph  men- 
tally the  most  minute 
details  of  a  scene,  event 


or  an  object.  This  gift,  coupled  with  his  ease  of 
description,  makes  his  use  infinite. 

The  library,  which  he  has  gathered  through  the 
years,  is  worth  hundreds  of  thousands  of  dollars — 
millions  to  the  cinema  producer.  Every  known  science 
is  represented.     But  books  of  travel  predominate. 

Mr.  Lambert  has  diplomacy — plus.  Diplomacy  is 
highly  essential  to  his  work.  He  is  in  hourly  contact 
with  human  stars  that  have  all  the  explosive  powers  of 
meteors. 

"In  a  nutshell,"  he  explains,  "our  establishment 
functions    in    the    picture    business    in    this   wise.      A 


Antique  swords 
and  pistols  for 
any  sort  of 
battle.  What  a 
playroom  for 
Erich  von  Stro- 
heim.  These 
old  weapons  are 
so  valuable  that 
the  room  is  kept 
doubly  locked 


35 


More  fascinating  information  about  the 


A  corner  in  antiques.    This  section  is  chiefly  Oriental, 
tions  are  represented  in  the  twelve  story 

director  will  send  us  his  technical  advisers  and  state 
that  he  is  going  to  do  a  certain  thing.  We  work 
directly  with  the  scenario  far  in  advance  of  actual 
production.  When  completed  we  hand  on  our  data  to  the 
various  departments  of  this  organization,  whereupon 
it  is  transformed  into  costumes,  properties,  and  so  forth. 

"Sometimes,  though,  the  star  is  a  wee  bit  skeptical 
about  the  part  she  is  to  play  and  so  beats  her  staff  down 
here.  She  looks  over  volumes  that  will  show  her  in  cos- 
tumes the  picture  will  represent.  Ofttimes  a  picture 
ends  right  there. 

"Our  stock  is  valued  well  into  the  millions.  It  has 
taken  twelve  years  to  collect  and  it  occupies  twelve 


floors,  not  to  mention  four 
costume  factories  to  take 
care  of  the  overflow.  We 
have  over  200,000  square 
feet  of  floor  space  crammed 
with  every  conceivable  vari- 
ety of  clothing  —  from  uni- 
forms of  every  nation  and 
period  of  history  even  to  the 
proverbial  fig  leaf.  As  for 
properties — a  stuffed  camel, 
a  glass  eye,  a  coffin.  Shoes, 
ships  and  sealing  wax.  What- 
ever the  wanted  article  we 
have  it." 

One  would  think  Lambert 
the  dry  old  encyclopedia  he 
worships.  And  he  is  when 
discussing  Shakespeare  with 
an  old  legitimate  tragedian, 
who  has  descended  from  "the 
good  old  days"  to  "those 
terrible  movies."  But  the 
next  customer  may  possibly 
be  a  comedy  director  who 
wants  to  know  why  Desde- 
mona's  handkerchiefs  cost  more  than  her  gowns.  At 
which  time  Lambert  will  whittle  down  his  vocabulary  of 
sixty-thousand  words  into  the  eight-hundred  words  used 
by  the  average  American.  His  slang  phraseology  will 
then  enable  the  comedy  director  to  make  a  wow  out  of 
that  particular  thought. 

His  sense  of  humor,  God's  most  glorious  gift  to  man, 
is  highly  developed.  This  is  due,  no  doubt,  to  a  dizzy 
telephone  that  keeps  shooting  fact  and  fancy  at  him  all 
day  long.  Real  laughs  come  flowing  over  that  electri- 
fied wire. 

"Once  there  came  a  voice,"  continued  Mr.  Lambert, 
"asking  me  the  name  of  a  once  popular  screen  star. 


But  all  periods  and  na 
building 


The  tailor  shop, 
with  experts  from 
all  over  the  world. 
All  materials  must 
be  of  the  finest 
and  all  work- 
manship the  very 
best.  There  can  be 
no  faking  or 
scrimping  in  front 
of  the  camera 


.30 


movies  than  any  other  story  ever  written 


Offhand  I  couldn't  recall 
the  actor's  name  but  I  did 
remember  that  he  was  the 
chap  with  the  locomotor 
ataxia.  A  dirty  laugh  came 
from  the  receiver  and  I  was 
told  that  there  never  was  an 
automobile  of  that  make." 

In  our  walk  about  the 
building  no  less  than  fifteen 
motion  picture  celebrities 
stopped  Mr.  Lambert  with 
a  "Hello  Ed!"  And  for  the 
purpose  of  my  visit  each  was 
asked  to  query  him  with 
something  personal  about 
the  stars.  Here  are  his 
answers : 

"Douglas  Fairbanks  has 
the  greatest  imagination  in 
motion  pictures.  Mary 
Pickford  is  the  greatest  stu- 
dent. She  always  has  a 
tutor  with  her. 

"The  greatest  fisherman 
lis  John  Barrymore. 

"His  brother,  Lionel,  paints  beautiful  marines  in  oil. 

"Jean  Hersholt  has  the  best  private  collection  of 
books  on  the  life  of  Napoleon  in  the  United  States. 
Harrison  Ford  is  not  only  an  avid  collector  of  first  edi- 
tions, he  is  also  one  of  the  few  real  intellectuals  in 
motion  pictures. 

"Esther  Ralston  has  the  most  beautiful  face  and 
figure.  Fay  Wray  is  the  most  quaint.  Patsy  Ruth 
Miller  has  the  most  unusual  finger-nails.  They  are  very 
long  and  beautifully  tapered. 

"And  instead  of  a  platinum  or  diamond  ring  Norma 
Talmadge's  wedding  band  is  exactly  like  your  mother 
wears — a  plain,  old-fashioned  wedding  ring. 


Horses!  Horses!  Horses!  Everything  from  a  cowboy  saddle  to  equipment  for  a 
European  cavalry  officer.     They  are  all  kept  in  perfect  condition 


"Conrad  Nagel  is  the  most  religious.  Ronald  Col- 
man  the  most  aristocratic.  Erich  von  Stroheim  the  most 
superstitious. 

"Tom  Mix  makes  the  largest  weekly  salary,  with 
Emil  Jannings  running  a  close  second.  But  Adolphe 
Menjou  knows  how  best  to  take  care  of  his  money.  He 
is  a  smart  business  man.  Ruth  Roland  earned  a  million 
clear  in  real  estate  last  year. 

"Tommy  Meighan  loves  apple  pie.  Jack  Holt  prefers 
pumpkin.  Lew  Cody  must  have  an  old-fashioned 
boiled  dinner  twice  each  week.  Lewis  Stone  craves  the 
breast  of  Guinea  hen.  He  can  afford  it.  Clayton  is 
Harold  Lloyd's  middle  name."      [  cont'd  ox  page  92  ] 


An  aisle  in  the 
armory.  The  suits 
of  armor  are 
made  of  metal 
which  looks  like 
the  real  thing  but 
is  as  light  as  felt. 
For  which  the 
Knights  of  the 
Central  Casting 
Bureau  are  pro- 
foundly grateful 


37 


/nrONGRATULATIONS  to  two  lucky  girls.    To  Mildred  Gloria  Lloyd 
^^  for  having  a  millionaire  daddy  and  a  new-fashioned  mother.     To 
Mildred  Davis  Lloyd  for  managing  a  home,  career,  husband  and  little 
daughter  all  perfectly  and  yet  remaining  simple  and  unspoiled 


r/aven  in 
Ty^PORT 

of  MISSING 

Girls 


By  Ruth  Biery 

It's  provided  by  a  Los 
Angeles  woman  judge 


SHE  was  just  a  wraith  of  a  woman,  but  with  an 
ambition  so  overpowering  that  no  arguments  of  her 
frightened  parents  could  circumvent  it. 

"  I  am  going  into  the  movies.    You  simply  can- 
not stop  me ! "    Again  and  again  she  warned  them. 

And  one  night,  just  as  she  had  promised,  she  disap- 
peared. Disappeared  into  the  darkness  of  the  small 
mid-western  town  as  completely  as  though  it  had  been 
a  big,  tumultuous  city. 

Frantic  appeals  were  sent  to  the  western  motion-pic- 
ture city.  Appeals  to  locate  a  beautiful,  lithe,  fair- 
haired  girl  answering  to  the  name  of  Betty. 

But  in  all  Los  Angeles,  the  police  could  find  no  such 
young  woman  as  the  descriptions  painted.  Oh,  yes, 
there  were  dozens  of  light-haired,  fair-skinned  Bettys; 
but  none  who  admitted  to  having  parents  in  that  par- 
ticular South  Dakota  village.  So  the  police,  as  is  the 
way  of  police,  dropped  the  matter. 

And  probably  the  heart-broken  home  folks  who  had 
loved  their  child  for  eighteen  winters  and  summers 
would  never  have  heard  of  her 
again,  had  it  not  been  for  one 
woman  in  the  movie-city.  One 
woman,  who,  although  a  judge, 
counts  a  law  which  is  higher  than 
the  legal  jurisdiction  of  which  she 
is  the  only  feminine  representative 
in  the  Cinema  City. 

Perhaps  six  months  after  the 
police  had  forgotten  all  about  the 
pleas  from  the  mid-western  ham- 
let, a  dark  haired  youngster,  in  the 
dirty,  ragged  clothes  of  a  boy,  was 
hauled  into  Judge  Georgia  Bul- 
lock's court  by  a  policeman. 


HERE    is    the   way 


Judge 
Georgia  Bullock,  of  the 
Los  Angeles  Woman's 
Court,  meets  the  problems 
caused  by  the  thousands  of 
movie  struck  girls  who  be- 
siege the  Hollywood  movie 
studios.  You  read  Mrs.  Adela 
Rogers  St.  Johns'  stories  of 
the  Port  of  Missing  Girls. 
Here  are  some  real  life  tales. 


Judge  Georgia   Bullock  sent  seventy-five  movie 
mad  girls  back  home  from  Hollywood  last  year 


"She's  a  girl  in  boy's  clothes.     Picked  up  for  steal- 
ing," was  the  announcement  of  the  arresting  officer. 

Judge  Georgia  Bullock,  from  her  high  seat  behind  the 
high  judicial  bench,  looked  at  the  black  haired  boy-girl 
with  a  keenness  which  has  become  proverbial  in  the 
Woman's  Court,  Division  Number  Six,  Los  Angeles. 
"Physical  examination,"  she  ordered. 
"But,  Your  Honor — "  The  officers,  the  probation 
women,  the  least  assistant  disagreed  with  Her  Honor. 
The  girl  had  not  been  brought  in  for  vagrancy,  but  for 
stealing.  Why  was  a  physical  examination  necessary? 
It  only  took  time  from  hundreds  of  other  cases  where 
examinations  were  law-requisitions. 

"Physical  examination,"  Her  Honor  was  insistent. 
The  report  was  brought  from  the  jail  a  little  later. 
"Tuberculosis!" 

Tuberculosis  in  its  advanced  stages.     Tuberculosis 

eating  away  the  body  of  the  young  woman,  remorse 

gnawing  at  the  heart  of  the  once  fair-haired  Betty  who 

had  donned  the  clothes  of  a  boy  and  ridden  on  the  rods 

to  the  Cinema  City. 

The  girl  did  not  at  once  tell  her 
story — did  not  speak  of  the  yearn- 
ing mid-western  parents.  She  had 
been  arrested  for  stealing;  she 
would  have  been  confined  in  the 
city  jail  along  with  the  rest  of  the 
thieving  women.  Would  have 
been,  had  it  not  been  for  the 
woman  judge  whom  Los  Angeles 
had  the  good  sense  to  put  in 
charge  of  such  cases — and  the 
poor  sense  to  leave  without  funds 
to  take  care  of  such  cases. 

[  CONTINUED  ON  PAGE  102  ] 


39 


ow  the  Screen 

The  doctor  explains  why  the  movies  ex- 
ert an  uncanny  influence  on  audiences 


HAVE  you  ever  noticed  that  what  you  see  in 
pictures  affects  you  more  strongly  than  any- 
thing you  may  experience  elsewhere  under  any 
other  condition? 

Here  is  John  Jones,  for  instance.  His  wife  had  been 
trying  for  many  seasons  to  make  him  wear  spats. 

"No,  no!"  he  declared  with  the  firmness  and  assur- 
ance that  goes  with  deep-rooted  conviction.  "Spats 
are  foppish.  What  would  the  office  force  think  of  me 
walking  in  with  those  things  on?  No,  my  dear,  I  will 
try  to  please  you  in  everything — but  spats!    Never!" 

Then  one  night  said  John  took  his  wife  to  the  movies. 
Lew  Cody  was  playing.  Lew  Cody's  spats  looked 
particularly  effective.  And  the  next  day  John  bought 
two  pairs,  fawn  colored  spats  to  go  with  his  tan  shoes 
and  pearl  grey  spats  to  match  his  grey  suit. 

Another  case  in  point  is  Mary  Smith.  She  was  a  very 
practical,  prosaic  type  of  girl.  She  dressed  always  in 
severe  tailor-made  fashion.  Feminine  folderols  she 
abhorred.  Her  room  was  stripped  to  its  barest  neces- 
sities. 

But!  She  admires  Norma  Talmadge.  She  considers 
her  a  great  actress.  In  "Camille"  she  saw  her  in  a 
highly  decorative  bedroom,  frills  and  laces  e\'erywhere. 

Mary's  room  immediately  was  transformed  as  if  by 
magic.  It  now  resembles 
more  the  boudoir  of  a 
story-book  Parisian 
courtesan  than  the  prac- 
tical eight  by  ten  of  a 
New  York  business 
woman.  Mary's  whole 
character  has  been 
changed  by  this  single 
screen  production. 


"^OU  must  know  of  ex- 
^  amples  like  these  your- 
self. Have  you  not  caught 
yourself  wanting  to  imi- 
tate the  settings  and  fur- 
nishings of  your  favorite 
photoplay  and  the  clothes 
and  mannerisms  of  your 
movie  idols? 

It  is  well  known,  of 
course,  that  famous 
couturiers  vie  with  each 
other  in  persuading  the 
stars  to  dress  at  their 
establishments.  Often 
gowns  and  hats  and  all 
kinds  of  apparel  are 
named  after  them. 

It  is  good  business  be- 
cause the  influence  of 
what  picture  people  do  is 
so  tremendous. 

The  perfume  ' '  Nar- 

40 


WHY    the     screen     heightens 
your  suggestibility: 

1.  Music — and  the  absence  of 
human  voices. 

2.  Darkness. 

3.  Relaxation. 

4.  Concentration  on  a  bright, 
elevated  object  that  shows  motion. 

5.  The  presence  of  a  "collective 
mind/' 

Under  these  conditions,  writes 
Dr.  Bisch,  "the  mind  becomes  un- 
critical. Reasoning,  logic  and  judg- 
ment are  submerged  and  prac- 
tically cease  functioning.  In  a 
corresponding  way  emotional  re- 
sponses become  more  alert  .... 
Instinctive  reactions  gain  control. 

"In  this  heightened  state  of 
suggestibility,  you  respond  in  most 
striking  ways.  .  .  .  Thoughts,  feel- 
ings and  actions  may  be  moulded 
and  transformed  without  your  quite 
realizing  how  it  all  happened." 


cisse  Noir"  jumped  into  overnight  popularity  when 
Gloria  had  a  bottle  of  it  prominently  displayed  on  her 
dressing  table  in  "Beyond  the  Rocks." 

De  Mille  started  the  craze  for  fancy  tiled  bathrooms 
and  doll  telephone  covers. 

The  boyish  bob,  abbreviated  skirts,  and  the  slender 
figure  would  never  have  attained  the  vogue  they  now 
enjoy  had  our  screen  folks  not  led  the  vanguard. 

T  KNOW  a  husband  who  wouldn't  stand  for  his  wife 

■*-  wearing  a  one-piece  bathing  suit  until  he  saw  Clara 

Bow  in  "Kid  Boots."  Then  suddenly  everything  seemed 

to  be  all  right. 

Yes,  we  are  all  suggestible. 

But  when  we  sit  in  a  darkened  moving  picture  house 

we  are  one  hundred  per  cent  more  so. 

The  next  time  you  attend  a  photoplay  observe  what 

you  do.     Perhaps  I  had  better  say,  take  note  of  your 

reactions — that  is,  observe  how  you  think,  feel  and  act. 
Two  striking  situations  affect  you  the  moment  you 

have  dropped  your  ticket  into  the  box  and  the  swinging 

doors  have  closed  behind  you. 

One,   and   the  more   impressive,   is  the  absence   of 

human  voices.     The  second  is  the  darkness. 

No  matter  how  excited  or  buoyant  or  jovial  or  noisy 
you  have  been  in  the 
street  this  peculiar  hush, 
this  quiet  immediately 
gets  you.  The  music 
plays,  yes.  But  it  accen- 
tuates the  absence  of  the 
human  voice  all  the  more. 
You  become  sober  at 
once.  The  soothing  melo- 
dies sort  of  engulf  you 
and  shut  you  in.  For  a 
few  seconds  the  strange- 
ness of  the  place  may 
even  appear  ominous.  At 
any  rate,  it  checks  any 
tendency  on  your  part  to 
give  way  to  any  emotion 
or  behavior  that  is  loud  or 
boisterous.  You  quickly 
merge  with  what  your 
senses  experience.  You 
become  a  part  of  it. 

Already  you  are  a  dif- 
ferent person! 

A  thick,  velvety  carpet 
that  deadens  sound  also 
helps  to  increase  this 
same  feeling-tone.  As  you 
walk,  you  walk  noiseless- 
ly. It  is  contrasted  with 
your  footfalls  in  the  lobby. 
You  may  even  be  struck 
by  the  fact  that  you  do 
not  hear  yourself  walking. 


% 


ypnotizes 


You 


m 


By 
Louis  E.  Bisch 

M.  D.,  Ph.  D. 


gestibility  will  increase  much  more 
rapidly  than  if  the  seat  is  hard, 
straight  and  cramped. 

As  soon  as  you  seat  yourself  your 
attention  is  directed  to  the  screen. 

This  screen,  please  note,  is  bright, 
glaring  at  times,  shows  movement, 
and  is  elevated. 

Of  course  you  look  at  it.  You  can- 
not help  yourself.  But  the  point  is 
you  look  at  it  in  a  certain  way  which 
is  exceedingly  important  from  the 
suggestibility  angle. 

You  look  at  the  screen  with  eye- 
balls rolled  slightly  upwards! 

Often  your  head  is  tilted  back  and 
your  eyeballs  turned  upwards  at  one 
and  the  same  time! 


n; 


The   atmosphere   of   a    movie    theater,    with    its   relaxation    and 

concentration  on  a  bright  object,  Is  identical  with  the  condition 

a  hypnotist  creates  when  he  wants  to  hypnotize  his  subject 


Your  own  state  of  calm  and  quiet  corresponds  with  the 
atmosphere  in  which  you  find  yourself,  which,  in  turn, 
tends  to  make  you  want  to  be  more  quiet  still. 

Then  the  darkness! 

This  reacts  upon  your  nervous  system  in  the  same 
way.  You  become  more  shut-in  than  ever.  You  feel 
rather  isolated  and  alone.  I  have  known  two  indi^'id- 
uals  of  very  high-strung  dispositions  whose  first  entrance 
into  a  dark  movie  theater  actually  produced  a  feeling 
of  fear. 

OF  course,  these  sensations  last  but  a  short  while, 
perhaps  not  more  than  half  a  minute  at  best. 
You  may  never  have  noticed  them  even,  they  are 
so  fleeting. 

Nevertheless  they  are  the  preliminaries  to  the 
heightened  state  of  suggestibility  into  which  you  are 
soon  to  enter.     Now  you  take  a  seat. 

If  the  seat  is  soft,  yielding  and  comfortable  your  sug- 


OW  then,  this  atmosphere  of 
comparative  silence  and  dark- 
ness, plus  the  relaxation  of  a  com- 
fortable position,  plus  the  concen- 
tration on  a  bright  object  with  eyes 
turned  up — all  these  several  factors 
are  the  identical  ones  a  professional 
hypnotist  deliberately  creates  when 
he  wants  to  hypnotize  his  subject. 

His  room  is  quiet,  he  darkens  it,  he 
lets  his  subject  recline  in  an  easy 
chair,  he  tilts  the  head  back,  he 
holds  a  bright,  shining  and  some- 
times vibrating  object  before  the 
eyes. 

The  gaze  is  fixed. 
There  descends  upon  the  mind  a 
spell  of  fascination. 

The  mind  drinks  in  exerything  the 
ears  hear  and  the  eyes  see  without  question. 

The  mind  becomes  uncritical.  Reasoning,  logic  and 
judgment  are  submerged  and  practically  cease  func- 
tioning. 

In  a  corresponding  way  emotional  responses  become 
more  alert.  Primitive,  instinctive  reactions  gain  control. 
The  mind  is  now  open  to  suggestion! 
The  mind  is  now  ready  to  accept  what  it  might  not 
accept  under  ordinary  and  usual  circumstances. 

In  this  heightened  state  of  suggestibility  you  respond 
in  most  striking  ways. 

Spats,  that  never  appealed  to  you  before,  now  may 
appear  as  most  attractive.  Feminine  luxuries  you 
always  denied  yourself  may  suddenly  become  neces- 
sities. 

In  dozens  and  dozens  of  ways  your  thoughts,  feelings 
and  actions  may  be  moulded  and  transformed  without 
your  quite  realizing  how  it  all  happened. 

I    am    reminded    of    a     [  continued  on  page  100  ] 

hi 


6^ 


J3on't  ]3are  ^uch  U^s /" 


4S 


XERE'S  the  newest  League  of  Nations.    The  French  protest 
about  "  Beau  Geste,  "  the  Irish  kick  about  "The  Callahans  and 
the  Murphys,  "  the  Jews  complain  about  "  The  King  of  Kings,  " 
Spain  bans  "Valencia,"   England  howls  against  "The  Big  Parade  " 
the  Serbs  bar  "The  Merry  Widow"  and  the  Germans  rail  against  "The 
1^ our  Horsemen."     What  chance  has  a  producer?     Of  course,  there's 
the  Esquimaux,  who  haven't  complained  about  "Nanook"  yet 


Banker  Who 

TRUSTED 


P' 


ictures 


From  one  banker  to  another.     Will  Rogers  in- 
scribed this  photograph  "To  'Doc' — my  favorite 
banker — Will  Rogers,  'always  in  the  red'  " 


STRANGE  things  have  come  to  pass  in  movieland. 
Mary  Pickford,  America's  Cinderella  sweetheart, 
Douglas  Fairbanks,  who  fled  from  Wall  street  to 
be  an  actor,  and  wise-cracking  Will  Rogers,  the 
Oklahoma  cowboy,  all  are  bankers  now. 

These  stars  have  been  put  into  this  new  real  life 
role  by  a  casting  director  who  has  given  the  screen  many 
credits  but  never  took  one  for  himself. 

It  is  a  story  of  many  sequences,  in  which  nothing 
turned  out  the  way  it  started. 

Once  upon  a  time  a  little  boy  lived  in  the  toiling, 
moiling  "Little  Italy"  of  San  Francisco.  His  alert 
brown  eyes  looked  on  a  world  of  labor,  markets  and 
little  shops,  a  world  where  a  transplanted  Latin  race 
worked  with  diligence  evolving  opportunities  into  a 
new  culture  on  this  glamorous  shore  of  the  New  World. 
Mostly  the  people  he  knew  lived  close  to  the  pregnant 
soil  of  California  and  its  products,  producers  and 
vendors  of  the  wares  of  the  farm  and  vineyard.  Not 
many  years  before  his  parents  had  come  to  this  land  of 
opportunity  from  the  mountain  country  back  of  the 
famous  port  of  Genoa,  the  same  Genoa  that  gave 
us  Christopher  Columbus,  and  the  world's  first  bank — 
Banca  San  Giorgio. 

This  boy  was  of  the  second  generation.  The  Italians 
of  San  Francisco  were  getting  somewhere.    He  was  en- 

CopyriBht.  1928. 


By  Terry  Ramsaye 

Author  of  "A  Million  and  One  Nights" 

Another  intimate  visit  to  the 
home  of  a  famous  film  mag- 
nate— Dr.  A.  H.  Giannini 


titled  to  ambitions.  He  decided  on  a  professional  career. 
He  was  to  be  a  physician,  a  figure  of  dignity  and  service 
among  his  people. 

So  much  for  a  lad's  ambitions.  So  much  for  the 
making  of  plans  and  purposes.  Now  it  turns  out  that 
he  is  one  of  the  builders  of  the  most  remarkable  financial 
institution  of  modern  history — and,  incidentally,  one 
of  the  major  powers  of  the  motion  picture  world. 

When  and  where  motion  picture  magnates  and 
managers  are  gathered  in  conference  on  matters  that 
deal  with  dollars,  this  man  is  most  likely  to  come  into 
the  discussion,  either  in  person  or  by  name — Dr.  Attilio 
H.  Giannini.  To  the  motion  picture  Dr.  Giannini 
personifies  the  mighty  Bank  of  Italy  and  its  endless 
array  of  branches  and  allied  banks,  including  the 
Bowery  and  East  River  National  Bank,  with  its  presi- 
dent's ofifice  on  neither  the  Bowery  nor  yet  the  East 
River,  but  in  Broadway  at  Forty-first  street,  which  is 
one  block  below  Times  Square,  "the  Cross  Roads  of 
the  World." 

Now  bankers  are  very  rare  indeed  in  the  troubled 
annals  of  the  motion  picture.  Bankers  have  to  do  with 
business.  The  motion  picture  has  not  been  a  business 
very  long.  In  the  beginning  the  movies  financially  re- 
sembled something  between  a  gold  rush  and  a  second 
class  revolution  in  Costa  Rica.  After  that  things  got 
worse.  Until  a  few  years  ago  a  motion  picture  man 
was  about  as  welcome  in  a  bank  as  the  James  boys. 

Now  the  motion  picture  is  arriving  at  that  state  of 
respectability  where  it  pushes  right  into  the  banker's 
office  alongside  dignified  industries  like  steel  and  coal 
and  motors  and  cigarettes  and  chewing  gum.  Dr. 
Giannini  has  had  a  hand  in  this  uplifting  of  the  rough- 
neck of  the  arts. 

The  steps  and  processes  by  which  Giannini  came  into 
this  status  in  the  world  of  finance  and  the  motion  pic- 
ture run  through  a  success  career  bespangled  with 
vicissitudes. 

Shortly  before  the  Spanish-American  war  young  Dr. 
Giannini,    just    emerged      [continued  on  page   108] 

t>y  Terry  Ramsaye  1^ 


After  a  careful  weed- 
ing out  process,  only 
one  of  the  sixteen 
Paramount  school 
girl  graduates  has 
been  signed  by  that 
company  to  a  long 
term  contract.  She 
is  Thelma  Todd. 
Charles  Rogers  is  the 
only  boy  from  the 
school  now  among 
Paramount's  con- 
tract players.  Still, 
say  officials,  these 
two  justify  the 
school 


WHEN  Tom  Mix's  contract  wita  William  Fox  expires  in 
March,  Tom  will  temporarily  retire  from  the  screen. 
And  that  is  bad  news.  Tom  has  se\-eral  million  dollars 
tucked  away  and  he  plans  to  tra^"el  in  Europe  or  South  America. 
'  The  cowboy  star  is  sitting  pretty.  He  has  worked  up  a 
literary  following  for  himself  through  Photoplay  and  other 
publications  and  he  is  deluged  with  business  offers,  rivaling 
those  of  Lindbergh. 

If  Tom  cares  to,  he  can  do  anything  from  running  a  circus  to 
being  president  of  a  steamship  company.  But  as  far  as  we  are 
concerned,  we'd  like  to  see  him  continue  as  a  movie  star,  with 
literary  flings  between  pictures. 

TXTE  won't  tell  you  the  name  of  the  producer  about  whom 
"  *  they  tell  this  story.  He  has  been  the  hero  of  too 
many  jokes. 

Anyway,  the  producer  was  telling  an  author  why  his  story 
wasn't  acceptable. 

"You  fellers,"  he  cried,  "don't  know  what  you  are  writing 
about.  You  don't  know  your  business.  I'll  tell  you,  in  two 
words,  what's  the  matter  with  this  story,  im-possible." 

IT  is  said  that  professionals  are  not  good  business  people. 
This  little  tale  will  belie  that. 

King  Vidor  decided  to  sell  his  Beverly  Hills  home.  Jack 
Barrymore  wanted  the  house,  but  instead  of  going  out  person- 
ally to  make  the  purchase  he  sent  an  old  couple  who  looked  like 
fairly  prosperous  retired  farmers. 

They  looked  the  place  over  and  when  the  agents  started  ex- 
tolling the  tennis  courts  and  the  swimming  pool,  the  old  folks 
sadly  shook  their  heads  and  remarked  that  they  were  far  too 
aged  to  indulge  in  the  strenuous  exercise  necessary  to  enjoy 
either  the  pool  or  the  courts.  And  when  they  were  quoted  a 
price  of  $60,000  for  the  house  they  offered  $40,000.  Finally  a 
compromise  was  made  at  $50,000. 

So  you  see  John  saved  $10,000  by  hiring  a  couple  of  extras 
to  go  out  and  do  his  house  buying  for  him. 

WELL,  it's  a  girl  at  King  Vidor's.  And  Eleanor  had  picked 
such  a  beautiful  name  for  a  boy — Boardman  Vidor. 
Since  they  had  pro\ided  no  name  for  a  girl,  the  Vidors  have 
tentatively  titled  their  daughter  "Mike."  Later,  of  course, 
they'll  select  a  better  box-office  name. 

King  Vidor,  you  know,  is  the  only  man  in  Hollywood  who 
does  not  claim  entire  credit  for  "The  Big  Parade."    Vidor  was 


ByCal 


Why  it  is  so  in- 
teresting  to 
watch  the  danc- 
ing at  'Mont- 
martre.  Joan 
Crawford  wears 
her  diamonds 
where  now  you 
see  them  and 
now  you  don't. 
She  is  going  to 
have  "Evil  is  he 
whoevil  thinks" 
engraved  on  the 
garter 


merely  the  man  whose  brilliant  direction  made  the  picture  a 
success. 

And  so  congratulations  to  Miss  Mike  Vidor  for  her  choice  of 
parents. 


'Shearer. 

"On  the  set,  she's  Miss  Shearer. 

"At  night,  she's  Mrs.  Thalberg. 

"All  other  times  she's  Miss  Shearer  if  Irving  THalberg 
isn't  within  earshot." 

Always  pays  to  be  up  on  these  things.  Thank  you, 
electrician. 

TALIvING  of  Norma  Shearer,  she   has   a   dressing   room, 
which  is  making  dressing  room  history  in  the  Cinema  City. 
It  isn't  any  bigger  than  a  second!    On  wheels,  and  fashioned 


of  All 

Ctudios   f 


York 


What  "French 
Dressing"  has 
done  to  Lois 
Wilson.  Paris 
calls  a  costume 
like  this  a  "hos- 
tess gown."  To 
be  worn  for  tea, 
bridgeordinner. 
It  epitomizes 
Lois'  revolt 
against  the  cal- 
ico and  gingham 
girl  of  the  great 
open  spaces 


like  an  old  fashioned  stage  coach,  it  is  fastened  as  a  trailer  and 
carried  anywhere  on  the  lot  or  to  any  location. 

Just  wide  enough  for  Norma  to  stretch  across  the  end,  and 
long  enough  for  her  to  stretch  twice.  It  has  an  ice  box,  a 
thermos  to  keep  things  hot,  a  tiny  ironing  board  for  her  maid 
to  do  pressing,  a  dressing  table  with  small  mirrors  which  hide 
cupboards,  and  room  for  a  couple  of  dozen  dresses  in  the  end 
closet. 

We  were  admiring  with  earnest  appreciation  when  Norma 
e.xplained  seriously, 

"But  the  company  didn't  give  it  to  me.  It  was  a  wedding 
present  from  my  husband." 

WHAT  a  time  John  Barrymore  has  had  with  his  picture, 
"The  Tempest." 
First,  Greta  Nisson  was  heralded  through  the  press  notices  of 
United  Artists  as  the  leading  lady;    then  Vera  Veronina  was 


The  world's  greatest 
movie  star  and  the 
completely  United 
Artist.  A  composite 
photograph,  with 
Chaplin's  forehead 
and  hair,  Ronald 
Colman's  eyes. 
Buster  Keaton's 
nose,  John  Barry- 
m  ore's  lips  and 
Douglas  Fairbanks' 
chin.  He  earns 
$5,150,000  a  year,  is 
five  feet,  seven  inches 
tall  and  has  IT.  Do 
you   look  like   him? 


scheduled  to  replace  her.  When  Vera  became  ill,  Dorothy 
Sebastian  was  borrowed  from  the  Metro-Goldwyn-Mayer  com- 
pany. After  five  weeks  of  work  Dorothy  was  called  home  and 
Camilla  Horn,  just  imported  from  Germany  by  Joseph 
Schenck,  replaced  her. 

And  there  ha\e  been  the  same  number  of  directors  on  the 
picture.  Frank  Lloyd  was  originally  hired,  but  refused  to  do  it 
with  the  changes  which  were  to  be  made  in  the  story;  Slav 
Tourjansky  replaced  him.  Lewis  Milestone  loaned  a  hand, 
without  pay,  it  is  stated.  One  night  Sam  Taylor  made  a  scene 
which  made  such  an  impression  he  was  given  entire  charge  of 
the  direction.     Now  it  is  being  made  all  over  again. 

CORINNE    GRIFFITH    is    returning    to    First    National 
Studios,  after  a  try  at  making  her  own  pictures. 
And  to  greet  the  wandering  daughter.  First  National  has 
arranged  to  give  her  one  of  the  finest  plums  of  the  year,  "The 
Divine  Lady." 

A  "WOMAN  was  visiting  the  Jack  Gilbert  set  of  "The 
*^  Cossacks."  She  was  thrilled  at  the  fish  drying,  the 
Turkish  costumes,  etc.,  but  amazed  to  watch  them  so  real- 
istically flogging  Jack  Gilbert. 

When  the  rescue  party  dashed  forward,  one  of  them  ac- 
cidentally shot  off  a  gun  behind  her. 

She  jumped  and  cried:  "It's  all  right,  you  can  kill  me 
now.    I  have  seen  Jack  Gilbert  working." 

CECIL  B.  DE  MILLE  bursts  into  prophecy  and  says  that 
in  1930,  "IT"  will  ha\e  disappeared  from  the  screen;  that 
sex  appeal  will  be  supplanted  by  intelligence;  that  brains  will 
be  more  important  than  legs. 

And  the  answer  to  that  is,  "No,  Mr.  De  Mille!" 

EVERYBODY  knew  that  it  was  coming — the  separation  of 
Ruth  Chatterton  and  Ralph  Forbes.  It's  a  sad  tale.  Forbes 
is  a  young  Englishman  who  came  to  this  country  not  so  long  ago. 
He  was  fairly  successful  in  supporting  casts  of  Broadway  shows. 
Then  he  met  Ruth  Chatterton,  an  established  star.  They  were 
married,  and  everyone  said  that  Ruth  had  married  romantically 
but  impractically. 

Then  the  mo\ies  discovered  Forbes  and  on  the  strength  of 
his  work  in  "  Beau  Geste"  he  got  a  good  contract.  Ruth  Chat- 
terton ga\e  up  Broadway  and  her  own  career  and  mo\ed  to 
Hollywood,  to  be  a  dutiful  wife  to  her  ambitious  young  hus- 
band. 

Forbes  got  ahead  and  Ruth  was  relegated  to  the  background. 
And  the  young  Englishman  became  the  successful  member  of 
the  famil}-.  The  separation  was  inevitable.  Draw  your  own 
moral. 

45 


Wilson  Mizner,  playwright  and  the 
favorite  wit  of  Hollywood,  caught  in  the 
midst  of  a  big  sneer  by  Cartoonist  Mai 
St.  Clair.  Mr.  St.  Clair  is  the  director 
of  some  of  your  favorite  comedies 


Gene  Stratton  is  a  worthy  descendantof  herfamousgrand- 
mother.  Gene  Stratton  Porter.  She  plays  a  part  in 
"Freckles"  and  John  Fox,  Jr.,  has  the  title  role.  Just  two 
natural  kids,  ideally  suited  to  Mrs.  Porter's  stories  of  the 
Indiana  dunes  country 


W! 


E   were   entertaining   \eena   Qiiartero,   James   Cruze's 


CLARA  BOW  went  to  Yosemite  National  Park  for  a  \aca- 
tion  recently,  and  celebrated  by  getting  lost  and  falling  in  a 
pool  of  water  in  hunting  her  way  back  to  camp. 

Every  ranger  in  the  district  was  sent  on  a  frenzied  hunt  for 
her. 

But  they  all  missed  her,  and  she  came  staggering  home  alone. 
What  we  want  to  know  is  how  any  man  could  ever  miss  find- 
ing Clara! 

"TMAGINE    my    embarrassment,"    says    Bill    Haines, 
-*-"when  I  went  home,  entered  the  front  door,  walked  to 
the  kitchen — and  found  there  wasn't  any." 
It  had  been  burned  out  during  the  day. 

IT'S  all  off  between  Katherine  Wilson  and  Richard  Barthel- 
mcss,   so  save  your  congratulations. 

Miss  Wilson  has  returned  to  New  York  and  is  going  back  on 
the  stage. 

It  was  just  another  one  of  those  things. 

And  Mary  Hay  Bath,  Dick's  first  wife,  has  returned  to  this 
country  with  her  husband,  because  she  wants  her  baby  born  on 
American  soil. 

Perhaps,  too,  she  wanted  to  see  Dick. 

Anyway,  almost  simultaneously  with  Mary's  return,  Dick 
and  Katherine  Wilson  announced  that  their  marriage  has  been 
"postponed." 

TUTETRO-GOLDWYN-MAYER  officials  were  giving  a 
•^-'-'-luncheon  for  the  Prince  of  Sweden. 

A  secretary  telephoned  Greta  Garbo  and  requested  her 
attendance. 

Miss  Garbo's  secretary  replied  she  was  sick  and  could 
not  attend. 

Louis  B.  Mayer  asked  to  speak  to  Miss  Garbo.  "He  is 
from  your  country,  Greta.    It  is  your  duty  to  come." 

"But  vat  ees  eet  for?"  Greta  demanded. 

"For  luncheon,"  Mr.  Mayer  answered. 

"But  I  am  not  hungry,"  Greta  responded. 

Which  is  reported  to  have  ended  the  matter. 

46 


She  ordered  a  famous,  highly-priced  salad. 

At  the  completion  of  the  lunch  we  noticed  that  she  had 
scarcely  taken  one  bite. 

"What  is  the  matter,  Neena?" 

"All  my  life  I've  dreamed  of  ha\ing  a  magazine  writer  en- 
tertain me.  And  now  that  it's  happened,  I'm  just  not  hun- 
gry," she  answered. 

May  they  never  spoil  this  youngster! 

JUST  to  show  you  how  gossip  starts.  Persons  Ii\-ing  in  the 
same  hotel  with  Lillian  Gish  reported  that  George  Jean 
Nathan  had  a  ri\al.  The  new  suitor  was  said  to  be  tall,  dark 
and  handsome.  Girls  with  a  sharp  eye  for  things  like  that 
\ouched  for  the  fact  that  he  was  most  attentive  and  positi\ely 
affectionate  towards  Lillian. 

This  old  sleuth  investigated  the  affair  and  found  that 
Nathan's  "rival"  was  none  other  than  James  Rennie,  husband 
of  sister  Dorothy,  who  occasionally  has  a  brotherly  dinner  with 
Lillian. 

OLIVE  BORDEN  was  getting  $1750  a  week,  they  tell  us. 
Came  the  time  to  renew  her  contract,  which  called  for  a 
raise  to  $2000  a  week.  But  the  producers,  following  their 
economy  program,  announced  she  could  continue  at  her  old 
salary  and  work  every  week,  or  take  the  raise  for  a  forty-week 
year. 

And  Olive  became  temperamental  and  refused  to  listen  to  any 
half-way  propositions. 

Incidentally,  a  \ery  wise  bird  whispers  that  she  did  it  of  her 
own  free  will,  not  e\en  listening  to  the  adxice  of  her  mother. 

What,  with  $80,000  a  year,  some  folk  seem  to  feel  that 
twelve  weeks  would  ha\e  offered  a  good  chance  for  a  trip  to 
Europe. 

Perliaps  01i^■c  plans  on  a  longer  \acation! 

A  ND  now  they  call  them  "snoopervisors." 

FOLK  are  wondering  whether  Richard  Dix  has  suddenly 
realized  that  gentlemen  do  prefer  blondes.  After  choosing 
Mary  Brian,  the  little  dark-haired  ingenue,  for  three  leads  in 
his  oictures,  he  suddenly  switched  to  the  blonde  curls  of  Thelma 


From  property  boy  to  actor — Frank 
Mills.  Two  months  ago  Mills  was  toting 
furniture  around  the  sets.  Now  he  is 
playing  a  leading  role  in  "Chicago  After 
Midnight"  for  FBO 


Gloria  Swanson  and  Lionel  Barrymore  in  one  of  the  scenes 
that  caused  all  the  fuss  about  "Sadie  Thompson."  Barry- 
more  plays  a  professional  reformer,  not  a  clergyman.  And 
there's  a  big  difference,  as  every  intelligent  minister 
knows 


Todd  for  "The  Vanishing  American,"  then  immediately  signed 
her  again  for  "The  Traveling  Salesman." 


IF  you  don't  think  the  boys  were  glad  to  see  Bill  Farnum  come 
back  into  pictures,  you  should  have  been  a  mouse-in-the-cor- 
ner  at  the  welcome  proffered  by  the  Fox  players  on  the  eve  of 
his  first  day  of  work  in  "Hangman's  House."  It  was  a  glad 
hand  of  welcome  which  made  history  in  the  picture  city. 

PARAMOUNT  is  still  hunting  for  a  Western  hero,  they  tell 
me.  When  Jack  Holt  left,  the  Lasky  officials  grabbed  off 
Garj'  Cooper,  hailed  him  as  their  "new  Western  find"  and 
bought  him  a  horse  worthy  of  their  publicity  efforts. 

Then  he  photographed  so  well  and  caught  onto  the  camera 
angles  so  quickly,  that  they  decided  to  put  him  in  a  dress  suit. 

Next,  came  Jack  Luden.  But  Jack  was  the  good  looking  son 
of  a  cough-drop  king  and  wore  dress  suits  so  naturally,  that  they 
cast  him  for  the  lead  in  Esther  Ralston's  new  picture. 

To  the  wilds  of  the  North-West,  they  rushed  for  their  new 
man  and  snatched  Lane  Chandler  from  his  position  as  guide  to 
Yellowstone  National  Park  tourists. 

He  plaj  ■  c  in  one  Western  and  now  he,  too,  is  to  grace  a  dress 
suit  in  the  \-ery  near  future. 

Don't  start  a  stampede  for  Hollywood,  cowboys.  Someone 
is  probably  on  his  way  north  before  now  in  search  of  the  next 
Western  hero. 

T  ANE  CHANDLER  tells  us  that  the  main  difference  be- 
•'■^tween  playing  in  a  Western  and  a  society  picture,  is  you 
have  to  paint  your  hands  to  keep  them  white  in  society  and 
mud  them  to  keep  them  black  in  a  Western. 

BIG  and  blooming  as  ever,  in  fact,  even  bigger  and  more 
blooming  than  ever,  Nita  Naldi  returned  to  New'  York  re- 
cently after  making  se\eral  pictures  abroad.  Nita  was  literally 
weighted  down  by  diamond  bracelets  and  sable  coats,  but  no 
amount  of  wealth  will  ever  make  Nita  swank  before  her  friends. 
She  stays  her  natural  self. 

With  the  sables  and  the  diamonds,  a  high  ^•elvet  hat  and  a 
startling  make-up  Nita  appeared  e\ery  inch  the  .\-amp  but  she 
announces  she  is  through  with  that  line  of  acting,  at  least  as  far 
as  mo\"ies  are  concerned. 

Chiefly  she  doesn't  want  to  go  back  to  American  movies 
because  they  mean  going  back  to  California. 


"California,"  wisecracked  Nita,  "is  just  a  place  where  people 
go  with  one  lung  and  one  dollar  and  keep  both." 

THE  Naldi  paid  her  deep  tribute  to  Greta  Garbo  while  ex- 
plaining why  she  felt  vamps  die  young  in  the  public's 
affections. 

"Garbo  can  give  us  all  lessons  in  playing  vamps,"  Nita 
obser\ed.  "As  for  the  rest  of  us,  thepublictiresofusbecausewe 
are  ne\er  allowed  to  do  anything  different.  One  performance 
and  they'\e  seen  all. 

"We  slink  in,  we  pet  the  leading  man's  arm,  he  elevates  his 
chin  and  refuses  to  fall,  we  pet  his  arm  harder  and  he  docs 
fall,  only  to  kick  us  out  in  the  end.  No  real  \'amp  ever  acted 
that  way,  but  producers  think  she  did. 

"HPAKE  my  own  case.    I've  got  a  grand  pair  of  legs.    After 
JL  all,  I  started  in  the  leg  shows — the  Winter  Garden  and  the 

Follies.    But  have  I  ever  been  allowed  to  show  my  legs  on  the 

screen? 

"No,  my  dear.    I  always  had  to  wear  my  velvet  skirts  tight 

to  the  ground  because  producers  think  vamps  grow  that  way. 

It's  the  bunk." 

Nita  should  go  into  talking  movies.    Her  line's  a  riot. 

THEY  say  that  Charlie  Chaplin  is  going  to  make  his  next 
picture  in  New  York,  where  he  may  work  quietly  and  in 
comparative  obscurity.      Merna  Kennedy  will  be  his  leading 

woman. 

And  you  may  not  know  that  Syd  Chaplin  is  now  making 
pictures  in  England.  He  has  left  Hollywood  and  has  gone  to 
live  in  Europe.  That  washes  up  the  doings  of  the  Chaplin 
family  for  this  month. 

AN  old  western  street  lay  deserted  on  the  Al  Christie  lot 
in  Westwood.  It  was  the  property  of  Cecil  De  Mille, — a 
holdover  from  "The  Flame  of  the  Yukon,"  made  two  years  ago. 
Came  the  time  it  must  be  torn  down  according  to  De  Mille's 
contract  with  Christie. 

George  Bertholen,  De  Mille  studio  manager,  went  to  look  the 
situation  over.  [  coxtinued  on  page  86  ] 

47 


s 


48 


^DIE  THOMPSON  of  "  Rain  "  runs  into  a  storm.     Rival  producers, 
forbidden  to  film  the  story,  are  raising  a  ruction  over  the  release  of 
Gloria  Swanson's  version.     And  oh,  how  badly  poor  Gloria  needs  a 
real  good  money-making  picture 


weet 
ixteen 

By 

Phyllis  Duganne 


Her   mother   wanted   to   keep 

her  a  baby,  but  Cynthia,  being 

sixteen,  knew  herself  ready  for 

a   grand   love  affair 


CYNTHIA  PERRY  was  sixteen  years  old— 
which  is  only  another  way  of  saying  that 
Cynthia  was  desperately,  hopelessly  unhappy. 
She  sat  at  the  writing  desk  in  her  bedroom,  chin 
cupped  on  her  brown  little  hands,  staring  with  melan- 
choly eyes  into  the  starry  moon  drenched  night.  At  the 
base  of  the  cliff,  she  could  hear  the  sea  pounding  in  a 
tragic  monotony  upon  the  rocks;  there  was  no  other 
sound  in  the  world,  until  a  sob  escaped  her  tremulous 
lips.  She  heard  it,  heard  its  echo,  and  sat,  tense  and 
quivering  with  inexpressible  emotion. 


"A  sob  in  the  night!"  she  wrote  firmly  at  the  top  of 
the  blank  page  of  the  scarlet-covered  book  which  lay 
open  before  her,  and  then  she  set  down  the  scarlet 
quilled  pen  with  which  she  had  traced  those  words  and 
felt  the  slow  course  of  two  tears  over  her  cheeks. 

Two  candles  burned  on  her  desk,  unflickering  before 
the  open  window,  and  their  light  gleamed  on  her 
smoothly  tanned  skin,  on  the  peach  colored  flush  of  her 
cheeks,  the  luminous  gray  of  her  wide,  searching  eyes. 
Gleamed  also  on  fair  hair  that  streamed  in  a  straight 
flow  over  her  shoulders  to  her  waist  .  .  . 

49 


Young  love  to  young  love  forever  and  always, 


"I'm  going  to  have  one  baby,"  her  mother  had 
said  firmly.     "Irene  and  Patty  are  disgustingly 
gro^Yn  up,  and  the  only  way  you  can  tell  a  little 
girl  from  a  woman  these  days  is  that  little  girls 
sometimes  have  long  hair."    She  had  brushed 
her  fingers  over  her  own  smooth  bob,  and 
smiled  at  Cynthia  that  smile  which  was  in- 
evitably    irresistible.       "Please,     Cynth 
darling,  don't  cut  your  hair!" 

Along  the  strip  of  road  that  lay 
between   pine  trees  at  the  foot  of 
their  lawn,  a  motor  hurried,  cast- 
ing yellow  light  before  it ;  drifting 
through  the  stillness,  came  the 
sound  of  young  \oices,  raised 
in  song.     Cynthia  seized  the 
quilled  pen  frantically. 

"I  think,"  she  wrote, 
"that  I  must  be  the  unhap- 
piest  girl  in  the  world.  Once 
I  thought  that  to  be  sixteen 
was  the  culmination  of  hap-  ^v 

piness.    Happiness!    If  only 
someone  would  realize  that 
I  am  no  longer  a  child!     If 
only  someone  would    peer 
through   this  outer  coating  of 
childness   and   see   that   I   am 
truly  a  woman,  as  capable  of  a 
grande  passion  as  any  vampire 
or  moving-picture  star!  Patty, 
who  is  pretty  but  shallow,  has 
any  number  of  suitors.     Only 
today  she  brought  home  a  new  one, 
a  youth  named  Tommy  Lowell,  who 
is  a  sophomore  at  Princeton.     I  am 
not  interested  in  these  callow  youths 
of  Patty's — not  really  interested — 
but  I  do  think  one  of  them  might 
realize  that  I  am  no  longer  a  baby. 
This   Tommy   has  very   nice   black 
hair  and  plays  a  knockout  game  of 
tennis.    As  I  sit  here  before  my  win- 
dow, I  feel  utterly  alone  in  the  world, 
alone  and — " 

Suddenly  Cynthia  raised  her  chin 
and  wheeled  about  in  her  chair,  turn- 
ing  eyes,    denuded   of  dreams,    to- 
ward the  door.    She  slapped  the  scarlet  covers  of 
the  diary  together,  slipped  the  book  beneath  a 
pile  of  papers,  and  dropped  her  chin  back  again 
into  the  cup  of  her  hands. 

"Cynth  darling?"  inquired  a  voice  on  the 
other  side  of  the  door. 
"Come  in.  Mother." 

JANE  PERRY,  in  a  rose-colored  negligee,  peered 
through  the  opening.  Her  eyes,  wide  and  gray  like 
her  daughter's,  but  glowing  with  life  and  humor,  rested 
on  Cynthia;  her  rather  large  mouth  jerked  into  a  smile. 
"  Cynth,  you're  a  most  incorrigible  child !  What  earthly 
use  is  it  to  send  you  to  bed  at  half  past  ten,  if  you  sit  and 
ponder  on  the  world's  woes  until  midnight?" 

"Midnight?"  echoed  Cynthia,  lamely. 

"Midnight,"  repeated  her  mother.  "Twelve  o'clock. 
It's  tomorrow.  Hop  into  bed  like  a  good  infant  and  I'll 
tuck  you  in." 

Obediently,  if  resentfully,  Cynthia  hopped,  but  when 
her  mother  leaned  over,  she  flung  out  her  arms,  wound 
them  tightly  about  her  neck,  and  pressed  her  hot  cheek 
60 


close  against  her  mother's  face,  sweet  and  cool  from 
cold-creaming.  "Oh,  Motherdarling,  I'msounhappy!" 
she  wailed,  and  then  bit  her  lip  tightly.  She  hadn't 
meant  to  say  that  .  .  . 

Jane  Perry  merely  held  her  closer.  "Of  course  you 
are,  my  darling!"  she  agreed.  "Of  course  you  are!" 
With  which  extraordinary  remark,  she  kissed  her  again, 
turned  off  the  electric  light,  and  closed  the  door  gently 
behind  her. 


That  was  the  truth  Cynthia  had  to  learn 


He  was  very  wise,  an 
artist  and  married. 
Cynthia  forgot  every- 
thing except  that  he 
was  a  man  when  he 
leveled  his  flattering 
eyes  at  her 


bed   and   fell   almost   immedi- 
ately asleep. 

Mornings,  of  course,  were 
different.  The  rising  bell 
sounded,  and  from  all  over  the 
house  came  the  sounds  of  move- 
ment. She  had  to  hurry 
through  her  bath  and  dressing, 
hurry  through  her  breakfast,  in 
order  to  catch  up  with  the  day. 
In  the  pensive  shadows  of  the 
evening,  she  would  wonder  at 
this  senseless  display  of  enthu- 
siasm for  life,  but  in  the  sun- 
light, something  seemed  to  urge 
her  forward  .  .  . 

Her  parents  and  Patty  were 
already  at  the  breakfast  table; 
a  stack  of  letters  rested  beside 
Jane  Perry's  place,  and  be- 
tween turning  the  bread  on 
the  electric  toaster,  pouring 
coffee,  and  sending  swiftly 
appraising  glances  about  the 
table,  she  opened  and  glanced 
through  them. 

"Ho!"  she  said  suddenly, 
turning  to  her  husband.  "  Let- 
ter from  Margaret  De  Hart,  Gor- 
don. She  says  that  she  and  Max 
are  arriving  the  seventeenth  for 
a  week  with  us  —  Good  Lord, 
that's  today!" 

Gordon  Perry  groaned.  "I  do 
love  Margaret,"  he  said,  "but 
does  she  have  to  bring  that  swine 
with  her?" 

His   wife    grinned.      "Gordon, 
how  can  you  speak  so  of  the  art- 
ist?   Yes,  of  course  she  has  to,  or 
she    wouldn't!     I  wrote  her  that 
if   she   could    possibly   drown 
him  before,  I'd  be  that  grate- 
ful.    It'll  be  heavenly  to  have 
her  here." 

Patty  looked  at  her  mother 
reprovingly.  "  Did  you  really 
say  that  to  Aunt  Margaret, 
Mother?" 

"I  really  did,"  her  mother 
answered,  gravely.  "But  as 
I've  told  you  before,  Pat, 
you're  never  to  pattern  your 
conduct  on  mine." 


pATTY  shrugged  delicately.  "  May 
-*-  I  be  excused,  please?"  Shestoodup, 
taller  than  either  Cynthia  or  her 
mother,  charming  in  an  orange  sweat- 
er   and    striped    sport-skirt.      "I'm 


For  a  few  minutes  Cynthia  lay  rigid,  considering  her 
mother.  Then,  "  Midnight ! "  she  repeated  in  a  whisper. 
"A  sob — a  secret  sob — at  midnight!"  With  muffled 
movements,  she  turned  on  the  light,  tiptoed  to  her  desk 
where  the  extinguished  candles  still  smouldered,  and 
pulled  the  scarlet-covered  book  from  its  hiding-place. 

"A  secret  sob  at  midnight,"  she  wrote,  blotted 
the  page,  and  returned  the  book  to  its  place.  With 
a  smile  of  morbid  satisfaction,   she  crept  back   into 


going  over  to  Dell  Wheeler's  to  play 
tennis." 

Gordon  Perry  turned  to  his  youngest  daughter. 
"Thank  God,  I  have  one  child  who  prefers  me  to  the 
younger  generation!  Take  me  on  for  a  couple  of  sets, 
Cynth,  after  I've  read  the  paper?" 

Cynthia  nodded  and  sat  listening  to  her  parents'  con- 
versation. She  wanted  to  know  why  they  didn't  like 
Aunt  Margaret's  husband,  but  at  the  same  time  she 
didn't  want  to  hear.  Grown   [  continued  on  page  126  ] 

51 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


THE  ENEMY— M.-G.-M. 

THIS  picture  offers  the  most  stirring  anti-war  propaganda 
ever  filmed,  yet  maintains  a  heart  interest  which  will 
thrill  you  during  every  moment.  Not  just  another  war 
>-arn.  Not  a  trench  scene  in  the  entire  picture;  not  a  gun 
tired;  not  a  bayonet  shown.     It  is  the  woman's  side  of  war. 

Lillian  Gish  ceases  to  be  the  ethereal  goddess.  She  is  an 
e\ery-day  woman  who  sacrifices  her  man,  her  child  and 
finally  her  honor,  for  the  necessity  rather  than  glory  of  battle. 

As  the  Austrian  bride  of  an  Austrian  soldier  she  proves 
that  she  is  a  really  great  actress.  Her  love  scenes  with  Ralph 
Forbes  are  superb  with  genuine  emotion;  her  sufferings  as 
realistically  tragic  as  though  she  had  lived  behind  the  Ger- 
man trenches. 

A  happy  ending;  but  not  a  happy  ending  which  spoils 
the  realism.    Men  did  return  from  battle. 


GET  YOUR  MAN— Paramount 

ME.\  have  called  Clara  Bow  irresistible  and  women  ad- 
mit it.  In  this  picture  she  demonstrates  her  continued 
adroitness.  Clara  and  Buddy  Rogers  meet  accidentally  in  a 
wax-works  museum  in  Paris  and  become  so  cngros.sed  in 
one  another  that  they  are  unmindful  of  the  passing  time 
and  are  locked  in  that  night.  In  the  morning,  he  tells  her 
of  his  engagement  to  another.  Does  she  gi\e  him  up?  I 
should  say  not!  Josephine  Uunn  plays  the  demure  girl  who 
has  long  been  engaged  to  Buddy.  Josef  Swikard  and  Harry 
Clarke  arc  splendid  actors,  well  cast.  Charles  Rogers  has  a 
boyish  appeal  that  is  winning  him  many  friends.  This  story 
maybe  fragile  but  the  photography  is  beautiful  and  Clara 
continues  to  charm  and  fascinate. 

62 


The 

Shadow 
Stage 

A  Review  of  the  New  Pictures 


GENTLEMEN  PREFER  BLONDES— Paramount 

WHETHER  or  not  you  read  Anita  Loos's  laugh  provok- 
ing "Gentlemen  Prefer  Blondes,"  you  are  certain  to  go 
into  ecstasies  when  you  witness  the  picturization  of  the  tale. 
It  is  sure  to  beoneoftheoutstandingcomedy  screen  successes 
of  1928.  First,  because  it  is  a  laugh  compelling  tale  of  a 
beautiful  but  far  from  dumb  gold  digger,  who  took  men 
like  Grant  took  Richmond.  Only  much  faster  I  Her 
triumphant  climb  from  a  small  Arkansas  town  to  Little 
Rock,  Hollywood,  New  York,  and,  finally,  Paris,  along  a 
road  that  she  left  strewn  with  shattered  hearts  and  swains 
from  whom  she  had  painlessly  extracted  jewels  and  gowns 
and  the  wherewith  to  make  it  possible  for  her  to  li\e  and 
pursue  her  educational  quest,  is  absorbingly  pictured. 

Second,  because  it  will  bring  to  you  a  new  screen  per- 
sonality in  Ruth  Taylor  a.s  Lorelei  Lee.  You  are  going  to 
lo\e  her.  She  was  selected  for  the  role  after  a  nation-wide 
search  and  pro\-es  herself  so  capable  an  actress  in  this  role 
that  she  has  been  placed  under  a  long  term  contract  by 
Paramount.  The  fat  laugh  lines  are  in  the  very  capable 
hands  of  Alice  White,  the  living  embodiment  of  Dorothy. 

Ford  Sterling  as  the  Chicago  Button  King  will  cause  you 
to  laugh  until  you  cry,  and  Mack  Swain  will  make  you 
laugh  some  more.  Holmes  Herbert  as  the  eligible  million- 
aire bachelor  gi\es  a  great  performance.  Chester  Conklin 
and  Trixie  Friganza  add  to  the  gaiety.  Mai  St.  Clair  has 
turned  out  a  delightfully  handled  production  that  keeps  him 
in  the  forefront  of  directors.  Atop  of  all  this,  the  picture  is 
titled  by  Anita  Loos,  an  assurance  of  an  evening  of  laughter. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

GENTLEMEN  PREFER  BLONDES       CHICAGO 

THE  ENEMY  GET  YOUR  MAN 

LEGION  OF  THE  CONDEMNED 

VALLEY  OF  THE  GIANTS 

The  Best  Performances  of  the  Month 

Ruth  Taylor  in  "Gentlemen  Prefer  Blondes" 

Phyllis  Haver  in  "Chicago" 

Lillian  Gish  in  "The  Enemy" 

Junior  Coghlan  in  "Gallagher" 

Fay  Wray  in  "The  Legion  of  the  Condemned" 

Gary  Cooper  in  "The  Legion  of  the  Condemned" 

Ford  Sterling  in  "Gentlemen- Prefer  Blondes" 

William  Haines  in  "West  Point" 

Virginia  Bradford  in  "The  Wreck  of  the  Hesperus" 

Lupe  Veler  in  "Stand  and  Deliver" 

Holmes  Herbert  in  "Gentlemen  Prefer  Blondes" 

Casts  of  all  photoplays  reviewed  will  he  found  on  page    142 


CHICAGO— Pathe-De  Mille 

THE  story  of  a  girl,  Roxie  Hart  (played  by  Phyllis  Haver), 
who  was  all  wrong  .  .  .  not  a  redeeming  characteristic. 
Briefly,  the  story  of  a  married  woman,  who  is  not  satisfied 
with  what  her  husband  can  give  her,  and  selects  herself  a 
man  on  the  side  to  furnish  the  luxuries.  When  this  man  tires 
of  her,  she  kills  him.  The  husband  (Victor  Varconi)  would 
take  the  blame,  but  the  law  tries  her  for  the  murder.  To 
Roxie  Hart,  being  featured  as  "Chicago's  most  beautiful 
murderer"  was  worth  anything.  It  mattered  not  that  her 
husband  had  to  sacrifice,  borrow  and  steal  to  raise  money  for 
her  defense. 

Never  for  a  moment  is  she  played  for  sympathy  and  yet 
she  is  so  beautiful  that  you  never  want  to  see  her  suffer — 
even  when  she  is  cruel,  when  she  is  selfish,  when  she  cheats 
her  husband,  and  even  when  she  commits  murder. 

Lenore  Coffee  has  done  a  beautiful  piece  of  work  in 
adapting  this  play  for  the  screen,  andCecil  De  Mille's  super- 
vision is  evident  throughout  the  picture.  Frank  Urson's 
direction  needs  commendation,  too.  Victor  Varconi  does 
his  very  best  work,  and  that  in  a  very  diflicult  role. 

Robert  Edeson,  as  Defense  Attorney,  T.  Roy  Barnes  as  a 
reporter.  Gene  Pallette  as  the  man  she  killed.  May  Robson  as 
the  matron,  Virginia  Bradford,  Josephine  Norman  and 
others  do  work  worthy  of  mention,  but,  after  all,  the  picture 
belongs  to  Phyllis  Haver,  who  gi\'es  a  marvelous  characteri- 
zation. We  agree  with  Mr.  De  Mille  that  she  is  his  greatest 
"find"  since  Gloria  Swanson.  Of  course,  nobody  will  miss 
seeing  "Chicago." 


THE  LEGION  OF  THE  CONDEMNED— Paramount 

THIS  picture  has  been  heralded  as  the  companion  to 
"Wings."  Emotionallyitisabove"Wings."  Theleading 
roles  are  played  by  Fay  Wray  and  Gary  Cooper  and  the 
combination  is  one  that  the  public  will  love. 

"The  Legion  of  the  Condemned"  is  a  French  flying 
Escadrille  during  the  world  war.  Like  the  Foreign  Legion, 
composed  of  men  who  wanted  to  die  to  forget  their  past. 
Francis  McDonald,  E.  H.  Calvert,  Lane  Chandler,  Charlotte 
Bird  and  others  do  e.xcellent  work.  Barry  Norton  does  a  bit 
that  will  touch  the  heart  of  every  woman.  There  are  some 
tremendous  aerial  combat  scenes  and,  when  the  heroine 
stands  before  a  firing  squad  of  Germans,  the  suspense  is 
terrific. 

Because  William  Wellman  flew  over  the  lines  ten  years 
ago  he  knew  just  how  to  direct  this  picture. 


THE  VALLEY  OF  THE  GIANTS— First  National 

PETER  B.  KYNE'S  thrilling  story  has  been  graphically 
reproduced,  with  Milton  Sills  starring  and  Doris  Kenj'on 
playing  the  feminine  lead.  George  Fawcett  plays  a  lumber 
man  who  pioneered  in  the  Big  Tree  country  and  e\-entually 
built  a  town  around  him.  His  adored  son,  done  by  Milton, 
goes  away  to  be  educated,  and  on  his  return  he  finds  his 
father  blind  and  all  of  the  property  encumbered.  It  becomes 
necessary  for  Milton  to  build  another  railroad.  The  fight 
between  Milton  and  Paul  Hurst  is  one  of  the  most  thrilling 
ever  put  on  the  screen.  The  wrecking  of  a  lumber  train  is 
another  harrowing  experience.  Delightful  coniefjj'^yr  heart 
ed  by  George  Stone.  George  Fawc^'^-y.^^g^^ 
excellent  work.     Doris  looks  beai^j  A^pg  gi  ] 

55 


Photoplay  Gets  Its  Reviews  Months  Ahead 


THE  WRECK 
OF  THE 
HESPERUS— 
Pathe-De 
Mille 


THE  LOVE 
MART— 
First  National 


REMEMBER  "Down  to  the  Sea  in  Ships"?  Elmer  Clifton, 
the  man  who  made  that  classic,  transformed  Longfellow's 
poem  into  celluloid.  The  sea  storm  is  superb,  a  glorious 
motion  picture  achie\ement.  Virginia  Bradford  is  lovely  as  the 
captain's  daughter.  Here  she  proves  to  be  one  of  the  most 
promising  young  people  in  the  films.  They  ha\'e  changed  Long- 
fellow's verse,  but  you  will  like  the  spirit  of  the  sea. 


PICTORIALLY,  this  is  an  exceptionally  fine  picture. 
The  reigning  belle  of  the  South,  claimed  as  a  descendant 
of  colored  people  and  sold  on  the  auction  block  as  a  slave,  is 
bought  by  a  dashing  young  adventurer.  Billie  Dove  proves 
she  is  not  only  one  of  the  most  gorgeously  beautiful  women  in 
pictures,  but  is  an  actress  as  well.  Gilbert  Roland  makes  a 
handsome  fencer  and  lo\'er.    George  Fitzmaurice  directed. 


LONDON 
AFTER 
MIDNIGHT 
M.-G.-M. 


WEST 

POINT— 

M.-G.-M. 


LOX  CHAXEV  has  the  stellar  role  in  this  mystery  drama 
and  the  disguise  he  uses  while  ferreting  out  the  murder  is  as 
gruesome  as  any  he  has  e^-er  worn.  The  story  attempts  to 
prove  that  a  murderer,  when  hypnotized,  will  enact  againevery 
detail  of  his  crime.  The  suspense  is  marvelously  sustained. 
Chaney  plays  a  dual  role,  and,  when  conventionally  clad,  is  a 
little  less  convincing  than  usual.    In  the  other  role,  perfect. 


FOLLOWIXG  so  closcb"  upon  De  Mille's  "Dress  Parade,"  we 
are  compelled  to  note  the  similaritj-  between  the  two  pic- 
tures. Both  make  desperate  effort  to  correctly  portray  "The 
spirit  of  the  Corps"  and  both  succeed.  Bill  Haines'  starring 
vehicle  is  a  comedy  drama  and  treats  everything  in  a  humorous 
vein  in  the  beginning,  getting  many  laughs.  It  winds  up  with 
the  Army-Na^■y  game.    Joan  Crawford  is  Bill's  sweetheart. 


FRENCH 
DRESSING— 
First  National 


STAND  AND 
DELIVER— 
Pathe- 
De  Mille 


THE  success  of  this  comcd>'-drama  is  attained  through  the 
excellent  work  of  the  four  principals:  Lois  Wilson,  H.  B. 
Warner,  Cli\e  Brook  and  Lilyan  Tashman,  the  last  named  al- 
most stealing  the  picture.    She  is  altogether  attractive  through- 
t)oyish'afJ\ii]son.  married  to  Warner,  qualifies  as  a  good  house- 
may  be  fragile  but"tf.sband  to  her  friend  (Lilyan  Tashman). 
continues  to  charm  and  linto  the  usual  bird  of  paradise. 

52 


ROD  LA  ROCQUE  olfcrs  his  scr\  ices  to  the  French  Army  to 
help  capture  a  noted  Greek  bandit,  a  bandit  who  says 
"Stand  and  deli\er."  Rod  was  never  more  lo\abIe,  and  Lupe 
Velez,  the  girl  who  finally  interests  Rod,  pro\-es  without  ques- 
tion that  she  has  a  permanent  place  on  the  screen.  She  is  a 
combination  of  Dolores  Del  Rio  and  Olive  Borden,  with  some- 
thing which  neither  of  them  has. 


of  All  Other  Magazines.    Check  Up  and  See 


GALLAGHER 
—Pathe- 
De  Mille 


SERENADE- 
Paramount 


RICHARD  HARDING  DAVIS'  story  picturized.  Junior 
Coghlan,  as  office  boy  for  a  big  newspaper,  covers  himself 
with  glory.  He  appoints  himself  partner  of  one  of  the  police 
reporters  (Harrison  Ford).  The  detective  work  he  does;  his 
naturalness  in  his  fear,  and  yet  his  courage  withal,  will  win  him 
an  abiding  place  in  the  hearts  of  boys  from  eight  to  sixteen. 
Junior  will  be  a  tremendous  hit  before  he  knows  it. 


ERNEST  VAJDA,  the  Hungarian,  has  given  Menjou  a  dif- 
ferent type  of  vehicle.  A  musician  in  Vienna,  Menjou  gets 
the  inspiration  for  his  first  operetta  from  Gretchen  (the  beauti- 
ful Kathryn  Carver),  and  names  it  for  her.  By  the  time  it  is 
produced,  they  are  married  and  his  interest  has  wandered  to  his 
dancer  (Lina  Basquette).  When  Kathryn  learns  of  this,  the 
trouble  begins.     Consistently  good  work  by  all  three. 


BECKY— 
M.-G.-M. 


pajamas- 
Fox 


WHETHER  or  not  you  read  Raynor  Seelig's  serial,  you 
won't  be  disappointed  in  "Becky."  Sally  O'Neil  is  only 
a  poor  working  girl  in  a  department  store,  whose  Irish  wit  keeps 
her  in  trouble  and  e\entually  costs  her  her  job.  The  boy  friend, 
Owen  Moore,  came  along  at  the  right  moment  and  places  her  on 
the  stage.  Sally  has  an  interesting  bundle  of  tricks.  Light  en- 
tertainment that  will  lift  you  out  of  monotonous  surroundings. 


OLIVE  BORDEN  is  a  pampered  society  cut-up  who  insists 
on  playing  practical  jokes  on  the  hero.  And  seeing  they 
have  no  effect,  she  up  and  kidnaps  him  in  her  aeroplane. 
Through  an  accident  they  land  in  God's  country — the  Northern 
woods.  Their  simple  !iA"ing  makes  the  gal  realize  what  a  selfish 
cuss  she  has  been  and  then  the  familiar  fadeout.  Very,  very 
silly,  that's  our  opinion. 


LEGION- 
NAIRES IN 
PARIS— 
FBO 


HER  WILD 

OAT— 

First  National 


FOR  real  laughter,  see  this.  Comedy  as  is  comedy  combined 
with  authentic  views  of  the  American  Legion  Convention's 
conquest  of  Paris  last  summer  make  a  bouncing  burlesque  of 
war's  aftermath.  Al  Cook  and  Kit  Guard  are  two  visiting 
Legionnaires  who  believe  they  are  pursued  by  the  police  because 
of  being  implicated  in  a  fake  murder  when  really  the  police  are 
chasing  them  to  decorate  them  for  saving  a  general's  life. 


MARY  LOU  SMITH'S  U-ac\-  from  her  father  was  a 
portable  lunch  wagon,  a  dog,  and  lots  of  ambition.  One 
day  she  took  her  savings  and  went  for  a  two  weeks'  vacation  at 
a  fashionable  beach  resort,  at  $30  per  day.  Then  the  complica- 
tions begin.  Colleen  Moore,  as  Mary  Lou,  tugs  at  our  heart 
strings.  Don't  miss  this  delightful  comedy-drama. 
[  Additional  reviews  on  page  81  ] 

55 


The    reward    of    the    long,    long    struggle. 

"The  Miracle  Man"  was  Lon's  life  miracle 

turning  him  from  failure  to  fame 

J  ON  Chaney  was  the  second  of  four  children  born  to  deaf  and 
J—ddumb  parents.  The  year  was  1883,  the  town,  Colorado  Springs, 
Colo.,  and  Lon' s  father  was  a  barber. 

By  the  time  the  boy  had  reached  the  fourth  grade,  his  mother  had 
become  an  invalid,  her  speaking  hands  locked  powerless  by  rheuma- 
tism. Lon  stayed  home  to  da  the  housework.  He  got  no  more  school- 
ing, but  through  the  necessity  of  talking  to  and  understanding  his 
mother  he  unconsciously  learned  the  art  of  pantomime. 

When  the  younger  children  had  grown  strong,  he  started  working. 
He  was  a  guide  up  Pike's  Peak,  a  carpet  layer,  a  decorator's  appren- 
tice, a  mine  worker,  a  prop  boy,  a  nineteen-year-old  barnstormer. 

Manhood  fomid  him  louring  the  kerosene  circuit  of  shabby  honkv- 
tonks,  getting  stranded  in  God-forgotten  villages,  being  broke  in 
Chicago  and  while  hunting  engagements,  he  and  his  young  wife 
were  often  close  to  starving.  Nine  struggling  years  later  he  was 
still  a  ham  comedian  in  a  jive-a-day  musical  comedy  house  on  Los 
Angeles'  Main  Street  and  by  every 
law  of  reasoning  and  commofi 
sense  he  had  no  right  to  expect  any- 
thing at  all  from  the  movie  pro- 
fession on  which  he  took  a  gamble 
in  the  late  days  of  1912. 


A  MAN,  drab  and 
weary  after  thirty 
years' struggle,  stood 
outside  the  casting 
office  of  the  young  Universal 
Film  Company.  Never 
handsome,  his  clothes  far 
from  flattering,  the  daily 
battle  for  existence  was  writ- 
ten large  upon  him. 

He  was  hunting  a  day's 
work.  He  hadn't  even  the 
satisfaction  of  being  un- 
known. He  had  worked  on 
the  Universal  lot  for  more 
than  a  year.  But  he  still  had 
to  beg  for  every  bit  he  got. 
The  picture  that  morning 
— they  made  a  new  one 
every  third  day — was  "The 


Qj^True 

Few  men  work  as  hard  or 
wait  as  long  for  success  as 
Lon  Chaney.  Read  this 
triumphant  chapter  in  the 
career  of  the  movies'  mys- 
tery man 

By  Ruth  Waterbury 


Bloodhound  of  the  North  "  and  they  finally  handed  Lon 
Chaney  a  scarlet  coat  and  let  him  be  a  Northwest 
Mounted  Policeman  in  the  distant  background. 

"  Even  among  all  those  other  terrible  actors  I  couldn't 
be  important,"  Lon  explained.  "The  only  person  who 
was  aware  of  my  existence  was  myself." 

The  sole  movie  pioneer  who  today  ranks  among  the 
first  ten  at  the  box  office,  and  that  entirely  on  program 
pictures,  sat  with  me  under  an  arbor  on  the  back  lot  of 
the  Metro-Goldwyn-Mayer  studios.  "The  Hypnotist " 
had  been  finished  that  morning,  completed  as  nearly  all 
Chaney  pictures  are,  a  week  ahead  of  schedule.  It  was 
the  final  talk  we  were  to  have  together,  but  in  contrast  to 
my  sense  of  disappointment  Lon  was  voluble  and  gay. 

"Tonight  I  start  out  for  the  high  Sierras,"  Lon 
crowed.  "  No  shaving,  no  make-up,  no  interviewers  for 
four  long  lazy  weeks.  We  take  a  stove  along  and  the 
wife  cooks  the  fish  I  catch.  We  sleep  under  the  pines 
and  I  try  to  climb  high  enough  to  reach  the  snows. 
Camping's  the  biggest  kick  in  life  for  me." 


After  months  of  idleness  Lon  was  rescued  by  Bill  Hart  who  cast  him  as  the 
heavy  in  "Riddle  Gwan."     The  girl  was  Mary  MacLaren 


Life  Story 


L 


of 

ON 


C 


HANEY 


Most  creative  artists  have  dual  personalities,  but  in 
few  men  are  they  so  sharply  marked  as  in  Lon.  I  was 
seeing  this  afternoon  the  quiet,  successful  man  of 
property.  Hisveryclothesexpressedhisrelaxation.  His 
grey  sack  suit  was  carelessly  worn.  His  hands,  which 
are  so  rarely  still,  worked  around  the  edge  of  a  grey  cap. 
Earlier  that  day  I  had  sat  on  "The  Hypnotist"  set 
watching  Lon  enact  a  monster  creeping  through  a  fear- 
ful room.  Then  he  had  worn  a  black  frock  coat  and  a 
high  black  hat.  He  had  a  wig  that  matted  greyly  about 
his  shoulders  and  from  his  slobbering  mouth  pointed 
teeth  gleamed  and  tears  of  agony  flowed  from  his  awful, 
distended  eyes. 

For  nearly  an  hour  it  seemed  impossible  for  a  human 
body  to  suffer  severer  torture  than  that  to  which  Lon 
subjected  himself  in  order  to  gain  that  effect  with  his 
eyes.  I  promised  him  not  to  reveal  the  make-up  trick, 
yet  it  would  make  little  difference  to  the  profession  if  I 
did,  for  few  men  could  have  endured  it.  Yet  in  this 
visible  suffering  Lon  was  plainly  an  artist  in  the  ex- 


The  story  of  Lon's  career  reveals  how  many  other  stars  have  faded.    Priscilla 
Dean  was  his  co-star  in  "Outside  the  Law" 


■-•Ak^ 


Contrast  today's  quietly  self-possessed  Chancy 
with  this  Chaney  playing  "The  Trap"  in  1921 


quisite  travail  of  creation.  To  endure  pain  for  his  work 
brought  him  strange  joy.  Now,  with  the  character 
creation  ended,  he  was  just  a  good  business  man  who 
had  done  his  job  and  was  off  for  a  rest.  It  even  made 
reminiscing  almost  agreeable  to  him. 

"  I  alternated  between  comedies  and  one-reel  West- 
erns at  Universal,"  Lon  re- 
called.  "We  slapped  pic- 
tures together  in  two  days  to 
a  week.  I  must  have  been  in 
at  least  a  hundred.  Only  a 
few  names  stick.  I  remem- 
ber a  Joker  comedy  called, 
'Back  to  Life,'  another 
titled  'Red  Margaret.'  I 
was  a  moonshiner  hidden 
among  the  rocks  in  that  one. 
The  chief  thing  for  me  was 
that  I  got  three  dollar 
checks  daily  and  that  occa- 
sionally they  were  worth 
that. 

"The  movies  had  their 
forces  at  work  but  none  of  us 
quite  sensed  the  gigantic 
thing  we  were  mixed  up 
with.  Some  of  the  troupe 
were  getting  somewhere,  but 
I  wasn't  in  that  class.  The 
big  stars  on  our  lot  were  J. 
Warren  Kerrigan  and  Jeanie 

[  CONTINUED  ON  PAGE  94  ] 


51 


ill 

Ruth  Elder 


"Screen 


55 


The  first  movie 
close-up  of  the  face 
that  launched  a 
flying  ship.  Ruth 
embodies  all  that 
the  American  girl 
typifies.  She's  cou- 
rageous, daring, 
independent,  self- 
reliant,  beautiful, 
healthy  and  young 


Ever  since  her  fearless  flight 
across  the  Atlantic,  her  thrilling 
rescue  and  her  international  fame, 
whether  Ruth  Elder  would  screen 
has  been  a  question  in  motion  pic- 
ture circles.  Accordingly,  Photo- 
play engaged  Vandamm,  the  pho- 
tographer— motion  picture  make- 
up expert,  to  give  Ruth  a  Kleig 
complexion  and  staged  these  por- 
traits to  determine  if  her  face  was 
suitable  for  pictures. 

58 


Like  almost  everyone  else,  Ruth's 

left  profile  is  a  shade  better  than 

her  right   but   she   possesses   an 

almost  perfect  "camera  face" 


Age  twenty-three,  height  five 
feet  four,  weight  one  hundred 
and  seventeen  pounds.  Will  this 
little  girl  screen?  We'll  say  she 
will 


CAMILLA  HORN,  the  Gretchen  of  "Faust,"  was  imported  from  Germany  to  play 
opposite  John  Barrymore  in  "Cellini."     Barrymore  was  so  impressed  with  her  upon 
her  arrival,  that  he  substituted  her  for  Dorothy  Sebastian  in  "The  Tempest,"  thereby 
necessitating  a  complete  retaking  of  the  picture. 


RVJ^K^'^^^^^  ^^  '^^'  P^'^^"  ''"^«  o^  the  reformer,  Mr.  Sboffard  of  Pennsylvania 

^Vln  this  gorgeous  gown.  Lorcki  Lc.  marches  straight  to  the  akar  and  the  rewards  of 

virtue.     In    Gentlemen  Prefer  Blondes,"  of  course. 


KiitliHurrli-tLinilie 


m 


AY!  Hay  !^^  Love  among  the  rural  Russians,  as  portrayed  by  Renee  Adoree  and  John 
ilbert  in  "The  Cossacks."     It's  a  story  of  the  peasant  classes  and  these  two  players 
know  all  the  Steppes. 


Curtis  Blltmore  Studio 


A  WOMAN  war  worker  found  this  little  orphan  in  the  fighting  2»ne  ten  years  ago. 
»■  Mrs.  de  Lacy  adopted  him,  took  him  to  Hollywood  and  Philippe  has  repaid  her  by 
becoming  one  of  the  most  eloquent  and  appealing  child  actors. 


^^eNVS 


Reel 


Greta  Garbo 

and  John 

Gilbert 

Off  again,  on  again — Greta  and 

John  again — 

How  tliey  have  stirred  up 

the  news  for  awhile ! 

Making   the   critics   first   sigh 

with  them,  die  with  them, 

A  taking   the   cynical   smile! 

Off  again  —  on  again  —  Greta 
and  John  again, 
They  say  it's  over  now — let 
that  be  true! 
Let's  hear   some  other,   more 
staple  love  stories. 
At  least  they'll  be  new! 


PHYLLIS   HAVER 

in  the  ^---«r, 

heading  Rble      |r 


of 

"Chicago" 


A  Sonnet  Impression 
of  the  Month's  Best 
Performance — 


1 

ksd 


Cold  blooded,  pretty,  made  for  love  and  dresses, 
With  baby  eyes,  and  ice  about  her  heart; 
The  crime  to  which  her  pretty  mouth  confesses 
Is  but  a  fragment  of  her  life,  a  part 
That  she  is  playing  to  a  man  made  jury 
(And  men  have  always  fallen  for  her  charm!) 
Her  smile  could  change  to  hope  the  coldest  fury. 
Her  very  voice  could  lead  a  soul  to  harm. 

The  world's  her  game — a  game  that  centers  round  her, 

A  game  that  could  be  labeled  solitaire; 

For  even  guilt  has  never  really  found  her — 

And,  if  it  did,  perhaps  she  wouldn't  care! 

With  cheeks  new  rouged  and  legs  in  chiffon  hose. 

She  nonchalantly  hates,  and  kills — and  goes! 


Vacations 

Lots  of  folks  have  sailed  away 
For  a  winter  holiday. 

Hanson    (Lars),    the   Swedish 

boy, 
Will  give  to  the  fjords  some 

joy. 

Victor  Varconi  will  rest. 
With  his  wife  in  Budapest. 

Marie  Prevost—  shorn  of  ties — 
Will,  in  Paris,  rest  her  eyes. 

All    these    folks    have    sailed 

away — 
But  we  hardly    think   they'll 

stay ! 


Lillian  Gish  Makes 
a  Move 


With  United  Artists, 

Lillian  has  signed. 
And  the  figure  on  her 
checks 
Would    strike    an 
extra  blind. 


She  has  signed  for  iron  men. 

Ten  thousand   of   them 

strong. 

And  they'll  come  to  her 

every  week 

For  Heaven  knows  how  long ! 


''Gentleman  of  Paris'' 


They'll  be  married  in  France, 
in  April — 
(Not  the  first,  that  crack  is 
out!) 
Every    one    now    has    French 
weddings. 
Wonder  what  it's  all  about? 


Kathryn  Carver — she's  the 
fair  bride, 
Adolphe — he  of   Menjou 
fame — 
Will  repair  to  Paris  shortly 
Where  the  lady'U  change 
her  name! 


Mrs,  H,   Wallis 

Louise    Fazenda's    comedy, 

Has  gotten  her  in  many  a  part, 

But  this  new  role,  it  seems  to  me. 
Came  to  her  solely  from  her  heart! 


Give  the  Little  Girl  a  Name! 


King  Vidor,  the  big  director. 
And  Eleanor  Boardman  V., 
They  have  a  bran'  new 
daughter. 
The  finest  you'd  care  to 
see. 


But   because   they   wanted   a 
son,  these  two. 
The  baby  hasn't  a  name. 
And  they  call  it   Mike — and 
it  seems  to  us. 
That  that  is  an  awful  shame ! 


A  New  Constellation 


Camilla  Horn  of  Germany, 
Has    taken     Hollywood 
by  storm; 
It's    not    her    flaxen    hair, 
my  dears, 
Her   eyes    of    blue,    her 
lovely  form^ 


They  like  her  in  the  west 
because — 
(And,  oh,  this  story  is 
quite  true), — 
The  only    English   words 
she  knows 
Are — "I  luf  you!" 

63 


Illustrated    by 
ussfll    Pdtterso 


Q^  The  famous  cowboy  star  con- 1 
for  a  fortune  and  relates  how  he  be- 


^<, 


U 


'\ 


¥r'\^^ 


'I  went  to  bed  an'  dreamed  1  was  bein'  pursued  by  wolves  with  gleaming  eyes  like 
camera  lens  an'  buffalos  with  three  legs  like  movie  camera  tripods" 


CHAPTER  II 

MAKIN'  a  million  dollars  ain't  much  of  a  job 
as  jobs  go  nowadays,  but  at  the  time  of  which 
I'm  a  writin',  an'  to  me,  the  trail  a  leadin'  to 
my  million  looked  a  long  an'  rough  ridin'  road. 
Still,   I   didn't  feel  downhearted   because  my   first 
million  in  kiilin'  wolves  for  a  movin'  picture  concern 
hadn't  turned  out  so  well. 

I  just  naturally  figured  that  I'd  taken  the  wrong  fork 
of  the  trail  an'  been  ridin'  along  the  river  road  when  I 
should  have  been  higherup.aheadin'over  the  hog-backs. 

64 


After  I  got  rested 
up  from  my  bad- 
resultin'  an'  money- 
losin'  wolf  kiilin'  con- 
tract,  concernin' 
which  I  have  already 
wrote,  somehow  I  felt 
that  notwithstandin' 
all  the  young  feller's 
talk  about  millions 
in  the  movin'  picture 
business,  it  was  a 
goin'  to  be  mighty 
hard  an'  tough  sled- 
din'  to  get  at.  So,  I 
hunted  up  this  studio 
gent  again. 

He  was  glad  to  see 
me,  he  said,  an'  hoped 
I  hadn't  been  so  badly 
chewed  up  by  the 
wolves  after  all,  de- 
clarin'  it  was  exactly 
his  fault,  an'  promis- 
in'  nothin'  like  it 
would  ever  happen 
again.  He  said  he'd 
have  another  job  in 
a  few  days  an'  for  me 
''just  to  stick 
around." 

In  passin'  I  might 
add  that  in  all  mov- 
in' picture  history 
from  the  first  film 
ever  made  down  to 
the  last  one  finished 
yesterday  there  ain't 
no  advice  that's  been 
so  freely  handed  out 
as  that  one  single 
phrase,  "just  stick 
around." 
So  far  as  I  was  concerned  the  picture  game  hadn't 
been  so  good,  an'  starin'  me  in  the  face  was  my  job  to 
get  that  million  an'  head  back  to  Texas  where  I  be- 
longed an'  where  I  promised  my  mother  I'd  fetch  it. 
About  this  time  I  did  a  heap  of  thinkin'  as  all  the  time 
the  idea  kept  a  sneakin'  in  that  mebbe  this  young 
studio  gent  wasn't  so  heavily  bankrolled  as  his  partner 
had  promised. 

"Have  you  got  a  million  dollars?"  I  busted  in  cold 
when  the  next  day,  he  offered  me  another  job,  a 
doublin'  his  leadin'  man. 

"Got  what?"  he  says,  surprised  like,  "sure  I  ain't  got 


Milli 


ion 


tinues  the  story  of  his  quest 

came  sheriff  of  Dewey,  Oklahoma 


By 
Tom  Mix 


a  million.  If  I  had  a  million,  I  wouldn't  be  stickin'  around 
here — but  I'm  a  aimin'  to  get  a  million  before  I  quit." 

Here  I  was  hopin'  to  get  a  million  out  of  a  bird  who 
hadn't  even  got  one  for  himself.  Like  me,  he  was  only 
a  hopin'.  That  settled  it  an'  night  found  me  on  a 
trail  a  headin'  for  Oklahoma.  I  still  had  enough 
money  to  buy  a  good  saddle  horse  an'  a  fair  outfit,  so  I 
decided  I'd  punch  cows  again  until  the  next  step  to- 
ward the  million  had  been  figured  out. 

My  first  job  was  to  ride  over  in  the  Osage  country 
with  an  old  friend  of  mine,  Mike  Cunyan,  after  some 
cattle  he'd  bought.  One  day,  a  ridin'  along  with  the 
herd,  we  pulled  up  under  a  cottonwood  tree  for  a  little 
shade  an'  to  rest  our  horses. 

"Mike,"  says  I,  "where  can  you  an'  me  get  ourselves 
a  million  dollars?" 

"Well,  Tom,"  he  finally 
says  after  thinkin'  a  bit  an' 
brushin'  some  dirt  from  his 
chaps,  "it's  thisaway.  I 
got  an  idea  if  you  an'  me 
will  just  sit  here  an'  wait 
long  enough,  some  feller 
will  ride  up  an'  give  it  to 
us.  All  we  got  to  do  is  be 
patient  an'  wait." 


T  THOUGHT  Mike  was 
-*-  funny,  an' Mike  thought 
I  was  crazy,  an'  we  rode  on 
after  our  cattle.  The  funny 
part  of  it  all  an'  why  I 
mention  this  conversation 
at  this  time  is  that  Mike  was 
right — dead  right — only  he 
didn't  know  it.  That  talk 
took  place  up  in  a  corner 
of  what  Oklahomeans  to- 
day know  as  the  Osage 
country — land  allotted  by 
the  government  to  the 
Osage  Indians.  If  Mike  an' 
me  had  just  waited  on  that 
spot  an'  waited  long  enough 
an'  in  the  meantime  ac- 
quired title  to  ten  or  a 
dozen  acres  of  it,  today 
we'd  have  many  millions. 
That  day  Mike  an'  me 
was  a  talkin'  that  funny 
talk,  we  was  a  sittin'  right 
on  top  of  millions — on  land 
that  later  proved  the  rich- 
est oil  field  of  the  Osage 
country,  which  means 


richer  territory  than  any  other  section  of  all  Oklahoma. 

We  was  right  on  top  of  millions,  an'  as  many  another 
man  unknowin'ly  has  done,  gone  wildgoose  chasin'  some- 
where else  an'  in  another  direction  a  leavin'  the  million 
behind  him.     Many  a  man  is  rich  an'  don't  know  it. 

Next  day  in  a  little  town  in  the  Osage  called  Grey 
Horse,  Mike  an'  me  sighted  a  coupla  fellers  who  reined 
up  as  they  saw  us  an'  turned  their  horses  down  toward 
the  Hominy  Flats.  We  noticed  that  one  of  'em  was  a 
ridin'  a  light  sorrel  an'  the  other  a  black  horse.  At 
the  time,  their  turnin'  seemed  sort  of  queer,  but  we 
didn't  pay  much  attention  to  it. 

When  we  got  back  into  Ponca,  a  feller  at  the  corral 
told  how  two  men,  the  day  before,  had  stuck  up  the 
bank  in  Dewey,  Oklahoma,  [continued  on  page  82] 


Mike  said,  "If  you  and  me  just  sit  here  and  wait  some  feller  will  ride  up  and 

give  us  a  million."    He  was  right.    If  we  only  knew,  we  were  right  on  top  of 

the  richest  oil  fields  in  Oklahoma 


Aileen  Prlngle  is  suspected  of  being  a  decoy  employed 
by  producers  to  meet  all  visiting  authors 

PRINGLE  leaned  over  the  luncheon  table  and 
swatted  a  fly  on  my  chest.  The  fly  expired  and 
went  to  heaven.  Presently  his  pal  appeared  for 
obsequies  and  buzzed  mournfully  around  my  head. 
Pringle  sprangup  and  whammed 
the  air  with  an  expert  hand. 
The  fly  went  West  to  join  his 
buddy. 

"Can't  stand  'em,"  said 
Pringle.  "They  give  me  fits." 
The  beach  club  where  we 
were  lunching  had  hitherto 
been  considered  fashionable. 
It  was  Pringle's  first  appear- 
ance there.  If  anyone  recog- 
nized the  Author's  Favorite  in 
the  person  of  the  divine  fly 
huntress  I  dare  say  his  precon- 
ception underwent  a  swift 
reform. 


She's  suspected  of  being  a  de- 
coy employed  by  producers  to 
meet  all  incoming  trains  bear- 
ing Authors.  Those  who  might 
pan  Hollywood  go  back  to 
praise  Pringle,  and  Will  Hays 
never  served  the  home  town 
better. 

This  intimation  gives  Pringle 
the  furies.  "Bon  Dieu!"  she 
cries  or  lusty  equivalent  on  be- 
ing placarded  Favorite  of  the 
Literati  or  High  Priestess  of 
Highbrowism.       "Can't     they 


"Make  me  a  homelike  picture,"  said  Aileen 

Pringle,   and  Cedric   Gibbons   furnished  a 

study  of  a  recent  sash-weight  murder 


O'  Lady 

The  Hollywood  Boulevardier 
returns  to  PHOTOPLAY  with  his 
impressions  of  Aileen  Pringle 

By  Herbert  Howe 


understand  that  these  writers  happen  to  be  my 
jr  lends?''' 

Nevertheless  the  legend  endures:  Pringle  is  an 
institution  and  Pringling  a  cult. 

Club  ladies  come  in  delegations  to  view  her 
reverentially.  They  all  but  lay  a  wreath.  "It 
would  be  a  terrible  blow  to  come  all  the  way  to 
Hollywood  and  not  see  the  Pringle." 

"JesuP'  cries  the  Pringle,  a  clutch  at  her  hair. 
"I  feel  like  Grant's  tomb." 

I  WAS  one  of  the  first  to  give  her  title.    After  the 
New  York  showing  of  "Three  Weeks"  I  panted 
to  Photoplay's  belfry  and  proclaimed  her  The 
First  Lady  of  the  screen.    The  title  was  ambiguous 
and  drew  me  buck-shot.    But  that's  immaterial. 
As  soon  as  I  could  pack  I  left  for  Hollywood,  though 
that  likewise  is  nobody's  business,  and  I  only  mention 
it  to  show  that  I've  been  authoring  round  Pringle  for 
some  time. 


My  first  impression  remains 
as  vivid  as  a  poinsettia. 

I  was  in  a  Hollywood  party 
when  Pringle  entered.  Pringle's 
entrance  is  something  more 
than  arrival;  It's  an  event.  The 
effect  is  that  of  a  commanding 
officer  entering  the  barracks  of 
buck  privates. 

This  night  she  was  justly 
robed  in  sweeping  flame. 

Three  youths  sprang  forward 
to  arrange  the  train — others 
quickly  gravitated — and  soon 
there  was  a  court. 

It's  always  so,  wherever 
Pringle  sits  there  the  throne  is 
— and  there  the  courtiers  gath- 
er. Her  popularity  with  wom- 
en does  not  obviously  follow. 
.  .  .  She's  known  to  give  din- 
ners where  all  guests  are  male. 

In  Pringle's  lure  for  authors 
her  dinners  are  not  to  be  ig- 
nored. True,  authors  no  longer 
starve  unanimously  in  garrets, 
this  being  the  day  of  "movie 
rights;"  nevertheless  it's  safe 
to  say  that  mortal  man,  literate 


"1 


Surrounded 


BY 

Men 


or  illiterate,  rarely  partakes  of 
such  Lucullan  fare.  The  daughter 
of  a  French  mother,  Aileen  rates 
culinary  genius  among  the  gifts 
from  God,  and  so  her  cuisine  re- 
mains intact  through  all  servant 
revolutions. 

I  received  a  royal  command  for 
dinner  on  the  eve  of  one  of  her 
sudden  departings  for  New  York; 
suddenness  amounts  to  regularity 
with  Pringie,  especially  as  regards 
her  departures  East. 

The  only  other  guests  were  her 
mother,  whom  she  celebrates  as 
"Julie,"  and  Cedric  Gibbons,  the 
art  director. 

Pringie  was  in  pajamas  and 
pearls,  and  it  was  easy  to  see  why 
she  is  the  authors'  favorite, 
authors  being  by  profession  the 
most  discerning  people. 

She  wears  silk  pajamas  for  ten- 
nis and  achieves  dinner  dress  by 
the  simple  addition  of  a  string  of 
pearls. 

"T  HAVE  an  offer  to  play  Cater- 

-*-  ina  Sforza  in  a  new  stage  play," 

she  said.     "What  do  you  think?" 

Caterina  was  one  of  the  girls  I 
had  forgot.  With  help  I  recalled 
a  fifteenth  century  lady  who  cap- 
tured the  Castle  of  St.  Angelo  and 
wouldn't  yield  even  to  the  pope 
until  her  husband  made  her. 

Back  home  in  Forli,  where  the 
Mussolinis  now  reside,  she  held 
her  castle  single-handed  against 
terrific  opposition.  Upon  her  re- 
fusal to  surrender,  the  besiegers 

threatened  to  bash  the  daylights  out  of  her  kiddies, 
whom  they  had  in  their  power. 

Caterina's  reply  was  to  the  effect  that  she  intended  to 
hang  on  to  her  property,  kiddies  or  no  kiddies,  as  real 
estate  values  were  sure  to  rise.  Any  reader  of  Arthur 
Brisbane's  column  will  appreciate  the  foresight  of 
this  medieval  dame.  The  enemy  slew  her  husband  be- 
fore her  unblinking  eyes;  a  few  weeks  later  Caterina 
ran  amuck  and  killed   the  conspirators,   their  wives. 


Through  this  door  enter  the  famous  authors  of  America.  When 
they  emerge,  they  are  bearing  glowing  superlatives  about  Aileen 
Pringie.     In  the  accompanying  article.  Herb  Howe  tells  you  why 


children  and  dogs.     Nor  is  this  just  Hollywood  gossip. 

Caterina,  like  Pringie,  was  a  forthright  lady,  domi- 
nant, fearless  and  sufficient. 

"She  had  only  one  ey;  and  went  about  slitting 
throats,"  added  Pringie.     "Oh,  I  think  she's  elegant!" 

When  Pringie  presides  in  the  red  patent  leather  chair 
of  her  library — her  conversation  room,  rather,  since 
the  autographed  volumes      [continued  on  page  90] 

67 


getter  ^han 


The  story 
of  a  girl 

who 

jumped 

overboard 

for  fifty 

dollars — 

and 

couldn't 

swim 


BABY  doll_  girls  off  the  set !" 
An  assistant  director  megaphoned  the  order 
and  a  sextette  in  checked  gingham  rompers  and 
half  socio  danced  off  camera  left. 
Five-sixths  of  the  sextette  put  down  their  slates  and 
took  out  cigarettes  or  make-up.  The  other  sixth 
perched  herself  on  a  ladder  alongside  Stage  3,  her  slim, 
little  girl  legs  dangling  in  rhythm  with  the  syncopated 
wails  of  the  jazz  band. 

The  set  represented  an  imaginative  director's  dream 
of  an  exotic  night  club.  Smooth,  satin  shoulders 
gleamed  above  abbreviated  evening  gowns.  Weary 
eyes  flashed  promises  they  luckily  would  not  be  asked 
to  keep.  Tired  hands  applauded  the  hard  working 
entertainers. 

But  the  little  girl  on  the  ladder  saw  none  of  this. 
She  gave  but  a  passing  glance  to  the  slim  loveliness  of 

68 


Miss  Radia  Benson,  the  star,  who  had  danced  into 
the  spotlight  in  a  hazardous  bathing  suit  on  which  ten 
thousand — or  maybe  it  was  two  thousand — seed  pearls 
had  been  sewn.  Mary  Rose  saw  only  the  salads  on  the 
table  in  the  foreground.  Oh,  the  most  beautiful  salads 
— the  reddest  tomatoes,  peaked  with  goldeny  mayon- 
naise— nestling  on  little  beds  of  crisp  green  lettuce 
leaves.  Tomato  surprise  it  must  be.  Tomatoes 
would  be  ripe  now  in  her  garden  back  home.  .  .  . 

She  looked  with  wistful  longing  at  the  trays  heaped 
with  tempting  little  sandwiches,  cut  in  squares,  oblongs, 
triangles,  and  tried  to  forget  that  her  dinner  the  night 
before  had  been  a  stale  doughnut  and  half  a  bottle  of 
milk ;  that  her  breakfast  had  been  a  still  staler  doughnut 
and  the  other  half  of  the  milk. 

Mary  Rose  had  been  one  of  those  Cherryvale,  Iowa, 
girls  whom  everybody  said  ought  to  be  in  the  movies. 


pickford/ 


By 
Grace  Mack 


Illustration 

by 

C.  A.   BRYSON 


Far  beneath  her  lay 
the  dark  water.  Be- 
hind  her  the 
cameras  ground  and 
the  villain  still  pur- 
sued her.  It  was  her 
great  chance.  She 
jumped,  terrorized 


Why,  with  her  lovely  hair  and  her  big  blue  eyes,  she 
might  be  another  Mary  Pickford.  Mary  Rose  dreamed 
of  her  name  in  electric  lights — saw  herself  photographed 
at  her  breakfast  table,  or  stepping  into  her  car,  with 
dozens  of  newspaper  reporters  begging  to  know  just 
how  she  kept  her  figure,  and  her  peachbloom  com- 
plexion. 

And  so  her  father,  instead  of  buying  a  new  flivver 
with  his  spring  chicken  money,  was  persuaded  to  buy 
his  little  Mary  Rose  a  ticket  to  the  cinema  gold  coast. 
She  had  never  let  him  know  that  it  was  a  heartbreak 
coast  to  which  she  had  come;  that  for  every  extra  girl's 
job  there  were  six  thousand  girls  waiting;  that  just 
being  a  pretty  little  blonde  didn't  count  for  anything 
at  all.  At  a  moment's  notice  a  casting  director  could 
summon  dozens  of  girls  who  would  duplicate  her  in 
size,  coloring,  accomplishments.     Casting  offices  were 


glutted  with  youth  and  beauty.  .  .  .  There  had 
been  days  when  Mary  Rose  had  wished  for  a  hairlip 
— or  cross  eyes — anything  to  make  her  stand  out  in  a 
crowd.  Each  letter  from  home  begging  to  know  just 
when  her  pictures  would  be  coming  to  Cherry\'ale  be- 
came increasingly  difficult  to  answer.  She  lived  on  the 
stories  of  extra  girls  who  had  been  made  overnight  and 
the  exhilarating  hope  that  at  any  moment  it  might 
happen  to  her. 

Reluctantly,  Mary  Rose  forced  her  eyes  away  from 
the  tantalizing  salads  and  tried  to  concentrate  on 
Radia  Benson  as  her  dance  came  to  its  whirlwind  finish. 

"Cut!"  yelled  the  director. 

"Hold  your  positions!"  echoed  the  assistant  director. 
"Still  cameras!" 

Kleig  lights  flickered  out  and  the  erstwhile  night 
club  devotees  rose  wearily       [continued  on  page  84] 

69' 


Amateur  Movies 

By  Frederick  James  Smith 

PHOTOPLAY'S  $2,000  Amateur  Movie  Contest  Is  Extended 
to  February  15th — Interesting  Activities  of  Amateur  Clubs 


«HE  S2,000  Amateur 
Movie  Contest  of 
Photoplay  will  close 
February  15th. 
The  original  closing  date — 
of  December  31st  —  was 
extended  to  meet  the  many 
requests  of  Photoplay 
readers. 

Many  schools  and  organ- 
izations have  been  prepar- 
ing contest  films  and  the 
Christmas  holidays  natu- 
rally interfered  with  the 
completion  of  these  efforts. 
Then,  too,  Christmas  shop- 
ping held  up  many  individ- 
ual contestants.  In  response 
to  the  pleas  of  these  readers 
the  closing  date  of  the  con- 
test was  moved  to  Febru- 
ary 15th. 

This  gives  you  a  further  chance  to  win  fame  and  a 
substantial  reward,  as  well  as  another  opportunity  to 
help  the  advancement  of  amateur  cinematography. 
Remember,  your  efforts  are  to  be  used  by  the  Amateur 
Cinema  League  to  study  amateur  progress  and  to 
develop  a  definite  amateur  standard. 

Plans    are    under  way    to    show  the   winning   films 


Mary  Currier  and  Gilbert  Carr  in  a  scene  of 
"Framed,"  made  by  a  Des  Moines  High  School 


amateur  cinematographers 
such  as  the  Movie  Makers 
Club  of  Chicago,  the  Phila- 
delphia Amateur  Motion 
Picture  Club  and  the  Movie 
Club  of  Western  Massa- 
chusetts. 

In  presenting  its  news  of 
amateur  club  activities, 
Photoplay  has  the  co- 
operation of  the  Amateur 
Club  Department  of  the 
Amateur  Cinema  League, 
with  headquarters  at  105 
West  40th  Street,  New 
York. 

A  MATEUR   movie 
-**-makers  in  the  national 


throughout  the  country, 
will   tell   more  about 
these  plans. 

SINCE  Photoplay, 
less  than  a  year 
ago,  inaugurated  its 
amateur  movie  de- 
partment  the 
amateur  club  move- 
ment has  grown  with 
great  strides. 
Upwards  of  thirty 
important  groups  are 
now  engaged  in  photo- 
play production. 

These  organizations 
are,  broadly,  divided 
into  two  classes. 
There  are  photoplay 
making  clubs,  such  as 
The  Little  Screen 
Players  of  Boston,  the 
Cinema  Crafters  of 
Philadelphia,  the  Cin- 
ema Guild  of  Mil- 
waukee ;  and  there  are 


Future  issues  of  Photoplay 


C'lUrleny  of  Judue. 

"It's  all  right,   Mister; 


capital  have  organized 
under  the  leadership  of 
John  W.  Thompson,  a 
prominent  Washington  business  man.  Since  Washing- 
ton amateurs  include  such  men  as  General  Edgar 
Saltzman,  chief  of  the  Army  Signal  Corps,  Tris  Speaker, 
and  Walter  Tuckerman,  the  amateur  golfer,  the  pros- 
pects of  the  Washington  club  are  unusually  bright. 

A  state  amateur  organization  has  been  launched  in 
California.  Charles  S.  Morris,  of  San  Francisco,  has 
sent  out  an  announcement  of  the  Amateur  Movie 
Makers  of  California. 
He  estimates  Central 
California  amateurs 
to  be  in  the  neighbor- 
hood of  2,500. 

"  Framed"  is  the 
photoplay  recently 
produced  by  the  mo- 
tion picture  division 
of  the  Players  Club  of 
the  Roosevelt  High 
School  of  Des  Moines, 
Iowa.  Charles  J. 
Luthe,  Jr.,  is  camera- 
man and  director  of 
this  group,  which  in- 
cludes Charlotte 
Thomas,  Mary  Cur- 
rier, Clarence  Cooper, 
Gilbert  Carr,  Henry 
Martin  and  Frederick 
Bauder.  Miss  Currier 
has  just  withdrawn  to 
go  to  Hollywood, 
where  she  will  be 
[  cont'd  on  p.\ge  134] 


we're  making  amateur  movies' 


Full  Rules  of  PHOTOPLAY'S  $2,000  Contest  on  Page  135 


70 


C-^  Number 

107 

Neena  Quartaro  was 
one  of  many  candidates. 
Then  came  discovery! 

By  Ruth  Biery 


AWEARY  eyed  director  watched 
the  bits  of  film  being  flashed  on 
the  screen  in  the  dark  projection 
room. 

Seventy-five,  eighty-five,  ninety  girls 
walked,  sat  down,  twisted  and  turned, 
one  after  another,  before  him.  Girls 
well  known  in  the  motion  picture  pro- 
fession ;  girls  who  had  never  before  had  a 
test  shown. 

"Surely  one  of  these  will  do?"  an 
assistant  said. 

"Do — Do!  I  don't  want  a  girl  who 
will  do!  I  want  a  girl  who  will  fit  the 
part  to  perfection!"  And  the  director 
relaxed  in  disgust  to  watch  the  rest  of 
the  parade  flash  before  him. 

The  one  hundred  mark  was  reached; 
the  one  hundred  five — one  hundred  six; 
one  hundred  seven — • 

"Wait!"  The  man  jumped  to  his 
feet,  pushed  the  buzzer  connecting  with 
the  camera  operator. 

"Run  that  one  hundred  seventh  girl 
over  again.  Run  her  several  times. 
That's  it;  again — Who  is  she?  Never 
mind,  whoever  she  is,  send  her  to  me." 

And  in  less  than  an  hour  a  diminutive 
young  lady  with  sloe-black  hair,  natu- 
rally curly;  huge  eyes  of  the  same  color; 
a  full-lipped  mouth,  slightly  pouty;  a 
well-bosomed  but  dainty  figure,  stood 
before  him. 

Three  days  later  James  Cruze  had 
signed  Neena  Quartaro  to  play  as  his 
"find"  in  "The  Red  Mark";  had  signed 
her  on  a  five  year  optional  contract — as 
the  first  woman  he  had  ever  discovered. 

For ,  although 
James  Cruze  directed 
"The  Covered  Wag- 
on," "Old  Ironsides," 
"The  Pony  Express" 
and  many  other 

[CONT.  ON    PAGE    120] 


They  always  told 
Neena  Quartaro 
that  she  was  too 
young.  But  Di- 
rector Cruze 
thought  differ- 
ently 


Let  photoplay 


Thf  nightgown  at  the 
left  is  a  marvelous  value 
because  it  is  of  a  good 
qualitij  crepe  de  chine 
and  simphj  but  becom- 
ingly trimmed  with 
Irish  lace;  comes  in 
flesh,  peach,  nile  and 
orchid.  Sizes  15,  16 
and  17.  Price  S3.95 


Thousands  of  readers  are 


Right — This  enchanting 
set  consisting  of  step-in 
panties  on  fitted  yoke 
and  snug  fitting  bandeau 
e.vemplifies  the  mode  for 
smart  lingerie.  In  flesh, 

crepe 

chine  with  pretty  thread 
lace  trimming.  Sizes 
32,  34  and  36.  Moder- 
ately   priced    at    $2.95 


At  left — a  tricky  little  smock — one  of 
the  prettiest  we  have  seen.  It  is  of 
cotton  broadcloth  with  embroidery 
extending  above  the  pockets,  and 
sleeves  are  raglan  style  to  insure  a 
good  fit.  Sizes  small,  medium  and 
large.  Colors:  Rose,  tan,  peach,  blue 
and  green.     Priced  at  $1. 


The  above  girdle  of  heavy  satin  uith  elastic  side 
sections  is  slightly  boned  back  and  front,  with 
the  opening  on  the  side,  and  is  especially 
adaptable  for  the  slim  miss  and  small  woman. 
Sizes  26  to  32.     In  flesh  only.     Price  S4.95 


those  ivho  prefer  pajamas — at  the 
left  a  cmining  pair  of  broadcloth  are 
shown.  The  coat  has  a  monogrammed 
pocket  and  the  trousers  are  on  a  fitted 
belt.  In  flesh,  peach,  nile  or  orchid. 
Sizes   15,    16  and   17.  Price   S2.50 


72:^ 


J) o  Y^ ur  Shopping 


delighted  with  this  service 


How  to  Order 


"INSTRUCTIONS;  Thousands  of  PHOTOPLAY  readers  are  using 
•*■  this  Shopping  Service.  Its  facilities  are  at  the  disposal  of  every 
PHOTOPLAY  reader  whether  a  subscriber  or  not.  Send  check  or 
money  order  together  with  size  and  color  desired.  STAMPS  WILL 
NOT  BE  ACCEPTED.  No  articles  will  be  sent  C.  O.  D.  If  you  are 
not  pleased  with  any  purchase,  return  it  immediately  and  your 
money  will  be  refunded.  IMPORTANT:  Articles  for  credit  or 
exchange  must  be  returned  direct  to  Photoplay  Shopping  Service, 
221  West  57th  Street,  New  York  City,  and  not  to  the  shop  from 
which  they  were  sent. 


The  dress  of  linen  at  right 
with  hand  drawn  ivork  and 
embroidery  will  delight  the 
stay-at-homes  as  well  as 
those  who  can  enjoy  southern 
climate.  Colors:  Maize, 
white,  blue,  green  and  orchid. 
Sizes  36  to  U-     Price  ,%5.00 


The  lines  of  the  frock  at  right  are  remarkably  youth- 
ful. The  blouse  is  trimmed  with  hand  smocking 
and  embroidered  tab — skirt  has  graceful  shirring  in 
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sizes  16  to  40.  In  navy  blue,  tan,  red  or  French 
blue  crepe  de  chine  with  pipings  of  contrasting 
Only  $8.93 


The  one-piece  frock  at  right  is 
fashioned  of  crepe  de  chine  loith 
pleats  extending  down  the  front. 
In  black  or  navy  with  red  and  tan 
applique  on  peasant  style  sleeves, 
or  in  green  or  Chin  Chin  blue  with 
darker  shade  of  applique.  Sizes 
16  to  40.     Price  $8.95 


Directly  above  is  pictured  two-piece 
frock  of  heavy  crepe  de  chine  nicely 
tailored  and  trimmed  with  hand 
faggoting  on  collar,  cuffs  and  pockets. 
In  Alice  blxie,  cocoa  brown  arid  ahnond 
green.    Sizes  14  to  40.    $15.95 

73' 


When 

the 


OCTORS 
I  SAG REE 


Why  producers  go  crazy  when  they  read  criticisms 


"MY  BEST  (jIRL" 


"  It  was  wisdom  that  chose 
Kathleen  Norris'  naive  tale  as 
the  next  story  for  Mary  Pick- 
ford.  'My  Best  Girl'  offers 
her  opportunity  for  the  sort  of 
thing  she  has  done  best  and 
which  she  will  continue  to  do 
best."  Joseph  McElliott, 
A'.  Y.  Dailv  Mirror. 


"Only  the  artist  that  this 
star  really  is,  only  the  sincere 
purpose  she  puts  in  all  her 
screen  work,  could  make  a 
good  picture  out  of  the  slush 
and  slapstick  that  'My  Best 
Girl '  borders  on  in  many  of  its 
sequences."  Betty  Colfax, 
Evening  Graphic. 


'THE  HARVESTER 


yy 


"If  you  have  time,  steal 
over  to  the  Hippodrome,  lie  in 
the  grass,  bask  in  the  sunshine 
and  hear  the  purling  brooks." 

H.^RRIETTE   UnDERHILL,    N.    Y. 

Herald-Tribune. 


"  'The  Harvester'  is  a  rare 
example  of  how  bad  a  picture 
can  be.  .  .  .  Improbable,  un- 
convincing and  at  times  re- 
volting." Joseph  McElliott, 
N.  Y.  Dailv  Mirror. 


Playwright    (after    the    play):    "What    did    you 
think  of  my  scene  in  'Hell's  Pit?'  " 

"Oh,  Jack,  I  thought  it  was  just  heavenly!" 


"THE  LAST  WALTZ 


"  'The  Last  Waltz'  ...  is 
charmingly  conceived,  directed 
with  a  certain  sophistication 
and  boasts  camera  angles  ga- 
lore." Irene  Thirer,  N.  Y. 
Daily  Neivs. 


"The  movie-goer,  accus- 
tomed to  a  UFA  grade  of  pic- 
ture, just  a  few  jumps  ahead  of 
the  native  brand,  will  be  dis- 
appointed in  'The  Last  Waltz,' 
a  new  importation  from  Ger- 
many." Joseph  McElliott, 
N.  Y.  Daily  Mirror. 


'LOVE'' 


".  .  .  It  is  Miss  Garbo's 
film.  In  scene  after  scene  she 
captures  you  with  her  uncanny 
powers  of  fascination.  One 
reads  volumes  in  the  close-ups 
of  her  ej'es,  and  other  volumes 
in  her  smoldering,  repressed 
gestures."  John  S.  Cohen, 
Jr.,  Evening  Sun. 

"  'Love,'  the  most  exqui- 
sitely beautiful  thing  the  screen 
has  offered  since  Murnau's 
'Sunrise,'  enraptured  a  pre- 
miere audience  at  the  Embassy 
Theater  last  evening."  Irene 
Thirer,  A''.  Y.  Dailv  News. 


"Miss  Garbo  is  a  stylish 
j'oung  woman,  but  I  have  failed 
as  yet  to  discover  her  great 
gifts  as  an  actress."  Quinn 
M.^RTiN,  Morning  World. 


"  'Love,'  in  fact,  is  just 
about  the  limpest  bit  of  film 
fare  Broadway  has  seen  this 
season."     A^.   ]'.  Evening  Post. 


'THE  COLLEQE  WIDOW 


"Dolores  Costello  is  only 
occasionally  pensive  and  man- 
ages to  capture  the  comedy 
spirit  so  successfully  that  one 
might  easily  believe  her  to  be 
a  graduate  of  the  Sennett 
school."  Regina  Cannon,  A'. 
Y.  American. 


"  Dolores  Costello  is  a  rather 
sad-faced  flapper  of  the  cam- 
pus."  A^.  Y.  Daily  News. 


"BREAKFAST  AT  SUISIRISE' 


"We  have  found  a  man 
whom,  we  think,  perhaps  we 
are  going  to  care  for  as  much  as 
we  cared  for  Rudolph  Valen- 
tino. It  was  the  quiet  humor 
thing  that  attracted  us  to  Val- 
entino. .  .  .  And  this  qual- 
ity Don  Al  varado  possesses  to  a 
marked  degree."  H.\rriette 
LInderhill,  A''.  Y.  Herald- 
Tribune. 


"Playing  opposite  her 
(Constance  Talmadge)  is  a  new 
patent  leather  kid,  with  Span- 
ish eyelids,  an  Argentine  mus- 
tache, and  a  Grecian  profile. 
His  name  is  Don  Al  varado,  and 
he  is  rather  feeble  as  a  smart 
lover."  John  S.  Cohen,  Jr., 
A''.  F.  Evening  Sun. 


'IN  OLD  KENTUCKY'' 


"This  picture  is  one  of  the 
best  of  its  kind  which  has 
shown  on  Broadway  in  a  long 
time."  George  Gerhard,  A^. 
Y.  Evening  World. 


"  'In  Old  Kentucky'  mav 
have  been  a  good  play.  It  isn't 
a  good  picture."  Harrietts 
Underhill,  A''.  Y.  Herald- 
Tribune. 


"HULA" 


"  Miss  Bow  is  as  seductive  as 
ever — a  bit  more  so,  in  fact, 
f'or  she  has  toned  down  her 
makeup  and  her  lips  no  longer 
suggest  that  she  had  applied 
her  cosmetics  with  a  large  and 
unruly  mop."  John  S., 
New  York  Smi. 


"Clara  Bow,  too  obviously 
too  prone  to  over-acting,  is  one 
of  the  Hawaii  Calhouns." 
Rose  Pelswick,  A^.  Y.  Evening 
Journal. 


weets  /or Valentine's 

Day 


DO  you  want  to  send  a  Valentine  that  will  be 
really  appreciated?     Would   you   like   to   serve 
something  different  in  the  way  of  a  sweet  at  a 
Valentine  party? 

If  you  want  a  \'alentine  that  carries  a  sweet  message, 
I  recommend  Hungarian  Honey  Cakes.  The  recipe  for 
these  delicious  cakes  was  contributed  to  Photoplay's 
Cook  Book  by  Maria  Corda,  the  Hungarian  star  of 
"The  Private  Life  of  Helen  of  Troy."  Try  making 
them  and  sending  them  to  your  friends  instead  of  the 
more  conventional  and  less  substantial  Valentine  of 
paper. 

The  joy  of  these  cakes  is  that,  if  they  are  kept  care- 
fully covered,  they  will  remain  fresh  indefinitely.    And, 
of  course,  they  are  delicious  to  eat. 
Here  is  the  recipe: 


1 H  lbs.  honey 

8  cups  flour 

1  level  cup  sugar 

1  y2  cups  blanched  and  chopped 

almonds 
V^  lemon 


]/2    cup    candied    and    chopped 

citron  peel 
3  eggs 

1  Js  teaspoons  cinnamon 
H  teaspoon  powdered  cloves 
3  level  teaspoons  baking  powder 


Bring  honey  to  a  boiling  point,  then  skim  and  take 
from  fire.  When  cool  add  one  pound  of  the  flour  and 
set  overnight  in  a  cool  place.  Next  day  beat  up  eggs 
with  sugar,  add  almonds,  citron  peel,  spices  and  baking 
powder,  grated  rind  and  strained  juice  of  the  lemon. 
To  this  add  the  honey  dough,  mix  well  and  add  re- 
mainder of  flour,  or  sufficient  to  make  a  dough  that  can 
be  easily  rolled  out  with  a  rolling  pin. 

Take  a  small  part  of  dough  (leave  the  remainder  in  a 
cool  place),  roll  it  out  thin  and  cut  in  heart  shapes.  Lay 
on  greased  tin  and  bake  in  a  hot  oven  until  crisp. 
Repeat  this  process  until  the  dough  is  all  used. 

In  Photoplay's  Cook  Book  you  will  find  twenty- 
three  other  recipes  for  sweets,  among  the  one  hundred 
unusual  dishes  chosen  by  the  screen  stars.  In  the  kettle 
at  the  bottom  of  the  page,  you  will  find  full  directions 
on  how  to  obtain  this  unusual  cook  book.  Send  for  it 
and  get  the  choice  recipes  of  the  best  cooks  in  Holly- 
wood. 

Carolyn  Van  Wyck 


J^ 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  100  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Make  These  Hungarian  Honey 
Cakes  and  Send  Them  to  Your 
Friends  as  Valentine  Greetings 


The  girl  who 
fooled  Holly- 
wood and  made 
'em  like  it 


AS  Jeanne  Williams,  of  New  York,  former  chorus 
girl  in  "The  Follies,"  Hollywood  paid  no  atten- 
tion to  her. 

As  Sonia  Karlov,  of  Europe,  with  a  Danish 
mother  and  a  Russian  father,  an  accent  you  could  cut 
with  a  knife  and  a  naive  innocence  of  American  ways, 
she  got  a  five-year  contract  and  was  dined  and  feted  by 
Hollywood  elite. 

Thus  was  the  greatest  hoax  which  has  been  per- 
petrated in  many  a  day  brought  to  a  successful  climax, 
with  Jeanne  Williams  Karlov  the  proud  possessor  of  a 
five-year  contract  with  Cecil  De  Mille  and  a  bright 
future  confronting  her. 

Jeanne,  born  in  New  York,  came  to  Los  Angeles  to 
get  into  the  movies.  Extra  work  was  the  only  thing  she 
could  get,  try  as  she  would. 

A  year  passed  by,  with  Jeanne  working  as  extra  in 
Universal's  "Collegians,"  entering  a  beauty  contest  at 
First  National  conducted  in  connection  with  "The 
Private  Life  of  Helen  of  Troy,"  and  even  doing  a 
perilous  high-dive  in  one  production  because  she  needed 
the  money. 

When  she  was  injured  in  an  automobile  accident  and 
spent  several  weary  weeks  in  a  hospital,  it  seemed  that 
bad  luck  had  done  all  it  could  to  her. 


CALLED 
HERSELF 

SoNIA 


Jeanne  Williams,  extra 

girl,  acquired  a  foreign 

accent  and  landed  a 

contract 


By  Carroll  Graham 


Broke,  discouraged  and  blue,  Jeanne  de- 
cided that  the  screen  held  nothing  for  her. 
She  decided  to  return  to  New  York  and 
"The  Follies." 
Then  her  first  break  arrived  in  the  person  of  an  agent, 
sent  to  her  by  a  mutual  friend.  Jeanne  had  no  faith  in 
the  agent's  ability  to  get  her  any  sort  of  work.  On  the 
spur  of  the  moment  she  adopted  her  mother's  maiden 
name,  "Sonia  Karlov,"  and  an  accent  along  with  it. 
The  agent  fell  for  it,  so  Jeanne  continued  to  build  the 
hoax  as  she  went  along,  acquiring  a  romantic  European 
background,  an  early  life  in  Berlin,  Paris  and  Vienna, 
and  all  the  trimmings  of  a  highly  colorful  past. 

The  agent  arranged  with  William  Sistrom,  general 
manager  of  the  De  Mille  studios,  for  a  film  test,  and 
Jeanne,  still  with  her  accent  and  her  foreign  manner- 
isms, went  through  the  test  with  flying  colors.  De  Mille 
saw  the  test  and  in  it  Jeanne's  charm  and  personality. 

THE  contract  followed.  With  it  came  a  lot  of  trouble. 
Sonia  began  to  get  publicity.  She  began  to  run  into 
many  people  she  had  known  as  Jeanne  Williams.  And 
she  began  to  meet  Danish  folk,  who  were  probably 
somewhat  curious. 

Fearing  that  De  Mille  might  be  incensed  at  her  deceit 
and  break  the  contract,  she  continued  to  build  and 
build  on  her  magnificent  hoax.  She  succeeded  in  con- 
vincing many  persons  who  had  known  her  as  Jeanne 
Williams  that  she  never  really  was  Jeanne  Williams  at 
all.    But  the  strain  of  being    [continued  on  page  84] 


Photoplay  Magazine — Advertising  Section 


77 


Jr  OND'S  opens  its  Letter  Box 

to  you 

'Women  reveal  for  other 

lEAUTY'S     but     skin-deep?  "^  Vanishing  Cream  is  a  favorite  of  mine.  It  sure 

"That's  deep  enough  for  me,"  WOMefl  S    SakeS    eXtierienCeS      softens  'rusty'  elbows-important  with  eve- 

a  witty  young  woman  once  de-  ^  "'"§  g°^"^-  ^^  ^^^P=  "^^  ^ands  soft  and  white! 

clared.    Pond's  Letter  Box  at-  aS    Varied  aS    life  itSelf              A  Cahforma  mother  uses  the  cream  to  "mas- 

,                     ,              ,                                 J  i/M-/  *c-w    c*j     t-yc  i,i.ji,ij             sage  tired  feet.      She  says:  "In  a  few  minutes 

tests  that  countless  others,   young  and  ^  -^            we  feel  like  dancing." 

old,  agree  with  her. 

From  every  state  in  the  Union  women  (l^        ^^f  "IV/f  OTHERS,   especially     prize   Pond's 

write  us  delightful  "thank  you  letters,"  ^li^'dBf  "T  h..^™"''-.;   T  ,^"i'J'"f  T  ""'"''''■ 

,       .       .     °  ..-'.„'  Wi   Mt^S^'^mX  ^  nave  twins,  six  months  old.    hach  morning 

enthusiastic    m    appreciation    of    Pond  s  .^m\H--ijBSr/^  ^^  ^  prepare  them  for  their  baths  I  cover  their 

Two  Creams.   And  how  varied  the  writers  .^^^^^r-rT^M^^^      \/^  faces  with  Pond's  Cold  Cream.    In  the  tub 

—from  eastern  farm  and  western  ranch,  '^T^fi^UMm  T?f  \^,7  ^["^  and  splash  to  their  hearts'  content. 

r  ^1  •  •  J  1  ^  .^F  d^^K^-^SisKC^W^   ^ ^  ^^S*,.  When  1  take  them  out  their  soft  rosy  skin  has 

from  iiorthern  prairie  and  southern_  cot-       ^JM^W   ^t^^^  been  both  cleansed  and  protected." 

ton-held,  pretty  girls  in  society,  business        ^  .^^^K /llu  W/        m^  it  %-^  \  ]  a  m       t  i  «t  i  i 

■  ,  J  ,  ^^^^3  /  I  Shd2^s3  C^  \  /L,  A  INew  Jersey  mother  says:     I  have  three 

women,  writers,  world-travelers.  ^MH  //  llMBilB  m.\Ul-  out-of-door  kiddies.    You  know  what  winds 

Pond's  Creams — so  inexpensive  yet  so  MSml  '    I^B^U^Bh^^     \|BK        ^"''  snows  do  to  their  tender  skins.    Pond's 

fine  that  they  are  favorites  of  the  aris-  W        i-J^^'    ^#i-^  ^^       has"'save^d'^t'hem     jMfjK  ^-\'('/^ 

tocracy — win  honorable  mention  for  dis-  '         ^"^  hours  of  suffering      ^^»^  (-'     r  *  V^hm 

tinguished  service  "in  all  climates,  from  "I  am  a  violinist,  having  difficulty  with  My  little  daughter     ^K^*'^  "i|\ <r>^^ 

Duluth,  42°  below  zero— to  Texas   105°  '*«  >5«ger  tips  of  my  left  hand.  .  ."  has  a 'fairy' skin.  A     W^  -^E    W 

above;"  in  "bitter  frosts,"  in  "driving  .  S?°i^  fobbing  at      ^JS^        r  ^^kg:^m 

•    J    "    •      "k    u-      ,.  »    •      <<    II     i;       at  beauty  shops.     When  it  was  necessary  for       nignt    (legs,  too)    >_-IAMifi«^i  _l^,'/^xlmi 

winds       m      brilliant   suns,      in      alkah       ^e  to  live  on  the  Mojave  Desert,  I  started       keeps  her  .n  perfect    j^ffi>H^1gg 
dust    !  using  your  Two  Creams.    Now  I  have  been       condition.   Vanish-     ^^TO        ^(uAXZH 

■- '^  "T'AT  here  18  months  with  hot  winds  and  cold  winds,       ing  Cream  does  not       _(/r  /  AVhP^^ 

£i\"^  I   M  not  a  so-       yet  n,y  skin  is  softer,  clearer  than  it  has  ever       soil  the  bed  linen,      _S^\r  ^^^'Us^^t^ 

,  ..p^'v^  "V^E  -*■    ciety    lady,       been  ...  And  it  is  not  a  young  skin,  either,  as      either— an  asset,  I    ,,~,  '' ■-'7"~>-,       ,.,,. 

y^'lS"^^  ^         r      r         •   i»  T  .,„  „;j^u  .,„» "  assure  von  I"  Three  out-of-doorktddtes 

/I^C  >        far  from  It!"  one      I  am  middle  age.  T/    u  ...  with  tender  skins' ' 

l<2^^, /A^.,,,,—^         charming  letter  But  fie  upon  middle  age!     Keep  youthful  And  so  they  come 

'■My -^UmAmX        from   Colorado      with  Pond's!    This  from  Massachusetts:  "I       —letters  as  welcome,  as  kind  as  if  from  per- 

.  «T    ]•  am  a  mother  of  six.     I  look  so  voung  that       sonal  friends.  Won't  you,  too,  write  us  your  e.\- 

begins.        1    live      when  I  am  with  my  husband  folks  ask       iji£i':-^^^         a         periences  with  Pond's  Creams? 

on    a    ranch,    am       for  an  introduction  to  his  daughter!       M^^Mlwrn  -H^  // 

<^^'  out  all  day,  face       The  only  explanation  is  Pond's  Two      Jw|K^'^ij^         HPHE  following  is  the  com- 

f%Jk         unprotected  from       Creams.  J  have  used  nothing  else  tor      W  P«[(C3f<2       1  plete     Pond's    method    of 

1^-^\l         stinging  winds.       ^^  years.'  Il  P^O^^^^    caring  for  the  skin.  First  cleanse 

.^,      ^     ^      ,      J  J  N^nl^^^H    the    skin    with     Pond  s     Cold 

Yet  —  a    lady         /*  PRETTY  Georgia  girl  got  nd  of      _^i^j||H|^    Cream.  Then  with  Pond's  new 

"I'm  not  a  society  lady      asked  me  how  I       Xl.  premature  wrinkles: 'They  made       TtW^SlRr^^     Cleansing  Tissues  remove  every 

—  I  live  on  a  ranch..."      could    possibly       me  look  old.   I  was  ready  to  give  up  in  jJ^^S  Ti.^     traceof  oil.  Next  tone  and  frm 

V,..,r^cn  ^V,     n       despait.    A  month  ago  I  tried  Pond  s        Uj,';/-^~,,^[]j-^—     your  skin  with  Pond's  new  Skin 

L        r      .■      T  navesucna       Cold  Cream,  massaging  it  well,  leav-       ^  ,l''c/,  .         Freshener.  Finally  apply  Pond's 

smooth,  soft  skin.  I  opened  my  cupboard       ing  it  several  hours.  _  Now  I'm  looking         Across  the  States        Vanishing  Cream  for  finish  and 

andshowedhermyjarsofPond'sCreams!"       young  once  more.    I'm  delighted!"  tn  a  tora.  .  .  protection.     At    night    cleanse 

A     Brooklyn    woman     has  '  ,  ,  Other  clever  uses       and   refresh  your  skin  again  with   the  Cold 

a;,.,...,  A    c„        .-„  ni    -  >^  for  the  Two  Creams:       Cream   and   Freshener.     Used   regularly  this 

flivvered    four    tmes    across  |jA  A        "i  ^^  a  violinist,"  a      method  brings  new  beauty  to  your  skin. 

the  contment.    She  says:     A  §1^7^  '^  M      Chicago  girl  writes. 

University  friend   and  I        .^m/mmikt  .(iC^^JISl      "}  ^^"'^  difficulty      ]\J'gi(;f  14c  Offer'  Mail  this  coupomvhk 

wanted  to  see  America  first-      ^^^f  MW^Ki.        MTTTiM^      with  the  finger  tips  '  -U       •    fourteen  cents  (14c)  for 

hand.    We  camped  in  every    TP^ff^^^^^MFV   cnn™fv"hJHen       ("f^^es  of  Pond's  Cold  and  ranishing  Creams 
,.  f  ,   ^c-  ^■  ■  jM^Blr>        1    It     ^sir'x'SSf  /      constantly  harden       and  enough  of  Pond  s  new  Skin  Freshener  and 

climate  from  the  Siskiyous  m      y4«H'"M-'r  Ik^SU      and  peel- unless       Pond's  new  Cleansing  Tissues  to  last  you  a  week. 

January  to  the  Desert  in  July.      llBi'l  "^fflf"]    «      i       i    ,     iJ!r*lll     keptsoft  with  Pond's 

Water   and    alkali  just   ruin      'IT      ^^    -         ^      -     l^^™     Vanishing  Cream.        The  Pond's  Extract  Company,  Dept.  B 
the  skin...  We  found  Pond's        f^^     W^P^^        Yours  is  the  best  skin               114  Hudson  Street,  New  ^  ork  City 
y-y                            ...            Mtgry^,o.-jM>0t^^  ^  "  -f'-^^-^jaS^        softener  on  the  mar-       ,, 
Cream  a  necessity  of  tourist  .'»'     [         ^,^,rt*mw< -.«*'  ^^^„  Name 

equipment."  Wm**'^''  A  graduate  of  the      Street 

From   the   California   Desert:      These  Two  Creams  are  needed  to      University    of   Mis- 
"For  years  my  skin  was  treated      cleanse  and  protect  every  normal  skin      souri  says:  "Your       City Stale 

When  you  MTitc  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


MY    LIFE    STORY 


By    Clara    Bo 


w 


had  a  husband  to  care 
for  her  and  provide 
for  her  later  years. 

They  promised. 

They  were  married 
shortly  after  she  died. 

I  do  not  know  all 
the  story  of  what  hap- 
pened here  and  it  is 
too  painful  for  my 
father  to  speak  of. 

But  you  see  my 
father  had  been  ter- 
ribly spoiled.  He  had 
neglected  his  oppor- 
tunities for  education 
and  training.  Heoften 
speaks  sadly  now  of 
his  wasted  youth  and 
I  know  that  is  what 
he  means.  He  had  a 
quick,  keen  mind,  he 
had  imagination,  he 
had  all  the  natural 
qualifications  to  make 
something  fine  of  him- 
self. But  he  just 
didn't. 

HISpeoplethought 
him  too  young  to 
marry;  they  realized 
he  was  not  able  to 
face  the  world  and 
take  care  of  himself 
and  a  wife.  They 
were  very  unjust  it 
seems  to  me,  for  after 
all  his  life  had  been  in 
their  hands.  But  they 
cast  him  off  after  his 


The  Clara 
about  my 


marriage. 

My  mother's  people 
had     gradually     lost 
what  money  they  had 
—they  had  ne\er  been  rich — and  I  think 
my  grandmother   must   have   been   the 
business  head  of  the  family,  for  after  her 
death  things  went  to  pieces  very  quickly, 
and  the  home  my  mother  had  loved  was 
sold. 

So,  soon  after  they  were  married,  my 
father  and  mother  and  her  father  moved 
to  Brooklyn  and  my  father  started  a  small 
business  there.  They  li\ed  in  a  very 
small  place  to  begin  with,  only  two  rooms, 
and  it  was  hard  on  them  both.  My 
mother  had  always  been  accustomed  to 
country  life  and  she  always  hated  the 
city.  My  father  had  never  worked  and 
he  had  always  had  money  and  attention. 
My  grandfather  was  unhappy  over  the 
loss  of  his  wife  and  his  home  and  over 
being  dependent  upon  them. 

I  DO  not  think  my  mother  ever  loved  my 
father.  He  knew  it.  And  it  made  him 
very  unhappy,  for  he  worshipi^ed  her 
always.  His  devotion  to  her,  his  unfailing 
gentleness  and  kindness  all  through  the 
years  of  her  illness  is  like  a  miracle  to  me. 

There  were  two  children  born  before  I 
came  along,  both  girls.  One  lived  two 
hours.    One  lived  two  days. 

My  mother  came  forth  from  the  trag- 
edy  of    that    second    death    a    woman 


[  CONTINUED  FROM  PAGE  31  ] 

'  lovemeforfear  I,  too, 
would  be  snatched 
away  from  her.  She 
used  to  watch  me 
when  I  ran  about  the 
house  as  a  little  thing, 
ne\-er  taking  her  eyes 
off  me,  and  in  their 
depths  were  many 
things  I  was  too 
young  to  read. 

I  loved  her  terribly. 
Her  beauty  to  me 
was  something  di- 
vine. She  had  long, 
golden  hair  that  hung 
way  down  below  her 
knees,  the  most  beau- 
tiful hair  I  have  ever 
seen.  It  shone  like 
pure  gold.  I  used  to 
make  up  fairy  stories 
about  it.  And  her  face 
was  pale,  almost 
transparent,  with  fine 
chiselled  features. 

THE  pain  had  worn 
her  face  thin,  but 
it  hadn't  lined  it,  and 
still,  to  me,  in  spite  of 
all  that  happened, 
the  word  beauty 
brings  up  a  picture  of 
my  mother's  white 
thin  face  under  that 
mantle  of  gleaming 
hair.  She  was  tall  and 
slim  and  carried  her- 
self like  a  princess,  so 
I  think  it  must  be 
true  that  she  had 
good  blood  in  her.  No 
woman  could  have 
carried  herself  like 
broken  in  health  and  spirit.  I  don't  think  that  in  the  midst  of  so  much  misfortune 
she e%er  recovered  from  those  two  terrible     unless  she  had. 

illnesses,  nor  from  the  sorrow  and  horror         When  she  was  mean  to  me — and  she 
of  losing  her  two  first  born  babies.  often    was,    though    I   know  she  didn't 

The  doctor  told  her  she  must  never  mean  to  be  and  that  it  was  because  she 
have  any  more  children.  And  she  said  couldn't  help  it — it  broke  mj'  heart, 
over  and  over  that  she  didn't  want  any  I  wasn't  a  pretty  child  at  all,  in  spite  of 
more.  They  might  die,  as  her  two  little  the  fact  that  both  my  parents  were  and 
girls  had  died.  They  might  leave  her  such  a  contrast  to  each  other.  My 
without  any  reward  for  all  she  had  gone  mother  so  slim  and  fair,  my  father  a  squat 
through,  without  the  comfort  of  a  baby's  strong  man,  with  black  hair  and  twin- 
presence  which  wipes  from  a  woman's  kling  black  eyes.  My  eyes  were  too  black, 
mind  the  suffering  of  such  times. 

She  didn't  want  me.  Terror  possessed 
her  all  the  time  before  I  was  born.  Would 
she  die,  as  the  doctor  had  said?  Or,  if  she 
survived  the  ordeal  that  had  nearly  cost 
her  her  life  twice  before,  would  the  baby 
die,  as  the  two  others  had  died?  If  so, 
would  she  lose  her  reason?  She  was 
almost  mad  with  apprehension  and  fear. 
I  don't  suppose  two  people  e\-er  looked 
death  in  the  face  more  clearly  than  my  always  played  with  the  boys.  I  never  had 
mother  and  I  the  morning  I  was  born,  any  use  for  girls  and  their  games.  I  ne\-er 
We  were  both  given  up,  but  somehow  we  had  a  doll  in  all  my  life.  But  I  was  a  good 
struggled  back  to  life.  runner,  I  could  beat  most  of  the  boys  and 

From  that  day  to  the  day  she  died  my  I  could  pitch.  When  they  played  baseball 
mother  never  knew  a  moment  free  from  in  the  exening  in  the  streets,  I  was  always 
ill  health  of  the  most  shattering  kind.  She  chosen  first  and  I  pitched.  I  don't  think 
idolized  me,  but  with  a  strange,  bitter  I  had  very  good  clothes,  they  were  rougher 
love,  almost  as  though  she  was  afraid  to     and   older      [continued   on    page    104] 


Bow  that  Hollywood  knows.    "When  I  have  told  you 
short  life,  maybe  you  will  understand  why  I  am  the 
spirit  of  the  jazz  age" 


and  iny  hair  was  too  red. 

But  I  was  sturdy  and  healthy.    When  I 
was  little  people  always  took  me  for  a  boy. 

WE  lived  then,  and  all  the  rest  of 
the  time  we  stayed  in  Brooklyn,  in 
the  upstairs  of  a  house  on  a  side  street 
in  an  ordinary  neighborhood.  I  went 
to  the  nearest  public  school  and  played  in 
the   streets   like   the   other   children.      I 


%'^%''t'" 


.^r*" 


OLIVE  TREE 


Soap  From  Trees 


ISlature's  Gift 


THE  art  of  being  beautiful  today  is 
simply  the  secret  of  keeping  natural 
beauty  .  .  .  the  artificial  complexion  of 
yesterday  has  no  place  in  the  modern 
scheme  of  allurement.  Women  have 
learned  that  natural  ways  are  best  in  skin 
care;  that  gentle,  common-sense  care 
is  far  more  potent  than  the  most 
involved  of  beauty  methods.  For 
Youth  is  thus  retained. 

Keeping  the  skin  clean,  the  pores 
open,  is  the  secret.  Doing  this  with 
pure  soap  .  .  .  with  soap  made  for 
ONE  purpose  only,  to  safeguard 
good  complexions  ...  is  the  important 
part  to  remember. 

So,   more    and    more    every   day, 
thousands  turn  to  the  balmy  lather 
of  Palmolive  ...  a  soap  that  is  kind         ; 
to  the  skin,  a  soap  made  with  beau- 
tiful complexions  always  in  mind. 

The  rule  to  follow  if  guarding  a 
good  complexion  is  your  goal 

WASH  your  face  gently  with 
soothing  Palmolive  Soap,  mas- 
saging the  lather  softly  into  the  skin. 
Rinse  thoroughly,  first  with  warm 
water,  then  with  cold.  If  your  skin 
is  inclined  to  be  dry,  apply  a  touch 
of  good  cold  cream — that  is  all.  Do 


to 


this  regularly,  and  particularly  in  the  eve- 
ning. Use  powder  and  rouge  if  you  wish. 
But  never  leave  them  on  over  night.  They 
clog  the  pores,  often  enlarge  them.  Black- 
heads and  disfigurements  often  follow. 
They  must  be  washed  away. 

Avoid  this  mistake 

DO  not  use  ordinary  soaps  in  the 
treatment  given  above.  Do  not 
think  any  green  soap,  or  one  repre- 
sented as  of  olive  and  palm  oils,  is 
the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So 
little  that  millions  let  it  do  for  their 
bodies  what  it  does  for  their  faces. 
Obtain  a  cake  today.  Then  note  the 
amazing  difference  one  week  makes. 

Soap  from  trees! 

THE  only  oils  in  Palmolive  Soap 
are  the  soothing  beauty  oils  from 
the  olive  tree,  the  African  palm  and 
the  coconut  palm  — and  no  other  fats 
whatsoever.  That  is  why  Palmolive 
Soap  is  the  natural  color  that  it  is — • 
for  palm  and  olive  oils,  nothing  else, 
give  Palmolive  its  natural  green  color. 
The  only  secret  to  Palmolive  is  its 
exclusiveblend— andthatisoneofthe 
world's  priceless  beauty  secrets.  The 
Palmolive-PeetCompany,Chicago,Ill. 


Palmolive  Radio  Hour  — 

Broadcast  every  Friday  night  from 
10  to  11  p.m.,  eastern  time;  9  to  10 
p.  m.,  central  time,  over  station 
WEAFand  28  stations  associated  with 
National  Broadcasting  Company. 


Palmolive  Soap  is  untouched  by  human  hands  until 
you  b^t^ak  the  wrapper —  it  i\  net'er  sold  unwrapped 


lOc 


Camel 

The  cigarette  that  leads 
by  billions 

Just  to  state  a  great  truth  in 
another  way — Camel  is  so  ex- 
actly what  so  many  smokers 
want  that  no  other  brand  is 
even  a  close  second* 


If  all  cigarettes  were  as  good  as 
Camel  you  wouldn't  hear  any' 
thing  about  special  treatments 
to  make  cigarettes  good  for  the 
throat.  Tslothing  takes  the  place 
of  choice  tobaccos. 


©  1927,  R.  J.  Reynold.  Tobacco 
Company,  Winston-Salem,  N.  C. 


The  Shadow  Stage 


GARDEN  OF  EDEN— United  Artists 

npHIS  picture  does  not  do  Corinne  Griffith 
••■  justice.  It  hovers  between  drama  and 
comedy  without  being  either.  A  young 
girl  meets  the  proverbial  temptations  of  a 
ibaret   singer;   avoids   them   through   the 


[  CONTINUED  FROM  PAGE  55  ] 

Nevertheless  it  is  well  filled  with  action 
and  romance  and  what  more  does  one  want ' 
Charles  Byer  and  Patsy  Ruth  Miller  are 
the  lovers.     Okay. 

DEAD  MAN'S  CURVE— FBO 


assistance  of  the  wardrobe  woman  and  goes     'T'HIS   is   very   poor   entertainment   even 
with   her   benefactor  to   Monte   Carlo.     A  though    Douglas    F 


I'ealthy  young  man  enters.  You  can  guess 
the  rest.  The  star  makes  the  most  of  her 
opportunities,  as  does  Charles  Ray,  who 
seems  miscast  as  the  young  hero. 

THE  GAY  DEFENDER— Paramount 

"D  ICHARD  DIX  has  grown  a  mustache 
-'^and  Spanish  sideburns  as  Joaquin  Mur- 
rictta,  an  aristocratic  Spanish  youth,   who 


_  „         Fairbanks,    Jr.,  heads 

the  cast.  Another  variation  of  the  famous 
motor-maniac  yarn  that  has  about  as  much 
pep  as  a  flat  tire.     Need  more  be  said? 

CHEATING  CHEATERS— Universal 

rysCK  upon  a  time  there  were  two  bands 
^^-'of  crooks — each  one  out  to  do  the 
other.  Now,  in  one  band  there  happened 
be  a  charming  young  lady  and  in  the 


turns  to  banditry  to  right  the  wrongs  done     other  a  charming  young  man.     As  to  th( 

'     '        "         '  '  outcome— that's  your  business.    Trot  down 

to  the  first  theater  showing  this,  for  a  good 

time.     Betty  Compson  and  Kenneth  Harlan 

are  in  the  cast. 

TWO  GIRLS  WANTED— Fox 


him  and   his   people  by  American   desper-     outcome — that 
adoes.     Thelma  Todd,   in   the  costume  of 
1850,  is  quite  attractive. 

THE  DESIRED  WOMAN— Warners 

TRENE  RICH  portrays  an  English  woman 

J-married  to  the  commander  of  a  military  JOHN  GOLDEN'S  stage  play  makes  a 
outpost  in  India.  He  is  inconsiderate  and  ''very  enjoyable  movie.  The  story  is  about 
neglectful.  She  turns  to  a  youthful  lover  a  little  steno  who  substitutes  for  the  boss's 
(William  Collier,  Jr.)  and  he  persuades  her  capable  secretary  while  on  vacation, 
to  leave  her  husband.  They  are  thwarted  Everything  goes  wrong  and  she  prevents 
by  a  fearful  windstorm.     John   Miljan,  as     the  hero    (the  boss's   business  rival)    from 

being  double-crossed.  You  know  the  in- 
e\itable  ending.  Janet  Gaynor  is  the 
whole  show  here.     Go  see  this. 


Limit.  Kellogg,  does  the  best  work  of  his 
career. 

THE  WIZARD— Fox 

TF  you're  one  of  those  creatures  who  just 
-'■loves  those  blood-curdling  mystery  dramas 
here's  your  dish.  Taken  from  the  stage 
play  "Baloo"  by  Gaston  Leroux,  it  tells 
the  story  of  a  newspaper  reporter  and 


WOMAN  WISE— Fox 

Vy^ALTER  PIDGEON,  American  Con- 
Y*  sul  to  Persia,  went  four  thousand 
miles  to  get  away  from  a  woman.  Then  he 
is   sent   a    woman    assistant,    who   is   none 


cluck  detective  who  solve  the  mystery  of —  other  than  June  Colher.  Of  course,  you 
but  why  spoil  your  enjoyment  by  revealing  know  his  attitude  will  change  now.  June 
the  plot?  Edmund  Lowe,  Leila  Hyams  Collyer  has  beauty.  Walter  Pidgeon  and 
and  Gustav  von  Seyftertitz  are  the  reasons  William  Russell  render  smooth  performances 
why  you'll  spend  an  enjoyable  hour.  ^^^  ^^^^  ^^  ^^^  PULLMAN- 
VERY  CONFIDENTIAL— Fox  Pathe-De  Mille 
TT'S  nothing  but  the  old  plot — that  of  the  A  NEWLY  married  couple  on  their 
-Llittle  sales-girl  copping  society's  best  bet  ■'   *"  honeymoon     find     themselves    in    the 


— but  so  cleverly  has  it  been  camouflaged 
that  one  doesn't  realize  it  is  ancient  history 
until  the  picture  ends.  It's  amusing  and 
many  will  find  an  enjoyment  in  it — espe- 
cially if  they  are  keen  about  Madge  Bellamy. 

THE  TIGRESS— Columbia 


same  Pullman  with  the  groom's  e.x-wife 
and  the  bride's  e.\-beau.  Surprises,  and 
consternation  follow.  Marie  Prevost,  as  the 
ex-wife,  has  the  stellar  role.  She  is  ably 
supported.  Delightful,  light  entertainment. 

THE  SILVER  SLAVE— Warners 


TF  you  are  interested  in  observing  how  re-     TRENE  RICH  portrays  a  widow  who  had     marry  his 
-•■markably      Dorothy      Revier      resembles     -'■loved  one  man  and  married  another  for     a  husban- 


of  Otto  Matieson's  life,  especiail)-  when  so 
terribly  over-acted. 

ACROSS  THE  ATLANTIC— Warners 

A  COMBINED  war  and  aeroplane  story 
•*  *■  with  some  old  angles  dished  up  in  a 
new  manner.  Monte  Blue  does  a  Lind- 
bergh and  flies  to  Paris,  just  in  time  to  keep 
his  "widow"  from  marrying  his  brother. 
At  least,  she  thought  she  was  a  widow,  with 
her  husband  reported  lost  in  action  and 
missing  six  years.  An  aeroplane  cost  him 
his  memory;  an  aeroplane  altitude  flight 
recovers  it.      Program   entertainment. 

PRETTY  CLOTHES— Sterling 

TN  this  Jobyna  Ralston  lets  herself  in  for 
-•■a  lot  of  trouble  when  she  allows  a  man  to 
give  her  an  account  at  a  fashion  shop.  Since 
this  IS  a  nice  little  love  story,  with  a  happy 
ending,  we  shall  not  tell  more.  Johnny 
Walker  makes  a  fine  lover  and  Jobyna  is  good. 

COME  TO  MY  HOUSE— Fox 
■TliTHATEVER      story      interest       there 

might  have  been  in  the  beginning  is 
lost  by  the  lagging,  insipid  direction.  Even 
Olive  Borden's  gorgeous  figure  is  wasted 
by  over-dressing.  Antonio  Moreno  sup- 
ported Olive  as  well  as  possible  under  the 
conditions  offered.  Don't  waste  an  evening. 

CASEY  JONES— Rayart 
■Xyf  OST  people  are  familiar  with  the  old 
■^v-^song  "Casey  Jones,"  and  will  be  ex- 
pecting this  story.  Ralph  Lewis  and  Kate 
Price  do  their  usual  good  work  and  Jason 
Robards  and  Ann  Sheridan  furnish  the  love 
interest. 

DISCORD— Pathe 

■T'HIS  is  a  foreign  made  picture,  which  is 
■•-reputed  to  have  cost  $650,000.  Lil 
Dagoyer  plays  a  woman  who  is  coerced  into 
marrying  a  man  she  does  not  love,  in  order 
to  save  the  family  finances.  Her  husband 
(Gosta  Ekman),  takes  her  to  Sweden.  Life 
in  a  lumber  district  is  monotonous,  so  she 
goes  home  for  a  visit  and  from  there  on  the 
troubles  begin.  Strong  love  scenes  between 
Lil  Dagover  and  Gosta  Ekman. 

BABY  MINE—M.-G.-M. 

■"THIS  is  a  gag-comedy.     But  uproariously 
^  funny.     George  K.  Arthur,  in  order  to 
■  is  sweet  little  lad>-,  must  first  find 


Gloria  Swanson,  this  may  be  worth  a  few 
moments  of  your  time.  Otherwise,  stay 
away.  Jack  Holt  is  featured,  but  the  real 
acting  is  furnished  by  Miss  Revier  and 
Phillipe  de  Lacey. 


IS  money.  She  has  a  daughter  whom  she 
denies  nothing.  John  Miljan  is  the  globe- 
trotting villain.  The  mother  finds  it  neces- 
sary to  win  him  away  from  the  daughter  in 
order  to  expose  him.  Irene  Rich  is  good, 
and  Audrey  Ferris,  as  the  daughter,  does 
e.xceptionally  good  work. 


LADIES  MUST  DRESS— Fox 

'HIS    is    that    faithful    standby— clothes      ,    ,  x^nr^   t»t  ^„r,   „,,. , 

make  the  woman  and  get  the  man.   Eve     ^  LIGHT  IN  THE  WINDOW-Rayart 


resembled  a  "prairie  schooner"  until  she 
was  taken  in  hand  by  her  girl-friend.  And 
then,  my  dear,  you  should  see  the  boy- 
friends. Virginia  Valli  plays  the  gal  well 
enough  but  the  outstanding  performer  is 
Nancy  Carroll,  the  G.  F. 

THE  THIRTEENTH  HOUR—M.-G.-M. 

A  NOTHER  mystery  yarn  with  secret 
■*  ^-panels,  trapdoors,  underground  pas- 
sages and  a  series  of  other  mysterious  what- 
nots. But  a  criminal  can't  outsmart  the 
clever  dog.  Napoleon,  also  on  his  trail.  And 
there  you  have  the  whole  plot. 

RED  RIDERS  OF  CANADA— FBO 

"THEY  correspond  to  our  Mounted 
■*•  Police.  Now  you  know  what  the  story 
is  about  except  the  locale  is  in   Canada. 


on  Karl  Dane  as  a  life-partner  for  Charlotte 
Greenwood.    Such  a  pair  as  they  make! 

THE  LIGHTER  THAT  FAILED 
M.-G.-M. 

A  SHORT  Hal  Roach  comedv,  starring 
■'  »■  Charley  Chase,  show'ing  how 
careful  we  should  be  about  birthday 
presents.     Lovel}-  Edna  Marion  plays  the 


HENRY  B.  WALTH.^LL  again  delights     feminine  lead  and   Gene   Paulette  renders 


■with  a  fine  portrayal.  This  time  it  is 
a  Swedish  cobbler.  His  chief  interest  in  life 
is  his  daughter  Dorothy.  He  has  brought 
her  up  in  strict  isolation,  except  some  associ- 
ation with  the  manicurist,  Mazie.  On  her 
eighteenth  birthday  she  runs  away  and 
marries  a  man  who  deserts  her  the  same 
night.    Then  the  agony  begins. 

THE  LAST  MOMENT— Fine  Arts 

TTHIS  picture  has  been  heralded  as  one 
-*■  of  the  most  unusual  independent  films 
of  the  year — and  we  have  to  admit  it.  To 
begin  with,  there  is  not  a  sub-title  in  the 
picture.     The  picture  opens  with  a  drown- 


capable  assistance.  There  are  laughs  enough 
to  cure  your  indigestion. 

WIZARD  OF  THE  SADDLE— FBO 

"LjrOWDY  folks,  meet  FBO's  newest  cow- 
■•-  ■'■boy  star — Buzz  Barton,  the  thirteen 
year  old  rope  slinging  hero.  The  story  is 
just  plain  old  Western  hokum  but  Buzz's 
refreshing  personality,  his  swell  riding  and 
big  freckles  will  place  him  among  the  top- 
notchers. 

WOLF  FANGS— Fox 

TTHE  brutal  step-father  is  at  it  again  but 
,      ,-  ,■    ,        ^  °f  course  the  handsome  Mounty  steps  in 

ing  man.  It  closes  as  the  last  fingers  of  the  on  time  and  saves  the  little  gu-u-rl  But 
hand  go  down  under  the  water.  Fans  will  the  real  hero  of  this  piece  is  Ranger,  another 
not  be  interested  in  the  kaleidoscopic  review     clever  canine. 

81 


Making  a  Million 


an'  rode  away  with  $8,500  in  cash.  One 
of  the  men,  he  said,  was  a  ridin'  a  dark 
horse  an'  the  other  a  sorrel.  Instantly.  I 
figured  that  in  not  meetin'  the  gents,  I'd 
missed  a  good  chance  to  add  §4,250.00  to 
my  own  bankroll,  a  leavin'  only  $995,750 
necessary.  About  that  time  a  lot  of  banks 
had  been  held  up  in  Oklahoma  an'  the 
banks  an'  express  officials  was  a  pa\in' 
fifty  per  cent  of  all  the  money  that  was 
reco\^ered  as  a  reward. 

Then  it  was  that  I  got  a  letter  from  a 
man  askin'  me  to  come  to  Dewey,  so  I 
rode  over  to  that  town.  This  gent,  whom 
I'd  known  for  a  long  time,  told  me  the 
Dewey  bank  had  been  twice  held  up, 
each  time  for  a  considerable  sum.  The 
people  around  Dewey,  he  went  on  to  ex- 
plain, was  a  withdrawin'  a  lot  of  their 
cash  from  the  bank,  an'  others  seemed 
to  be  afraid  to  put  more  in  for  fear 
they'd  lose  it,  as  in  those  days  there  was 
no  money  insurance  for  banks  like  they 
have  today. 

"Now,  Tom,"  this  Dewey  man  said, 
"when  you  lived  down  in  Texas,  you 
always  turned  out  when  they  needed  a 
posseman,  an'  gave  a  good  account  of 
yourself.  The  job  of  town  marshal  of 
Dewey  is  vacant.  JMe  an'  the  mayor  are 
good  friends  an'  from  what  I've  told 
him  about  you,  him  an'  the  bank  folks 
are  satisfied  that  you  can  keep  law  an' 


'he  had  a  little 
ain't  here  any 


I  inquired. 


[  CONTINUED  FROM  FAOE  67  ] 

order  in  this  town.    Besides,  it's  a  steady 
job." 

"What  became  of  the  feller  who  had  it 
last?"  I  broke  in. 

"Well,"  says  the  man, 
bad  luck  an'  quit.  He 
more." 

"Where  did  he  go  to?" 

"I  think,"  says  he,  talkin'  kind  of 
slowly,  "that  they  buried  him  either  in 
Arkansas  City  or  Wichita  as  he  had 
friends  in  both  places  an'  some  of  'em 
looked  after  the  remains." 

"Just  what  did  he  die  of?"  I  kept  on, 
askin'  more  to  see  if  Dewey  was  a 
healthy  place  to  live  in  than  anything  else. 

"Tom,"  announces  my  friend,  "there 
ain't  no  use  in  my  a  decei\in'  of  you,  but 
this  here  last  marshal  got  killed.  You 
see,  he  wasn't  a  \ery  good  shot  anyway 
an'  a  coupl'a  fellers  beat  him  to  the  draw." 

Further  inquiry  disclosed  that  the  last 
town  marshal  had  held  down  the  mar- 
shalin'  job  for  about  three  months.  The 
one  before  him  lasted  seven  weeks  an'  one 
feller  wasn't  there  long  enough  to  draw 
his  first  month's  pay.  It  seemed  a 
stead>-  job  as  mj-  friend  had  said,  but  not 
steady  for  one  man.  Still  it  paid  $90  a 
month,  which  was  a  heap  better  than 
cowpunchin'  an'  from  all  accounts,  a 
heap  more  excitin'l 

I  told  my  Dewey  friend  that  I'd  think 


the  thing  over  an'  decide  durin'  the  day. 
Walkin'  around  the  town  I  dropped  into 
the  postoffice  to  mail  a  letter  to  a  feller  in 
Chicago.  Tacked  in  front  of  the  writin' 
desk  in  the  postoffice  I  saw  a  big  circular, 
announcin'  a  reward  of  $5,000  for  the 
arrest  an'  apprehension  of  a  feller  who, 
when  last  heard  of,  was  a  bearin'  the  tem- 
porary moniker  of  Henry  Morgan,  an' 
more  generally  known  as  Buck  Morgan. 

It  seemed  that  this  here  Buck  Morgan 
had  dropped  into  a  bank  just  as  it  was  a 
closin'  up  an'  overdrawed  his  account 
somethin'  like  $27,300,  an'  the  sheriff  of 
El  Paso  county  stood  ready  to  pay  out 
the  $5,000  so  Buck  could  come  back  an' 
help  get  the  books  of  the  bank  straight- 
ened out. 

I  had  a  sneakin'  idea  about  this  time 
that  I  knew  this  gent,  Mr.  Buck  Morgan, 
ha\in'  seen  a  bird  who  looked  like  the  man 
in  circular's  picture  a  punchin'  cows 
around  Amarillo,  Texas,  an'  who  was 
called  Buck  by  the  rest  of  the  boys  in  his 
outfit.  In  my  mind  came  a  question — 
should  I  go  marshalin'  an'  round  up  this 
o\'erdrawed  gent?  If  he  had  less  tlian 
$5,000  when  I  found  him,  I  figured  I'd 
probably  claim  the  reward,  but  if  he  was 
still  a  carryin'  the  $27,300  it  was  hard 
to  say  what  I  might  consider  was  the 
next  best  step. 

[  CONTINUED  ON  PAGE  115  ] 


Winners  of  Idea   Contest 
the  March  Issue 


in 


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complete  list  of  winners.  Watch  for  the  March  Photoplay  on 
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Photoplay  Magazine — Advertising  Section 


83 


Pleased?  or  Regretful? 

when  you  take  off  your  hat,.. 


Does  your  hair  make  you  -prei- 
tier?  Does  it  frame  your  features 
becomingly?  Do  its  natural  little 
lights  warm  your  coloring?  Does 
its  gleam  lend  a  sparkle  to  your 
eyes? 

Your  hair  is  so  important. 
And  brings  to  your  looks  such 
charm  if  it  is  always  fluffy,  soft, 
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2  Packer  Shampoos.  In  each  is 
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shampoos  —  55  years  of  con- 
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In  each  bottle — safe  cleansing, 
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*1 

i     HpK\Mi'iiii| 

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i!| 

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Cily                                                           .Stale 

r.  .«™r,  ,r„rr.„.  m^i/ino  PRINTmim,  and  M«r,.. 

OLIVE  0 

write  to  adver 

IL     PINE  TAR 

lisers  please  mentiun   PHOT 

in.AY   MAGAZINE. 

Better  than  Pickford 


[  CONTINUED  FROM  PAGE  69  ] 


as  the  assistant  thanked  them  mechani- 
cally and  excused  them  for  the  day. 

Five-sixths  of  the  baby  doll  sextette 
hurried  away  to  dressing  rooms.  The 
other  sixth  climbed  down  off  the  ladder 
with  a  last  wistful  glance  toward  the  un- 
touched food  on  the  tables. 

"Say,  baby,  we're  killin'  this  set  in 
about  a  minute.  A  bunch  of  swell 
salads  goin'  to  waste  there.  How'd  you 
like  to  have  me  slip  you  one  for  your 
lunch?" 

Mary  Rose  looked  up  to  meet  the 
smiling  eyes  of  Jimmy  Riley,  the  prop 
boy.  It  was  not  the  first  time  she  had 
encountered  Jimmy.  That  morning, 
when  a  button  had  popped  oft'  her  pump 
just  when  the  cameraman  was  ready  to 
shoot,  it  was  Jimmy  who  quickly  at- 
tached a  new  one  with  a  tiny  safety  pin. 

"Oh,  that  would  be  just  wonderful!" 
Mary  Rose  wanted  to  throw  her  arms 
about  his  neck  and  hug  him  tight.  "It 
seems  like  you're  always  doing  something 
nice  for  me,"  she  added  shyly.  "The 
way  you  fixed  my  shoe  this  mornings 
and  everything." 

"That's  all  right."  Jimmy's  face 
flushed  to  match  the  carrot  shade  of  his 
hair.  "You're  not  like  these  other  jazz 
babies.  I  sure  can't  give  most  of  'em 
much.    You're  kinda  different — see?" 


It  was  Mary  Rose  who  blushed  then, 
though  the  makeup  disguised  the  blush 
and  Jimmy  saw  only  the  wistful  little 
smile  which  he  mentally  catalogued  as  a 
knockout. 

"Do  you  think  anybody'll  care — I 
mean  about  your  gi^•ing  me  one  of  the 
salads?"  she  questioned  timidly. 

"You  just  \ea\e  that  to  me,  baby,"  he 
reassured  her.  "I  wouldn't  do  this  for 
e\"erybody — see — but  you're  kinda  dif- 
ferent. I  been  watchin'  you  up  there  on 
that  ladder  and  I  said  to  myself,  I'll  bet 
that  little  baby  doU'd  like  one  of  those 
salads." 

"^'on  certainly  are  a  good  guesser,"  she 
laughed  self-consciously. 

At  Jimmy's  direction  she  slipped  back 
of  a  flat  where  she  would  be  out  of  sight. 

"Say,  there's  chicken  a  la  King  in  the 
chafing  dishes."  He  spread  a  napkin 
across  her  knees  and  deposited  the  salad 
plate.  "I  guess  it's  cold  now  but  I'll 
bring  you  some  if  you  like  it." 

"I  just  love  it!"  beamed  Mary  Rose. 

She  was  glad  that  Jimmy  did  all  the 
talking  and  didn't  seem  to  notice  that 
she  was  eating  every  single  bit  of  the 
salad. 

"Been  in  pictures  long?"  he  questioned. 

"Not  so  very,"  she  answered  non- 
committallj',  scraping  up  the  last  bit  of 


chicken  which  she  was  eating  with  a 
spoon. 

"\Aell,  I  don't  know  as  you've  got  IT," 
he  studied  her  critically,  "not  like  Clara 
Bow  has,  anyhow — but  you've  got  some- 
thing else,  baby.  I  can't  just  name  it — 
maybe  there  ain't  never  been  a  word 
coined  for  it  yet — but  believe  me  I 
know  it  when  I  see  it." 

Mary  Rose  watched  him  roll  a  cigarette. 
He  was  like  one  of  the  boys  back  home. 
He  didn't  look  at  her  in  that  disrobing 
way  that  always  made  her  feel  so  self- 
conscious. 

"You  know,  baby.  I  ain't  going  to  be 
in  this  job  all  mj-  life.  No  sir.  V\e  been 
saving  my  money  and  r\e  got  an  idea  all 
doped  out  for  a  quickie." 

"Honestly?"  Mary  Rose  listened 
eagerly. 

"You  see  Wc  got  a  swell  bunch  of  sets 
that  I  picked  up  cheap.  Gee,  you  ought 
to  see  the  ^vay  I'xe  got  my  place  all 
gagged  up." 

She  lo^■ed  the  way  his  eyes  crinkled  up 
at  the  corners  when  he  smiled.  They 
had  a  way  of  making  her  smile  right  back 
at  him. 

"The  front  part  of  it  is  a  sort  of 
mountain  cabin  that  I  grabbed  off  a 
\^'estern  set  for  ten  bucks."  He  began  to 

[  CONTINUED  ON  PAGE  121  ] 


She  Called  Herself  Sonia 


[  CONTINUED  FROM  P.\GE  76  ] 


always    Sonia    Karlov    began    to    grow     discussed  at  length  the  best  method  of 
heavier  and  heavier.     It  had  been  fun  at     procedure.    Obviously,  the  onlj'  thing  to 
first,  when  there  was  nothing  at  stake,     do  was  to  tell  De  Mille  before  someone 
Now  it  was  becoming  more  ner\e-racking, 
for  always  was  the  fear  that  her  employer 
would  learn  and  the  contract  would  go  up 
the  chimney. 

Sonia  was  the  rage  of  the  Saturday 
press  luncheons  at  the  new  Roosevelt 
Hotel. 

THE  Saturday  hmcheons,  howe\er, 
proved  to  be  Sonia's  undoing,  for  at 
one  of  them  she  came  upon  Lina  Bas- 
(luette  unexpectedly,  in  company  with  a 
number  of  newspaper  and  magazine 
representatives. 

Before  the  introduction  Lina  cried  out 
in  friendly  fashion: 

"Why,  hello,  Jeanne." 

Then,  before  anybody  could  explain, 
she  turned  to  her  escort  and  said: 

"I  knew  this  girl  in  the  Follies  four 
years  ago.    We  used  to  dance  together." 

Sonia  carried  on  the  pretense  for  awhile 
even  after  this. 

The  luncheon  was  an  ordeal  for  her,  but 
.she  got  through  it,  e\en  facing  down  the 
pointed  wise-cracks  of  a  journalist  who 
claimed  to  have  remembered  her  in  a 
Texas  Guinan  show. 

The  agent  heard  of  the  story  and  ihiy 


Charles  Byer  gets  his  first  oppor- 
tunity to  be  a  romantic  leading 
man  in  "The  Red  Riders  of  Cana- 
da." Patsy  Ruth  Miller  is  the  girl 
who  is  making  his  initiation  so 
pleasant.  Look  what  the  screen 
has  been  missing  all  these  months 


else  did.  So,  fearfully,  like  two  truant 
school  children,  they  went  to  Sistrom,  the 
man  who  had  originally  arranged  for  the 
test. 

Sistrom  went  to  tell  De  Mille  while 
Jeanne  waited,  trembling  and  expecting 
catastrophe. 

It  didn't  happen. 

De  Mille  has  a  sense  of  humor  and  he  is 
a  good  sport. 

\\"hen  he  was  told  of  the  hoax  his  first 
answer  was  a  loud  and  robustious  laugh. 

He  admired  anyone  who  could  fool 
Hollywood.  Moreover,  he  liked  the  test 
and  he  liked  Sonia. 

So  the  contract  remains  with  the 
promise  of  good  screen  roles  in  the  near 
future.  Sonia  has  dropped  her  accent, 
to  the  extreme  amazement  of  those  who 
were  still  fooled  by  it,  and  she  is  happy 
and  care-free  once  more. 

But  the  greatest  quip  of  all  remains  un- 
told. 

AFTER  her  contract  had  been  signed, 
she   was    considered    for    a    role   in 
"The  Godless  Girl." 

Studio  officials  at  De  Mille  finally  de- . 
cidcd  against  her.  She  was  too  conti- 
nental for  the  rclc  of  an  American  girl, 
the\-  decided. 


84 


u 


Photoplay  Magazine — Advertising  Section 

Only  a  sore  throat 


«5 


ff 


Don't  ever  underestimate  the 
danger  of  a  sore  throat;  if  neglected, 
it  may  develop  into  something  seri- 
ous— as  many  know  to  their  sorrow. 

The  same  goes  for  a  cold;  pneu- 
monia at  this  time  of  the  year  is  your 
great  enemy. 

At  the  first  sign  of  cold  or  throat 
irritation,  use  Listerine  full  strength 
as  a  gargle.  Keep  it  up  system- 
atically. 


Being  antiseptic,  it  immediately 
attacks  the  countless  disease-pro- 
ducing bacteria  in  mouth  and  throat, 
and  halts  many  an  ailment  before 
it  becomes  dangerous. 

During  winter  weather,  when 
you  are  usually  subjected  to  poor 
air  and  sharp  changes  in  tempera- 
ture, it's  a  good  idea  to  use  Listerine 
every  day  as  a  mouth  wash  and 
gargle. 


This  pleasant  and  easy  precaution 
may  spare  you  a  trying  and  painful 
siege  of  illness.  Lambert  Pharmacal 
Company,  St.  Louis,  Mo.,  U.  S.  A. 


Never  neglect 
a  sore  throat 


NEXT  TIME ! 


ask    for   Liste 
Paste  at  25c  the 


dentifrice 
Tooth 

larfte  tube.  It  has  halved 
he  tooth  paste  bill  of 
more    than    two    mil- 


^S»Nfe 


r^'^^ 

More  than 
50  diseases 

have  their  beginning  or 
development    in    the 
throat.  Some,  of  mild 

i;;         ' 

character,  yield  to  an  an- 
tiseptic.     Others,    more 
serious,  do  not.     At  the 
first  sign  of  an  irritated 
throat,  garftle  frequent- 
ly with  Listerine.    If  no 

■ 

improvement   is   shown, 
consult  a  physician. 

^HHHlMl^^' 

LI   STERINE 

-the  safe  antiseptic 


please   mention   PHOTOPLAY   MAG.\ZI.\E. 


Gossip  of  All  the  Studios 


"What  a  rip-roaring  fire  it  would 
make,"  he  murmured.  "Why  don't  we 
write  a  scenario  and  burn  it  down  in  a 
picture." 

And  that's  why  "Sin  Town"  is  now  in 
production,  with  the  burning  of  a  town  as 
one  of  its  salient  features. 

That,  friends,  is  how  one  scenario  was 


■\A7'HAT  these  fans  won't  ask  to 
"  "  have  autographed  next ! 

A  girl  was  visiting  the  Paramount 
lot,  met  William  Powell,  handed  him 
her  raincoat  with  an  urgent  solicita- 
tion that  he  write  his  name  upon  it. 

So  Bill  affably  signed,  "From  one 
slicker  to  another." 

REMEMBER  young  Iris  .Stuart  who 
made  such  a  brave  start  in  Holly- 
wood about  a  year  ago?  Iris,  an  expe- 
rienced model,  had  a  fine  career  mapped 
out  for  herself  and  a  nice  contract  to  back 
up  her  hopes  when  suddenly  she  became 
ill  and  had  to  leave  Hollywood. 

It  was  a  tough  break,  but  Iris  went 
quietly  to  her  aunt's  home  in  Coopers- 
town,    X.   '\'.,   and   there  recovered   her 


[  CONTIXUED  FROM   P.AGE  47 

Stiller.  "Americans  gi\e>'ou  more 
opportunities,"  Hanson  says. 

"They  say  in  substance,  'You're 
an  actor,  now  act.'  They  make 
\-ou  create  your  roles." 

TI7HEN  W.  C.  Fields  was 
""  injured,  Wilson  Miz- 
ner  sent  him  the  following 
telegram: 

"Sorry  you  are  hurt.  My 
blood  is  two-thirds  formal- 
dehyde from  drinking  Holly- 
wood gin.  However  it  you 
need  blood  transfusion  can 
let  you  have  two  quarts." 

THIS  really  has  all  the  elements 
of  a  short  story. 
A  certain  studio,  ambitious  for 
"big  names"  in  its  scenario  de- 
partment has  established  the  cus- 
tom of  importing  famous  authors 
from  the  east  to  Hollywood,  put- 
ting them  under  a  high  salary  for 
a  short  period  and  commissioning 
them  to  turn  out  an  "idea." 

In  almost  every  case  the  "ideas" 
so   turned   out   have  been  quite 


Joan  Crawford  at  the 
age  of  four  years  and 
one  of  the  prettiest 
little  girls  in  Texas. 
The  neighbors  knew 
her  as  young  Lucille 
Le  Sueur 


At  last  Marion  Davies' 
imitations,  the  treat  of 
every  Hollywood  party, 
come  to  the  screen.  In 
"The  Patsy,"  Marion  imi- 
tates Pola  Negri,  Lillian 
Gish  and  Mae  Murray. 
King  Vidor,  her  director, 
is  the  fellow  who  is  com- 
paring one  of  the  take-offs 
with    the    original    model 


health.    She  has  returned  to  Hollywood, 
looking  more  beautiful  than  ever. 

LARS  HANSON  and  his  wife,  formerly 
known  on  the  Swedish  stage  as  Karlin 
.Xolander,  sailed  for  Sweden  to  spend  the 
holidays.  In  New  York  Hanson  ex- 
pressed himself  as  liking  to  work  for 
American  directors,  although  he  has  a 
great  personal  admiration  for  his  country- 
man,    Victor    Seastrom    and     Maurice 

86 


worthless  but  because  of  the  money  ex- 
pended upon  them,  they  have  been  turned 
o\er  to  some  writer  already  on  the  studio 
staff  with  instructions  to  turn  them  into 
epic  continuities. 

ONE  young  writer,  who  must  be  name- 
less, got  tired  of  this  situation.  She 
was  receiving  about  half  the  salary,  none 
of  the  publicity  the  visiting  writers  got, 
and  all  the  work. 


Accordingly  she  recently  hied  herself  to 
New  York,  locked  herself  in  a  hotel  room 
and  turned  out  some  fiction.  It  sold  im- 
mediately to  the  major  magazines  with 
the  result  that  the  smart  young  thing  is 
returning  to  Hollywood,  signed  to  a  con- 
tract twice  as  big  and  three  times  as  long 
as  her  former  one. 

Having  seen  her  in  print,  her  company 
now  knows  she's  good. 

[  CONTINUED  ON  PAGE  88  ] 


Photoplay  Magazine — Advertising  Section 

3  icnye  xlns  3"  xiLcL  jeocpuensube 

^jerijcK  sjjup  •  It  giues  jtllj  sJiJLrL 

lhj6  sucuTije  SLTTiDotkrijess  '' 


INOW  America  has  learned  the  way  to  make  toilet 
soap   by  the   French   method  for  just  ten    cents! 

How  eagerly  it  has  been  welcomed — this  new  different 
toilet  soap!  Already  in  just  two  years  it  is  the  delight 
of  seven  million  families !  "Only  expensive  French 
soaps  ever  left  my  skin  so  smooth" 
— "it  makes  my  skin  as  beautifully 
smooth  as  the  French  soaps  I  used 
to  pay  a  whole  dollar  for!" 

Naturally,  for  Lux  Toilet  Soap 
is  made  exactly  as  the  finest  French 
soap  is  made.  In  her  cult  of 
woman's  loveliness  France  found 


a  special  way  of  making  soap  —  to  give  a  woman's 
skin  satin  smoothness! 

But  the  French  method  was  costly,  especially 
since  so  little  French  soap  was  made.  It  was  only 
when  America  found  literally  millions  of  women 
wanting  a  finer  toilet  soap  that  one  could  be  made 


r    "Is  any  one  thing  of  first  importance  in  ^ 
making  a  woman  beautiful?"  the  famou. 


\ 


artist,  McClelland  Barclay,  who  paints 
the  exquisite,  wholesome  loveliness  of  the 
American  girl  as  no  one  else,  was  recently 
asked-  "Decidedly,"  answered  Mr.  Bar- 
clay, "a  smooth  skin  is  absolutely  neces- 
sary—youcan't  have  beauty  withoutthat." 


r 


THE  DOLLAR  A  CAKE  LUXURY 
OF  FRENCH  SOAP,  NOW  lOc 


by  the  famous  French  method  and 
still  be  kept  reasonable  in  price. 
Then  came  Lux  Toilet  Soap  for 
just  ten  cents.  As  luxurious  as 
costly  French  soap!  Made  by  the 
makers  of  your  indispensable 
Lux.  Lever  Bros.  Co.,  Cambridge, 
Massachusetts. 


iLux   Qoilet    cSoap-lO*'^ 


Gossip  of  All  the  Studios 


Do  you  remember  Richard  Hard- 
ing Davis'  Van  Bibber  stories? 
Tyler  Brooks  is  playing  Van  Bibber 
in  a  series  of  short  comedies  that 
Fox  is  filming  around  the  Davis 
character 

MARY  PHILBIN  admits  to  excite- 
ment because  a  famous  Hollywood 
fortune  teller  said  she  was  to  play  in  an- 
other Von  Stroheim  picture. 

T-TOMER'S  Iliad  may  be  one  of  the 
■'-'■most  famous  yarns  in  the  world, 
but  this  actually  happened  at  a  mati- 
nee of  "The  Private  Life  of  Helen  of 
Troy." 

Two  women  watched,  with  breath- 
less interest,  the  Greeks  as  they 
worked  their  famous  gag  with  the 
Wooden  Horse.  When  the  soldiers 
emerged  from  the  big  Dobbin,  one 
woman  turned  to  her  friend  and 
said:  "Ha,  I  knew  all  along  that 
there  was  something  queer  about 
that  horse." 

COXRAD  VEI DT  made  history  among 
motion  picture  extras  the  other  day, 
during  a  scene  in  "The  Man  Who 
Laughs,"  on  the  Universal  lot. 

It  was  in  the  House  of  Lords.  Mr. 
Veidt,  who  maintains  a  huge  grin  sup- 
posed to  ha^•e  been  cut  upon  his  face,  was 
interpreting  a  dramatic  scene.  He  held 
this  grotesque  expression  upon  his  face, 
without  a  touch  of  make-up,  through  250 
feet  of  film.  As  he  staggered  down  the 
House  of  Lords  in  the  last  tense  moments 
of  the  scene,  the  extras  could  hardly  wait 
until  his  exit  to  burst  into  a  spontaneous 
acclamation  of  applause.  Something  I 
had  never  seen  any  group  of  extras  do 
before. 

"Encore.  Encore!"  They  stamped 
and  yelled.  There  were  several.  For 
what  motion  picture  scene  was  ever  made 
without  at  least  a  half  a  dozen  retakes? 


[  CONTINUED  FROM  PAGE  86  ] 

I  SAW  Maria  Corda,  the  current  cinema 
sensation  of  New  ^'ork,  just  before  the 
holidays,  three  different  times  in  three 
different  settings  and  each  time  she  gave  a 
different  but  no  less  delightful  perform- 
ance of  Maria  Corda  being  Maria  Corda. 

The  iirst  occasion  for  a  luncheon  for  the 
press,  gixen  with  much  high-hatting  at 
the  Ritz.  Maria,  appearing  in  a  pearl 
grey  chiffon  afternoon  frock,  was  then  the 
sweet,  shy  foreigner  meeting  the  oh,  so 
powerful  press  people.  At  the  opening 
performance  of  "The  FriAate  Life  of 
Helen  of  Troy"  she  wore  a  picturesque 
gown  of  tulle,  shading  from  lemon  to 
flame  color  and  reaching  to  the  floor. 
She  entered,  after  a  suave  and  delightful 
introduction  by  John  Erskine,  the  profes- 
sor who  wrote  the  best-seller,  a  nervous 
star,  childishly  eager  for  plaudits. 

Finally  I  saw  Maria  at  a  party  her  fel- 
low countryman,  XA'iily  Pogany,  gave  for 
her.  She  was  probably  the  real  Corda 
there,  a  gay,  delightful  Hungarian  with 
a  sparkling  sense  of  humor  and  a  love  of 
life.  A  great  actress,  this  Madame  Corda. 

•LJENRY  FORD'S  career  has  been 
•'■crowned  with  success.      Elinor 
Glyn  says  his  new  car  has  IT. 

JOHN  ROBERTSON,  the  director,  has 
J  returned  from  Europe  with  several 
European  offers  and  a  collection  of  Bond 
Street  clothes.  And  with  a  lot  of  interest- 
ing stories  of  film  producing  in  England. 
Among  the  various  pests  of  the  foreign 
producers  are  the  gentlemen  who  seek 
positions  on  the  strength  of  \-ast  experi- 
ence in  America.  Most  of  them  are  un- 
knowns. 

AT  least  Olive  Borden  has  one  con- 
solation along  with  that  broken  con- 
tract which  has  caused  so  much  Holly- 
wood gossip. 

George  O'Brien  has  been  rushing  her 
madly  since  his  return  from  Europe. 


But  it  is  nothing  serious,  Olive  insists, 
and  proves  it  by  letting  him  go  to  a  buffet 
supper  gi\-en  by  Virginia  Valli  in  his 
honor. 

■LJARRY  LANGDON  approached 
■'-'the  entrance  of  a  tony  Los 
Angeles  apartment  house  on  Christ- 
mas Eve  with  a  large  turkey  under 
his  arm,  a  gift  to  a  friend. 

"Hey,  you !"  shouted  the  doorman, 
"go  in  the  delivery  entrance." 

Harry  obeyed  him,  and  when  he 
came  out  handed  the  doorman  his 
card. 

"If  you  ever  come  out  to  the  First 
National  studio,"  he  said,  "I'll  see 
that  you  walk  right  in  the  main 
entrance." 

LIGHTS  on  dimmed  stars — Dorothy 
Dalton,  looking  very  gay  and  beauti- 
ful, though  a  bit  heavy  as  to  figure, 
pushing  herway  through  the  throng  in  the 
smoking  room  in  her  husband's,  Arthur 
Hammerstein's,  new  theater.  It  was  the 
opening  night  of  Hammerstein's  most 
ambitious  production,  "Golden  Dawn." 
but  Dorothy  was  engaged  in  the  act  of 
calling  the  attention  of  the  smoking  room 
maid  to  the  cigarette  butts  careless  pa- 
trons had  thrown  on  the  carpets.  .  .  . 

Geraldine  Farrar,  white-haired  and 
radiant,  staging  a  come-back  on  the  con- 
cert stage  and  falling  flat  on  the  stage, 
because  of  sheer  fright,  on  her  first 
entrance.  .  .  .  Clara  Kimball  Young, 
emerging  from  a  quiet,  faintly  shabby 
West  Side  hotel,  unknown,  unnoticed. 

Such  is  fame! 

DOROTHY  CUMMINGS,  the  Mn- 
doiiiia  of  "The  King  of  Kings,"  won 
the  right  to  di\-orce  her  husband.  Cecil 
De  Mille  sought  to  stop  the  suit,  on  the 
grounds  that  such  conduct  was  unbe- 
coming a  Madonna.     Howe\-er,  since  the 

[  CONTINUED  ON  PAGE  96  ] 


Dorothy  Dwan  is  fond  of  motor  boating  and  has  borrowed  Gloria 

Swanson's  speed  boat,  appropriately  named  the  Sadie  Thompson. 

Dorothy  drove  thirty-five  miles  an  hour  in  a  contest  held  recently 

at  Elsinore  Lake,  California 


Photoplay  Magazine — Advertising  Section 


oJVowReadif! 


89 


An  Improved 

KOTEX 

Offering  Two  New  Exclusive  Features: 


1  A  new,  form-fitting  shape  .  .  .  you  wear  it  under  the 
most  clinging  gowns  without  possibility  of  detection, 
without  marring  smooth,  fashionable  lines. 

€y  It  is  softer,  too  —  fluffier — eliminating  unpleasant  chaf- 
ing  and  binding. 


WITH  the  presentation  of  the  new  style 
Kotex,  exclusive  in  design,  comes  the 
most  radical  development  in  intimate  feminine 
hygiene  since  the  invention  of  Kotex  itself. 

What  form-fitting  means, 

You  can  wear  the  new  Kotex  without  self- 
consciousness  no  matter  how  close  fitting  your 
gown,  how  thin  and  clinging  its  fabric. 

By  a  unique  process,  developed  only  after 
months  of  experiment,  corners  are  now  scien- 
tifically rounded  and  tapered  so  that  the  pad 
fits  snugly,  comfortably,  securely,  and  is  worn 
in  the  knowledge  that  closest -fitting  gowns 
will  retain  their  slim,  smooth  lines. 

This  brings  a  composure,  a  sense  of  well- 
being,  heretofore  impossible. 

Softer— fluffier—  chafing 
eliminated 

New  exclusive  methods  have  been  found  for 
making  the  absorbent  filler  sti/i softer.  Chafing, 
binding,  similar  discomforts  are  eliminated. 

Utmost  protection  is  afforded  delicate,  sensi- 
tive skin.  The  importance  of  such  an  improve- 
ment cannot  be  exaggerated. 


No  laundry — discards  as 
easily  as  apiece  of  tissue 


The  improved  Kotex  retains 
all  the  advantages  of  the  old 
Kotex,  including  the  same  area 
of  effective  absorbent  surface 
you  have  always  known. 

Women  doctors,  nurses, 
approve 

Women  doctors,  nurses  in 
hospitals,  in  welfare  depart- 
ments—  have  given  these  im- 
provements their  enthusiastic 
approval.  So  will  you!  Your 
good  health,  your  comfort, 
are  considered — and,  for  the 
first  time,  your  appearance. 


Embarrassment  now 
definitely  ended 

Utter  safety  is  assured  by 
the  remarkable  Cellucotton 
wadding  which  fills  Kotex  .  .  . 
for  it  is  5  times  more  absorbent 
than  cotton;  it  discards  like  tis- 
sue— you  simply  follow  the  directions  given  in 
each  box;  it  deodorizes  thoroughly  while  worn. 

Nothing  else  is  like  Kotex 

You  buy  Kotex  by  name,  without  embarrass- 
ment, without  delay  .  .  .  comes  in  two  sizes. 
Regular  and  Kotex-Super. 
Remember,  nothing  else  is  remotely  like  the 
improved  Kotex.  Buy  a  box  today.  Kotex 
Company,  180  N.  Michigan  Ave.,  Chicago,  IlL 


How  gaily  social  events  can  now 
be  met .  . .  No  limitations  set  by 
physical  handicap  .  .  .  The  lines 
of  any  gown,  however  clinging, 
will  remain  imoolh,  unbroken. 


Supplied  also  through  vending  cabinets  in  rest-rooms  by  West  Disinfecting  Co. 

■rs   l.lcasi-   imntinil   rHOTOrl-.\T   MAGAZINE. 


A  Lady  Surrounded  by  Men 


[  CONTINUED  FROM  PAGE  69  ] 


area  minor  note — hereveningsarelikeunto 
seventeenth  century  salons,  when  Ninon 
d'Enclos  reigned,  and  wit  matched  beauty. 
...  So  saj'  authors  with  better  memor- 
ies than  mine.  I  will  confess,  however, 
that  when  I  regard  the  etchings  on  the 
walls — one  of  the  Snyder  Murder  and 
another  of  Billy  Sunday  astride  the  pulpit 
— I  distinctly  recall  what  Moliere  said  of 
Ninon: 

"She  has  the  keenest  sense  of  the  absurd 
of  any  woman  I  know." 

PRINGLE  has  a  rapacious  wit.  It 
plays  over  Hollywood  like  the  search- 
light of  the  Carthay  movie  theater.  No 
absurdity  escapes  it.  With  the  selecti\e 
eye  of  a  dramatist  she  creates  a  revue  of 
shams  and  foibles.  Her  frankness  inspires 
an  awful  reverence  among  the  fear-dumb 
moujiks.  Terror  of  exile  was  not  greater 
in  tsaristic  Russia.  No  one's  position  is 
secure;  hence  the  flattery  and  the  yes- 
men.  Suppose  you're  given  bum  parts  or 
your  salary  is  not  increased?  "I'll  go 
abroad  and  write  a  book,"  snaps  Pringie, 
"and  call  it  'Sour  Grapes.'  " 

SHE  dissects  with  a  scalpel  and  a  cool 
objectivity.  While  she  talks  I  ha\e  the 
feeling  that  slim  bright  knives  are  flying 
to  their  mark  with  death-dealing  pre- 
cision, and  all  the  time  her  face  has  the 
marble  serenity  of  a  madonna's,  offering 
no  comment  whatsoever  on  what  she  says 
— only  now  and  then  a  swift  bright  gust  of 
laughter,  like  an  aside. 

SHE  might  have  been  a  surgeon. 
As  a  child,  frilled  out  for  Sunday 
school  by  a  pious  mother,  little  Aileen  Bis- 
bee  would  whisk  away  to  a  mortuary  and 
there  with  the  assistance  of  the  morti- 
cian's little  daughter  she'd  spend  inves- 
tigative hours  sticking  pins  in  the  dead  to 
see  if  they'd  bleed. 


As  a  debutante  she  bolted  her  first  tea 
part}'  in  order  to  make  the  rounds  of 
operating  rooms  with  a  surgeon,  friend  of 
the  family. 

THE  interest  in  surgery  was  supplanted 
by  an  ambition  for  the  drama,  but  on 
that  there  was  a  paternal  curb.  So  she 
created  her  own.  She  married  Charles 
Pringie,  son  of  Sir  James  Pringie,  and  went 
to  New  York  to  Vne  while  he  went  to  war. 

But  she  couldn't  sit  in  a  hotel  all  day 
and  twiddle  her  thumbs  and  it  wasn't  the 
season  for  flies,  so  she  decided  to  do  pic- 
tures with  the  idea  of  correcting  certain 
social  errors. 

With  this  determination  she  dispatched 
the  family  lawyer  to  live  at  the  Lambs 
club  for  necessary  contacts. 

She  supposed  it  was  her  histrionic 
talent  that  got  her  the  first  part.  But  the 
director  had  had  other  persuasion.  The 
star  of  the  company  had  a  meagre  ward- 
robe; Madame  Pringie  of  the  Ritz  could 
dress  up  the  picture  with  authentic  gems 
and  Paris  gowns. 

The  e.xtra  arrived  from  the  Ritz  in  a 
Rolls-Royce  to  take  the  boat  for  location. 
Her  friends  considering  the  thing  a 
hilarious  stunt  had  so  filled  her  car  with 
orchids  and  fruit  that  it  resembled  a  prize 
float.  "Bon  Voyage!"  went  up  with 
shrieks  of  laughter. 

PRINGLE'S  part  consisted  in  walking 
through  scenes  with  her  fictional 
mother.  But  her  artistic  conscience  was 
alert.  When  the  director  ordered  her  to 
enter  a  carriage  ahead  of  her  mother  she 
cried,  "Certainly  not!  I  would  never  do 
such  a  thing!" 

The  director  mumbled  something  about 
footage. 

"That's  of  no  importance  to  me,"  cried 
Madame,  the  extra,  assisting  her  mother 
in.     "What  would  my  friends  say  if  they 


saw   me  entering  a  carriage  before  my 
mother?    Simplyimpossible." 

AS  I've  noted,  she  would  be  a  queen 
were  queens  not  out  of  season.  Elinor 
Glyn  so  recognized  and  cast  her  for 
"Three  Weeks." 

Alice  Terry  and  I  dined  with  Queen 
Pringie  shortly  after  a  review  appeared 
saying  the  Queen  had  the  warmth  of  an 
Eskimo  pie. 

This  ran  up  the  royal  temperature  to  a 
warmth  which  the  reviewer  would  have 
found  uncomfortable  had  he  happened 
around. 

Madame  Glyn  said  it  was  the  first 
touch  of  the  common  she  had  seen  in 
Pringie — the  reading  of  vulgar  papers. 
"Go  to  the  mirror  at  once,"  she  urged, 
"and  say  I'm  Pringie,  I'm  Elinor's 
Queen." 

The  advice  was  unnecessary.  Pringie 
in  wrath  is  majestic  enough.  The  re- 
viewer has  since  apologized,  reformed,  and 
become  an  Author. 

I  MIGHT  expatiate  indefinitely  on  the 
Lure.  but,asthegood^a  Kempis  says  of 
compunction,  "I'd  rather  feel  it  than 
know  its  definition." 

There's  her  beauty,  imperial  if  not 
classic — but  you  have  her  pictures  be- 
fore you. 

And  not  least  in  her  spell  for  authors  is 
her  art  of  listening.  I've  often  wondered 
what  the  sirens  did  to  hold  their  victims 
after  the  come-hither  song.  Now  I  know 
they  sat  and  listened  to  the  gentlemen's 
croakings. 

Pringie  listens  with  an  intensity  that's 
mesmerizing.  An  author  goes  home  feel- 
ing very  proud  of  himself,  and  he  who  is 
not  an  author  goes  home  feeling  he's  been 
made  one. 

Thank  God  I'm  an  Author  .  .  .  It's 
elegant! 


Brickbats  and  Bouquets 


[  CONTINUED  FRO.M  PAGE  10  ] 


the  movies  as  a  menace  if  the  little  innocents 
want  to  know  why  the  man  is  chasing  the 
lady  around  the  table.  Libraries  contain 
both  the  Elsie  books  and  Balzac's  novels, 
yet  no  one  considers  the  libraries  dangerous, 
except  possibly  Mayor  Thompson  of 
Chicago. 

Electa  A.  Sargent. 

All  for  Many 

Salt  Lake  City,  Utah. 
"My  Best  Girl"  excels  any  other  star's 
picture.  Once  more  the  public  will  be 
loyal  and  steadfast  to  Mary  Pickford.  Let 
each  and  every  one  of  us  hope  that  Mary 
will  produce  "Joan  of  Arc"  for  her  next 
picture. 

R.    ROTHERY. 

Not  So  Loyal 

I  read  Kathleen  Norris'  "My  Best  Girl" 
and  thought  it  a  very  sweet  and  appealing 
little  story  and  looked  forward  with  much 

90 


pleasure  to  seeing  Mary  Pickford  in  the 
movie  version.  And  when  I  did,  what  a 
disappointment !  It  was  just  about  as  punk 
and  mediocre  a  picture  as  possible.  It  was 
just  a  repetition  of  Mary  Pickford  in  every 
other  part  I  ever  saw  her  play. 

Mrs.  Edith  Maddox. 

How  to  Keep  Young 

Los  Angeles,  Calif. 
Your  magazine  is  fine,  but  some  of  your 
articles  lay  too  much  stress  on  youth  in 
years.  If  I'd  believe  all  I  read,  I'd  want  to 
commit  suicide  before  I  ever  reached  the 
sublime  old  age  of  thirty.  But,  you  see, 
I'm  modern  and  young  and  always  intend 
to  be,  so  the  articles  don't  worry  me.  Just 
because  man  invented  years  to  keep  some 
sort  of  record  of  events,  is  no  sign  that  a 
year  is  anything  in  God's  sight.  Keeping 
track  of  one's  own  years  and  of  others'  is 
a  good  way  to  become  old.  Let's  forget 
the  stars'  years,  as  they  mean  nothing,  but 


notice  how  well  a  life  is  lived,  or  how  fine 
an  art  is  portrayed  for  the  world. 

M.  A.  Robinson. 

Saving  the  Younger  Generation 

Kansas  Cit> ,  Mo. 
People  are  always  talking  about  the  way 
the  younger  generation   "carry  on."     Just 
think  of  all  the  extra  time  they  would  have 
to  "carry  on"  if  it  weren't  for  the  movies! 
Mrs.  J.  B.  K. 

So  Do  We 

Salt  Lake  City,  Utah. 
I  feel  indignant  about  the  report  that  the 
missionary  preacher  in  "Rain"  is  to  be 
tamed.  What  beautiful  conflict  will  be 
spoiled  if  that  is  done.  So  "Anna  Karenina" 
is  to  be  called  "Love"  because  we  morons 
must  have  our  sex  appeal!  Really  I  wish 
they  wouldn  t  do  that. 

J.  H.  Engbeck. 


Photoplay  Magazine — Advertising  Section 


91 


James  Cruze, 

Director  of  Feature  Photoplays, 

writes: 

*In  the  direction  of  any  of  my  hig  pictures,  and 
especially  during  the  filming  of  the  Covered 
Wagon,  the  constant  use  of  my  voice  demands 
that  I  keep  it  in  first'class  condition.  As  a  ciga- 
rette smoker  it  was  necessary  that  I  find  a  ciga' 
rette  which  I  could  smoke  without  any  chance 
of  throat  irritation  or  cough.  After  trying  them 
all,  I  decided  on  Luckies.  They  are  mild  and 
mellow — which  hoth  protects  the  throat  and 
gives  real  smoke  enjoyment."  r\ 


You,  too,  will  find  that  LUCKY  STRIKES 
give  the  greatest  pleasure— Mild  and  Mellow, 
the  finest  cigarettes  you  ever  smoked.  Made 
of  the  choicest  tobaccos,  properly  aged  and 
blended  with  great  skill,  and  there  is  an  extra 
process— "IT^S  TOASTED^'—no  harshness, 
not  a  bit  of  bite. 

"It's  toasted" 

No  Throat  Irritation-No  Cough. 


rHOTOri.AY    MAGAZINE, 


The  Ask  Me  Another  Man 

[  CONTINUED  FROM  PAGE  37  ] 


Jobyna  Ralston,  who  is  the  most  mid- 
Victorian  of  all  the  feminine  stars,  asked : 

"Why  do  Elinor  Glyn's  characters  al- 
ways endure  such  a  long,  lingering  death 
in  bed.''" 

Mr.  Lambert  thought  a  moment  and 
then  replied:  "Because  Madame  Glyn 
receives  a  dollar  a  word  for  her  scripts." 

A  GLANCE  at  the  racks  in  which 
were  stored  thousands  of  liquor 
bottles  brought  the  following  remark: 

"Did  you  know  that  prohibition  was 
first  tried  out  in  this  country  one  hundred 
and  ninety-three  years  ago?  This  is  a 
fact  that  seems  to  ha^■e  escaped  most  his- 
torians. Savannah,  Georgia,  was  the 
town.  But  then  no  effort  was  made  to 
have  the  act  enforced. 

"You  wonder  what's  become  of  Sally? 
Well,  we'll  clean  that  one  up  right  now. 
Sally — our  Sally! — is  just  now  out  to  one 
of  the  studios  being  ti.xed  up  for  tomor- 
row's shots.  For  poor  little  Sally  is  to  be 
buried  in  the  burning  sands  of  a  synthetic 
desert.  She  is  Hollywood's  most  famous 
skeleton — a  real  one.  Frail,  bony  Sally 
has  earned  this  company  over  four 
thousand  dollars.  She  has  worked  in  two 
hundred  and  sixty-four  pictures;  has  had 
twenty  broken  bones  replaced  and  will, 
like  Tennyson's  Brook,  probably  'go  on 
forever.'  There  is  something  fascinating 
about  a  human  skeleton. 

"  I  can't  show  you  Sally,  but  here's  Bill 
who  has  lately  decided  upon  a  movie 
career.  Bill,  it  seems,  is  a  fitting  mate 
for  Sally.  His  bones  were  found  in  Death 
Valley  beside  a  rusty  musket.  Strewed 
around  him  were  forty  empty  shells. 
Before  biting  the  dust  Bill  had  evidently 
accounted  for  more  than  one  bad  Indian. 

"Speaking  of  Indians,  fifteen  years  ago 
no  tobacconist's  store  was  considered 
complete  without  one.  Today  they  are  as 
scarce  as  the  proverbial  hen's  teeth.  Here 
are  five  mute  Redmen,  the  last  in  this 
part  of  the  country.  I  call  them  'The 
Last  of  the  Mohicans.' " 

BESIDES  being  research  director  Mr. 
Lambert  is  also  the  \ice  president  and 
purchasing  agent  for  the  Western  Cos- 
lume  Company.  He  is  in  daily  touch, 
through  various  foreign  agents,  with  the 
four  corners  of  the  globe.  If  given  a  little 
time  he  can  procure  anything — a  white 
elephant  or  a  tsetse  fly. 

"Once,"  and  Mr.  Lambert  grinned,  "I 
cabled  frantically  all  over  tiic  old  world  in 
my  search  for  a  human  giant.  Later,  when 
hope  had  nearly  departed,  a  real  li\i 
giant  walked  into  the  office  to  dispose  i<\ 
some  heirlooms.  He  had  just  landed  from 
Sweden  and  had  no  idea  of  going  into  the 
nio\ies.  Here  is  something  to  think 
about: 

"Many  war  heroes  come  in  to  dispose 
of  medals  won  by  valor.  They  claim  that 
they  never  want  to  sec  them  again." 

"That  migjit  also  go  for  scenario 
writers,"  I  remarked.  "There  are  thou- 
sands in  this  country  that  believe  their 
scripts  are  returned  unread  from  the 
studios." 


"And  they  are  ninety-nine  per  cent 
right,"  he  rejoined.  "Scenarios,  so- 
called,  come  to  Hollywood  by  the  train- 
load.  E\eryone  seems  to  think  the  art 
simple.  But  they're  only  stirring  up 
grief  for  themselves.  Unexpected  suits 
in  the  courts,  charging  motion  picture 
producers  with  plagiarism,  are  threatening 
to  close  the  scenario  market  to  the  out- 
side world.  Instead  of  seeking  material 
from  unknown  writers,  studio  exccuti\'es 
look  warily  upon  scripts  that  are  sent  in 
for  inspection,  and  they  are  weighing  the 
advisability  of  even  reading  them.  The 
ultimate  result  may  be  the  refusal  to  read 
anything  that  comes  from  outside  the 
studio." 

A  dainty  diamond-studded  circlet  was 
held  up  for  my  inspection.  And  Lambert 
told  this  story:  "A  certain  star  flipped  it 
to  me  with  the  remark:  'Keep  it,  dear 
boy,  in  memory  of  Diogenes,  who  en- 
dea\ored     to     find    something    with    a 


The  Ask  Me  Another  Man  says 
Broadway  will  always  remember 
her  as  Imogene  Wilson.  But  to 
movie  audiences  she  hopes  to  be 
famous  as  Mary  Nolan.  Her 
beauty  and  ease  before  the  camera 
are  getting  her  some  enviable 
breaks.  Universal  has  signed  her 
to  appear  with  Norman  Kerry  in 
"The  Foreign  Legion" 


lantern  that  couldn't  be  located  with  a 
searchlight.  Me?  I'm  going  out  and 
find  a  lirigliter  lantern.'  " 

The  laughter  following  this  story  was 
broken  by  a  department  head  who  came 
in  to  state  that  a  certain  article  was  not  in 
the  building;  had  never  been  there. 

YOU'RE  crazy!"  And  Lambert  beck- 
oned me.  Then  we  three  went  down 
to  a  lower  floor  whereupon,  with  all  the 
scenting  instinct  of  a  bloodhound,  he 
threaded  his  way  through  a  kaleidoscope 
of  properties  directly  to  the  article.  He 
in\ariably  does  that.  Later  that  depart- 
ment head  told  me  that  he  would  rather 
take  a  whipping  than  ask  his  boss  to 
locate  something  that  was  missing. 

"In  the  costume  departments  many 
things  happen.  When  costuming  players 
for  a  big  set  it  is  discovered  that  they 
all  expect  to  be  in  the  first  row.  Each 
girl,  who  is  costumed  for  a  set  on  which 
four  hundred  players  are  to  appear,  de- 
mands special  attention.  One  small  blue- 
eyed  woman,  in  a  mob  of  seven  hundred 
extras,  wanted  something  to  bring  out  the 
blue  of  her  eyes.  Another  girl  sought  a 
costume  that  left  nothing  to  the  imagina- 
tion and  e^■erything  to  self  control. 

"Jetta  Goudal  is  considered  to  exercise 
the  most  attention  to  costume  detail, - 
while  the  Barrymores — Joim  and  Lionel 
— are  \"cry,  \"cry  discriminating.  On  the 
whole  men  show  better  artistic  taste  and 
a  sense  of  color  value.  In  this  particular 
Joiin  Gilbert  is  acclaimed  the  leader.  And 
he  is  a  real  prince  to  work  with.  Women  | 
look  at  costumes  from  a  standpoint  of 
Ix'auty  and  see  them  only  as  the  wearer, 
while  men  keep  in  mind  the  \iewpoint  of 
their  audience  and  also  the  character  the 
costume  is  to  portray.  '■ 

IX  spite  of  color  experience  many  of  ' 
the  stars  and  directors  do  not  know  ' 
w  hcit  shade  of  grey  will  result  from  the  use 
i.)l  \arious colors,"  continued  Mr.  Lambert. 
"For  this  reason  practically  everyone  in 
Hollywood  that  has  to  do  with  pictures 
carries  a  little  monocle  of  cobalt  glass. 
Through  this  blue  eye-glass  one  may  see 
the  approximate  black  and  white  effects 
of  any  costume  or  setting.  Those  who 
ha\e  \isited  a  mo\ie  set  and  viewed  the 
costumes  under  the  glare  of  the  Kleig 
lights  have  wondered  how  the  ghastly 
appearance  of  the  players  ever  softened 
on  the  screen.  But  glance  through  this 
bit  of  cobalt  glass  and  exerything  appears 
exactly  as  it  does  on  the  screen. 

"An  idea  of  the  tailors'  abilities  to  do 
tilings  in  a  hurry  is  demonstrated  by  the 
fact  that  fifteen  hundred  military  uni- 
forms have  been  designed,  made  to  order, 
and  turned  out  complete  in  every  detail, 
including  equipment,  within  thirty  days. 
This  rush  order  did  not  interfere  with 
regular  business,  and  is  about  one-eightii 
the  time  it  would  take  an  army  contractor 
to  do  it. 

"Three  or  four  costumers  often  get  out 
rush  orders  of  fifty  to  one  hundred  cos- 
tumes   at    an    hour's    notice.      Once,    at      ,. 

[  CONTINUED  ON  PAc;E   114  |  | 


Photoplay  Magazine — Advertising  Section 


93 


\bu  must  see 

NORMA 

in  this — 
her  latest  success 

Dolores  "The  Dove"  seemed  out  of  place  in  "The 
Yellow  Pig  Cafe."  Her  strumming  guitar  and  her 
languorous  songs  caused  all  sorts  and  types  of  men 
to  long  and  fight  for  her.  Against  the  odds  of 
sordid  surroundings,  and  in  spite  of  them,  she  had 
the  courage  and  fire  to  fight  for  her  soul  and  her  lover. 

Joseph  M.Schenck 
Presents 


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Here  is  Norma  Talmadge,  more 
beautiful  in  her  greatest  role.  In 
romance  and  color,  this  screen- 
ing of  the  famous  Belasco  hit  is 
a  glorious  triumph. 


See  it  at  Finest  Theatres — Ertry where 


\ 


\ 


Her  first 
UNITED  ARTISTS 

PICTURE 


niUTOrLAY   MAGAZINE. 


The  True  Life  Story  of  Lon  Chaney 

[  CONTINUED  FROM  PAGE  57  ] 


IVIacpherson,  but  I  was  really  happy.  For 
years  out  on  the  road  I'd  battered  through 
awful  boarding  houses  and  cheap  restau- 
rants. Now  I  was  in  a  miracle  land 
where  the  sun  shone  all  the  time  and  I  had 
a  home.  No  touring  and  I  had  a  sure 
tweKe  to  fifteen  dollars  a  week.  I  hoped, 
hoped  constantly  for  something  better, 
but  that  much  was  good.  Hollywood  was 
a  village  of  shadowy  lanes,  orange  gro\es 
and  carnations.  I  lo\-ed  it  then.  I  love 
it  yet." 

THERE  is  no  sight  in  life  more  thrilling 
than  that  of  a  human  being  who  has 
found  his  true  destiny.  Lon  was  now 
being  as  nearly  urbane  as  his  lonely  tem- 
perament would  let  him.  He  leaned  back 
against  the  white  birch  tree  trunks  that 
formed  the  arbor,  peacefully  content. 

"Tell  me  about  the  opportunity  Jeanie 
Macpherson  ga\-e  you,"  I  prompted. 

"Gee,  we  were  in  awe  of  her,"  Lon 
said.  "First,  she  was  a  lady.  Then  she 
had  a  foreign  education,  had  played 
Broadway,  had  worked  under  D.  W. 
Griffith  in  New  York,  and  finally  she  had 
the  ability  to  write  as  well  as  act  her  own 
pictures. 

"She  wrote  and  acted  a  feature  a  week. 
I've  forgotten  the  name  of  the  one  in 
which  she  first  cast  me  but  I  do  remember 
that  if  she  had  been  anyone  else  I  would 
have  refused  to  play  the  scene.  It  was 
straight  character  drama  and  I  was  con- 
vinced I  was  a  comedian. 

"  I  had  to  be  an  outraged  husband  who 
discovered  his  wife  in  another  man's 
arms.  Desperately  I  walked  into  the 
scene  and  started  calling  my  wife  names. 
I  had  done  a  lot  of  listening  in  my  life  and 
I  discovered  I  had  quite  a  store  of  names 
to  call  an  erring  wife.  I  ra\-ed  on  until 
Miss  Macpherson's  laughter  stopped  me. 
I  thought  that  finished  me  but  she  was 
only  laughing  at  my  vehemence.  She 
then  directed  me  through  the  scene,  order- 
ing me  to  keep  my  mouth  shut." 

Shortly  after  that  Jeanie  Macpherson 
had  a  ner\ous  breakdown  from  o\erwork. 
With  her  health  restored,  she  forgot 
Universal  and  joined  the  growing  Lasky 
Feature  Company  as  assistant  to  Cecil 
B.  De  Mille,  for  whom  her  most  recent 
work  was  the  scenario  for  "The  King  of 
Kings." 

SHE  would  probably  ha\  e  helped  Lon 
Chaney  more,  had  she  stayed.  As  it 
was,  that  one  picture  lifted  him  from  the 
ranks.  The  studio  began  giving  him 
regular  bits  and  he  jumped  from  comedy 
to  characterizations,  from  Italian  dramas 
to  cow  operas,  never  being  more  than  one 
week  on  any  picture  and  working  con- 
stantly. 

A  man  of  less  morose,  less  idealistic 
temperament  might  not  ha\e  builded  for 
fame  from  that  novitiate.  But  Lon 
plodded  along,  solemnly,  hopefully,  dri\  - 
en  by  a  soul  desire  which  he  himself  but 
dimly  understood. 
^  He  took  a  whirl  at  directing  J.  Warren 
Kerrigan  for  six  months.    He  made  good 

H 


on  the  assignment  but  the  grease  paint 
urge  was  too  strong  for  him.  He  went 
back  to  acting,  learning  make-up,  learn- 
ing technique. 

Ne\ertheless  it  took  si.x  years  for  his 
salary  to  advance  to  one  hundred  dollars 
a  week. 

It  was  1918  and  the  big  stars  were 
William  Farnum,  Douglas  Fairbanks, 
Harold  Lockwood,  Fatty  Arbuckle,  Fran- 


Tetotum,  Va. 

Three  blankets  deep — and  shiver- 
ing. Gosh,  East  winds  are  nippy, 
especially  when  one's  been  ordered 
to  bed  on  a  porch  for  six  months  and 
it's  only  the  second  week!  Nothing 
but  fighting  the  old  "temp"  and 
cough  on  and  on,  hopelessly.  Every- 
body buying  spiffy  new  clothes,  and 
no  togs  for  me  but  pajamas  and  a 
bathrobe ! 

I  closed  "Romola"  with  a  shudder. 
Not  a  smile  in  all  its  dark  pages ;  not 
once  that  glorious,  swept-off-one's- 
feet  feeling. 

I  felt  bleak  as  the  East  wind ;  I  had 
lost  faith  in  everything.  Thinking 
over  the  past,  I  didn't  wonder.  But 
unlocking  old  memory  chests  is  dan- 
gerous.   Could  I  fight  on? 

Over  in  a  comer,  I  spied  a  collec- 
tion of  old  magazines.  I'd  go  ex- 
ploring. Wriggling  into  my  slippers, 
I  scuttled  across.  -  PHOTOPLAYS 
— goody !  Gathering  them  up,  I  slid 
back.  And,  after  two  hours,  I  was 
thinking. 

These  people  of  the  screen  — 
against  what  towering  difficulties 
they  fight !  But  they  didn't  stop  when 
the  winds  blew  East;  they  kept  on 
till  they  got  there.  And  because  of 
them,  and  all  they  give  their  great, 
watching  world  of  followers,  lost 
ideals  live  again  and  romance  brings 
back  the  gleam  into  drab  lives.  Love, 
reaching  out,  touches  hardened 
hearts,  and  the  fires  of  Faith  and 
Hope  are  relit,  to  guide  doubting 
souls— like  mine. 

While  Mary  Pickford  brings  us 
youth,  Betty  Bronson  makes  us  be- 
lieve in  fairies  and  Thomas  Meighan 
strengthens  our  trust  in  men.  Why 
have  a  grouch  with  the  world? 

I  looked  out.  The  sun  shone  across 
the  garden  and  there  was  Cinthy 
with  my  supper. 

"Eyes  mighty  bright,"  quoth  she. 

"I've  found  something  I'd  lost, 
Cinthy,— Faith." 

"Praise  de  Lawd !  Child  got  reli- 
gion out  cher  by  herself." 

"Through  PHOTOPLAY," 
I  thought,  and  smiled  as  I  stirred  my 
tea. 

F.  G.  B. 


cis  X.  Bushman,  Mary  Pickford,  Nazi- 
mo^-a,  Marguerite  Clark.  High  salaries 
were  the  mode  and  Lon  Chaney  felt  he 
was  worth  a  little  more  than  he  was 
earning.  He  sought  out  William  Sistrom, 
then  studio  manager  of  Universal,  and 
asked  for  $125  a  week  on  a  five  year  con- 
tract. Mr.  Sistrom,  revealing  that  he 
was  just  a  typical  wise  super\isor,  stated 
that  he  knew  a  good  actor  when  he  saw 
one  but  that  looking  directly  at  Lon 
Chaney  he  only  saw  a  washout.  He 
added  that  Lon  would  ne\"cr  be  worth 
$125  a  week  to  any  company.  Lon 
walked  off  the  lot.  He  was  thirty-five 
years  old  and  success  was  still  invisible. 

THE  curly-haired  boys  and  girls  were 
then  holding  forth,"  Lon  said. 
"Character  work  meant  nothing.  I  went 
from  one  studio  to  the  other  but  I  soon 
discovered  I  was  totally  unknown  except 
at  Universal.  At  first  I  wasn't  frightened. 
I  had  sa\-ed  my  money  in  those  six  years. 
I  had  a  little  home  and  my  boy  was  going 
to  school.  But  as  the  weeks  became 
months  I  began  to  belie\e  Sistrom  wasn't 
such  an  idiot.  Then  Bill  Hart  saved  my 
life." 

Lon's  whole  face  softened  as  he  recalled 
that  friendly  act  of  Bill  Hart's.  Bill  cast 
Lon  for  the  role  of  heavy  in  "Riddle 
Gwan,"  o\-erriding  his  manager's  objec- 
tions that  Charley  was  too  short,  fighting 
the  officials  who  wanted  to  cut  Lon  from 
the  finished  picture.  Bill  Hart  was  a 
power  in  1918  and  he  could  get  away  with 
anything. 

"  Riddle  Gwan"  was  Lon's  first  release 
on  an  important  program.  From  it  he 
got  two  other  engagements  and  then 
George  Loane  Tucker  sent  for  him. 

"Tucker  didn't  really  want  me  for  the 
role  of  the  cripple  in  'The  Miracle  Man'," 
Lon  confessed.  "He  wanted  a  profes- 
sional contortionist,  but  the  fi\"e  he  had 
already  tried  out  in  the  part  couldn't  act 
it.  When  Tucker  described  the  part  to 
me  I  knew  my  whole  future  rested  on  my 
getting  it. 

TUCKER  explained  that  the  first 
scene  he  would  shoot  would  be  the 
one  where  the  fake  cripple  unwound  him- 
self before  his  pals.  If  I  could  do  that,  I 
got  the  job. 

"I  went  home  to  try  to  think  it  out. 
I'm  not  a  contortionist,  of  course.  It 
would  have  been  easier  lots  of  times  in 
my  subsequent  work  if  I  had  been.  While 
I  was  sitting,  pondering  over  that  part  I 
unconsciously  did  a  trick  We  done  since 
childhood.  I  crossed  my  legs,  then  double 
crossed  them,  wrapping  my  left  foot 
around  my  right  ankle.  I  caught  sight  of 
myself  in  the  mirror  and  jumped  up  to 
try  walking  that  way. 

"I  found  I  could  do  it  with  a  little 
practice.  Then  I  rushed  out  to  buy 
the  right  clothes. 

"When  I  came  to  the  studio  on  the  test 
day  Tucker  was  already  behind  the 
camera.  He  gave  me  one  glance  and 
called  'Camera.'     I  flopped  down,  drag- 

[  CONTINUED  ON  PAGE  112  ] 


Photoplay  Magazine — Advertising  Section 


95 


MIRRORi 

OF 

LIFE 

In  Them  You 

See 
Youth — 
Beauty — 
Imagination — 
Burning 
Romance 


tr" 


PHYLLIS  HAVER 

in 

"CHICAGO" 


leatrice  joy 


Coming 


These  superb  entertainments  from 
the  great  De  Mille  Studios. 


"Chicago" 


With  Phyllis  Haver  and  Victor  Varconi. 
Directed  by  Frank  Urson.  From  the 
famous  play  by  Maurine  Watkins.  A 
maelstrom  of  emotions — the  story  of  a 
wife  who  tried  to  get  away  with  it. 

"The  Blue  Danube" 

Starring  Leatrice  Joy,  with  Joseph  Schild- 
kraut  and  Nils  Asther.  Directed  by  Paul 
Sloane.  Associate  Producer,  Ralph  Block. 
A  witching  title  for  a  rarely  beautiful 
romance. 


n 


The  Red  Mark" 


With  Nena  Quartaro,  Gaston  Glass,  Rose 
Dione  and  Gustav  Von  Seyffertitz.  Per- 
sonally directed  by  James  Cruze.  Remem- 
ber the  famous  "Ticket  of  Leave  Man"? 
This  is  that  sort  of  a  gripping  drama  and 
presents  Nena  Quartaro,  a  real  "find,"  in 
her  very  first  picture. 

"The  Night  Flyer" 

Starring  William  Boyd  and  featuring 
Jobyna  Ralston.  Directed  by  Walter  Lang 
under  the  supervision  of  James  Cruze.  A 
railroad  drama  as  powerful  and  fast  mov- 
ing as  the  "20th  Century  Limited." 

"Hold  'Em,  Yale" 

Starring  Rod  La  Rocque.  Directed  by  E. 
H.  Griffith.  Produced  by  Hector  TurnbuU. 
The  title  tells  the  story,  but  it  can't  tell 
how  fascinating  this  gem  of  college  stories 


.LUAMBOYD       f|  »^  >g 

•  NIGHT  FLYER"  If       H  m  ^^    H  ^ 

r  JFathe 


Exchange,  Inc« 


rod  la  rocque 

in  IS 

'HOLD  'EM,  YALE"! 


Foreign    Distributors    of    De    Mille    Productions 

Producers  International  Corporation, 

Wm.    Vogel,   President 


rilOTori.AT    JtAGAZINE. 


Gossip  of  All  the  Studios 


[  COXTIXUED  FROM  PAGE  88  ] 


Norma  Shearer  shows  her  new  portable  dressing  room  to  Robert  Z. 
Leonard.    The  dressing  room  was  presented  to  Norma  by  her  hus- 
band, Irving  Thalberg,  as  a  wedding  gift 


option  on  Miss  Cummings'  contract  with 
De  Milk  was  not  renewed,  she  went  right 
ahead  and  obtained  her  freedom  from 
Frank  Elliott  Dakin,  an  English  actor. 

AS  you  know,  Florence  Yidor's  con- 
tract with  Paramount  was  not  re- 
newed. Paramount  claims  that  Miss 
Vidor'.s  pictures  did  not  bring  in  the  coin 
at  the  box-office.  So  Florence  was  pre- 
paring to  go  to  Germany.  That  hand- 
some German  menace.  Mr.  UFA,  is  flirt- 
ing with  lots  of  the  girls. 

Then  up  speaks  Emil  Jannings,  whose 
Paramount  contract  gi\es  him  a  say-so  in 
selecting  his  casts.  Mr.  Jannings  would 
have  Miss  Vidor  and  none  other  for  his 
leading  woman.  Emil  usually  gets  his 
way.  For  Emil's  pictures  do  bring  in  the 
coin  at  the  box-office. 

lyrARION  DAVIES,  Adolphe  Men- 
■'■"-'•joii,  Seena  Owen,  Larry  Grey, 
Fred  Thomson,  George  K.  Arthur, 
Dorothy  Mackaill  and  other  Holly- 
wood celebrities  were  traveling  north 
from  Los  Angeles  on  the  train  re- 
cently. 

A  University  of  Southern  Cali- 
fornia football  man  going  to  Leland 
Stanford  to  see  a  game  entered  the 
private  car  by  mistake,  stood  silent 
a  moment,  then  walked  over  to 
George  K.  Arthur  and  held  out  his 
hand: 

"I  certainly  know  talent  when  I 
see  it.  Glad  to  meet  you,  Mr.  Lu- 
pino  Lane !" 

Everyone  else  passed  unnoticed. 

And  this  is  a  true  story. 

96 


MARCEL  DE  SAXO,  a  promising 
young  director,  has  set  a  horrid  prec- 
edent in  Hollywood.  De  Sano  has  gi^en 
up  his  salary  of  S3, 500  a  week  to  quit  the 
films  and  enter  the  Uni\-ersity  of  Southern 
California.  He  has  also  .sold  his  Lincoln 
and  will  buy  a  Ford — all  that  he  may  get 
an  education. 


A 


FTER  one  grand  row  with  his  wife, 

Viola  Dana,  Lefty  Flynn  packed  his 

nks  and  disappeared  from  Hollywood. 


E^-en  Viola  didn't  know  where  he  was, 
until  Lefty  turned  up  as  a  ranch  owner  in 
Craig,  Colo. 

Viola  isn't  following  him  to  the  great 
open  spaces,  neither  is  she  planning  for  an 
immediate  divorce. 

And  Lefty  has  been  quoted  as  saying: 
"  If  I  ncA  er  see  Hollywood  again,  it  will  be 
soon  enough." 

All  of  which  sounds  like  one  of  those 
back-to-nature  conversions  that  you  see  in 
western  films. 

"^X/E  asked  little  Mary  Brian   if 
'"  she's  been  falling  in  love,  or 
doing  anything  exciting,  recently. 

"No,"  she  naively  answered.  "But 
I  might,  if  you  wish,  for  publicity." 

FR.\NCIS  X.  BUSHMAN  has  quit  the 
movies  for  the  legitimate  stage.  And, 
by  way  of  a  farewell  address,  he  calls  the 
mo\ie  producers  more  fancy  names  than 
even  H.  L.  Mencken  ever  thought  of. 

Says  Bushman:  "The  pioneers,  the 
real  showmen  of  the  pictures,  are  all  gone. 
Instead,  we  ha\e  only  buttonhole  makers 
and  pants  pressers.  The  attempts  at 
economy  ha\-e  led  them  to  place  before  a 
gullible  public  a  crop  of  high  school  kids 
who  have  no  idea  of  the  art  of  acting." 

With  that  parting  shot,  Bushman  went 
out  the  door  and  banged  it  after  him. 

WHEN  word  reached  Los  Angeles 
from  New  York  that  another  pla- 
giarism suit  had  been  filed  against  "The 
King  of  Kings,"  a  local  newspaper  man 
called  Cecil  De  Mille  for  a  statement. 

De  Mille  is  said  to  ha^e  answered,  "I 
have  always  supposed  that  Matthew, 
Mark,  Luke  and  John  were  responsible 
for  this  story." 

Whereupon  the  reporter  came  back, 
"Just  how  does  it  happen  then  that 
Jeanie  MacPherson's  name  is  plastered 
over  all  the  billboards?" 


Here  is  a  strange  photograph  of  four  young  girls  leaping  right  out 

of  a  sunset  on  the  Pacific  Ocean.    Figure  out  for  yourself  how  it  is 

done.     The  girls  are  (1)   Edna  Marion,   (2)  Dorothy  Coburn,   (3) 

Martha  Sleeper  and  (4)  Viola  Richard 


First  Star —    They  tell  me  you'll  endorse  any  cigarette  for  a  consideration   .    .    .' 
Second  Star — ^'Sure,  so  long  as  the  consideration  isn't  that  I  give  up  my  Chesterfields!' 


LICOETT  &  MYERS  TOBACCO  C 


JOHN  GR  tTA 

GILBERT^GARBO   LOVf 

^yt  Edmund  Goulding  productUm  from  ike  noveV'Knna.  Karenina  hy  Lyof  N.Tolstoi 

What  more  could  be  said 
about  a  picture— see  it  I 

METRO-GOLDWYN-MAYER 


QUESTIONS  £f  ANSWERS 


Read  This  Before 
Asking  Sluestions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
ivould  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address;  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  the  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  than  other  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine.  221  W. 
57th  St.,  New  York  City. 


Jim  Pandy,  Souralaya,  Java. — First 
plare,  this  month,  to  my  most  distant 
reader.  Walter  Pidgeon  played  opposite 
Dolores  Costello  in  "Mannequin."  Write 
to  Norma  Shearer  at  the  Metro-Goldwyn- 
Mayer  Studio,  Culver  City,  Calif.  Greta 
Garbo  is  not  engaged — as  yet.  But  don't 
take  my  word  as  final  in  matters  of  this 
kind.  You  know  how  girls  are.  Nita 
Naldi  has  just  returned  to  America  after  a 
long  sojourn  in  Europe.  Not  working  in 
pictures  at  present.  How  are  the  movies 
in  your  part  of  the  world? 

D.  B.,  Fort  Worth,  Tex.— Tom  Mix 
was  never  married  to  the  late  June  Mathis. 
Nor  has  Gloria  Swanson  ever  counted  John 
Boles  among  her  husbands.  Where  did 
you  pick  up  all  those  ideas^  Katherine 
MacDonald's  first  husband  was  the  late 
Malcolm  Strauss.  Irene  Castle  has  retired 
from  the  screen. 

Mrs.  T.  R.  C,  Amarillo,  Texas.— A 
lot  of  Texans  this  month!  Jeanie  Mac- 
pherson  adapted  "Manslaughter"  for  Para- 
mount. 

J.  D.  P.,  MoNTiCELLO,  Ind.^ — Don  Alva- 
rado  was  the  good-looking  young  fellow  in 
"Ihe  Monkey  Talks."  He  is  twenty-four 
years  old  and  his  new  film  is  "Drums  of 
Love."  Barbara  Bedford  was  the  girl  in 
"Mockery."  Born  in  Prairie  du  Chien,  Wis., 
and  twenty-five  years  old.  Her  next  is 
"White  Lights."    Welcome  and  come  again. 

J.  C.  Kline,  Independence,  Pa. — Leila 
Hyams  played  opposite  Johnny  Hines  in 
"White  Pants."    Cute,  isn't  she? 

Jane,  Jersey,  Channel  Islands. — Joan 
Crawford,  born  Lucille  La  Sueur,  is  a  native 
of  San  Antonio,  Texas,  but  maybe  her  an- 
cestors originally  came  from  the  Island  of 
Jersey.  It's  a  pretty  name,  but  too  hard 
to  remember  to  make  a  good  name  for  a  star. 
Eleanor  Boardman  played  in  "Memory 
Lane."  Carmel  Myers  is  twenty-six  years 
old  and  divorced.  Alma  Rubens  and 
Ricardo  Cortez  are  still  married.  Cortez 
is  in  France. 

F.  K.,  Cleveland,  Ohio. — Dorothy  Dal- 
ton  is  married  to  Arthur  Hammerstein,  stage 
producer,  and  retired  from  the  screen. 
Theodore  Kosloff  and  Tully  Marshall  were 
also  in  "Law  of  the  Lawless." 

H.  V.  L.,  New  Orleans,  La. — I  hate  to 
hear  of  family  fights,  so  I'll  settle  the 
argument  that  Emil  Jannings  was  on  the 
stage  for  twelve  years.  He  was  a  well- 
known  actor  in  Germany  before  he  went 
into  the  movies,  so  he  never  has  played  in 
minor  parts.  Richard  Arlen's  real  name  is 
Richard  Van  Mattenore  and  he  was  born  in 
Charlottesville,  Va.,  twenty-eight  years  ago. 


I.  H.,  Royal  Oak,  Mich. — You  are 
"interested  in  Mary  Brian"?  So  are  a  lot 
of  other  people.  Mary  has  brown,  un- 
bobbed  hair  and  she  is  nineteen  years  old. 
Not  married.  That  is  her  real  name  and 
she  was  born  in  Corsicana,  Texas.  And  her 
eyes  are  blue. 

R.  v.,  Shanghai,  China. — Tom  Mix  has 
two  daughters — Ruth,  who  is  grown-up, 
and  Thomasina,  aged  five.  Lois  Moran  was 
born  on  March  11,  1909.  Cecil  B.  De  Mille 
is  an  American  and  Nita  Naldi  is  a  native 
of  New  York.     Drop  in  again,  neighbor. 


XJERE  are  the  answers  to 
the  seven  most  persistent 
questions  of  the  month: 

Gary  Cooper  was  born  in 
Helena,  Mont.,  twenty-six 
years  ago.  His  real  name  is 
Frank  J.  Cooper. 

Janet  Gaynor  is  twenty-one 
years  old  and  was  bom  in 
Philadelphia,  Pa. 

Yes,  it  is  possible  for  a  girl 
over  five  feet,  five  inches  to 
be  a  movie  star.  Anna  Q. 
Nilsson  and  Alice  Joyce  are 
five  feet,  seven  inches.  Greta 
Garbo  and  Constance  Tal- 
madge  are  five  feet,  six  inches. 
And  Gertrude  Astor  is  five 
feet,  seven  and  one-half 
inches. 

Lon  Chaney  is  forty-four 
years  old  and  was  born  in 
Colorado  Springs,   Colo. 

Tom  Mix  weighs  176  pounds 
and  is  just  a  half  an  inch 
short  of  six  feet. 

Marion  Davies  was  born  in 
Brooklyn,    N.    Y.  She    is 

twenty-eight  years  old. 

Laura  La  Plante  weighs  112 
pounds  and  was  born  in  St. 
Louis,  Mo. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY 
advises  you  to  enclose  twenty- 
five  cents,  to  cover  the  cost  of 
the  picture  and  postage.  The 
stars  are  glad  to  mail  you 
their  pictures,  but  the  cost  is 
prohibitive  unless  your  quar- 
ters are  remitted. 


Eleanor  D.,  Blackville,  S.  C. — Ivor 
Novello  played  opposite  Mae  Marsh  in 
"The  White  Rose."  He's  in  England  at 
present. 

M.  T.,  Milwaukee,  Wis. — "Braveheart" 
was  adapted  from  the  stage  play,  "Strong- 
heart,"  by  William  C.  de  Mille. 

R.  S.  C,  Riverside,  N.  J.— I  hate  to 
break  your  heart  by  telling  you  that  Lars 
Hanson  is  married.  I'm  sorry,  but  it's 
true.  His  next  picture  is  "The  Divine 
Lady."  Lars  has  been  in  this  country  for 
a  couple  of  years.  Einar  Hansen,  who 
was  not  related  to  Lars,  was  born  in 
Sweden  in  1900.  He  was  not  married. 
Write  to  Lars  Hanson  at  the  Metro-Gold- 
wyn-Mayer  Studios,  Culver  City,  Calif. 

Teddy,  Kansas  City,  Mo. — Here's  a 
wise  girl.  She  doesn't  want  to  be  a  movie 
star  because  she  doesn't  think  she  has  the 
qualifications.  Good  for  you,  Teddy. 
Charles  Emmet  Mack  was  the  actor  you 
liked  in  "Old  San  Francisco."  Charles 
Mack  was  killed  recently  in  an  automobile 
accident,  I  am  sorry  to  say. 

E.  V.  H.,  New  York,  N.  Y.— Never 
heard  of  any  other  Antonio  Moreno.  There 
are  few  pictures  now  being  made  in  New 
York.  None  of  the  regular  studios  are 
working. 

Violet  D.,  Detroit,  Mich. — It's  Leap 
Year,  and  I  open  every  letter  in  feminine 
hand-writing  with  a  fluttering  heart.  Just  a 
romantic  old  silly.  Kenneth  Thompson  is 
a  bachelor.  Ramon  Novarro  has  five 
brothers  and  five  sisters,  but  none  of  them 
are  in  pictures.  His  sisters,  I  hear,  are  very 
beautiful.     Warner  Baxter  has  no  children. 

Sally  R.,  Worcester,  Mass. — Let's  get 
all  these  relationships  straightened  out. 
Wallace  and  Noah  Beery  are  brothers. 
Esther  and  Jobyna  Ralston  aren't  related. 
Pola  Negri  is  Polish  and  recently  married 
Serge  Mdivani.  Clara  Bow  is  twenty-two 
years  old,  Lois  Wilson  is  thirty-one,  Vilma 
Banky  is  twenty-four,  Richard  Arlen  is 
twenty-eight  and  Gloria  Swanson  is  twenty- 
nine.  Although  I  do  not  answer  questions 
about  religion,  I  am  violating  no  confidences 
when  I  tell  you  that  Eddie  Cantor  is  Jewish. 

E.  H.,  San  Antonio,  Tex.— You  are  not 
at  all  too  fat.  I'll  prove  it  by  giving  you 
the  comparative  heights  and  weights  you 
ask  for.  Alyce  White  is  two  and  one  half 
inches  shorter  than  you  and  weighs  105 
pounds.  Mary  Brian  is  also  five  feet  tall 
and  weighs  100  pounds.  Louise  Brooks  is 
a  half-inch  shorter  than  you  and  weighs 
six  pounds  more.  And  Befae  Daniels,  who 
is  five  feet,  five  inches,  weighs  120  pounds. 
[  CONTINUED  on  PAGE  145  ] 

99 


Photoplay  Magazine — Advertising  Section 


IJ^ 


eware 


-the 
CbatedTongue 

EVERY  physician  since  the  days  of 
Hippocrates  has  regularly  examined  the 
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For  a  white,  furry  tongue  is  the  first  and 
unfailing  index  of  disturbed  bodily  processes. 
It  is  a  sure  warning  of  intestinal  stoppage,  the 
underlying  cause  of  many,  many  ills  of  life. 

To  correct  the  condition  of  stoppage  sig- 
nalled by  a  coated  tongue,  take  Sal  Hepatica— 
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sweeps  away  accumulated  food  wastes 
promptly— /««tf//)'  with'nt  a  half  hour. 

When  you  take  Sal  Hepatica  you  have  taken 
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page, relieves  acidity  and  gently  flushes  away 
the  poisons  of  waste. 


Oal  Hepatica  contains  the  same  health-giving 
salines  as  are  found  in  the  natural  spring  waters 
of  the  noted  European  spas.  Like  these  health 
waters,  Sal  Hepatica  is  efficacious  in  the  treat- 
ment of  indigestion,  disorders  of  the  liver  and 
kidneys,  hyper-acidity,  rheumatism  and  many 
other  ills. 

Dissolved  in  water,  Sal  Hepatica  makes  a 
bubbling,  sparkling  drink,  refreshing  to  the 
taste,  invigorating  in  its  effect.  The  best  time 
to  take  it  is  upon  arising  or  a  half  hour  before 
any  meaL 

Keep  yourself  physically  fit  and  mentally 
alert  with  this  bracing  saline.  Look  at  your 
tongue  every  morning.  If  it  is  coated — if  you 
av/ake  tired  and  depressed — make  yourself  in- 
ternally clean  by  taking  Sal  Hepatica  at  once. 

Send  for  the  free  booklet  that  tells  you  more 
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Sal    .  _ 
Hepatica 


How  the  Screen  Hypnotizes  You 


[  CONTINUED  FRO.M  PAGE  41  ] 


lady  who  took  a  particular  dislike  to  a 
wroiight-iron  chandelier  which  adorned 
the  living  room  of  a  new  house  she  pur- 
chased. 

The  chandelier  got  on  her  nerves  so 
much  that  she  finally  had  it  replaced 
with  an  expensive  crystal  affair,  selling 
the  iron  one  to  a  junk  dealer. 

"  I  simply  could  not  stand  that  hideous 
decoration,"  she  said. 

"I  took  five  dollars  just  to  get  rid  of 
it." 

About  a  month  later  the  lady  attended 
a  picture  in  one  of  the  scenes  of  which  an 
iron  chandelier,  almost  identical  with  the 
one  she  had  scrapped,  played  an  impor- 
tant part. 

It  appeared  in  a  luxurious  and  har- 
monious setting. 

THIS  upset  her  considerably.  She  now 
saw  her  old  iron  chandelier  in  a  aew 
light. 

Her  feeling-tone  toward  the  fixture  had 
been  completely  changed  by  the  picture. 

The  more  she  thought  of  it  the  more 
keen  she  became  to  ha\e  it  back. 

In  the  end,  to  pacify  herself,  she  bought 
back  the  chandelier  from  the  junk  man 
for  thirty  dollars. 

"Some  of  my  friends  think  I've  gone 
mad,"  she  confided  to  me. 

"  But  I  could  not  help  myself,  Doctor," 
she  went  on. 

"Once  I  saw  that  chandelier  in  that 
beautiful  setting,  it  transformed  itself 
from  a  thing  of  ugliness  to  a  thing  of  en- 
trancing beauty. 

"Is  anything  wrong  with  me,  do  you 
suppose?" 

I  could,  to  be  sure,  quickly  reassure  her 
on  that  score. 

It  was  merely  a  case  of  a  perfectly  nor- 
mal suggestibility  streak  being  enhanced 
and  augmented  in  a  moving  picture  thea- 


AND  here  is  another  interesting  fact 
about  the  suggestion  power  of  photo- 
plays. 

\  ou  may  not  be  able  to  make  this  ex- 
periment under  perfectly  ideal  conditions, 
but  you  may  be  able  to  come  somewhere 
near  it. 

Observe  the  difference  between  the 
force  of  the  suggestion  when  you  are  alone 
in  a  motion  picture  theater  and  when 
the  house  is  crowded  and  every  seat  has 
been  taken. 

I  say,  you  may  not  ha\-e  the  oppor- 
tunity o.*^  being  alone. 

\'ou  may,  however,  by  going  very  early, 
when  the  doors  open,  achieve  almost  the 
same  result. 

Note,  then,  that  the  picture  does  not 
hold  your  interest  as  much  alone  as  when 
others  are  seated  all  around  you. 

What  you  miss  is  the  "collective  mind," 
the  minds  of  a  few  hundred  persons  which, 
miraculously,  tend  to  blend  into  one. 

You  feel  their  presence  in  a  vague  yet 
idling  way.  It  is  a  mysterious  composite 
effect. 

When  you  are  in  a  crowd  you  lose  your 
indi\iduality. 


Your  cultural  taste  and  standards  are 
lowered. 

You  become  more  primitive  and  animal- 
like. 

You  let  yourself  go,  you  laugh,  weep 
and  are  emotionally  stirred  in  ways  you 
would  not  be  if  you  were  alone. 

When  your  mind  merges  with  the  col- 
lective crowd  mind  you  step  down  a  peg. 

I  have  seen  refined  men  and  women 
laugh  at  the  most  \ulgar  kind  of  slap- 
stick comedy  in  a  motion  picture  house 
who,  when  confronted  with  the  occur- 
rence afterwards,  have  felt  positively 
ashamed  of  having  exhibited  their  feel- 
ings in  this  way. 

Brutal  killings,  such  as  might  appear  in 
a  wild  animal  hunt,  have,  in  a  picture 
crowd,  called  forth  responses  of  admira- 
tion and  fierceness  in  the  most  gentle  and 
tender  sort  of  human  souls. 

A  crowd  always  augments  our  suggesti- 
bility tendencies. 

Undoubtedly  this  is  one  of  the  chief 
reasons  why  motion  picture  palaces  are 
forever  growing  larger  and  larger. 

A  FRIEND  of  mine  told  me  once  that 
he  does  not  enjoy  pictures  as  much 
when  he  sits  in  the  balcony  as  when  he 
occupies  an  orchestra  seat. 

You  can  understand  why  that  is  so.  In 
looking  down  at  the  screen  when  sitting 
in  the  balcony  we  do  not  assume  the  posi- 
tion of  eyes  looking  upward,  which  is  the 
ideal  one  for  hypnotism. 

It  is  no  exaggeration  to  state  that  you 
are  hypnotized  to  a  degree  when  you 
attend  the  movies. 

To  be  sure,  if  the  screen  subject  does 
not  interest  you,  the  hypnotic  element  is 
reduced  to  a  minimum. 

On  the  other  hand,  the  picture  story 
may  fascinate  you  to  such  an  extent  the 
resultant  hypnosis  amounts  to  a  definite 
trance  state. 

TAKE  a  look  around  at  the  faces  of 
your  neighbors  sometime. 

Observe  the  peculiar  staring  look  in 
their  faces. 

They  are  completely  lost  to  themselves 
and  their  surroundings,  completely  ab- 
sorbed in  what  is  passing  before  their 
eyes. 

They  look  for  all  the  world  like  the  sub- 
jects in  an  hypnotic  trance. 

Because  motion  pictures  have  such 
o\"erwhelming  suggestion  power  is  the 
very  reason  why  they  can  have  such  a  tre- 
mendous educational  value. 

Many  a  boy  and  girl  has  been  inspired 
through  pictures. 

The  lessons  learned  through  a  picture 
stick  in  the  mind  and  last  longer  than 
lessons  learned  through  any  other  me- 
dium. 

Undoubtedly  it  will  not  be  many  more 
years  before  the  movies  will  play  as  im- 
portant a  role  in  our  pedagogical  system 
as  the  blackboard,  spelling  and  arithmetic 
books. 

Make  the  experiment  and  find  out  how 
strong  the  suggestion  power  of  pictures 
really  is! 


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THREE  SPLENDID  PHOTOPLAYS 

you  should  see  in  February 


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pictures  produced  by  FBO  in  a  twelve-month  ....  three 

glittering  gems  of  the  cinema  art big  with  drama 

....  bristling  with  comedy. . .  .warm  with  young  romance! 


Gmof  Island 


Stirring  love  drama  against 
the  flaring  background  of  the 
world's  greatest  pleasure  re- 
sort .  .  .  famous  old  Coney  . . . 
to  which  fun-loving  millions  go 
each  summer!  With  Lois  Wil- 
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legiemiresin 
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Bouncing  burlesque  woven 
about  the  recent  convention  of 
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the  great  parade  ....  the  con- 
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On 


Ica^o  afkr 

Crackling  melodrama  of  the 

underworld The  eternal 

struggle  between  the  forces  of 
Law  and  the  Crime  Ring.  With 
Ralph  Ince,  Jola  Mendez  and 
Helen  Jerome  Eddy.  Directed 
by  Mr.  Ince. 


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Lasting 

Valentine 


CAPTURE  her  heart  with  a  beautiful 
Meeker  Made  handbag,  envelope, 
pouch,  or  vanity.  Here  is  a  Valentine 
that  will  win  any  woman's  heart. 
Lovely— always  lovely,  because  age  and 
use  give  the  leather  a  mellowness— styl- 
ish-always  stylish,  because theirneu- 
tral  tones  harmonize  with  any  costume 
—refined— smart  and  serviceable. 

Dealers  will  show  you  many  styles 
from  which  to  choose.  Look  for 
the  name"MeekerMade"stamped 
into  the  merchandise.  It  is  your 
guide  to  better  grade  leather  goods. 

MmadeFV 


HAND  BAGS 

Purae*    —   Vanities 
Billfolds    —    Novelties 

Displayed  by  Belter  Dealers  Every  inhere 

The  MEEKER  COMPANY,  Inc. 
Joplin,  Missouri 

L^,l<,l  '\U„ul^au,<r,  «/  S<,„l„i,  L,jtl,„  GocJi  in  il„  V.  S.  A. 


Haven  in  the  Port  of  Missing  Girls 


[  CONTINUED  FROM  PAGE  39  ] 


\\  hat  was  to  be  done?  The  only  funds 
were  those  which  would  keep  her  in  that 
penal  institution  until  her  time  "was  up" 
or  death  released  her.  But  desert  air, 
milk  eggs  and  tender  care  were  what  this 
moMe-mad  child  needed.  And  that  she 
rccened,  from  the  personal  funds  of 
Judge  Georgia  Bullock. 

W  hen  she  was  well,  well  in  soul  as  well 
as  in  body,  she  wrote  those  South  Dakota 
parents.  She  told  them  that,  although 
she  was  not  in  the  movies,  she  was  in  a 
home  of  her  own  with  a  fine  upright 
husband  and  a  baby  coming,  and  asked 
them  to  pay  her  a  visit. 

This  judge  sent  seventy-five  mo^■ie- 
i'carning  girls  back  to  their  homes,  safe 
and  in  most  cases,  happy,  during  the 
3'ear  of  1926.  She  has  almost  doubled  the 
number  in  1927.  The  woman  who 
with  the  help  of  her  probation  officer, 
JMrs.  Minnie  Barton,  and  the  home  which 
bears  Mrs.  Barton's  name — has  housed 
and  cared  for  hundreds  of  mo\-ie-mad 
girls  each  season. 

TAKE  the  case  of  the  Denver  woman 
who  fancied  herself  madly  in  love  with 
a  certain  well-known  actor,  that  her 
mother  mortgaged  the  family  home  to  let 
the  daughter  come  to  Hollywood  that  she 
might  "just  see  him." 

\\hen  Alice  landed  here  she  had  exactly 
fi\e  dollars  between  her  and  star\ation. 
In  Dcmer  she  had  worked  in  a  laundry, 
i)ut.  to  complicate  her  Los  Angeles  situ- 
ation, she  broke  her  glasses  on  her  second 
da\-  in  the  city.  This  prevented  her  from 
securing  a  position. 

.\n  empty  room,  ad\ertised  for  two 
dollars  a  month,  attracted  her  attention. 
She  rented  it,  then  proceeded  to  secure 
her  furnishings  in  a  manner  so  unusual  as 
to  make  history,  e\en  among  the  police 
records  of  the  motion  picture  city.  From 
one  apartment  house  she  stole  out  a  chair; 
from  another  a  pot  of  geraniums.  A 
mattress  was  secured  from  a  room  near 
her  own.  Her  two-dollar-a-month  li\ing 
quarters  were  a  bower  of  cheap  knick- 
knacks  when  the  police  detective  finally 
brought  her  to  Judge  Bullock. 

AT  the  instigation  of  Mrs.  Barton  no 
charges  were  preferred  and  the  furni- 
ture was  returned  to  the  owners.  Glasses 
were  purchased  and  the  young  woman 
was  secured  a  position  in  a  laundry. 

For  the  first  week  everything  went 
smoothly.  Then  the  laundry  super\-isor 
telephoned  that  the  girl  must  be  ill,  as  she 
was  not  working.  Investigators  found 
her  trying  to  gain  entrance  to  the  studio 
where  worked  her  fa\"orite  actor,  for 
whom  she  had  left  Den\er. 

A  call  at  the  actor's  home,  a  few  words 
of  explanation,  and  the  funds  were  se- 
cured to  put  little  Aliss  Alice  on  the  train 
for  Denver.  Late  reports  prove  her  to  be 
working  in  her  old  laundry  position, 
happy  to  have  seen  the  man  whom  she 
will  probably  spend  the  rest  of  her  life 
loving! 

Dolores,  we  will  call  her,  came  to  Holly- 
wood with  the  rest  of  the  ambitious  ten 


thousand,  to  seek  her  place  as  an  extra. 
She  \vas  barred,  and  like  so  many,  many 
others,  stooped  to  petty  larceny  as  a 
manner  of  living.  But  instead  of  being 
sorrowful  and  sorry,  she  became  bitter 
and  extremely  revengeful.  Because  Judge 
Bullock  read  her  mind  correctly,  she  did 
not  turn  her  loose  to  secure  her  own  posi- 
tion, but  placed  her  in  the  Barton  Hoir.o 
to  learn  a  useful  vocation. 

ON  June  24,  1927,  she  ran  away,  trying 
to  carry  a  layette  prepared  for  an- 
other unfortunate  girl  with  her.  Thus  she 
hoped  to  conxey  the  meaning  she  was  to 
become  a  mother. 

But  in  the  last  moment  she  became 
frightened  and  left  the  baby  clothes 
behind,  escaping  with  only  the  dress  she 
was  wearing. 

It  was  not  until  September  that  Judge 
Bullock  and  her  assistants  found  trace  of 
her.  She  was  suing  one  of  the  well-known 
motion  picture  players  for  being  the  father 
of  her  approaching  infant. 

Probation  at  first  glance,  in  this  case, 
seems  to  have  been  a  waste  of  energy  and 
donated  money.  But  look  closer!  As  it 
was,  the  district  attorney's  ofiice  knew 
from  the  date  of  her  escape  from  the  Bar- 
ton Home  that,  although  she  had  been 
working  as  a  maid  in  the  actor's  home,  he 
was  an  innocent  party.  In  other  words. 
Judge  Bullock's  kindness  to  the  pitiful 
waif  not  only  secured  her  another  chance 
at  upright  living,  but  protected  the  play- 
er, his  wife  and  the  entire  motion  picture 
colony  from  another  utterly  false  scandal. 

JUST  another  example  picked  at  random 
from  among  the  hundreds  we  might  tell 
you.  This  eighteen-year-old  youngster 
adopted  the  name  of  Juanita.  She  also 
chanced  to  come  from  South  Dakota.  She 
was  a  game  little  soul,  worthy  of  mention. 
Although  she  could  find  no  place  in  the 
motion  picture  world,  she  did  try  to  work 
and  keep  her  family  from  knowing  her 
real  condition.  Here  are  excerpts  from 
one  letter  she  wrote  her  mother. 

"As  you  see  I  am  in  California. 

"  I  am  working  as  an  extra  making  ten 
dollars  a  daj'. 

"I  don't  need  much  here  as  it  doesn't 
take  much  to  live  here. 

"If  you  have  any  extra  clothes  put 
them  in.  I  am  a  little  low,  especially  a 
coat. 

"  I  have  cut  off  my  hair  and  dyed  it  red. 

"I   have  taken   the  name  of  Juanita 

.      Please    address    me    as 

such 

'"Alice." 

Then  she  wrote  no  more  to  her  mother. 
Here  is  a  line  taken  from  the  mother's 
letter  written  to  Judge  Bullock  and  Mrs. 
Barton  whose  name  for  kindness  had 
penetrated  even  to  South  Dakota. 

"I  am  a  heartbroken  mother.  Please, 
please  find  my  baby  for  me." 

The  baby  was  found,  brought  in  with  a 
group  of  \agrant  colored  people,  into 
whose  unclean  hut  she  had  crawled  to 
thwart  starvation. 

Today,  she  is  back  in  South   Dakota. 


Every  advertisement 


PnOTOPLAT  M.VG.VZIXI 


Photoplay  Magazine — Advektising  Section 


Clara  Bow 

SAYS:  "Smart  Set  does  for  its  readers  the  thing  which 
I  attempt  to  do  on  the  screen. 

"Sincerity,  in  my  opinion,  is  the  keynote  of  all  art. 
I  try  to  bring  to  my  screen  characterizations  all  the 
sincerity  and  understanding  of  which  I 
am  capable.    I  try  to  picture  life. 

"In  this  I  find  Smart  Set  an  invaluable 

aid,  for  Smart  Set  is  sincere.   Its  stories  / 

are  real  as  well  as  vivid  and  dramatic; 

they  happened ;  they  are  the  world  as  it  is 

—  not  as  some  one  imagines  it ! 

"And  one  cannot  read  the  articles  in 
Smart  Set  without  gaining  a  better 
understanding  of  the  clear-eyed  young 
people  of  today,  and  of  the  problems 
which  confront  them  in  our  modern  day, 

"Is  it  any  wonder,  then,  that  I  read  every 
issue  from  cover  to  cover?" 


W 


HY  should  a  famous  actress  find  in  a  magazine  the  means  of  adding  power  to  her  art.-*    Why  will  you 
find  in  the  same  magazine  the  means  of  broadening  and  enriching  your  life  —  .'* 

Because  Smart  Set's  stories  are  told  by  the  men  and  women  who  actually  lived  them ;  because  its  articles  are 
written  by  noted  authorities  who  deal  with  topics  of  vital  interest  to  you;  because  of  such  features  as  these: 


Uneasy  Love 

IF  you  were  a  model  in  a  fashionable  dress  shop — 
and  you  "borrowed"  a  gown  from  your  employer 
so  that  you  might  crash  the  gates  into  the  social  fair)- 
land  of  wealth  and  leisure — and  if  you  were  caught — 

Would  you  trust  a  strange  man  to  rescue  you  from  the 
consequences  ?  What  would  he  do  ?    This  novel  tells ! 

"Mama!  How  Could  You?'' 

WHEN  the  charming  widowed  mother  of  a 
marriageable  daughter  refuses  to  retire  to  the 
chimney  corner,  and  in  fact  is  found  being  kissed  by 
one  of  the  daughter's  men  friends  who  is  nearer  the 
mother's  age  than  the  daughter's — when  the  daughter 
cries,  "Mama!  How  could  you?" — You  have  the  start 
for  a  tensely  dramatic  story !    In  February  Smart  Set. 


Trial  Marriage 

CLARA  BOW  says,  "Read  Booth  Tarkington's  views 
on  Trial  Marriage,  as  he  explains  them  to  Dorothy 
Holm  in  the  February  Smart  Set.  From  his  marvelous 
knowledge  of  human  nature,  he  gives  what  seems  to 
me  the  last  word  on  this  much-discussed  subjea." 

See  if  you  also  can  agree  with  his  conclusions. 

The  Love  Pirate 

WHAT  do  you  think  ought  to  happen  to  a  girl 
who  dehberately  sets  out  to  tame  a  man  for  an- 
other girl?  Then  read  the  romance  of  Little-Miss- 
Man-Wise,  who  met  her  match  at  last — in  a  story  that 
Miss  Bow  says  "made  me  want  to  dance  up  and  down 
for  pure  joy!"  Don't  miss  it!  Ypu'll  find  it  on  page 
26  of  the  February  number. 


AND  these  are  only  a  few  features 
.  of  a  single  number  of  Smart  Set. 
Nowhere  else,  never  before,  has  there 
been  a  magazine  like  it !  Read  one 
issue — February  for  example  —  and 
like  Clara  Bow,  you'll  "read  every 
issue  firom  cover  to  cover!" 


s 


MART  Set 


Stories  from  Lifa 

February  Issue  Now  On.  Sale 


tiou   PHOTOPLAY   MAGAZINE. 


04 


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\ 


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My  Life  Story 


[  CONTINUED  FROM  PAGE  78] 


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I  bu5i> 


than  the  other  girls',  and  the  girlsiised  to 
say  snippy  things  to  me  and  shout  "car- 
rot-top" and  things  like  that.  Outwardly, 
it  seemed  as  though  I  were  just  a  rough, 
strong  little  tomboy.  But  tragedy  seemed 
to  mark  me  early  for  its  own. 

I  was  about  five  when  the  first  thing 
that  really  stands  definitely  in  my  mind 
happened.  Clear,  with  all  the  little  de- 
tails. All  children  have  those  memories, 
I  guess,  but  oftenest  they  are  happy. 
Mine  are  not. 

MY  grandfather,  who  lived  with  us, 
was  very  dear  to  me.  Father  worked 
so  hard  and  mother  was  always  ill,  always 
strange  and  depressed,  sometimes  smoth- 
ering me  with  kisses  and  sometimes  with- 
out a  word  of  any  kind  for  me.  J\Iy 
grandfather  was  the  one  who  played  with 
me  and  taught  me  little  things  and  some- 
times told  me  stories.  He  must  have  been 
a  very  good  and  gentle  old  man,  for  he 
used  to  look  after  mother  and  me  both. 

He  had  built  a  little  swing  for  me.  I 
used  to  sit  on  the  floor  and  watch  him 
while  he  was  making  it.  He  fixed  it  so 
that  3'ou  could  pull  it  up  out  of  the  way, 
on  hooks.  There  wasn't  much  room,  you 
see.  We  thought  it  was  a  very  famous 
contri^-ance  and  perhaps  it  was.  On  cold 
winter  days,  when  I  couldn't  get  out  to 
pla>-,  grandfather  used  to  swing  me  and 
we  had  great  fun  that  way. 

It  was  \ery  cold  on  this  particular  after- 
noon. Snow  lay  everywhere,  the  whole 
outdoors  was  white  with  it.  It  was  even  a 
little  cold  in  the  house.  We  had  always  to 
economize  on  coal.  Sometimes  we  had  to 
economize  on  food,  too.  There  was  usu- 
ally enough  of  these  things,  but  never 
just  plenty,  never  all  you  wanted.  Scrimp- 
ing the  corners,  that's  the  way  it  was  in 
our  house. 

I  WAS  cold  and  lonesome.  I  went  out 
into  the  kitchen,  looking  for  something 
to  do.  My  mother  was  washing  and  she 
didn't  speak  to  me.  Her  face  looked 
desperately  ill,  white  and  weary.  I  felt 
she  shouldn't  be  washing.  She  was  wash- 
ing a  red  tablecloth  for  the  kitchen  table. 
While  I  stood  there  I  saw  tears  dropping 
from  her  eyes  and  splashing  into  the  soapy 
water.     I  felt  like  crying,  too. 

I  went  back  in  to  my  grandfather  and 
asked  him  to  swing  me.  He  got  up  and 
pulled  down  the  swing  and  began  to  push 
me,  and  pretty  soon  I  forgot  I  was  cold 
and  that  mother  was  crying  again,  and 
began  to  shout  with  glee.  Then,  suddenly, 
the  swing  ga\e  a  violent  twist  so  that  I 
nearly  fell  out  and  then  it  stopped,  and  I 
heard  a  kind  of  dull  fall  behind  me. 

I  looked  around  and  my  grandfather 
was  lying  on  the  floor.  His  face  was 
purple  and  his  eyes  were  open  and  staring. 

My  screams  brought  my  mother  to  the 
door.  In  her  hands  she  still  held  the  red 
tablecloth.  It  dripped  water  all  over  the 
carpet.  She  threw  it  down  and  ran  to  my 
grandfather,  saying  over  and  over, 
"Father,  speak  to  me.  Speak  to  me." 
She  looked  so  wild  I  was  frightened  and 
ran  downstairs  and  called  a  neighbor. 

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They  brought  a  doctor,  but  it  was  too 
late  to  do  anything.  He  had  died  in- 
stantly, while  he  was  pushing  me  in  my 
little  swing.  That  was  my  first  encounter 
with  death  and  I  didn't  belie\  e  it.  I  was 
quite  sure  they  were  mistaken. 

The  first  night  as  he  lay  in  his  coffin  in 
the  dining  room,  I  crept  out  of  my  bed 
and  lay  down  on  the  floor  beside  him,  be- 
cause I  had  a  feeling  that  he  might  be 
lonely.  My  father  found  me  there  in  the 
morning,  almost  frozen.  I  said,  "Hush, 
you  mustn't  wake  grandfather.  He's 
sleeping."  But  I  knew  that  he  was  dead. 
I  missed  him  very  much. 

That  was  a  terrible  blow  to  my  mother. 
There  had  existed  a  great  lo\e  and  sym- 
pathy between  them.  He  was  the  only 
one  who  could  make  her  laugh  and  talk 
naturally.  Often,  when  they  sat  together 
talking,  I  would  see  her  pass  her  hand 
across  her  head,  as  though  something 
cleared  away. 

AFTER  his  death,  she  was  sad  for  a 
long,  long  time.  She  wanted  to  die, 
too.  She  often  spoke  of  it.  But  she  never 
mentioned  suicide.  Her  courage  was  too 
high  for  that.  Though  she  sufl"ered  all  the 
time,  more  and  more,  and  was  depressed, 
and  couldn't  seem  to  rise  abo\e  it,  she 
went  on  as  best  she  could. 

My  school  life  in  those  earliest  days 
didn't  seem  to  make  much  impression  on 
me.  I  have  no  distinct  impression  of 
any  of  my  teachers,  or  my  school  mates. 

I  had  one  little  playmate,  though,  to 
whom  I  was  de\oted.  He  was  a  little  boy 
who  lived  in  the  same  house  with  me.  I 
think  his  name  was  Johnny.  He  was 
several  years  younger  than  I  was  and  I 
used  to  take  him  to  school  with  me,  and 
fight  the  boys  if  they  bothered  him.  I 
could  lick  any  boy  my  size.  My  right  was 
quite  famous.  My  right  arm  was  de- 
veloped from  pitching  .so  much. 

One  day  after  school  I  was  alone  in  our 
house  upstairs  when  I  heard  a  terrible 
noise  downstairs.  For  a  minute  it  curdled 
my  blood,  then  I  ran  down  wildly.  John- 
ny had  gone  too  near  the  fire  and  his 
clothes  had  caught  and  were  burning  and 
he  was  screaming  with  pain  and  fright. 
His  mother  was  standing  there,  wringing 
her  hands  and  screaming,  too,  like  a 
crazy  woman  and  not  doing  a  thing. 

Whenlcametearinginjohnnyscreamed 
"Clara,  Clara,  help  me."  He  ran  over 
and  jumped  into  my  arms. 

I  HAD  just  enough  sense  to  know  what 
to  do.  I  laid  him  on  the  floor  and  rolled 
him  up  in  the  carpet  and  tried  the  best  I 
could  to  put  the  fire  out.  The  poor  little 
fellow  struggled  and  screamed  all  the 
time. 

I  shouted  for  his  mother  to  get  a  doctor 
and  she  ran  out.  I  stayed  alone  with 
Johnny,  holding  him  in  my  arms  rolled 
up  in  the  carpet  and  trying  to  soothe 
him  and  quiet  him.  I  was  crying  all  the 
time  myself  and  prettA'  nearly  crazy,  too. 
I  seemed  to  feel  the  fire  on  my  own  flesh, 
and  every  time  he  cried  out  it  seemed  to 
mc  I  couldn't  bear  it  anv  more. 


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The  doctor  came.  He  couldn't  do  any- 
thing. The  little  fellow  died  in  my  arms. 
He  was  just — just  all  burned  up,  that's  all. 
I  tried  to  pray  then,  begging  God  not  to 
let  him  suffer  like  that.  The  last  thing  he 
said  was  "Clara — Clara—" 

\\'hen  I  knew  he  was  dead  I  went  up- 
stairs and  cried  for  hours.  I  ha^■e  ne\er 
cried  but  once  like  that  since.  That  was 
when  my  mother  died.  It  seemed  to  me 
that  life  was  just  too  terrible  to  be  borne. 
When  my  mother  came  in  I  was  asleep. 
I  had  cried  myself  into  complete  e.xhaus- 
tion,  and  I  was  ill  for  se\'eral  weeks.  The 
shock  had  been  too  much.  For  months  I 
used  to  wake  up  and  think  I  heard  that 
little  fellow  calling  "Clara — Clara — help 
me."  Things  like  that  are  terrible  for  a 
little  child  to  go  through — I  was  only 
about  eight  or  nine,  I  guess. 

AS  I  got  older,  I  played  with  the  boys 
more  and  more.  I  still  was  an  awfully 
plain  kid.  I  was  shy  and  nervous  around 
girls.  They  were  always  hurting  my  feel- 
ings and  I  thought  they  were  silly  any- 
way. I  wore  plain  clothes  and  kept  my 
hair  tied  back  out  of  my  face.  I  was  as 
good  at  any  game  as  any  of  the  boys.  And 
just  as  strong.  They  always  accepted  me 
as  though  I  had  been  one  of  themselves. 
We  used  to  skate  together  and  play 
baseball  and  all  sorts  of  rough  games  in 
the  street  and  I  never  felt  there  was  any 
difference  between  us.  At  night  some- 
times we  would  build  a  bonfire  and  sit 
around  it  after  we  had  skated  awhile,  and 
the  boys  never  noticed  me.  They  talked 
about  everything  just  like  they  were 
alone.  That  was  where  I  learned  what 
boys  really  think.  I  knew  how  they 
judged  girls.  I  knew  which  ones  they 
could  kiss  and  how  they  made  fun  of 
them.  I  was  mighty  glad  they  didn't 
think  I  was  a  sissy.  I'd  do  any  darn 
thing  to  prove  I  wasn't.  We  used  to  hop 
rides  on  trucks  and  get  lost  and  do  all 
sorts  of  crazy  stunts.  They  let  me  take 
care  of  myself,  too,  just  like  I'd  been 
another  boy.  Once  I  hopped  a  ride  on 
behind  a  big  fire  engine.  I  got  a  lot  of 
credit  from  the  gang  for  that. 

ALL  this  time  my  mother  was  growing 
more  ill.  She  had  always  been  sub- 
ject to  fainting  spells  and  they  grew 
gradually  worse.  They  weren't  fits  and 
they  weren't  regular  fainting  spells.  Often 
they  would  happen  two  or  three  times  a 
day,  and  then  maybe  she  would  be  free 
from  them  for  a  long  time.  When  she 
felt  them  coming  on  she  would  look  at  me 
so  pathetically.  Like  a  woman  caught  in 
some  trap.  Then  her  eyes  would  grow 
glassy  and  she  would  start  to  gasp  for 
breath.  It  was  just  as  though  she  were 
being  strangled.  She  would  fight  and 
fight  for  breath. 

Usually  I  was  alone  with  her,  and  I 
would  run  to  her  and  massage  her  throat 
to  try  to  make  her  breathing  easier.  I'd 
say,  "Mother,  mother,  don't — please 
don't."  When  father  was  there  some- 
times we'd  cry  together,  because  it  is 
terrible  to  see  someone  you  love  suffer 
like  that  and  not  be  able  to  help  them. 

We  ne\-er  had  much  money,  you  know, 
and  so  we  couldn't  consult  any  specialists. 
Our  own  doctor  told  us  it  was  a  nervous 
disease.  My  father  said  her  mother  had 
once  told  him  that  when  she  was  a  child 


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A  bit  of  Cinderella  magic  this  simple 
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does  it  leave  your  nails,  so  graceful 
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Once  the  beautiful  Renee  Adoree  has  been 
seetij  she  can  never  be  forgotten.  A  queen 
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Instantly! 

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she  had  a  bad  fall  on  her  head.  When  I 
was  four  years  old  she  fell  again,  on  the 
stairs,  and  it  opened  up  the  old  scar. 
They  had  to  take  stitches  in  it.  Probably 
advanced  brain  specialists  today  would 
tell  us  that  that  had  a  lot  to  do  with  it. 
Perhaps  they  might  have  helped  her,  but 
we  didn't  know  what  to  do. 

Of  course  when  she  was  having  her  bad 
times  I  had  to  do  most  of  the  house  work 
and  the  washing  and  cooking.  Father 
had  had  a  lot  of  bad  luck.  Everything 
seemed  to  break  against  him.  He  worked 
as  a  carpenter  or  an  electrician,  or  at  any 
odd  jobs  that  he  could  get  to  do.  Every- 
thing seemed  to  go  wrong  for  him,  poor 
darling.  He  wanted  so  much  to  do  more 
for  us  and  he  worked  so  hard,  but  just 
bad  luck  followed  him  all  the  time.  So  I 
had  to  do  the  best  I  could  taking  care  of 
mother  and  the  house,  but  I  wasn't  very 
good  at  it.  I  never  had  any  knack  about 
housework,  or  cooking.  I  got  to  be  a 
pretty  expert  nurse  for  mother,  but  it 
always  frightened  me  when  she  got  bad 
and  I  dreaded  seeing  her  suffer. 

WHEN  I  first  started  to  the  Bayside 
High  School  in  Brooklyn,  I  was  still 
a  tomboy.  I  wore  sweaters  and  old  skirts 
made  over  from  my  mother's.  I  didn't 
give  a  darn  about  clothes  or  looks.  I  only 
wanted  to  play  with  the  boys. 

I  guess  I  was  about  fourteen  or  maybe 
fifteen  when  my  mother  had  quite  a  long 
spell  of  being  almost  herself.  Her  health 
was  better  and  things  brightened  up  quite 
a  good  deal.  Then  she  began  to  take  a 
litrle  interest  in  my  clothes  and  my  looks. 
She  combed  my  hair  a  new  way,  so  the 
curls  fell  around  my  face,  and  she  made 
me  a  pretty  dress,  that  was  cut  in  at  the 
waisT  and  showed  pretty  plainly  that  I 
wasn't  a  boy  after  all. 

Right  away  there  was  a  change  in  the 
boys'  attitude  toward  me.  Oh,  I  was 
heart-broken.  I  couldn't  understand  it. 
I  didn't  want  to  be  treated  like  a  girl. 

There  was  one  boy  I  knew  who  had  al- 
ways been  my  pal.  We  always  fought 
each  other's  battles  and  he  used  to  catch 
on  the  baseball  team  I  pitched  for. 
Well,  one  night  when  we'd  been  out  skat- 
ing, he  kissed  me  on  the  way  home. 

I  wasn't  sore.  I  didn't  get  indignant. 
I  was  horrified  and  hurt.  It  seemed  to  me 
;that  the  end  of  everything  had  come.  I 
knew  now  that  I  could  never  go  back  to 
being  a  tomboy.  The  boys  wouldn't  let 
me.  They'd  always  liked  me  so  well,  I'd 
always  been  their  favorite.  Not  to  kiss  or 
be  sweet  on,  but  because  I  was  game  and 
could  run  fast  and  take  care  of  myself. 
They'd  always  liked  me  better  than  those 
sissy  girls  that  put  powder  on  their  noses. 

Now  that  was  over.  No  matter  how 
much  I  wanted  to  be  a  tomboy  still,  I 
couldn't.    The  boys  wouldn't  let  me. 

I  WASN'T  ready  for  the  dawning  of 
womanhood,  for  the  things  that  would 
take  the  place  of  what  I  had  lost.  I'd 
been  cast  out  by  my  pals.  The  girls  still 
made  fun  of  me  for  being  a  tomboy.  I 
was  absolutely  alone. 

I  had  never  liked  to  study.  I  was  just 
skimming  along  because  I  was  naturally 
quick,  but  I  never  opened  a  book  and  the 
teachers  were  always  down  on  me.  I 
don't  blame  them.  I  guess  I  must  have 
looked  pretty  hopeless.  But  I  often  think 
now,   when   I    have  come  of   myself   to 

ry  .itlvcrlisement  in  PHOTOPLAY  MAGAZINE  Is  euaranteed. 


realize  how  I  love  reading,  how  much  I 
want  to  know  things,  that  itjwasn't  all  my 
fault.  If  they  had  made  me  see  what  I 
see  now,  by  myself,  I  know  I  would  have 
been  good. 

In  this  lonesome  time,  when  I  wasn't 
much  of  anything  and  hadn't  anybody 
except  Dad,  who  was  away  most  of  the 
time,  I  had  one  haven  of  refuge.  Just  one 
place  where  I  could  go  and  forget  the 
misery  and  gloom  of  home,  the  loneliness 
and  heartache  of  school. 

That  was  to  the  motion  pictures.  I 
can  ne\'er  repay  them  what  they  gave  me. 

I'D  save  and  save  and  beg  Dad  for  a 
little  money,  and  every  cent  of  it  went 
into  the  box  olifice  of  a  motion  picture 
theater.  For  the  first  time  in  my  life  I 
knew  that  there  was  beauty  in  the  world. 
For  the  first  time  I  saw  distant  lands, 
serene,  lovely  homes,  romance,  nobility, 
glamour. 

My  whole  heart  was  afire,  and  my  love 
was  the  motion  picture.  Not  just  the 
people  of  the  screen,  but  everything  that 
magic  silversheet  could  represent  to  a 
lonely,  starved,  unliappy  child.  Wally 
Reid  was  my  first  sweetheart,  though  I 
never  saw  him  except  on  the  screen.  He 
was  Sir  Galahad  in  all  his  glory.  I  wor- 
shipped Mary  Pickford.  How  kind  and 
gentle  and  loving  she  was.  Maybe  there 
were  people  like  that  in  the  world. 

A  great  ambition  began  to  unfold  in  me. 
I  kept  it  hidden  for  fear  of  being  laughed 
at.  I  felt  myself  how  ridiculous  it  was. 
Why,  I  wasn't  even  pretty.  I  was  a 
square,  awkward,  funny-faced  kid.  But 
all  the  same  I  knew  I  wanted  to  be  a 
motion  picture  actress.  And  I  can  say 
one  thing,  right  here.  If  I  have  had  suc- 
cess beyond  my  own  greatest  dreams,  it 
may  be  that  it  is  the  reward  for  the  pur- 
ity of  my  motive  when  I  first  dreamed 
that  dream.  For  I  truly  didn't  think  of 
fame  or  money  or  anything  like  that.  I 
just  thought  of  how  beautiful  it  all  was 
and  how  wonderful  it  must  be  to  do  for 
people  what  pictures  were  doing. 

One  day  I  saw  in  a  paper  an  announce- 
ment of  a  contest.  Not  a  beauty  contest. 
I  wouldn't  have  dared  to  enter  that.  This 
said  that  acting  ability,  personality, 
grace  and  beauty  would  be  judged  in 
equal  parts. 

I  WENT  to  Dad.  Shyly,  I  told  him  my 
dream.  He  was  so  kind.  He  always 
understood.  He  was  harassed  and  miser- 
able and  overworked,  but  he  was  kind 
and  understanding  always. 

He  gave  me  a  dollar.  I  knew,  even 
then,  what  a  sacrifice  it  was  to  him.  I 
went  down  to  a  little  cheap  photographer, 
in  Brooklyn  and  he  took  two  pictures  of 
me  for  that  dollar.    They  were  terrible. 

Without  daring  to  tell  mother,  I  sent 
them  in  to  the  contest.  And  sat  down  to 
wait  and  pray. 

No  star  ever  has  spoken  so  frankly, 
so  bravely  about  her  childhood  and 
early  struggles.  No  actress  has 
written  more  dramatically  or  Iruth- 
Jully  about  her  rise  to  fame.  In  the 
second  installment  of  her  Life  Story, 
Clara  Bow  tells  Adela  Rogers  St. 
Johns  about  her  first  pathetic  efforts  , 
to  find  a  place  for  herself  in  the 
movies.  You  won't  want  to  miss  a  . 
word  of  this  great  Life  Story. 


Photoplay  Magazine — Advertising  Section 


Friendly  Advice  on 
Girls'  Problems 


[  CONTINUED  FROM  PAGE   16  ] 

is  a  fear  of  becoming  serious  with  one  in 
particular.  Therefore  I  wouldn't  crowd  the 
boy  at  the  moment.  Stay  charming  and 
serene.  Watch  the  other  girl  more  than  you 
watch  the  boy  friend.  The  battle  for  him 
is  really  between  you  two  girls,  you  know. 
Outsmart  her,  my  dear,  and  the  victory  will 
be  yours. 

E.  M.  \\\: 

If  you  will  send  a  stamped,  self-addressed 
envelope,  I  will  be  glad  to  give  you  my 
advice  in  the  matter  of  your  love  affair.  I 
can  not  answer  you  through  the  columns  of 
the  magazine. 

S.  R.: 

The  above  suggestion  applies  to  your  case. 
Send  >our  address  so  that  I  may  write  to 
you.  The  matter  of  your  mother  and  your 
baby  complicates  the  whole  situation,  I 
think. 

Elsie: 

You  should  weigh  about  one  hundred  and 
thirty  pounds — you  are  slightly  overweight, 
but  diet  and  e.xercise  will  correct  that 
matter.  To  reduce  your  stomach  do  bending 
exercises  and  exercises  in  which  you  lie  on 
your  back  and  raise  your  legs  until  they  are 
at  a  right  angle  from  your  body.  An  elastic 
girdle,  especially  an  elastic  reducing  girdle, 
will  help. 

L.  R.: 

These  books  will  be  a  help  to  you  in  your 
pursuit  of  general  knowledge: 

I.  H.  G.  Wells'  "Outline  of  History." 

II.  Emily  Post's  Book  on  Etiquette. 

III.  The  verse  of  Kipling,  Browning  and 
Tennyson. 

IV.  The  plays  of  Shakespeare. 

V.  The  novels  of  the  Brontes,  and  Jane 
Austin  (to  get  the  spirit  of  the  Victorian 
era). 

VI.  The  novels  of  Edith  Wharton  (for 
familiarity  with  the  ways  of  a  fine  modem 
novelist). 

VII.  Brander  Mathews  on  Versification. 

VIII.  Apollo  by  Reinach  (for  an  outline 
of  art). 

IX.  Durant's  "Story  of  Philosophy." 

X.  The  Bible. 

M.  E.  B.: 

Put  bitter  aloes  on  your  finger  nails — just 
as  mothers  do  to  their  children  when  they 
wish  to  cure  them  of  an  unpleasant  habit. 
The  taste  will  soon  break  you  of  nail  biting. 
The  cures  that  you  are  using  for  freckles  are 
the  best  on  the  market.  Help  them  out  by 
keeping  in  the  shade  as  much  as  possible, 
and  by  wearing  sun  hats  and  carrying 
parasols.  Always  use  a  good  bleaching 
cream  both  night  and  morning.  And  put  a 
trifle  of  lemon  juice  in  the  water  that  you 
use  upon  your  face. 

Jo.\N  T.: 

Those  who  will  not  believe  your  story  are 
not  truly  your  friends — a  friend  will  not  be 
unkind  and  will  not  fail  in  faith.  It  is  easy 
enough  to  prove  the  date  of  your  marriage 
by  displaying  your  certificate,  you  know. 

L.  C.  C: 

You  are  not  too  young  at  fourteen  to  learn 
how  to  dance  or  to  swim.  If  you  do  not 
learn  now  you  will  find  your  lack  of  knowl- 
edge a  handicap  when  you  are  a  little  older. 
You  are  too  young,  however,  to  think  ser- 
iously of  "going"  with  boys.  Timeenough 
for  that  several  years  from  now! 


107 


BILL  HART,  Jr. 
Loved  every  minute  of  it. 


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X» 


MISS  ROSALINE  DLTNN 

■W"ell-kno%.-ii  authority  on  manicuring 

whose  clientele  is  iKe  most  lastidiouj 

in  the  world. 


A-t    last    1    have 

JO  una     tJieJ> 
Perfect  Manicure 


By  MISS  ROSALINE  DUNN 

TH05E  teautiftil  women  of  New 
York's  smartest  society  are  my  clients. 
Tkeir  patronage  is  my  re^v-ara  for  a  life  ae- 
voted  to  tKe  art  of  manicuring. 

For  years  I  kave  studied  tke  care  of  tke 
nails  and  kands,  al-ways  striving  to  ackieve 
exquisite  perfection  ...  to  give  nails  an 
alluring,  lustrous  tint  of  tke  correct  skade. 


„ci  fran 


jft. 


eeled  , 


Tken  from  Paris  came  tke  vhi; 
liquid  polislies  Lad  teen  created, 
all  of  them.  But  some  of  tkem  p. 
dulled  in  spots.     Others  gave  tke  nails  an 

Tken  just  wkeni  despaired  of  ever  real- 
izing my  amoitions  1  discovered  tke  Olazo 
Manicure.    W"kat  a  kappy  meeting! 

Tke  marvelous  Glazo  Polisk  krings  to 
nailssuckenckantingloveliness.Its  radiant 
keauty  makes  tke  kands  seem  fairer. 

It  will  keep  your  nails  as  perfectly 
groomed,  as  keautiful  as  if  I  were  manicur- 
ing tkem  for  you.  And  tke  Glazo  Cuticle 
Oil  (fortkose  wko  prefer,  tke  Glazo  Cuti- 
cle Cream)  softens  tke  cuticle  and  keeps 
it  smootk,   pink,  and  keautifully  curved. 

Let  me  send  you  tke  little  lesson  Look 
I  kave  prepared.  It  tells  y  ou  kow  to  hide 
tke  telltale  traces  of  work  and  kow  to  keep 
your  kands  youtkful.  Also,  it  explains 
the  very  latest  metkod  of  manicuring  tke 
kands.  /     /     /     / 

Your  favorite  skop  sells  Glazo.  Its  price, 
including  tke  remover,  50c. 

Mail  tkis  coupon  for  a  Miniature  Glazo 
Manicure  and  Miss  Dunns  kooUet. 


m:»  r„,.,i;„.  d,m,„    "^ 

PU^.e  s,n.l   „,..  y„„r  l.ookl-.  .,,,,1 
;«lurc  Glaro  ma,.i<r„r<=  set,   10c  i-., 
i^        Name 

'lo,..'.'!!"" 

i  sz: 

I       City 

The  Banker  Who  Trusted  Pictures 


[  CONTINUED  FROM  PAGE  43 


from  medical  school,  came  to  public  at- 
tention in  San  Francisco  by  volunteering 
to  take  o\er  the  treatment  of  a  man 
strangely  stricken  by  a  disease  supposed 
to  be  typhus.  The  patient  with  the 
mysterious  plague  had  been  removed  to 
a  distant  isolation  hospital. 

Out  on  a  hill  top  alone  with  his  patient 
and  a  nurse  the  j'oung  doctor  waged  his 
fight  for  a  life  for  two  weeks.  Then  the 
patient  died  and  Giannini  and  the  nurse 
were  stricken.  Another  doctor  was  sent 
to  their  relief.  The  other  doctor  and  the 
nurse  died,  leaving  Giannini  the  sole  sur- 
\-i\or  of  the  desperate  experience  of  the 
isolation  hospital. 

IN  the  Spanish-Am.erican  war  Dr.  Gian- 
nini ser\ed  as  a  lieutenant  in  the  U.S.A. 
Medical  Corps,  and  again  distinguished 
himself  by  \-olunteering  to  take  charge  of 
an  isolation  hospital  when  an  outbreak  of 
smallpox  occurred  in  camp  near  San 
Francisco. 

After  the  Spanish-American  war  the 
young  doctor  wanted  to  see  the  world. 
He  came  to  New  York  for  a  year  at 
Columbia  Uni\ersity  and  went  rambling 
off  through  Europe  for  another  year. 

Then  he  returned  to  San  Francisco  and 
entered  the  practise  of  medicine,  with 
success  and  considerable  local  distinction. 

It  looked  as  though  Dr.  Giannini's 
career  was  set  for  life.  But,  despite  all 
the  success  texts  and  preachments  to  the 
contrary,  men  do  not  make  their  own 
careers  in  any  such  single  handed  way 
as  represented. 

Dr.  Giannini  has  an  older  brother, 
known  crisply  as  A.  P.  Giannini,  in  the 
business  world,  but  the  "A"  stands  for 
Amadeo,  which,  to  the  Italian,  makes 
him  Love-of-God  Giannini. 

THIS  Amadeo,  by  the  period  reached 
in  this  tale,  had  worked  his  way  up 
through  the  produce  business  to  such 
estate  that  at  age  31  he  was  ready  to  retire 
upon  his  competency.  In  this  decision 
to  retire  one  discovers  an  amazing 
sagacity  beyond  most  American  under- 
standing in  this  Lo^'e-of-God  Giannini. 
He  had  in  fact  enough  capital  to  pay  him 
an  income  of  some  four'hundred  dollars  a 
month,  an  abundant  li\ing  in  the  North 
Beach  region  of  the  San  Francisco  of  those 
days.  He  had  enough  and  knew  it.  Why 
stiuggle  for   more? 

I  lowever  it  just  so  chanced  that  a  cer- 
tain San  Francisco  bank,  observing  the 
lugli  standing  of  the  name  of  Giannini 
among  its  Italian  customers,  elected  the 
retiring  young  produce  merchant  to  its 
directorate.  He  was  to  be  window  dress- 
ing for  the  enticement  of  the  Italian 
business.  He  refused  to  be  a  decoration. 
He  studied  the  bank  and  banking,  and 
Its  treatment  of  various  types  of  custom- 
ers. He  recommended  changes  and 
was  vigorously  overruled. 

Tliis  was  precisely  the  kind  of  challenge 
needed  to  put  Amadeo  back  to  work 
again.  He  answered  by  organizing  a 
new  little  bank  on  his  own  particular  idea 
of  what  a  bank  ought  to  be.    So  August, 

Bfery  aUvcrllseraent  In  rUOTOPLAT  MAGAZINE  Is  euarantecd. 


1904,  that  very  small  portion  of  the 
world  in  the  vicinity  of  Montgomery 
Avenue  and  Washington  Street,  San 
Francisco,  was  greeted  by  a  new  gilt  sign 
which  announced  "The  Bank  of  Italy." 

Giannini's  notion  was  somewhat  rev- 
olutionary. Previously  most  banks  had 
been  formed  and  operated  in  the  special 
behalf  of  the  bankers  concerned.  Lo\e- 
of-God  Giannini  had  the  impression  that 
it  would  be  a  ser^•ice  to  ha\e  a  bank  which 
was  operated  for  its  depositors  and  stock- 
holders, so  safeguarded  in  its  structure 
that  none  of  the  directors  or  officers  of 
the  bank  could  borrow  its  money, 
speculate  in  stock  or  entertain  outside 
interests  that  might  in  days  of  crisis 
conflict  with  the  well-being  of  the  insti- 
tution. 

This  bank  began  to  prosper  and  in  some 
five  months  was  on  a  dividend  basis. 
Then  April  18,  1906,  came  the  San 
Francisco  disaster  known  elsewhere  as  the 
earthquake  and  described  locally  as  "the 
settling  of  the  geological  fault  and  the 
fire." 

THE  fire  was  sweeping  through  the 
North  Beach  region  when  the  Gianni- 
nis  reached  the  bank.  The  fire  was  only  a 
block  away  when  two  big  dray  wagons  be- 
longing to  Lawrence  Scatena,  step- 
father of  the  Gianninis,  backed  up  to  the 
bank  and  hauled  its  treasure  and  records 
away.  Thoughtfully  enough,  e\en  in  the 
haste  of  that  flight,  the  Gianninis  loaded 
in  a  supply  of  stationery  and  forms. 
They  were  going  to  do  business  some- 
where, sometime.  The  immediate  idea 
was  to  bury  the  bank's  assets  and  records 
to  protect  them  from  the  fire  which  at 
the  time  seemed  likely  to  utterly  de- 
stroy the  city. 

But  when  those  treasure  loaded  wagons 
stopped  it  was  at  the  home  of  A.  P. 
Giannini,  Se\en  Oaks,  at  San  Mateo. 

The  fire  was  extinguished  on  Saturday 
following  the  earthquake.  All  day 
Sunday  the  Gianninis  sat  at  Seven  Oaks 
writing  letters  to  depositors  notifying 
them  that  the  Bank  of  Italy  was  open  for 
business  and  that  proportionate  amounts 
could  be  drawn  by  depositors,  also  that 
loans  might  be  negotiated. 

The  obscure  little  Bank  of  Italy,  first 
in  all  of  stricken  San  Francisco,  plunged 
into  the  rehabilitation  of  the  city. 

ONLY  nine  days  after  the  quake  the 
bank  was  back  in  town  again,  doing 
business  at  the  city  residence  of  Dr.  A,  H. 
Giannini  at  2745  Van  Ness  Avenue. 
They  set  the  North  Beach  district  to  re- 
building with  bricks  that  were  still  hot 
from  the  fire. 

The  psychological  value  of  the  move 
was  as  great  as  its  immediate  financial 
service.  Within  a  week  the  bank's  de- 
posits were  coming  in  again  at  a  rate 
that  exceeded  the  withdrawals.  The 
Bank  of  Italy  was  made.  Its  fame  spread. 
This  San  Francisco  earthquake  or- 
dained a  new  career  for  Dr.  Giannini.  He 
threw  himself  into  the  increasing  re- 
sponsibilities and  labors  of  the  bank,  and 


Photoplay  Magazine— Advebtisixg  Secti 


found  himself  drawn,  by  this  community 
service,  into  public  service  and  political 
office. 

The  records  of  the  remaking  of  San 
Francisco  and  its  deli\'ery  from  the 
curruptionists  and  the  graft  ring  are 
abundantly  marked  with  the  name  of  this 
aggressive  Dr.  Giannini.  He  became 
cliairman  of  the  Committee  on  Public 
Utilities  of  the  Board  of  Super\isors  of 
San  Francisco,  in  a  stormy  and  strenuous 
[jeriod.  He  was  a  leader  in  the  fight 
which  revised  downward  the  public 
utility  rates,  gas,  electricity  and  tele- 
phone. He  went  to  Washington  and 
waged  a  winning  fight  there  for  the 
Metch-Hetchy  valley  water  supply. 

It  would  appear  that  Dr.  Giannini  had 
the  unique  notion  that  the  city  ought  to 
be  run  for  its  citizens,  by  the  same  reason- 
ing by  which  his  brother  had  decided  on 
a  bank  for  its  patrons. 

MEANWHILE  in  1907  Amadeo  Gian- 
nini came  east  on  a  tour  of  obser\  a- 
tion.  He  decided  there  was  a  financial 
storm  brewing.  He  set  about  gathering 
into  the  Bank  of  Italy  all  of  the  bullion 
and  coin  possible.  In  a  few  months  the 
panic  of  1907,  called  "the  stringency" 
then,  swept  the  country.  While  other 
San  Francisco  banks  were  issuing  clearing 
house  certificates  and  script,  merely 
polite  banking  terms  for  I.O.U.'s,  the 
Bank  of  Italy  added  to  its  repute  and 
fame  by  paying  in  gold  through  the 
crisis.  The  Pacific  Coast,  having  seen 
the  Giannini  bank  unwavering  through 
earthquake  and  panic,  decided  it  was  a 
good  place  to  put  money. 

Other  communities  demanded  like 
service  and  the  Bank  of  Italy  extended 
its  operations  through  branches.  The 
first  branch  was  opened  in  San  Jose  by 
Dr.  Attilio  Giannini.  It  is  entirely  ac- 
curate to  say  that  branch  banking,  the 
most  significant  modern  de\-elopment 
in  financial  machinery,  was  founded  and 
fathered  by  the  Gianninis.  They  now 
control  more  than  300  banks. 

BY  1909  the  Bank  of  Italy's  far  fiinig 
affairs  demanded  so  much  attention 
that  Dr.  Giannini  resigned  from  the  Board 
of  Super\isors,  declined  some  important 
invitations  to  official  posts,  and  de\oted 
himself  entirely  to  banking  affairs. 

Dr.  Giannini  in  his  practise  of  medi- 
cine and  his  practise  of  politics  got  de- 
cidedly intimate  with  a  good  many  facts 
concerning  the  human  race  and  the  great 
Commonality,  Mr.  Demos.  A  good 
diagnostician  sees  a  great  deal  more  in 
the  patient  beside  what  makes  the  tummy 
ache.  Among  other  facts  he  obser\ed 
that  "get  them  young"  had  proven  an 
excellent  policy  for  churches  and^olitical 
parties.  He  had  a  plan  for  applying  it 
to  the  bank. 

So  the  Bank  of  Italy  was  made  the 
official  depository  for  a  system  of  savings 
accounts  opened  by  children  of  the  Cali- 
fornia schools.  Dr.  Giannini  went  about 
the  schools  lecturing  on  thrift.  He  intro- 
duced the  savings  stamp  system  so  that 
any  child  with  a  penny  could  begin  to 
save.  That  same  system  was  used  on  the 
grown-ups  by  the  U.  S.  Government 
during  the  world  war.  Giannini's  efforts 
brought  down  on  him  a  campaign  of 
opposition  by  the  makers  and  vendors  of 


lOO 


To  keep  a  young  skin  young 

rPrevent  (gapping 


^^ 


'HAPPING  is  more  impor- 
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LABLACHE  MUST  BE  a  wonder- 
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And  so  it  is! 

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1 


cheap  candy  and  peanuts.  He  took 
candy  from  the  kids  and  gave  them  money 
in  the  bank  instead. 

The  other  day  a  report  from  the  School 
Sa^■ings  Department  of  the  Bank  of 
Italy  brought  to  Dr.  Giannini's  desk  on 
Broadway  the  amazing  tidings  that  now 
one  in  fi\e  of  all  the  school  children  of 
California  had  an  account,  145,163  out  of 
an  enrollment  of  725,000,  with  nearly 
two  and  a  quarter  million  dollars  to  their 
credit.  Thus  does  the  Bank  of  Italy  tie 
itself  into  the  lives  of  the  people  and  make 
customers  for  tomorrow. 

Meanwhile  about  1913  Dr.  Giannini 
came  into  contact  with  this  new  and 
hectic  business  of  the  motion  picture. 
Herman  Wobber  of  San  Francisco  had 
a  nickelodeon  and  some  ambitious  ideas 
that  needed  financing.  The  nickelodeon 
was  not  much  to  look  at,  and  the  motion 
picture  had  really  not  gained  anj-thing 
in  status  since  those  pioneer  days  when 
Peter  Bacigalupi  of  San  Francisco's  own 
"Little  Italy"  had  brought  west  to  his 
phonograph  parlor  the  first  motion  pic- 
ture machine  in  California,  an  Edison 
Kinetoscope  of  1894.  But  Mr.  Wobber 
had  sounder  assets  in  his  family  con- 
nections and  his  brothers'  well  established 
printing  business.  Dr.  Giannini  ex- 
tended the  banking  accommodation— and 
began  to  look  into  this  movie  thing. 

Along  came  W.  \V.  Hodkinson,  with 
the  uplift  idea  for  the  motion  picture  and 
plans  for  making  it  a  business,  with  bet- 
ter and  longer  pictures,  drawing  Herman 
Wobber   into    the    service   of    the    idea. 


From  that  contact  developed  the  Pro- 
gressive exchanges,  first  customers  for 
the  feature  pictures  made  by  Adolph 
Zukor's  Famous  Players  and  Jesse 
Lasky's  Lasky  Feature  Play  Company. 
And  from  that  came  Paramount,  founded 
by  Hodkinson  and  carried  forward  in  the 
West  by  Wobber.  Incidentally  Herman 
Wobber  is  today,  although  but  slightly- 
known  to  the  public,  one  of  the  wealthy 
and  powerful  men  of  the  industry,  con- 
tinuing his  career  with  Paramount- 
Famous-Lasky. 

Even  so  Dr.  Giannini's  interest  in 
motion  pictures  might  have  continued 
local,  but  again  destiny  was  about  to  deal 
from  a  new  deck.  Along  came  the  world 
war.  There  was  an  embargo  on  ship- 
ments of  food  stuffs  out  of  hungry 
Europe. 

In  consequence  New  York's  million 
Italians  began  to  miss  their  antipasto. 

The  Italians  are  patient.  They  will 
suffer  long  and  work  hard.  But  there  are 
limits  to  their  denial.  They  will  have 
their  pimentos,  their  anchovies,  their  olive 
oil,  and  tomato  paste. 

So  when  the  war  cut  off  imports  from 
the  homeland  New  York's  Italians 
turned  to  California  where  the  Italian 
farmers  of  the  Sacramento  Valley  pro- 
duced these  viands,  con  amore. 

In  San  Francisco  to  buy  delicatessen, 
the  Italian  merchants  of  New  York 
opened  their  eyes  wide  at  the  Renaissance 
elegance  of  the  Bank  of  Italy,  with  its 
marbles  from  Pavanossa  and  Carrara. 
And    they    marvelled    more    when    they 


Dr.  Giannini,  with  Jackie  Coogan  and  his  own  son,  Bernard.    This 

brave  Italian  from  San  Francisco  was  the  first  banker  to  treat  the 

niovies  as  a  legitimate  business  enterprise    ' 

Every  adverllscmcnl   hi  I'llOTliIM.AV   MAGAZINE  is  guaranteed. 


Photoplay  Magazine— Au\ tin ising  Section 


found  that  this  Bank  of  Italy  was  the 
great  bank  of  the  great  Pacific  Coast, 
with  branches  extending  in  all  directions. 

These  visiting  merchants  demanded  a 
Bank  of  Italy  for  New  York.  In  sequel 
they  subscribed  a  million  dollars.  The 
East  River  National  Bank  was  taken  o\er 
and  Dr.  Attilio  H.  Giannini  came  to  New 
York  to  administer  its  affairs.  He  was  to 
stay  one  year.  He  has  been  in  New 
York  nine  years. 

New  York  is  necessarily  the  home  of 
motion  picture  financing.  When  Gian- 
nini came  to  New  York  all  save  a  limited 
few  of  the  stronger  concerns  were,  when 
in  need  of  funds,  too  often  at  the  mercy 
of  loan  sharks,  "the  twenty  per  cent 
boys. " 

THE  motion  picture,  lacking  status  in 
the  minds  of  the  bankers,  was  really 
outside  the  pale  of  legitimate  business,  or 
at  any  rate  orthodox  business.  The  bank- 
ers did  not  know  about  it,  and  the  strang- 
er is   never  trusted. 

This  situation  gave  the  loan  sharks 
their  opportunity.  They  could  demand 
and  get  usury.  Also  they  could  demand 
and  get  a  share  of  the  profits.  They 
bled  the  industry. 

This  was  also  Giannini's  opportunity. 
He  saw  in  many  of  the  motion  picture 
enterprises  a  banking  opportunity — for 
an  honest  six  per  cent  with  ample  se- 
curity. It  was  a  matter  of  knowing  the 
business  and,  more  importantly,  knowing 
the  men.  He  became  the  financial  father 
confessor  of  many  a  producer.  Also  he 
practically  drove  the  loan  sharks  out  of 
tlieir  screen  hunting  grounds.  From  four  to 
se\  en  millions  of  Giannini  dollars  are  con- 
tinuously at  work  in  the  motion  pictures. 
Along  with  this  the  banker  has  e.xerted 
inlhiences  toward  better  business  prac- 
tises in  the  industry  which  are  too 
technical  for  elaboration  here.  It  may 
be  summed  up  that  he  has  helped  to 
make  the  movies  a  business. 

VERY  recently  -Dr.  Gia-nnini  made  an 
extraordinaryinternational  gesture  by 
financing  the  making  of  a  Sydney  Chap- 
lin feature  by  the  British  National  Pictures 
in  England.  In  view  of  the  international 
situation  in  pictures  and  agitations 
against  the  American  dominance  of  the 
screen,  this  move  acquires  a  special 
significance. 

British  bankers  are  just  about  to  dis- 
cover the  world  of  the  motion  picture.  A 
few  weeks  ago  Dr.  Giannini  was  called 
into  conference  to  tell  Michael  Herbert, 
London  partner  of  the  House  of  Morgan, 
about  the  motion  picture  and  its  bank- 
ing. The  Bank  of  Italy  influence  may 
help   the   movies  overseas. 

Dr.  Giannini  has  so  much  fun  at  his 
work  that  he  seems  ne\-erto  get  around 
to  it  to  play.  Banking  entertains  him 
more  than  golf. 

"  If  any  man  comes  in  here  talking 
golf  and  boasting  he  shoots  under  80,  I 
am  doubtful,  and  if  he  has  a  score  close 
to  70  he  doesn't  get  the  loan,"  observes 
the  banker.  "  It  pro\es  he  spends  too 
much  time  on  the  links  and  not  enough 
on   his   business." 

Giannini  makes  it  a  business  to  know 
the  screen  and  its  affairs.  He  sees  the 
pictures,  up  and  down  Broadway  and  at 
the    neighborhood    houses.      He    knows 


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Love  Honey? 


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There's  irresistible  deliciousness  in  the 
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MINT  FLAVORS 


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CHEWING  GUM 

"Everybody  Loves  It!" 


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what  the  Stars  are  worth  at  the  box  office, 
regardless  of  what  charming  statistics 
may  be  presented  at  his  office. 

Bankers  used  to  be  bulwarked  in  their 
working  hours  by  austere  offices  and  vast 
formalities.  Giannini  does  a  great  deal 
of  his  banking  over  the  luncheon  table. 
He  is  always  to  be  reached  and  in  times 
when  motion  picture  affairs  have  been  at 
a  crisis  he  has  been  found  at  his  office  in 
Broadway  at  3  o'clock  in  the  morning. 

This  banker  extraordinarj-  makes  the 
screen  cause  his  cause.  Not  so  long  ago 
when  Charles  Chaplin  was  in  a  domestic 
litigation  an  injunction  was  served  on 
e\"er3'  bank  and  banker  known  to  hold 
Chaplin  funds  to  prevent  paj'ment  to 
the  unhapp3'  comedian  of  any  moneys  on 
deposit.  The  injunction  covered  Chap- 
lin's personal  funds  in  proper  legal  form. 
A  footnote  on  the  Giannini  copy  of  the 
injunction  requested  that  it  should  be 
interpreted  as  applying  to  any  Chaplin 
funds  whatsoe\er.  That,  decided  Dr. 
Giannini,  was  not  a  part  of  the  court 
order  proper.  Thereupon  he  delivered 
to  Chaplin  the  major  fraction  of  a  million 
dollars,  which  stood  in  another  account. 

By  way  of  further  identifying  the  in- 
stitution with  the  screen  world,  Will 
Rogers  and  Douglas  Fairbanks  and  Mary 
Pickford  have,  been  made  members  of  the 
ad\isor>'  board  of  the  Hollywood  branch 
of  the  Bank  of  Italy.  Also  Nicholas 
Schenck,    president   of   Metro-Goldwyn- 


jMa^er  Company,  and  Joseph  Schenck, 
president  of  United  Artists  Corporation, 
are  members  of  the  board  of  directors  of 
the  Bowery  and  East  River  National 
Bank. 

Dr.  Giannini's  home,  despite  the  fact 
he  wants  to  live  in  California,  is  on 
Riverside  Drive  overlooking  the  Hudson, 
which  is  probably  all  that  he  has  over- 
looked in  a  long  time.  Mrs.  Giannini 
was  Leontine  Denker,  daughter  of  one  of 
the  owners  of  the  vast  Hammel-Denker 
lima  bean  ranch  which  occupied  the 
present  site  of  Beverly  Hills,  now  the 
home  of  those  screen  star-bankers,  who 
so  assuredly  know  their  beans.  The 
Gianninis  have  a  son  Bernard,  now  16 
years  old.  He  does  not  see  as  much  of  the 
movies  as  his  father. 

In  a  room  just  outside  Giannini's 
private  office  stands  a  most  elaborately 
professional  barber's  chair.  In  this  chair 
each  morning  Giannini  is  shaved,  while 
as  he  dictates,  blowing  bubbles  through 
the  lather.  The  chair  carries  a  story, 
short  and  with  a  happy  ending. 

A  few  years  ago  one  A.  DeSio,  a  barber 
down  at  West  Houston  and  Lafayette 
street  in  New  York,  plunged  his  all  in 
Bank  of  Italy  stock.  One  day  he 
counted  up  and  quit.  He  sent  his  chair  as 
a  present  to  Dr.  Giannini  whom  he  had 
never  seen. 

"I  send  you  my  chair  because  I  shall 
not  need  it  again — now  I  have  $300,000. " 


The  True  Life  Story  of  Lon  Chaney 


[  CONTIXUED  FROM  PAGE  94  ] 


ging  myself  forward  along  the  floor,  my 
eyes  rolling,  my  face  twitching  and  my 
legs  wrapping  tighter  and  tighter  around 
each  other.  Tucker  didn't  speak  and  the 
sweat  rolled  off  me.  Finally  I  heard  a 
single  whispered  word  from  him.  'God,' 
Tucker  said.  I  wanted  to  say  that,  too, 
but  not  for  the  same  reason." 

The  success  of  "The  Miracle  Man" 
was  instantaneous.  It  made  stars  of 
Betty  Compson,  Thomas  Meighan  and 
Lon.  The  first  two  are  practically 
through  today. 

LON  has  drawn  as  close  to  few  men  as 
he  did  to  George  Loane  Tucker.  They 
became  pals  and  planned  many  ad\'en- 
tures  together,  one  of  which  was  to  be 
Lon's  direction  of  one  of  Tucker's  produc- 
tions. Tucker's  sudden  death  shadowed 
Lon's  happiness  for  years. 

But  with  "The  Miracle  Man"  the 
struggle  was  over.  He  had  played  the 
part  for  the  salary  Uni\ersal  had  said  he 
would  never  get,  SI 25  a  week,  and  the 
offers  flew  fast.  He  had  established  a 
new  type.  In  his  work  there  was  a  blend 
of  the  unusual,  the  ideal,  and  the  tragic. 
Lon  knew  what  it  was  to  be  in  demand 
but  he  did  not  yet  know  his  own  worth. 

A  conversation  that  he  happened  to 
o\erhear  taught  him  that.  Goldw\n 
Pictures  wanted  him  as  the  legless  lead 
of  "The  Penalty."  He  was  the  only  pos- 
sible man  for  the  part  and  he  held  out  for 
S500  a  week.  Then  he  happened  to  hear 
.Abe  Lehr,  production  head  of  the  studio, 
talking  to  the  casting  director. 


"  I  wouldn't  have  believed  we  could  get 
Chaney  for  $500,"  Lehr  said.  "I  was 
prepared  to  pay  him  $1,500." 

"The  Penalty"  gave  Lon  the  idea  he 
has  used  ever  since.  He  makes  his  ap- 
pearance news  value.  For  "The  Penalty" 
he  designed  a  harness  to  wear,  which  ap- 
parently cut  off  his  legs.  The  public 
wondered  what  on  earth  he  would  do 
next.  The  public,  after  each  of  his  pic- 
tures, still  wonders  and  Lon  still  outwits 
it. 

LON  played  four  pictures  for  Gold\\yn, 
two  for  Metro,  and  then  went  back  to 
Uni\ersal  as  star  of  their  most  ambitious 
production,  "The  Hunchback  of  Notre 
Dame." 

He  outdid  himself  on  make-up  for 
The  Hunchback.  He  wore  a  harness  to 
stunt  his  body,  he  used  false  teeth  so  that 
it  was  impossible  for  him  to  speak  while 
on  the  set,  he  placed  putty  over  one  ej'e, 
so  that  when  he  removed  it  at  the  end  of 
the  day's  wock  he  was  quite  blind  for  a 
few  moments.  It  was  this  trick  that  still 
forces  him  to  wear  glasses.  "The 
Hunchback"  made  back  its  million-dollar 
cost  many  times  and  Lon  Chaney  was  a 
star  of  the  first  magnitude. 

One  of  his  best  loved  parts  came  next, 
the  clown  in  "He  Who  Gets  Slapped." 
He  played  that  at  the  Metro  studios,  re- 
turned to  the  Universal  for  "The  Phan- 
tom of  the  Opera"  and  "Faust,"  then 
back  to  Metro-Goldwyn-Mayer  under  his 
present  contract. 

"As  for  the  real  Lon  Chaney,"  said 


Bver>-  advertiiicmenl 


[■HOTorLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine 

that  gentleman,  "he  was  in  'Tell  It  to 
the  Marines.'  I  never  had  a  bit  of  make- 
up on  during  the  entire  shooting  of  that 
picture  and  I  played  it  straight." 

Lon  lighted  a  cigarette.  "The  story's 
over,"  he  said. 

"Ha\e  you  gotten  a  philosophy  of  life 
out  of  it  ail?"  I  asked  finally. 

The  amazing  Chaney  eyes  observed  me 
carefully. 

"  It's  in  my  pictures,"  Lon  said.  "  I've 
tried  to  show  that  the  lowliest  people  fre- 
quently ha\-e  the  highest  ideals.  In  the 
lower  depths  when  life  hasn't  been  too 
pleasant  for  me  I've  always  that  gentle- 
ness of  feeling,  that  compassion  of  an 
under  dog  for  a  fellow  sufferer.  'The 
Hunchback'  was  an  example  of  it.  So 
was  'The  Unknown'  and,  in  a  different 
class  of  society,  'Mr.  \\'u.' 

I  TRY  to  bring  that  emotion  to  the 
screen.  Beyond  that  I  don't  fuss. 
People  seem  to  have  the  impression  I 
study  scripts  all  the  time.  I  don't.  I 
don't  even  try  to  find  stories  for  myself 
like  some  stars.  I  wouldn't  know  where 
to  look  for  them  and  I  probably  would  not 
recognize  them  if  I  found  them.  I  trust 
my  producers  to  look  out  for  my  good. 
All  I  want  to  know  is  what  the  character 
is  like  and  what  emotions  rule  him.  It 
takes  me  two  to  four  weeks  to  work  out  a 
make-up  for  a  new  picture.  That  set,  I 
don't  worry. 

■■  I'x  e  had  good  directors.  Tod  Brown- 
ing and  I  ha\-e  worked  so  much  together 
he's  called  the  Chaney  director.  I  like 
his  work.  I  think  Victor  Seastrom  and 
Benjamin  Christonson  are  great  directors. 
Their  values  are  finer.  But  I  really  don't 
worry  over  who  they  hand  me.  The  chief 
thing  for  any  actor  to  remember  is  that  it 
wasn't  his  brains  that  got  him  to  star- 
dom. It  was  only  his  acting.  He  isn't 
paid  to  think  about  production  plans  and 
when  he  starts  he  usually  sinks  his  whole 


\\'e  walked  together  across  the  studio 
lawns,  and  out  the  gate.  Lon  sent  for  his 
car. 

"You've  found  success  and  wealth,"  I 
said.  "Why  didn't  you  let  your  boy  be- 
come an  actor?" 

"TTE'S  six-feet-two,"  said  his  father. 
JTJL" That's  too  tall.  He  would  alwaj-s 
ha\"e  had  to  have  parts  built  around  him. 
He  couldn't  build  himself  for  the  part. 
Besides,  he's  happy  in  business  and  he's 
got  a  great  wife.    They're  grand  kids." 

The  garage  man  parked  Lon's  ^'ery 
expensive  roadster  at  the  curb  and  gave 
the  wheel  over  to  Mr.  Chaney. 

"Good-luck  at  your  camp,"  I  said. 
"Where  is  it,  by  the  way?" 

Lon  grinned.  "No  you  don't,"  he 
said.  "I've  answered  more  questions 
than  I  ever  dreamed  could  be  asked. 
Nobody  but  my  wife  and  the  boy  and  his 
wife  and  our  chauffeur  knows  where  that 
camp  is.  And  nobody  else  will  ever  find 
out.  They'xe  gone  up  there  ahead  of  me. 
But  I'm  starting  right  out  there  this 
moment.  Good-bye  and  good  luck  to 
you." 

So  the  car  door  slammed  and  he  drove 
away,  up  through  the  golden  hills,  out 
toward  the  sunset,  all  alone,  going 
heaven  knows  where,  Lon  Chaney,  the 
mystery  man  of  the  movies,  being  just  as 
m%-sterious  as  e\"er. 


-Advertising  Section 


113 


S 


ham{)ooing  this  way 
^iveshair  Unusudl  Beauty 

In  a  few  minutes  time,  your  hair  is  soft,  silky  and 
radiant  ivith  life,  gloss  and  lustre.  Try  it! — see 
how  lovely;  how  beautiful  your  hair  will  look. 


BEAUTIFUL  hair  is  now  easily  ob- 
tained. It  is  simply  a  matter  of 
shampooing. 

Ordinary,  old  time  methods,  however, 
will  not  do.  To  bring  out  the  REAL 
BEAUTY,  the  hair  must  be  shampooed 
properly. 

Proper  shampooing  makes  it  soft  and 
silky.  It  brings  out  all  the  real  life  and 
lustre,  all  the  natural  wa\'e  and  color  and 
leaves  it  fresh-looking,  glossy  and  bright. 

When  your  hair  is  dry,  dull  and  heavy, 
lifeless,  stiff  and  gummy,  and  the  strands 
cling  together,  and  it  feels  harsh  and  dis- 
agreeable to  the  touch,  it  is  because  your 
hair  has  not  been  shampooed  properly. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  can 
not  stand  the  harsh  effect  of  ordinary  soaps. 
The  free  alkali  in  ordinary  soaps  soon  dries 
the  scalp,  makes  the  hair  brittle  and  ruins  it. 

That  is  why  thousands  of  women,  every- 
where, now  use  Mulsified  cocoanut  oil 
shampoo.  This  clear,  pure  and  entirely 
greaseless  product  brings  out  all  the  real 
beauty  of  the  hair  and  cannot  possibly  injure. 
It  does  not  dry  the  scalp  or  make  the  hair 
brittle,  no  matter  how  often  you  use  it. 


Twoor three  teaspoonfuls  make  an  abun- 
dance of  rich,  creamy  lather,  which  cleanses 
thoroughly  and  rinses  out  easily,  removing 
every  particle  of  dust,  dirt  and  dandruff. 

Just  Notice  the  Difference 

IT  keeps  the  scalp  soft  and  the  hair  fine 
and  silky,  bright,  glossy,  fresh-looking 
and  easy  to  manage,  and  makes  it  fairly 
sparkle  with  new  life,  gloss  and  lustre. 

You  can  get  Mulsified  cocoanut  oil  sham- 
poo at  any  drug  store  or  toilet  goods  count- 
er anywhere  in  the  world. 

A  4-ounce  bottle  should  last  for  months. 


MULSIFIED    COCOANUT    OIL    SHAMPOO 


advertisers  please  mention   PHOTOPL.\Y   MAGAZINE. 


114 


Photoplay  Magazine — Advertising  Section 


The  Ask  Me  Another  Man 


JGook   what 
happens  to 

''YELLOW  MASK' 


THERE  arefew  things  more  unbecom- 
ing than  yellowish  teeth. 

Observe  yours— white  or  yellowish? 

The  presence  of  "Yellow  Mask"  is 
not  a  confession  of  neglect.  Only  now 
has  dental  science  successfully  provi- 
ded the  means  for  its  removal.  Safely, 
pleasantly  and  positively. 

Here  is  what  has  happened!  Dental 
science  has  perfected  a  pleasant,  tasty 
tooth  paste  of  "Tri  Calcium  Phos- 
phate." This  is  a  white,  satiny  powder 
that  foremost  dentists  use  for  cleaning 
and  polishing  teeth.  How  it  whitens! 
How  it  makes  the  enamel  gleam!  No 
"Yellow  Mask"  can  cling  when  it  gets 
to  work.  And  yet  it  cannot  harm  the 
most  delicate  enamel. 

TAcmzmeofthis  marvelous  dentifrice 

is  Orphos  Tooth  Paste.  You  will 

like  It  from  the  start.  Practically  every 
noted  movie  star  uses  it.  Thousands 
of  dentists,  too.  Get  a  tube  from  your 
druggist  or  mail  coupon  below  for 
FREE  tube. 


FREE— 20.Time  Tube 

ORPHOS  CO..  22  West  32nd  St. 
New  York  City.  Dept.  P-7 

Address 


[  CONTINUED  FROM  PAGE  92 


twenty-four  hours'  notice,  we  completelv 
outfitted  a  Confederate  Army  of  one 
thousand  men.  These  costumes  are,  of 
course,  taken  from  stock. 

"The  most  common  comment  made  by 
customers  and  visitors  is  with  reference 
to  the  immensity  of  the  establishment. 
They  mar\el  that  not  only  is  there  every 
kind  of  costume  but  also  the  many  dupli- 
cates of  each  costume. 

If  they  knew  that  a  director  never  calls 
for  anything  until  the  last  minute  they 
would  mar\el  even  more. 

MASQUERADES  run  to  current 
pictures.  Up  until  the  passing  of 
Valentino  heavy  demand  was  made  for 
sheik  costumes  by  males  with  a  penchant 
to  emulate  Rudy.  Women  likewise  seem 
to  follow  popular  pictures.  But  tastes 
cannot  be  accounted  for.  Why,  for  in- 
stance, should  the  cowboy  of  the  real 
west — the  buckaroo  that  wouldn't  work 
in  pictures  on  a  bet — buy  and  wear  the 
same  style  gloves  that  Tom  Mix  made 
famous?    Yet  this  is  an  established  fact. 

"Also  interesting  is  the  outfitting  of  the 
school  boy  and  girl  for  amateur  perform- 
ances. It  isn't,  'How  does  it  fit?'  or 
'How  does  it  look?'  The  supreme  ques- 
tion is,  '\\'ho  was  it  made  for?'  or  'What 
star  has  worn  it?'  And  once  a  youthful 
movie  fan  finds  a  costume  that  was  worn 
by  Douglas  Fairbanks,  Lon  Chaney  or 


other  actor  of 


prommence,  out  it  goes  re- 


gardless of  fiit.    Of  such  stuff  are  heroes 
made. 

"Once  some  one  sold  a  load  of  old  cos- 
tumes to  the  junk  man.  The  very  ne.\t 
week  there  came  a  call  from  one  of  the 
upper  floors  for  rags — more  rags.  Beggar 
costumes  were  being  made  and  old  rags 
were  needed.  New  rags  would  not  do. 
They  photographed  new.  That  little  sale 
netted  us  twelve  dollars  and  lost  us  eight 
hundred  dollars.  So  you  see  that  rags 
are  really  important  in  our  business. 
Natural  wear  cannot  be  faked — at  least 
not  to  the  eye  of  the  all-seeing  camera. 
For  this  reason  even  the  most  tattered 
costumes  are  preserved." 

THERE  seems  to  be  an  absence  of 
white  clothing,"  I  remarked. 

"Because  white  clothing  is  taboo  for 
the  screen,"  replied  Mr.  Lambert.  And 
then  he  went  on  to  explain  why. 

"The  first  rule  of  e^■ery  studio  is  an 
avoidance  of  dead-white  materials.  White, 
catching  the  artificial  lights,  produces 
halation  and  in  the  finished  picture  shows 
a  ghostly  shadow  which  seems  to  follow 
the  players.  Long,  long  ago  actors 
learned  to  beware  of  white  things. 
Women  choose  any  sort  of  light  shade 
rather  than  white.  This  is  the  reason  why 
white  screen  clothing  is  a  light  yellow. 
Light  yellow  photographs  a  clear  white. 

"Light  pink  and  blue  photograph  a 
dainty  white,  but  one  must  always  re- 
member that  there  are  only  three  shades 
in  the  finished  picture— black,  white  and 
neutra[  grey  tones." 

Motion  picture  cameras  have  been 
so  perfected  in  the  last  few  years  that 
the  quality  and  texture  of  fabrics  show 


with  remarkable  accuracy.  A  cheap  fur 
pelt  will  tell  its  own  "skimpy"  story  and 
an  ordinary  bit  of  "store"  lace  cannot  pass 
for  Duchess.  For  this  reason — because 
the  camera  does  not  lie — the  very  finest 
of  silks,  satins,  linens,  woolens  and  furs 
are  used— and  tailored  to  measure. 
Tailors  from  Bond  Street,  Paris  and  Fifth 
Avenue  are  in  the  employ  of  this  remark- 
able concern.  Therefore,  your  favorite 
star  can,  and  does  wear  screen  clothing 
on  the  street  and  at  social  affairs.  Why 
not?  No  better  workmanship  or  mate- 
rials can  be  obtained  anywhere.  When 
you  see  what  you  think  are  antique  fur- 
nishings on  the  screen  they  generally  are 
as  represented.  Exquisite  importations 
that  are  upholstered  in  the  most  delicate 
shades  and  tapestry  are  not  "cheaters." 
They  are  genuine  articles  and  many  are 
priceless.  Costs  must  be  saved  some 
other  way. 

"The  wig  department  is  very  im- 
portant," says  Mr.  Lambert.  "Anything 
from  a  caterpillar  to  an  ape  can  and  has 
been  made.  Brown  or  blonde  hair 
photographs  best.  Mary  Pickford  has 
the  most  beautiful  head  of  hair  on  the 
screen,  but  Nita  Naldi  has  the  fi.nest. 

OUR  armor  collection  is  kept  as  well 
oiled  as  the  finest  of  machinery. 
Were  the  Knights  of  the  Round  Table  to 
visit  here  they  would  go  wild  with  en\y. 
For  no  longer  would  it  be  necessary  for 
them  to  stagger  around  in  steel  suits  that 
weigh  a  ton.  We  have  a  light-weight 
substitute  that  has  all  the  appearance  of 
genuine  metal  but  which  is  as  light  as  felt. 
It  is  felt — a  felt  composition  with  a  metal- 
lic surface. 

"More  than  just  a  faint  breath  of  a 
national  sensation  was  created  when  the 
royal  carriage  of  the  late  Emperor  Franz 
Josef,  was  literally  yanked  out  of  the 
Vienna  Museum.  Along  with  it  came  the 
royal  coat  of  arms,  the  actual  uniforms 
and  equipment  worn  by  the  Emperor's 
coachmen,  lackies,  footmen  and  postil- 
lions, as  well  as  the  matchless  harness  of 
the  eight  horses  which  drew  the  carriage. 
These  things  were  acquired  by  an 
European  representative  of  the  company 
under  somewhat  strenuous  circumstances. 
They  now  repose  on  the  second  floor  of 
this  building. 

"The  carriage  is  considered  a  remark- 
able accomplishment  in  body  building. 
Incidentally,  it  was  Erich  von  Stroheim's 
mania  for  perfect  detail  that  started  the 
carriage  on  its  journey.  You  will  see  it 
in  the  'Wedding  March.' 

EVERYONE  knows  that  tricks  of  the 
trade  abound  in  the  movies,  probably 
more  so  than  in  any  other  line  of  business. 
E\-en  the  smallest  of  film  concerns  have 
their  own  property  rooms,  mechanical 
and  carpenter  shops,  costuming  and  re- 
search departments.  The  larger  the 
studio,  the  more  extensive  are  these  de- 
partments. Usually,  it  is  only  after  their 
resources  are  exhausted  that  aid  is 
sought  of  us. 

"Romantic  little  Myrna  Loy  once  told 


Every  .itlvcrllscmfiit 


rilOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


me  that  I  had  the  key  to  Pandora's  Box. 
A  pretty  thought.  But  my  particular 
.  brand  of  magic  results  from  reading 
books — good  books." 

Lambert's  sole  paraphernalia  for  wiz- 
ardry, then,  is  a  marvelous  memory  and 
books. 

He  tells  you  that  Cleopatra  was  five 
feet,  two  inches  tall.  And  you're  properly 
astonished.  But  he  doesn't  tell  you  that 
it  took  him  weeks  to  pore  through  suffi- 
cient data  to  reach  this  conclusion.  Nor 
does  he  mention  that  Jules  Verne  and 
Edgar  Allen  Poe  were  pikers  compared 
with  any  scenario  writer.  But  he  will  tell 
you  that  he  is  thankful  that  the  average 
human  life  isn't  constructed  like  a  movie 
scenario. 

Even  Michelangelo  ma^'  be  in  JMr. 
Lambert's  employ  for  all  that  I  know. 
For  in  leaving  his  office  I  saw  Mike's 
motto  on  a  placard,  which  read: 

"Trifles  Make  Perfection.  Perfection 
Is  No  Trifle." 


Making  a  Million 


[  CONTINUED  FROM  PAGE  82  ] 

From  the  postoffice  I  went  down  to  a 
buildin'  occupied  as  the  Dewey  City 
Hall.  I  saw  "City  Marshal"  painted  on 
a  door  an'  walked  in.  The  room  looked 
sort  of  lonesome  an'  deserted.  There  was 
an  old  fashioned  wooden  desk,  a  coupl'a 
chairs  an'  nothin'  else  in  it.  Tacked  on 
the  wall  I  saw  a  lot  of  printed  circulars, 
like  the  one  in  the  postoffice,  announcin' 
rewards  for  young  fellers  who'd  dis- 
appeared without  a  leavin'  forwardin' 
addresses.  The  rewards  run  anywhere 
from  $50  an'  $100  to  $5,000  an'  $10,000. 
In  the  top  drawer  of  the  marshal's  desk, 
I  found  mebbe  two  hundred  postcards, 
likewise  givin'  details  of  missin'  an'  much 
wanted  gents,  with  similar  rewards. 
Quite  a  few,  an'  in  fact,  many  of  the 
circulars  stated  it  was  belie\ed  these 
gents  were  a  headin'  out  Oklahoma  way. 

"Tom,"  says  I  to  myself,  "it  would  be 
a  smart  trick  to  take  stock  on  this  here 
town  marshalin'  job  an'  see  what's  in 
sight."  I  spent  the  rest  of  the  afternoon 
figurin'  up  the  posted  rewards.  They 
toted  up  exactly  $87,650.  Cards  in  the 
desk  footed  up  about  $40,000  more. 
From  what  the  rewards  read,  the  money 
these  birds  had  extracted  from  banks, 
trains,  express  companies,  stage  coaches, 
merchants  an'  trustin'  indi\-iduals  made 
a  nice  total  of  more'n  $105,000,  to  say 
nothin'  of  jewelry,  general  merchandise, 
two  hundred  an'  fi\"e  head  of  horses  an' 
three  span  of  mules,  all  worth  a  grand 
balance  of  $252,650  in  sight  or  somethin' 
like  that,  all  a  waitin'  to  be  grabbed.  It 
seemed  a  heap  more'n  the  movin'  pictures 
had  to  offer  or  probably,  from  the  way 
things  looked  at  that  time,  ever  would 
have. 

B.ACK  in  the  postoffice  I  read  about 
Buck  Morgan  an'  that  $5,000  again. 
From  the  fact  he  was  a  ridin'  a  sorrel 
when  last  seen,  I  was  satisfied  he  was  one 
of  the  two  birds  me  an'  Mike  Cunyan 
had  seen  a  ridin'  toward  Hominy  Flats 
over  in  the  Osage  an'  likewise,  one  of  the 


All  the  Charm  of  a  Pair 
of  Lovely  Shoes 

.  .  .  YET,  Utmost  Protection 


THERE'S  a  new  style  of  footgear 
protection.  Unlike  anything  you 
have  seen  before.  It  is  called  Shuglov 
—because  it  fits  like  a  glove  over  shoe 
and  ankle.  It  has  none  of  the  bulk  and 
weight  of  old  methods.  Utmost  pro- 
tection is  now  assured  without  them. 

The  leading  footwear  stylists,  who 
designed  Shuglov,  gave  thought  to  style 
as  well  as  proteaion.  Haven't  you 
often  wished  someone  would? 

They  fashioned  Shuglov  of  strong, 
featherweight  rubber.  They  made  it 
form-fining — to  be  worn  with  any  style 
of  shoe.    They  made  it  colorful  —  to 


blend  harmoniously  with  any  outfit. 
And  what  a  reception  Shuglov  has  en- 
joyed! 

Let  bad  weather  come ...  let  tripping 
heels  splash.  You  no  longer  worry, 
either  of  weather  or  style,  for  the  trim 
foot  that  wears  Shuglov  is  clad  with 
an  eye  to  both. 

You  will  want  them,  no  doubt,  im- 
mediately. Ail  smart  shops  are  show- 
ing them.  Women  who  dictate  the 
vogue  are  wearing  them.  They  tell  us 
candidly ...  it  is  the  first  time  they  have 
ever  found  footgear  proteaion  they 
are  glad  to  wear. 


$5.00  a  pair 

Shuglov  is  made  of  lightest  rubber  in 
Nude,  Gray,  Brown  and  Black,  with  two 
types  of  heels,  the  Universal  for  military, 
military  high  and  spiked  heel  — the 
Cuban  for  the  lower  and  flatter  heels. 
Shuglov  is  washable  inside  and  out.  A 
moment's  wiping  brings  back  the  new- 
ness and  lustre. 

♦  Pronounced  Shoe-Glove 


THE     MILLER     RUBBER     COMPANY 


AKRON,    OHIO 

I'lIOTOrLAY   MAGAZINE. 


i6 


Photoplay  Magazine — Advertisixg  Section 


c_^  Cordial  Invitation 

from 

Helena  Rubinstein 

to  the 
Women  of  America 

(T~HE  new  perfectly 
-1  appointed  Maisons 
de  Beaute  Valaze  in 
-New  York  and  Chicago 
have  been  dedicated  to 
the  service  of  Amer- 
ican women,  and  I 
hope  that  each  of  you 
will  visit  them. 
During  my  thirty  years 
of  intensive  research 
and  experience  in  the 
science  of  making 
women  beautiful,  I 
have  noticed  the  pass- 
ing of  many  fads — and  slowly,  but  surely 
there  has  grown  a  demand  for  Tlie  Newer 
Beauty,  a  perfection,  in  every  detail  aimed 
toward  the  expression  of  individuality. 
The  recently  completed  ateliers  possess  every 
facility  for  the  cultivation  of  this  Newer 
Beauty,  where  the  skin,  the  figure,  the  hair 
and  the  hands  are  sanely  and  scientifically 
beautified. 

To  those  of  you  who  are  unable  to  accept 
my  invitation,  I  have  another  message. 
Beauty  may  he  developed  in  your  own 
homes.  There  are  simple  rules  and  scientific 
preparations  to  awaken  your  skin  to  the 
fresh  radiance  of  Youth. 

Begin  'KlOW  with  these  ACTIVE  prepara- 
tions to  revive  the  loveliness  of  your  skin 

Cleanse — Mold 

\M.sTE  Pasteurized  Face  Cream — Thoroughly  cleanses, 
sootnes.  and  molds  away  that  ■'tired  look."    Perfect  for 

"  -   '       I  unique  cleansing  cream  positively 

cne  blemished  conditions.    An 


Clear — Animate 

Valaze  Beautifyi.vg  Skinfood — the  skin-clearing  mas- 
terpiece— animates,  corrects  sluggishness,  bleaches  mild- 
y,  creates  exquisite  delicacy  of  texture.  1.00 

Tone — Brace 

Valaze  Skin-Toning  Lotion — A  mild  tonic-astringent 
which  closes  the  pores — refreshes  the  skin  and  imparts 
adelicate,  flattering  mat  finish.  1.25 

Wrinkles — Crowsfeet 

Valaze  Grecian  Anti-Wrinkle  Cream — (.\nthosoros) 
— rich,  nourishing  cream  which  smooths  out  wrinkles 
and  crowsfeet,  corrects  dry,  shriveled  skin  and  scrawny 
neck.  1.75 

Weather  Protection 

Valaze  Balm  Rose — a  most  becoming  powder  foundation 
—all-important  for  cold  days — prevents  chapping.       1 .00 


CChic  Finishing  Touches  ^Fl 

enhance  the  beauty  of  a  wen-groomed  skin  1 1 

^•alaze  Powders,  Rouges.  Lipsticks — for  a  subtle,  I  f 
ilistinctive  make-up.  Youthful  tone.s  for  every  1 1 
facial  coloiu-lng,  1.00  t<j  o.Oojy 

Al  the  Belter  Stores— or  Order  Direct  from  Depl.  PB  New  York 

jUmw  lyuSinJiew 

Maisons  de  Beaule'  Valaze 
8  L  57th  St.,  New  York  •   670  N.  Michigan  Ave.,  Chicago 

1  -,-  without  cna'6*^  '" 

Kindly  send  mc  «.>no 


two  gents  who  had  turned  off  the  Dewey 
Bank  for  the  S8,500.  A  talk  with  a  man 
who  had  seen  the  bank  hold-up  confirmed 
this  suspicion.  When  I  added  this  to  the 
previous  figure,  carried  forward,  as  the 
bookkeepers  say,  the  Dewey  town 
marshalin'  job  stood  at  about  S27,S,000  in 
sight,  all  of  which  made  the  million  I 
was  after  look  pretty  close  an'  the  job 
was  mine  if  I  wanted  it.  If  I  could 
catch  a  coupl'a  'em  a  day  or  even  one, 
I  estimated  I'd  be  gettin'  along  fine  an' 
makin'  headway. 

I  reported  back  to  my  advisin'  friend 
an'  with  him  visited  the  bank,  where 
the  president  said  the\'d  add  somethin' 
to  the  marshal's  pa\-  if  I'd  sleep  in  the 
bank  at  night,  thereby  a  keepin'  an 
eye  on  the  institution.  This  president 
man  was  also  the  town  major. 

I  GOT  hired  an'  swore  in  by  the  town 
clerk.  Afteradministerin' the  oath,  this 
town  clerk  fished  around  an'  produced 
three  town  marshal's  badges.  One  had  a 
45  hole  plumb  in  the  middle  an'  another 
sported  a  .38  puncture  in  one  corner, 
while  the  third  had  escaped  damage 
exceptin'  a  few  round  dents  on  the  edges. 
These  badges  didn't  look  lucky  for  me, 
an'  certainly  hadn't  been  lucky  for  the 
gents  who  had  been  a  wearin'  of  'em.  I 
told  the  mayor  if  it  was  the  same  with 
him,  I'd  send  up  to  Wichita  an'  get  me  a 
new  marshal's  badge  on  my  own  account. 

My  new  badge  came  in  a  coupl'a  days 
an'  after  a  few  days  a  marshalin'  around,  I 
slipped  in  an'  told  the  bank  president  an' 
cashier  that  I  was  satisfied  this  here 
Buck  Morgan  had  robbed  'em  an'  that  I 
had  a  good  line  on  his  whereabouts.  I 
also  added  that  I  thought  it  a  good  thing 
if  I  slipped  out  an'  brought  him  in.  As 
he  had  shorted  them  plenty,  they  thought 
it  would  be  about  the  right  thing  for  me  to 
do.  Another  thing  that  appealed  to  me 
was  that  this  Buck  Morgan  reward  had 
been  offered  by  the  sheriff  of  El  Paso 
count)',  an'  as  I  originally  came  from 
Texas,  I  felt  it  my  duty  to  go  an'  get 
that  reward  by  bringin'  in  this  bank 
robbin'  gent. 

I  was  a  ridin'  a  mighty  good  horse  an' 
I  headed  straight  into  the  Osage  country, 
figurin'  as  I  rode  along  the  first  night,  on 
where  I'd  get  my  next  hundred  thousand 
or  so  after  I'd  finished  up  the  town 
marshalin'  an'  run  out  of  rewards,  or  if 
the  rewards  would  come  in  fast  enough 
to  keep  me  busy,  once  I  had  got  caught 
up  on  the  job. 

FROM  Dewey  I  struck  south,  crossin' 
the  Canadian  river  at  Appalachia  sta- 
tion. There  I  found  a  man  who  recalled 
seein'  the  two  men.  He  said  they  had 
bought  a  packhorse  at  that  point  an' 
headed  straight  into  the  west.  I  knew 
from  the  packhorse  an'  provisions  they 
had  bought  that  they  were  a  aimin'  to 
keep  away  from  civilization.  That  suited 
me,  for  I  like  nothin'  better'n  an  open 
country.  I  also  found  that  the  man  a 
ridin'  the  sorrel  fitted  Buck  Morgan  to 
a  "t." 

At  Stillwater,  I  had  my  bridle  fixed  an' 
a  rip  in  my  chaps  sewed  an'  picked  up 
another  trail,  skirtin'  north  of  Guthrie 
an'  got  into  Kingfisher.  I  reckoned  now 
I  was  mebbe  a  week  or  ten  days  behind 
'em.    At  a  Kingfisher  corral  I  found  the 


pair  had  put  up  there  for  a  night  an' 
kept  on  west,  but  pickin'  up  at  that  point 
an  Osage  squaw,  who  seemed  to  have 
been  a  waitin'  for  the  man  on  the  sorrel. 
Then  I  discovered  that  when  the  party 
left  Kingfisher,  it  consisted  only  of  the 
man  on  the  sorrel  an'  the  Osage  squaw, 
her  now  a  ridin'  the  black  horse  an'  lead- 
in'  the  pack.  I  reckoned  the  other  gent 
had  taken  his  share  of  the  money  and 
took  a  train  out,  probably  east  or  north. 
But  as  I  wasn't  wantin'  him,  I  kept  on 
after  Mr.  Morgan  an'  the  pro  tern  Mrs. 
Morgan.  The  indications  to  me  was 
that  the  pair  was  a  makin'  for  the  Texas 
border  an'  this  puzzled  me,  as  I  naturally 
thought  he'd  want  to  keep  out  of  the 
state  where  the  big  reward  was  offered 
for  him. 

At  Watonga,  I  found  Morgan  an'  the 
squaw  had  purchased  more  supplies  an' 
again  crossed  the  Canadian  at  a  little  out 
of  the  way  ford,  but  had  gone  around 
Arapaho,  the  county  seat.  As  I  rode 
along,  followin'  this  trail  seemed  so  easy, 
I  wondered  what  eminent  bank  robber  I'd 
go  after  next,  after  I'd  got  Mr.  Morgan 
an'  the  squaw  back  in  El  Paso  county — 
that  is,  if  I  took  him  back,  it  all  de- 
pendin'  on  how  much  of  $27,300  he  had 
left  when  I  got  him,  as  I  reckoned  that 
him  an'  his  partner  had  split  the  bankroll 
when  they  parted  near  Kingfisher. 

BUT  I  was  a  ridin'  a  mighty  good  buck- 
skin horse,  and  restin'  him  proper,  an' 
makin',  I  guessed  ten  or  fifteen  miles  a 
day  better'n  they  were,  especially 
hampered  as  he  was  by  a  Osage  squaw 
an'  a  pack  horse.  So  I  took  the  trip 
carefully,  stoppin'  at  good  water  holes 
along  the  way  for  a  coupl'a  hours  at  a 
time  so  my  horse  could  get  plenty  to 
drink.  You  know  a  horse  don't  get 
watered  right  if  you  just  stop  for  a  drink. 
He's  got  to  drink  an'  rest  an'  then  drink 
again,  to  keep  in  good  condition.  I  did 
a  lot  of  ridin'  at  night  to  help  my  horse 
an'  also,  you  can  spot  camp  fires  mighty 
easy  after  dark. 

Roger  Mills  county,  Oklahoma,  is  on 
the  Texas  border,  an'  along  about  dusk 
one  evenin'  an'  after  coverin'  somethin' 
like  340  miles  an'  my  horse  a  gettin'  a 
little  footsore  an'  needin'  a  coupl'a  shoes 
to  be  re-set,  I  came  in  sight  of  a  little 
shack  on  the  banks  of  the  Washita  river. 
I  found  later  that  the  shack  had  been 
built  by  a  homesick  nester,  who'd 
decided  that  he  had  enough  of  home- 
steadin'  an'  departed  for  his  wife's  folks 
back  in  Missouri.  If  he  had  a  had  my 
experience,  he'd  a  headed  in  most  any 
other  direction.  From  behind  a  bunch 
of  river  willows  I  watched.  Hobbled  an' 
grazin'  near  the  shack  was  the  sorrel, 
the  black  an'  the  pack  horse.  Then  I 
knew  it  wasn't  goin'  to  be  long  before  me 
an'  Mr.  Morgan  got  acquainted.  I 
stached  my  horse  about  a  mile  back 
around  the  river  bend,  where  he  could 
gQt  plenty  of  grass  an'  water  an'  rest  up, 
as  I  calculated  I'd  probably  be  a  needin' 
a  good  horse  before  long. 

FOR  two  days  I  kept  back  in  the  brush 
a  watchin'.   At  night,  I'd  ride  three  or 
four  miles  up  the  river  before  lightin'  a 
fire  to  cook  the  one  meal  a  day  I  was  now 
a  livin'  on.      Durin'  the  days  I  watched. 
I  saw  Morgan  an'   I  saw  the  squaw. 


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From  the  way  they  moved  around  an' 
knew  where  the  spring  was,  I  calculated 
either  the  squaw  or  Morgan  had  lived 
there  before.  Later,  I  found  that  it  was 
the  squaw's  second  housekeepin'  job  in 
the  same  place.  Each  mornin'  about 
sun-up  Morgan  would  come  out,  turn 
the  horses  from  the  little  corral  so  they 
could  graze,  an'  himself  pick  up  a  little 
brushwood  to  get  breakfast  with.  Next 
mornin'  long  before  day  break,  I  stretched 
mj'self  behind  a  little  old  hayrick  where  I 
couldn't  be  seen  from  the  shack  an' 
waited. 

Morgan  came  out.  Twice  he  started 
toward  the  corral  an'  then  turned  back. 
I  wondered.  Somehow,  he  seemed  to 
look  a  heap  over  toward  the  hayrick 
where  I  was  a  hidin'.  Then  he  went  back 
in  the  house.  I  wondered  if  he  had  a 
rifle  an'  how  good  a  shot  he  was.  Hr 
seemed  to  stay  in  the  house  for  hours,  al- 
though the  sun  didn't  get  more'n  fifteen 
minutes  higher  while  he  was  gone.  Tlun 
he  came  out.  I  couldn't  see  any  rifle.  I 
was  willin',  six  shooter  for  six  shooter, 
to  take  a  chance,  askin'  nothin'  better'n 
an  e\-en  break.  Morgan  walked  slowly 
toward  me.  Twice  he  stopped  an'  shifted 
his  belt.  I  reckoned  he  was  afraid  to 
come,  gun  in  hand,  for  fear  I'd  start  it. 
Then  he  walked  into  the  barn  with  his 
back  toward  me  an'  I  sure  breathed  easier, 
for  that  told  me  he  didn't  know  I  was 
there.  It  was  a  cool  mornin'  but  he  sure 
had  me  a  sweatin'  a  little. 

AT  last  Morgan  walked  toward  the 
hayrick,  lookin'  right  at  it,  an'  to  me 
it  appeared  as  if  he  was  expectin'  some- 
thin'.  I  waited  until  he  was  not  more 
than  a  rod  away  an'  then  I  threw  down 
on  him.  He  took  it  quite  cool,  stuck  up 
his  hands  an'  said  nothin'.  I  took  his 
gun  an'  tied  him  to  a  cottonwood  near 
the  shack.  While  Morgan  didn't  talk, 
the  squaw  wasn't  exactly  pleased  an'  she 
kept  a  mutterin'  to  herself  or  me  in 
Osage — part  of  which  I  understood,  an' 
some  parts  of  what  she  said  concernin' 
me,  an'  which  she  knew  I  sa\\ied, 
wouldn't  bear  printin'. 

I  searched  the  pair  an'  went  through 
their  belongin's.  The  man  had  $135  an' 
the  squaw  was  a  carryin'  §12  in  a  beaded 
bag.  Incidental,  I've  got  that  bag 
yet,  an'  it's  a  hangin'  on  the  wall  of  my 
Beverly  Hills  home,  but  I  gave  her  back 
the  $12.  In  the  shack  I  found  a  12- 
gauge  shot  gun,  an'  threw  all  the  shells 
into  the  river.  They  had  no  other  fire 
arms  except  his  six  shooter,  which  I  had. 

MORGAN  wouldn't  talk.  The  squaw 
brought  him  his  meals,  but  wouldn't 
cook  for  me,  but  I  could  manage  that 
myself.  I  put  in  two  days  an'  more 
tryin'  to  find  where  Morgan  had  stached 
that  money,  but  could  locate  nothin'. 
After  I  searched  the  shack  an'  found 
nothin',  I  looked  for  hideaways,  such  as 
woodchuck  an'  gopher  holes.  Nothin' 
doin'.  A  search  made  for  fresh  dirt,  where 
somethin'  might  have  been  buried, 
brought  no  better  results.  I  turned  o\-er 
old  logs  an'  brush  heaps.  Then  I  started 
to  dig  on  my  own  account,  selectin'  what 
I  thought  might  be  likely  spots.  I 
turned  over  enough  ground  around  that 
river  bottom  an'  shack  to  seed  a  pretty 
good   crop  of  corn.      I   kept   the  squaw 


117 


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W 


ORRY  and  nerves,  in  s( 
many  cases,  are  a  woman' 


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herself,  or  misunderstanding  of 
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often  lead  to  listlessness,  prema- 
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marriage. 

But  in  this  enlightened,  frank 
day  a  woman  can  scarcely  be  for- 
given for  not  knowing  the  truth 
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Scientific  Side  of  Health  and 
Youth,"  was  written  for  women 
by  a  woman  physician.  It  con- 
tains the  explicit  professional  ad- 
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woman  should  have  for  constant 
reference.   It  is  offered  to  you  free 


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Complete  directions  come  with 
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"Lysol"  Disinfectant  is  sold  at 
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Made  by  Lysol,  Incorporated,  a  division  of 
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with  me,  leavin'  Mr.  Morgan  still  tied 
to  the  Cottonwood,  but  so  he  could  sit 
down  an'  use  his  hands  a  little. 

The  fourth  da}',  I  must  ha^-e  grown 
careless  like,  for  suddenly  the  squaw 
jumped  from  the  shack  door  an'  let  go 
the  double  barreled  shot-gun  at  me,  a 
usin'  shells  I  didn't  know  she  had  or  I 
had  overlooked.  Three  or  four  small 
buckshot  lodged  in  the  fleshy  part  of 
my  shoulder  an'  arm,  but  none  of  'em 
went  in  deep  enough  to  do  any  worryin' 
damage.  I  throwed  the  shot  gun  in  the 
river,  an'  tyin'  his  feet  to  the  stirrups, 
Mr.  Morgan,  Mrs.  Squaw  an'  me  pulled 
up  stakes  an'  set  out  for  the  little  town 
of  Red  Moon,  about  fifteen  miles 
away. 

THE  marshal  in  Red  Moon,  who  was 
one-fifteenth  of  the  town's  population, 
got  much  excited  when  I  came  in  with 
my  prisoner  an'  insisted  he  ought  to  get 
half  the  reward  because  Morgan  had 
been  found  near  his  burg.  That  wasn't 
to  be  considered,  so  I  pulled  out  an'  by 
ridin'  most  of  the  night  got  into  Strong 
City,  county  seat  of  Roger  Mills  county, 
an'  then  the  end  of  the  railway.  The 
town  had  a  calaboose  an'  in  it  I  locked 
Morgan,  a  lettin'  the  squaw  go,  which 
she  did  pronto,  takin'  the  bay  horse,  the 
pack  horse  an'  beatin'  it  back  to  the 
Osage.  Years  later  while  in  Kansas 
City,  I  saw  that  same  squaw,  a  ridin' 
around  in  a  §5,000  automobile  an'  dressed 
to  kill  with  nothin'  less  than  $25,000  in 
diamonds  on  her.  I  found  she  was  a 
drawin'  §3,000  a  we^  oil  money.  Funny 
thing,  the  more  money  a  squaw's  got, 
the  more  clothes  she'll  put  on;  the  more 
money  a  white  woman's  got,  the  more 
clothes  she'll  take  off — but  then  the 
squaw's  only  a  savage  an'  don't  know 
any  better. 

Meanwhile  a  doctor  in  Strong  City 
fixed  me  up  pretty  well  an'  the  next  day 
I  decided  to  notify  the  sheriff  in  El  Paso 
that  I  was  ready  to  come  on  with  his 
much  wanted  Mr.  Morgan,  an'  to  have 
the  §5,000  reward  handy,  as  I  was  a 
goin'  to  be  in  a  hurry  to  get  away  an' 
back  to  my  marshalin'  job  in  Dewey. 

At  the  telegraph  office  I  took  out  the 
old  reward  circular  to  get  the  sheriff's 
name  in  El  Paso.  Then  it  was  that  for  the 
first  time  I  made  a  discover}-  of  somethin' 
that  set  my  heart  a  sinkin'  down  to  the 
bottom  of  my  bootheels.  The  man  I 
was  to  wire  was  Charles  Cantaberry, 
sheriff  of  El  Paso  county,  COLORADO, 
an'  not  El  Paso  county,  Texas.  That 
was  the  first  time  I  ever  knew  there  was 
an  El  Paso  county  in  Colorado  but  it 
seemed  there  was.  Lookin'  at  the  reward 
circular  I  just  read  El  Paso,  an'  bein'  a 
Texan,  I  naturally  supposed  there  could 
Ije  but  one  El  Paso  on  earth,  an'  that  was 
in  the  Lone  Star  State. 

All  this  was  a  facin'  me,  an'  me  knowin' 
I  couldn't  go  into  Colorado  until  a  little 
matter  between  me  an'  the  sheriff  of 
Fremont  county,  at  Canon  City,  Colo- 
rado, was  adjusted  to  the  satisfaction  of 
se\eral  interested  parties,  all  of  which 
1  explained  in  the  previous  chapter  of  this 


IT  was  pretty  tough  to  find  my  man 
wasn't  wanted  in  Texas  at  all,  but  the 
fact  there  was  a  warrant  for  Mr.  Morgan 

f  atlvorllicment   In  rnoT<)rl..\Y  M.\G.\ZJXE  is  guaranteed. 


in  Colorado,  made  me  an'  that  gent  mem- 
bers of  the  same  lodge. 

Next  day  1  figured  out  a  plan  to  play 
safe  an'  sent  Sheriff  Cantaberrj'  a  wire 
that  the  town  marshal  of  Dewey,  Okla- 
homa, would  deliver  his  man  to  him  in 
a  little  town  called  Benda,  just  on  the 
Oklahoma  side  of  the  Colorado  state  line. 
I  reckoned  he'd  know  that  my  official 
authority  as  a  marshal  ended  at  the 
Oklahoma  state  line,  an'  that  was  why  I 
didn't  want  to  cross  with  my  prisoner. 

I  waited  at  Benda  for  a  week  an' 
finally  turned  Mr.  Morgan — him  an'  me 
had  got  to  be  pretty  good  friends  by  that 
time — o^•er  to  a  coupl'a  deputies  who'd 
been  sent  after  him.  They  gave  me  a 
receipt  for  my  man  an'  took  him  back  as 
he  had  waived  extradition.  Lucky  for 
me,  the  two  deputies  had  never  heard  of 
me,  an'  knew  nothin'  about  Canon  City 
or  its  troubles,  a  part  of  which  had  been 
me  at  least  so  they  said  although  personal, 
I  couldn't  see  how  that  could  be.  Any- 
way, then  I  sold  the  horse  I'd  been  a 
ridin'  to  a  young  feller  I  thought  would 
give  him  good  care  as  he  was  a  mighty 
fine  horse  an'  I  hated  to  lose  him,  an' 
took  the  train  back  to  Dewej'. 

ABOUT  the  first  gent  I  saw  when  I  got 
3ff  the  cars  was  a  husky  young  chap  a 
wearin'  a  new  shiny  badge  which  read 
"Town    Marshal — Dewey,    Oklahoma." 

"Where's  the  old  marshal,"  I  asked, 
unconcerned  like. 

"Oh,  that  feller,"  says  the  new  official, 
"he  was  a  young  feller  named  Mix,  kind 
of  a  slicker,  so  they  said,  an'  about  a 
month  ago  he  went  off  a  bank  robber 
huntin'  an'  ain't  never  come  back  an'  he 
ain't  sent  no  word.  We  reckon  the 
bank  robber  out-smarted  him  an'  beat 
him  to  it,  so  I  got  the  job." 

"Sort  of  a  steady  job,  I  reckon?"  I 
went  on. 

"Thatdependin'j"  says  he,  "some  says 
it  is — some  says  it  ain't." 

All  this  didn't  look  so  good  for  me  an' 
my  marshalin'. 

I  hunted  up  Earl  Woodward — an' 
who's  still  a  livin'  down  there — an' 
related  my  experiences.  He  said  hearin' 
nothin'  from  me,  they'd  been  obliged  to 
put  in  a  new  man  as  marshal.  After 
the  bank  folks  an'  Mr.  Woodward  found 
that  Morgan  didn't  have  any  money 
from  their  bank  on  him  when  arrested, 
their  interest  just  naturally  faded  away 
an'  so  far  as  Dewey  was  concerned,  Mr. 
Morgan  was  at  liberty  to  come  an'  go. 

I  hung  around  Dewey  for  a  week  waitin' 
for  the  Colorado  sheriff  to  send  me  my 
reward  an'  then  one  day  I  got  a  telegram 
which  read:  "Tom  Mix,  Dewey,  Okla- 
homa: Jury  today  acquitted  Henry 
Morgan  of  bank  robbery.  Officials  and 
citizens  here  fail  to  positively  identify 
him  as  the  right  man.  Morgan  send  his 
regards  to  you,  and  says  in  appreciation 
of  your  many  kindnesses  to  him,  you 
may  keep  the  squaw.  Charles  Canta- 
berry, Sheriff,  El  Paso  county,  Colorado." 

An'  that  was  how  my  §5,000  reward 
faded  away  an'  likewise  about  sunk  my 
second  start  to  get  that  million  I  was 
after.  I  felt  pretty  blue.  Then  I  went 
to  my  room,  gathered  up  the  big  bundle  . 
of  reward  circulars  an'  post  cards  that  I'd 
put  away  for  safe  keepin',  an'  burned  'em 
up  in  the  back  yard.    I  felt  at  least  that 


Next  month  Tom  Mix 
will  tell  how  a  motion  pic- 
ture concern  employed  him 
to  bulldog  a  buffalo.  "Up 
to  that  time,"  says  Mr. 
Mix,  "I  had  considered  this 
fairly  easy  of  accomplish- 
ment but,  unfortunately, 
the  buffalo  didn't  give  me 
even  reasonable  co-opera- 
tion." 


S 


Photoplay 

I  was  a  doin'  the  new  town  marshal  a 
favor — -I  was  a  givin'  him  a  clean  start 
an'  puttin'  temptation  out  of  his  way. 
An',  just  sort  of  incidental — wrapped  in 
a  buckskin  strip,  tucked  away  in  a  corner 
of  a  drawer  in  my  room  in  Be\'erly  Hills  is 
somethin'  still  slick  an'  shiny  an'  without 
a  scratch  on  it.  Once  in  a  while  I  take 
it  out,  look  at  it  an'  think  how  proud  it 
once  made  me — it  reads  "Town  Rlarshal 
— Dewey,  Oklahoma." 

THE  day  folio  win'  the  bonfire  of  the 
circulars,  I  got  a  telegram  from  Chica- 
go.    It  read: 

"Tom  Mix,  Dewej',  Oklahoma.  Can 
you  bull-dog  a  buffalo  for  an  important 
scene  in  mo\ing  picture  stop  we  will 
pay  liberal  price  for  this  work  stop  can 
you  meet  me  in  Dewey  Saturday  morning 
please  answer  (signed)  George  W.  Wal- 
rath." 

I  went  to  bed  early  that  night  to  think 
it  all  over,  an'  dreamed  I  was  a  bein' 
pursued  by  a  pack  of  hungry  wolves  an'  a 
big  herd  of  buffalos.  The  wohes  all 
had  gleaming  eyes  that  looked  like  a 
camera  lens,  an'  the  buffalos  a  chasin'  me 
were  a  runnin'  on  three  legs,  just  like  the 
legs  under  the  tripod  of  a  mo\in'  picture 
machine.  Then  I  dreamed  I  saw  a  man 
a  comin'  toward  me  carryin'  great  sacks 
of  money,  which  I  took  to  be  a  million 
or  more.  About  sun-up,  I  got  out  of  bed 
an'  wired  Mr.  Walrath  to  come  to  Dewey 
an'  to  bring  on  his  buffalos. 


Magazine — Advertising  Section 


119 


The  long  hidden  ear  becomes  con- 
spicuous.      This  ear-let  is  to  re- 
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according  to  Vera  Reynolds 


HE 

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towards  drab,  lifeless  hair 


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sparkling  eyes  and  radiant  hair  that  the 
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*  *  * 

OFTEN  the  diflFerence  between 
plainness  and  popularity  lies  in 
some  slight,  unaccented  feature.  A  com- 
plexion, flawless  perhaps — yet  not  prop- 
erly rouged ;  a  style  of  coiffure  that  is 
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What  a  pity !  For  your  face  may  be  as 
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dull — a  shadowy gloomwill  dim  its  love- 
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And,  how  easy  it  is  to  be  guilty  of  this 
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ing touch.  Dullness  creeps  in  —  lustre 
fades — in  spite  of  ordinary shzmpoo'mg. 

Fortunately  there's  a  special  sham- 
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Rich  copious  lather — faintly  fragrant 
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You  rinse — remove  all  trace  of  soap 
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Millions  today  use  this  modern  sham- 
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to  advertisers 


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Photoplay  Magazine — Advertising  Section 


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Test  Number  107 


[  COXTIXUED  FROM  PAGE  71  ] 


outstanding  productions;  although 
Charles  Farrell  gained  his  first  recognition 
of  note  under  his  direction;  in  spite  of 
the  fact  that  Ernest  Torrence  reached  the 
high  salaried  class  after  "The  Covered 
Wagon"  and  George  Bancroft  took  sev- 
eral rungs  of  the  success-ladder  because 
of  "The  Pony  E.xpress, "  it  was  not  until 
Cruze  met  Gladys  Quartaro  (a  name 
which  he  promptly  changed  to  Neena) 
that  he  made  any  effort  to  promote  one 
player. 

"  I  always  used  the  cast  they  chose  for 
me.  If  I've  helped  any  one  player  it  has 
been  accidental,"  he  told  me. 

IN  fact,  Cruze  has  been  noted  for  pre- 
ferring the  well-known,  "old  line" 
men  and  women. 

When  he  sent  word  to  Neena  that  she 
was  to  be  the  exception  and  that  he  would 
not  only  use  her  in  one  picture  but  pro- 
mote her  in  others,  she  just  couldn't 
quite  belie\-e  it. 

"Didn't  he  think  I  was  too  young?" 
she  exclaimed. 

"They  have  always  said  I  was  too 
young  to  be  a  real  actress.  They've 
said  it  for  three  years  and  I  don't  look 
or  feel  one  bit  older. " 

For,  although  Neena  is  James  Cruze's 
discovery,  although  her  lead  in  "The 
Red  Mark"  is  her  first  part  of  real  im- 
portance, she  was  not  picked  from  the 
Hollywood  air  by  the  director.  She  had 
been  working  for  nearly  four  years  to 
secure  just  such  an  opening. 

First  in  New  York,  at  fourteen  years 
of  age,  with  D.  W.  Griffith.  D.  W.  signed 
her  at  five  dollars  a  day  and  then  seems 
to  have  forgotten  to  use  her. 

"Then  I  was  to  go  to  the  Paramount 
school.  But  Mr.  I.asky  said,  'You  don't 
seem  to  grow  up,  Gladys.' 

"And  when  I  asked  him  about  Bettv 


Bronson  and  Mary  Brian,  he  told  me, 
'You  stick  to  it.  Remember,  Buster 
Collier  was  an  extra  for  eight  years.' 

"Then,  a  year  ago,  mother  decided 
I  was  old  enough  to  really  go  into  the 
movies  in  earnest.  You  see  I  am  the 
baby  of  seven  children  and  even  my  own 
family  thought  I  was  too  young  for 
pictures. 

"But  I  was  so  determined  that  mother 
finally  brought  me  to  California. " 

Came  a  prospective  opportunity  to 
play  the  lead  with  Ramon  Novarro  in 
"Romance."  She  thought  it  all  settled. 
But  when  Supervisor  Hunt  Stromberg 
saw  her — 

"He  thought  I  was  too  young!"  her 
voice  broke  at  the  memory  of  the  oc- 
currence. 

SO  she  gave  up.  "I  just  went  and 
stayed  at  home  I  was  so  discouraged. 
My  manager  was  about  ready  to  give  up 
too.  She  brought  my  test  over  to  Mr. 
Cruze,  but  I  guess  she  thought  it  was  a 
hopeless  errand.  Then,  all  of  a  sudden, 
this  happened!  Do  you  think  I'll  make 
good?" 

But  how  could  I  tell  her?  How  could 
anyone  foretell  the  future  of  these  young 
women  who  are  getting  their  chance  in 
such  miraculous  fashions?  How  could 
anyone  say  what  is  to  become  of  Ruth 
Taylor,  Shirley  O'Hara,  Betty  Bronson — 
even  Janet  Gajnor? 

She  does  have  something  "dift'erent." 
\\'ith  an  ancestry  of  pure  Spanish  on  her 
father's  side  and  equally  unmarred 
Italian  on  her  mother's,  she  combines  the 
eyes  of  an  Olive  Borden;  something  of  the 
wistfulness  of  a  Janet  Gaynor;  the  "IT" 
possibilities  of  Clara — but  all  unde- 
veloped. 

Only  time  can  tell  you  the  end  of  this 
story. 


Irene,  Jane  and  Frances  Rich  taking  a  ride  on  a  sea-going  mat- 
tress.    If  you   think  the  children  of  movie  stars  are  silly  little 
flappers,  take  a  long  look  at  these  two  husky  outdoor  girls 

scmenl  ill  rnOTori-.^y  MACiZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Better  than  Pickford 


[  CONTINUED  FROM  PAGE  84  ] 

trace  a  diagram  on  the  top  of  the  box  on 
wliich  he  was  sitting.  "Then  at  the 
hack  I've  got  a  wow  of  a  Chinese  interior. 
It  was  some  sheik's  opium  den  or  some- 
thing but  I've  got  it  all  gagged  up  with 
tlie  cutest  little  fountain — looks  like  real 
marble.  Then  I've  got  a  couple  of  prop 
trees  that  at  night  you  can't  hardly  tell 
from  the  real  thing." 

"But  you  can't  use  them  all  in  the 
same  picture,  can  you?"  questioned  the 
practical  Mary  Rose. 

SURE.  Why  not?  You  see  the  hero 
can  be  a  beatrhcomber  or  something 
o\er  in  Shanghai.  Then  he  meets  the  girl 
— see — -and  he  decides  to  go  straight. 
Tiiat's  where  the  big  situation  comes  in. 
Tiieii  I'll  get  a  swell  title  about  him  going 
out  west  where  men  are  men  and  I'll  fade 
right  in  on  the  cabin — see." 

"It  sounds  just  wonderful."  Mary 
Rose's  admiration  for  such  a  creati\e 
mind  was  genuine. 

"Well,  you  see  these  birds  squander  a 
])ile  of  money  on  sets,  when  if  they'd 
just  use  their  heads — " 

But  the  impromptu  luncheon  caine  to 
a  stidden  end  when  a  couple  of  incon- 
siderate grips  started  to  shift  the  scenery. 
With  the  deftness  of  a  magician,  Jimmy 
grabbed  the  telltale  plates  and  did  a  quick 
fadeaway. 

"Don't  listen  to  that  goofy  prop  boy, 
sister,"  one  of  the  grips  kiddingly  cau- 
tioned Mary  Rose.  "To  hearhim  tell  it, 
he's  the  reason  why  girls  leave  home. 
Has  he  been  signin'  you  up  to  be  the  star 
of  the  James  X.  Riley  Productions?" 

Mary  Rose  wished  she  could  think  of 
something  fresh  to  say  back  to  him,  the 
way  the  other  girls  did. 

"No,"  she  answered  truthfully,  "but 
he  was  telling  me  about  his  idea  for  a 
quickie.  I  thought  it  was  just  wonder- 
ful—" 

"So's  your  old  man!"  gufTawed  the 
grip. 

THAT  night  Mary  Rose  paid  her  land- 
lady $8.00  on  account  and  assured  her 
that  things  were  looking  up.  She  hinted 
that  she  might  have  a  chance  to  play  a 
lead  before  long.  The  landlady  skep- 
tically indicated  that  it  had  better  be 
soon. 

A  week  went  by.  And  another.  With 
each  day  she  trudged  a  little  less  hope- 
fuli\-  from  casting  office  to  casting  office, 
lingering  longest  on  the  Colossal  lot, 
lKi|)ing  for  a  glimpse  of  Jimmie  Riley. 
Each  night  she  faced  a  little  less  coura- 
geously the  questioning  eyes  of  Miss 
Plank,  the  landlady. 

Then  one  morning  the  dreaded  ul- 
timatum came. 

"If  I'm  not  paid  up  by  tonight,  out 
you  go."  Miss  Plank  made  a  sweeping 
gesture  with  her  brawny  arms  which 
caused  Mary  Rose  to  wince. 

"I'm  expecting  something  today — out 
at  Colossal."  She  lied  weakly.  "They 
said  to  be  there  at  nine  sharp."  Her 
fingers  were  fussing  with  the  catch  on 
her  make-up  box  as  she  began  to  edge 


It  puts  back  into  your  skin 

the  vital  elements  your 
daily  life  steals  from  it 


ONE  great 
cause  is  re- 
sponsible  for 
blackheads  and 
blemishes,  for 
roughnesses, 
coarse-textured  or 
oily  skin — one  great  cause,  and  you  can 
remove  it. 

Dust  and  soot  that  carry  germs  deep  into 
the  delicate  pores  of  the  face 

— lack  of  the  full  amount  of  exercise  nec- 
essary to  keep  the  tiny  glands  of  the  skin 
functioning  normally 

— harsh,  dry  winds  that  roughen  and  red- 
den the  surface  that  should  be  always  soft 
and  supple 

—  these  little  evils  in  daily  life — each  in 
itself  perhaps  unimportant — are,  combined, 
the  one  fundamental  cause  of  every  skin 
blemish  and  fault.  If  the  skin — any  skin, 
your  skin — can  only  be  kept  acting  normally, 
the  body  itself  will  do  the  rest. 

Thirty-three  years  ago  an  important 
discovery 

Thirty-three  years  ago  a  well-known  physi- 
cian decided  that  ordinary  patchwork  treat- 
ments were  not  enough  for  even  the  slightest 
skin  blemishes.  At  last  he  developed  a  simple 
formula — not  a  complicated  drug,  but  a  basic 


Those  dear,  smooth  skins  you  see  about 
you — do  you  ever  look  at  them  with  just 
a  touch  of  envy?  Does  your  own  com- 
plexion— perhaps  sallow,  oily,  or  marred 
by  blackheads — give  you  in  contrast  a 
sense  of  hopelessness  as  you  stand  before 
your  mirror? 


prescription  that  had 
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In  thousands  of  homes  where  Resinol  Soap 
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The  soothing,  healing  properties  of  Resinol 
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Photoplay  Magazine — Advertising  Section 

away  from  the  door,  carefully  avoiding 
jMiss  Plank's  eyes. 

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THE  intoxicating  aroma  of  freshly 
brewed  coffee  as  she  passed  a  quick 
lunch  caused  her  to  hesitate.  A  waitress 
probably  had  all  the  coffee  she  wanted  to 
drink — and  bacon  and  eggs  for  her  break- 
fast— and  toast.  Her  heart  seemed  to  be 
throbbing  somewhere  in  the  pit  of  her 
stomach.  Involuntarily,  her  tired  feet 
turned  into  the  quick-lunch  room. 

"Are  there  any  openings  for  —  a 
waitress?"  Timidly  she  approached  the 
white-coated  husky  who  was  filling  the 
shining  percolator. 

"Nothing  doing,  sister.  We  don't  em- 
ploy girls  here." 

Mary  Rose  couldn't  take  her  eyes  off 
the  large  printed  card  which  announced 
that  they  served  the  best  coffee  in  town 
for  ten  cents — one  dime.  Her  fingers 
closed  over  the  two  lonesome  coins  in  her 
purse.  They  would  buy  her  a  cup  of 
coffee — or  they  would  take  her  out  to  the 
Colossal  Studio.  In  that  faltering  second 
she  tasted  every  cup  of  coffee  she  had 
ever  swallowed — felt  its  burning  warmth 
on  her  moist  tongue.  The  tantalizing 
odor  of  the  coffee  seemed  to  be  pulling 
her  toward  the  counter. 

"They  want  a  dish  washer  down  the 
street,"  volunteered  the  man  behind  the 
counter. 

Mary  Rose  managed  to  smile  her 
thanks  for  the  tip  and  walk  bravely  out 
of  the  lunch  room. 

BUT  by  five  o'clock  that  afternoon  her 
brax'ery  was  at  low  ebb.  All  day  she 
had  sat  in  the  casting  office  of  the  Colossal 
Studio,  watching  the  motley  parade  of 
e.xtras  come  and  go.  Cute  little  flappers; 
character  men,  cowboys,  fat  boys, 
freckled  boys,  funny  boys;  elderlj'  ladies, 
exotic  ladies,  eccentric  ladies;  midgets; 
matadors;  musicians;  the  fag-end  of  a 
glorified  profession,  each  one  certain  that 
his  big  role  lay  just  around  the  corner. 

To  one  and  all  the  same  reply  had 
been  given.    No  casting  today. 

Mary  Rose  had  heard  it  so  often  that 
now  the  clock  seemed  to  be  ticking  No- 
casting-today.  The  typewriters  tapped 
out  their  staccato  No-casting-today,  and 
the  swinging  doors  echoed  it  with  em- 
phatic slams. 

"No  use  your  hanging  around,"  some- 
one had  told  her.  "Only  one  company 
working  on  the  lot  today — and  they're 
doing  re-takes.    All  the  rest  on  location." 

But  still  she  lingered,  putting  off  as 
long  as  possible  the  moment  when  she 
must  again  face  Miss  Plank — and  the 
street.  Where  would  she  spend  the 
night.  .  .  .  This  and  a  dozen  other 
similar  thoughts  jigsawed  through  her 
mind. 

Inside  the  office  an  assistant  slammed 
a  telephone  receiver  on  the  hook  with  a 
"Jees,  can  yuh  beat  it?  Benson's  got 
temperamental  and  says  she'll  have  to 


have  a  double.  We  gotta  rush  somebody 
out  there  pronto."  His  eyes  searched  the 
mourner's  bench  in  the  outer  office. 
"Where's  that  kid  that's  been  sittin' 
around  here  all  day.  She  was  about 
Benson's  size." 

Mary  Ro.se,  standing  dejectedly  just 
outside  the  door,  caught  this  last  and 
whirled  about  eagerly. 

"Say,  Kid,  can  yuh  swim?"  he  de- 
manded. 

"Sh-sure!"  she  tried  to  gulp  the  lie 
down  carelessly. 

"It's  a  stunt,"  he  explained  briefly. 
"Doubling  for  Benson.  It'll  be  good  for 
fifty   bucks — maybe   more." 

She  followed  him,  unquestioning.  This, 
she  thought  numlily,  was  what  they  called 
a  lucky  break. 

IT  took  little  more  than  an  hour  to  whisk 
Mary  Rose  from  obscurity  to  the 
blinding  glare  of  a  battery  of  Kleig 
lights  set  on  the  deck  of  a  yacht,  some 
two  hundred  yards  offshore. 

With  fear-struck  eyes  she  watched 
them  anchor  a  camera  on  a  two  by  four 
rock  jutting  up  out  of  the  churning 
water.  Another  camera  was  being  set 
up  on  the  deck,  close  to  the  rail.  It  was 
to  be  a  night  shot.  Juicers  were  busy 
testing  the  lights.  Farther  along  the  deck 
a  fat,  pimple-faced  boy  tortured  the  piano, 
while  a  couple  struggled  with  the  Black 
Bottom  rhythm.  All  happily  unaware 
that  a  scared  little  girl  was  about  to 
gamble  with  life  itself — for  fifty  dollars. 

Mary  Rose  braced  herself  against  the 
rail  to  keep  her  trembling  knees  from 
hitting  together.  Below  her  the  water 
shimmered  like  oiled  silk  in  the  first  dark 
of  evening.  It  sent  shi\ers  over  her  tense 
little  body — the  way  it  swished  against 
the  side  of  the  ship.  She  turned  the 
other  way,  trying  to  concentrate  on  the 
fifty  dollars  .  .  .  how  it  would  feel 
stuffed  into  her  purse  .  .  .  five  ten 
dollar  bills  or  ten  five  dollar  bills  .  .  . 
how  she  would  pay  Miss  Plank,  proudly. 

"Well,  if  it  isn't  the  little  baby  doll 
herself!"  Jimmy  Riley  came  sliding 
across  the  deck,  a  pleased  grin  on  his 
face  as  he  recognized  Mary  Rose.  "W  here 
have  you  been  all  these  weeks?  I've 
been  watchin'  for  you  on  the  lot." 

"I  haven't  been  working — so  very 
much." 


NO? 
that. 


Well,  we'll  have  to  look  into 
A  baby  doll  like  you  ought  to 
be  working  every  day.  Some  of  these 
bozos  that  call  themselves  directors  cer- 
tainly ha\e  trouble  with  their  eyes."  The 
way  he  smiled  down  at  Mary  Rose  was 
conclusive  proof  that  there  was  nothing 
wrong  with  his  own  eyesight. 

"Say,  what  are  you  doing  here?"  he 
asked  suddenly.  "You're  not  the  girl 
they  brought  out  to  double  for  Benson 
are  you?" 

She  could  only  nod  her  head. 

"Well,  I  hope  you  brought  your  water 
wings.    It  looks  like  a  wet  evening." 

Her  icy  fingers  gripped  the  rail  a  little 
tighter. 

"They  won't  let  me  drown — will  they?" 
she  asked  with  a  hysterical  little  laugh. 

"Not  if  I  know  it,  baby!"  He  patted 
her  arm  reassuringly  and  courage  began 
to  trickle  through  her  veins. 


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Photoplay  Magazine — Advertising  Section 


But  her  courage  was  short-Ii\ed. 

There  were  shouts  for  Jimmy  Riley  and 
with  a  "see  you  later"  he  hurried  away. 

A  moment  later  her  heart  volplaned  to 
her  stomach  as  she  watched  him  climb 
down  the  rope  ladder,  into  a  waiting 
launch,  which  chugged  off  toward  the 
shore. 

"We  can't  have  a  rehearsal  on  this," 
the  director  had  come  over  to  explain  the 
scene  to  Mary  Rose.  "So  you'll  have  to 
get  it  right  the  first  time." 

Numbly  she  listened  while  he  out- 
lined the  action. 

NOW  the  villain— that's  Mr.  Gordon 
o\er  there — got  you  on  his  yacht 
under  false  pretenses — see.  He's  deter- 
mined to  possess  you.  You've  managed 
to  get  away  from  him  and  run  along  the 
deck.  You  stop  here — see — and  look 
back  over  your  shoulder.  That's  where 
the  camera  picks  you  up.  You're  scared. 
He's  pursuing  you — his  arms  reaching  out 
for  you.  You  pause  a  second — then  go 
overboard.     Have  you  got  that?" 

She  nodded  understandingly,  afraid 
to  trust  her  voice  to  speak.  All  a- 
tremble  she  watched  the  Kleig  lights 
sputter  on.  Her  chance  had  come  at 
last — her  lucky  break.  This  time  she 
was  to  be  "it."  No  hovering  in  the 
background  of  the  scene,  wondering  if 
her  face  would  show  when  the  scene  was 
flashed  on  the  screen.  This  time  the 
camera  would  be  grinding  for  her  alone 
.  .  .  perhaps  for  the  one  and  only  time. 
She  was  to  swim  toward  the  rock  where 
the  second  camera  would  get  a  full  shot 
of  her. 

What  if  she  told  them  now  that  she 
had  never  taken  more  than  a  dozen 
strokes  in  her  life,  in  Bailey's  pond  back 
home.  .  .  . 

Oh,  please  God  .  .  .  she  started  to 
breathe  a  little  prayer  as  she  followed 
the  director  out  of  the  scene. 

"Ready?"  asked  the  director. 

She  gave  him  a  scared  little  nod. 

CAMERA!"  he  yelled.  "Action!" 
She  started  running  along  the 
deck.  Her  legs  didn't  seem  to  belong  to 
her  at  all.  They  were  like  dummy  legs 
mo\ing  up  and  down.  Through  her  mind 
flashed  the  incongruous  thought  of  how 
thej'  would  look  in  slow  motion.  Back  of 
her  the  camera  was  clicking — thousands 
of  feet — it  seemed  to  Mary  Rose. 

"He's  after  you!"  shouted  the  director. 
"You  stop — look  back — YOU'RE 
SCARED!— you  tell^  him  you'll  jump  if 
he  comes  any  closer!" 

For  a  split  second  she  stopped,  her 
slender  hands  gripping  the  rail,  and  then 
with  tightly  closed  eyes,  she  jumped. 

The  camera  on  the  deck  caught  her 
going  over. 

The  camera  on  the  rock  picked  her  up 
as  she  hit  the  water. 

The  pimple-faced  boy  at  the  piano 
struck  up  ' '  Clap  Your  Hands"  with  re- 
newed \igor. 

A  bored  foursome  continued  to  play 
bridge. 

Below,  the  dark  water  had  closed  over 
Mary  Rose.  For  an  instant  her  blonde 
head  appeared,  only  to  be  swallowed 
up  again,  as  though  so  many  greedy  hands 
had  pulled  her  down.  And  the  camera 
kept  on  grinding. 


123 


. .  and 

You^ 


J     being 
horn  a 


Wo 


MAN 


/^HARM.  .  .  .  poise  .  .  .  verve  .  .  .  a  subtle  fascinating  wit— no  wonder 
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imperfect  elimination.  Simple  little  tablets— mint-flavored.  But  back  of 
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TN  a  famous  European  laboratory 
-*-  shortly  before  the  World  War,  a 
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In  the  years  that  have  passed  since 
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So  amazing,  indeed,  has  been  the 
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124 


Photoplay  Magazine — Advertising  Section 


"Swim  toward  the  rock,"  megaphoned 
the  director  when  her  head  came  up  fur 
the  second  time.  "Just  like  an  excra  to 
warn:  to  take  up  a  lot  of  footage,"  he 
complained  to  his  assistant,  flicking 
cigarette  ash  with  his  forefinger. 

But  the  girl  struggling  in  the  water  was 
unaware  of  the  hundreds  of  feet  of  film 
being  used  on  her.  She  was  being  pulled 
down  .  .  .  down.  .  .  .  Crazy,  misht 
thoughts  were  jigsawing  through  her 
brain  .  .  .  Jimmy  Riley  .  .  .  quickies 
.  .  .  sandwiches  cut  heart  shaped  .  .  . 
the  picture  house  back  in  Cherryvale 
.  .  .  electric  lights  spelling  out  Alary 
Rose.  .  .  .  Her  arms  impotently 
threshed  the  water — then  sunk  out  of 
sight. 

"Jees,  that's  gonna  be  some  shot," 
exclaimed  one  of  the  grips  who  was  com- 
ing back  in  the  launch  with  Jimmy  Riley. 
"That  little  baby's  sure  taking  a  chance." 

JIMMY  RILEY  strained  his  eyes  for 
another  glimpse  of  the  blonde  head. 
What  was  "it  the  kid  had  said?  "They 
won't  let  me  drown — will  they?"  Sud- 
denly he  knew  why  her  lower  lip  had 
quivered  so.  The  game  little  baby  doll 
couldn't  swim  .  .  .  and  this  bozo  of  a 
director  was  letting  her  drown  .  .  .  right 


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this  long-trusted  lotion  costs  but  6oc.     nothing  but  getting  a  good  shot. 

In  less  time  than  it  takes  to  tell  it 
Jimmy  had  jerked  off  his  tennis  shoes  and 
dived  overboard,  his  strong  arms  plough- 
ing through  the  water  with  swift,  over- 
hand strokes. 

What  followed  caused  the  director  to 
rewrite  the  script  completely.  Maybe 
you've  seen  the  picture  and  remember 
the  scene  where  the  juvenile  rescued  the 
girl,  climbing  up  on  the  slippery  rock 
with  her  slender  little  body  held  in  one 
arm. 

The  censors  cut  out  several  feet  of 
the  most  convincing  kiss  of  the  picture  but 
they  left  the  title  where  he  said:  "Poor 
little  baby  doll!" 

When  Mary  Rose  came  to  she  was  ly- 
ing on  a  narrow  white  bed  in  a  room  filled 
with  flowers. 

She  had  some  vague  idea  that  it  might 
be  hea\-en  but  the  smell  of  chicken 
broth  which  someone  was  holding  to  her 
lips  seemed  very  real. 

"\\'hat  do  you  think  of  the  flowers, 
baby?" 

She  stared  dazedly  at  Jimmy  Riley, 
standing  at  the  foot  of  the  bed. 

I  GRABBED  them  ofT  the  Benson  set,' 
he  sur\-e>'ed  the  floral  display  with 
pride.  "Get  the  orchids,  will  you  ?  They 
set  the  company  back  two  bucks  apiece 
I  been  keepin'  them  alive  with  aspirin- 
just  for  you." 

Her  eyes  filled  with  tears  as  she  tried  to 
speak  her  thanks.  How  often  had  she 
dreamed  of  recei\-ing  quantities  of 
flowers — after  some  picture  premiere— 
with  little  cards.attached  bearing  the  con 
gratulations  of  admiring  friends.  She 
tried  to  swallow  the  little  lump  which  had 
worked  its  way  into  her  throat. 

"Were  they  very  mad — because  I  pre 
tended  I  could  swim?"  she  asked  hesi 
tantly. 

"]\lad?  Say  you  gave  'em  a  wow  of  a 
shot.  It'll  probably  make  the  picture." 
I      Mary  Rose  listened  with  amazement, 


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aches  and  pains  in  back  and  joints,  rub  on 

Musterole.   Don't  wait  for  trouble;  keep  a 

jar  or  tube  handy. 

To  Mothers:  Musterole  is  also  made  en 
milder  form  for  babies  and  small  chil- 
dren.   Ask  for  Children's  Musterole. 


BETTER    THAN    A    MUSTARD    PLASTER 


How  to  Have  Soft, 
Pretty  White  Hands 


Many  women  will  undoubtedly 
how  they  may  have  beautiful,  w 
hands  regardless  of  the  work  they 
secret  lies  in  rubbing  a  little  Ice-Mi 
occasionally  preferably  just  before 


be  glad  to  know 
lite.  soft,  pretty 
liavc  to  do.  The 
nt  into  the  hands 
retiring  at  night. 


In  the  morning  you  will  be  agreeabb'  surprised  at  the 
pleasant  transformation  that  has  been  wrought  by 
even  a  single  application.  Ice-Mint  is  made  from  a 
Japanese  product  that  is  simplj-  marvelous  for  its 
beautifying  properties  whether  used  on  the  hands  or 
face.  Regardless  of  what  kind  of  work  a  woman  does 
she  should  have  pretty  hands  as  the\  arc  realh  the 
true  marks  of  refinement.  A  few  appheations  of  Ice- 
Mint  will  actually  make  any  woman  proud  ol  htr 
hands  and  skin.  It  costs  little  and  i- -old  and  n  com- 
mended by  good  druggists  everj-nhcre.     IJ  cilmininl 


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Sent  on  trial  to  prove  its  worth.    Be-  '"•'•  *'-^' 

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Every  appliance  made  to  special  order  and  sent  direct 

from  Marshall.     Full  information  and  booklet  sent  free 

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Ii'll  be  JAMES  X.  RILEY  PRESENTS 


125 


With  a  grand  gesture  lie  traced  the 
name  on  an  imaginary  screen. 

Tears  were  rolling  down  Mary  Rose's 
pale  cheeks  as  she  tried  to  take  in  the 
meaning  of  what  he  had  just  said. 

"Don't  cry,  baby,"  he  whispered.  He 
was  at  the  head  of  the  bed  now  and  his 
arms  were  about  her.  How  fragrant  and 
sweet  she  was  as  he  held  her  close  to  his 
lieart,  and  her  lips,  when  he  shyly  kissed 
them,  were  as  soft  and  A-elvety  as  the  rose- 
buds he  had  brought  her. 

"It's  just  like  I  told  you  that  first  day," 
he  continued  after  many  minutes  of  ex- 
quisite silence.  "You  ain't  got  IT  like 
Clara  Bow — but  j-ou've  got  something 
else.  It's  the  same  thing  Pickford's  got 
.  .  ."  He  tried  to  stud^'  her  with  the 
professional  eye  but  it  was  the  eyes  of 
lo^•e  that  gave  the  verdict,  " — but,  honest, 
beautiful,  with  your  eyes  and  your  hair — 
and  with  me  to  direct — •  Jees,  I'll  bet 
you'll  be  better  than  Pickford!" 


Photoplay  Magazine — Advertising  Section 

Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 


Brooklyn,  N.  Y. 
I  have,  during  my  life,  spent  many 
a  gay  and  happy  hour  watching  the 
silver  screen  imroU  its  stories  and 
solacing  my  moods.  But  never 
before  have  I  loved  them  as  dearly 
as  now.  I  never  knew  how  deeply 
they  could  plumb  the  depths  of 
human  emotions,  nor  how  sympa- 
thetically heal  one's  sorrows.  So 
I  write  this  as  a  mother's  tribute  to 
the  magic  of  the  silver  screen,  for  I 
have  seen  two  masterpieces,  "The 
Big  Parade"  and  "What  Price 
Glory." 
When,  on  that  awful  day  of 
August  23rd,  1917,  I  received  the 
news  that  my  beloved  boy  was 
killed  in  action,  I  did  not  think  a 
time  would  come  when  I  would  put 
my  sorrow  into  print.  But  ten  years 
have  passed  and  I  saw  these  pictures 
which  for  some  moments  brought 
back  to  me  the  sweet  poignancy  of 
quiet  sorrow.  Is  there  anyone  who 
does  not  remember  Mother's  Boy 
in  "What  Price  Glory"?  Mine  too 
was  a  Mother's  Boy.  Oh,  a  dear, 
sweet  Mother's  Boy!  But  so  brave, 
so  full  of  courage  when  the  call 
came.  I  saw  him  live  again  on  the 
screen.  Just  as  he  must  have  been 
out  there,  longing  for  me,  but  all  fit 
and  ready  to  meet  the  Angel  of 
Death  when  he  came.  Do  you 
wonder  that  one  by  one  the  tears 
fell  from  a  mother's  eyes?  The 
magic  of  the  screen  brought  back 
my  child  to  me  for  solace  and  com- 
fort, and  I  shall  bless  it  forever. 
And  I  send  this  on  to  you  because 
there  were  so  many  other  mothers 
with  the  same  burden  of  sorrow.  I 
should  like  them  to  be  eased  by  the 
same  balm. 

A  Gold  Star  Mother. 


Eat  what  you  please 

Wear  what  you  please 

Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found  this  easy 
way  to  take  off  2  to  4  pounds  once  or  twice  a  week. 
These  women  take  refreshing  Fayro  baths  in  the 
privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same  natural 
mineral  salts  that  make  effective  the  waters  of 
twenty-two  hot  springs  of  America,  England  and 
Continental  Europe.  For  years  the  spas  and  hot 
springs  bathing  resorts  have  been  the  retreat  of  fair 
women  and  well  groomed  men. 

Excess  weight  has  been  removed,  skins  have  been 
made  more  lovely,  bodies  more  shapely  and  minds 
brighter. 

The   Hot  Springs  Are  Now   Brought  to  You 

Painstaking  analyses  of  the  active  ingredients  of 
the  waters  from  twenty-two  of  the  most  famous 
springs  have  taught  us  the  secret  of  their  effective- 
ness. You  can  now  have  all  these  benefits  in  your 
own  bath.  Merely  put  Fayro  into  your  hot  bath. 
It  dissolves  rapidly.  You  will  notice  and  enjoy  the  pungent 
fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating  perspira- 
tion, forces  lazy  body  cells  to  sweat  out  surplus  fat  and  bodily 
poisons.  Add  Fayro  to  your  bath  at  night  and  immediately  you 
will  lose  from  2  to  4  pounds  in  an  easy,  refreshing  and  absolutely 
harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that  Fayro  is  certain 
to  do  the  work  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  Js  soon  as  you  are  the  correct  weight  for  your  height 
do  not  try  to  reduce  further.  No  need  to  deny  yourself  food  you 
really  want.  No  need  for  violent  exercise.  No  need  for  drugs  or 
medicines.  Merely  a  refreshing  Fayro  bath  in  the  privacy  of  your 
own  home. 

Try  Fayro  at  Our  Risk 

The  regular  price  of  Fayro  is  Si. 00  a  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  52.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S    PROOF 


"Three  Fayro  baths  reduced 
my  weigh!  11  pounds  in  8 
days.  I  feel  belter  Ihan  I 
have  felt  for  years." 


"/  it/eigh  16  pounds  less  and 
feel  younger  and  sleep  better. 
Fayro  is  wonderful. 


"My  hips  were  always  too 
prominent  until  I  commenced 
Fayro  baths.  I  have  lost  12 
pounds." 


"Thank  you  for  Fayro.  I 
lost  14  pounds  in  three  weeks; 
feel  better  and  certainly  look 
better." 


"Since  childhood  my  thick 
ankles  have  always  been  a 
source  of  embarrassment. 
Fayro  baths  have  reduced 
them  beautifully.  Thank  you 
very  much." 


For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  has  been 
authorized  and  names  and 
addresses    will  be  given  on 


jTAYRO 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  withouta  question. 
You  risk  nothing.  Clip  the  coupon  and 
mail. 


Fayro,  Inc.  ph  2-23 

821  Locust  St.,  Pittsburgh,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  S2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use.  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


City State 

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


mOTOrLAT  MAGAZINE 


126 


Photoplay  Magazine — Advertising  Section 


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Sweet  Sixteen 


[  CONTINUED  FROM  PAGE  51  ] 


people  were  so  strange.  And,  too,  she  had 
always  considered  it  a  bit  indelicate  of 
Aunt  Margaret  to  marry,  at  her  age.  Max 
De  Hart  was  a  painter,  not  of  miniatures, 
as  was  his  wife,  but  of  soft,  shadowy 
sketches  of  nude  dancers  and  bathers 
...  it  was,  decided  Cynthia,  all  very 
odd. 

PATTY  was  ne\er  at  home,  and  in  the 
afternoon  Cynthia  sat  with  her  mother 
and  father  on  the  verandah,  waiting  to 
greet  their  guests.  When  the  yellow  car 
swept  up  the  drive,  she  saw  the  slender, 
long-legged  figure  of  a  man  unfold  itself 
from  behind  the  wheel,  and  her  eyes 
widened  incredulously.    This,  then  .  .  . 

"Margaret!" 

"Jane!" 

Her  mother  and  Aunt  Margaret  were 
hugging  one  another,  talking  at  once. 

"H'lo,  Cynthia,  there!"  Aunt  Margaret 
kissed  her  brusquely.  "  You've  never  met 
your  Uncle  Max,  have  you?" 

"My  God,  Margo,  not  uncle!"  pro- 
tested a  liquid  voice,  as  Max  De  Hart 
took  Cynthia's  hand  in  his  and  bowed. 

Cynthia's  eyes,  wide  and  clear,  looked 
up  into  his.  But  he  was  beautiful,  Aunt 
Margaret's  husband!  Tall  and  willo\\'y 
and  fair,  with  blue,  blue  eyes  and  a  laugh- 
ing mouth  half  hidden  by  a  blond  beard 
.  .  .  he  wore  white  flannels,  with  a  tur- 
quoise striped  belt  about  his  slender 
waist  .  .  .  the  color  of  his  eyes.  .  .  . 

"You  know,  that's  a  delectable  dress 
you're  wearing!"  he  said  to  Cynthia. 
"The  wind,  rippling  it  against  you  like 
that — delightful!  I  say,  Margo,  look  at 
this  girl!    Isn't  she  exquisite?" 

Margaret  De  Hart  looked  calmly  upon 
Cynthia's  confusion.  "She's  my  lamb- 
child!"  she  returned,  in  that  hearty,  be- 
loved voice  of  hers.  "Heavens,  she's 
grown,  Jane!    How  old  is  she?" 

CYNTHIA'S  flush  deepened.  How 
would  they  like  it,  these  grown  people, 
if  someone  was  always  asking  how  old 
they  were?  Aunt  Margaret,  for  instance. 
She  must  be  terribly  old — her  own  mother 
was  thirty-eight! 

"Probably  the  most  exquisite  of  all 
ages,"  Max  De  Hart  murmured,  as  her 
mother  told.     "Sixteen!     Delightful!" 

"It's  not  delightful!"  Cynthia  contra- 
dicted him.  "It's  hateful  and  loathe- 
some  and  horrible  and  I  wish — "  Her 
\oice  broke,  and  the  eyes  she  turned  away 
from  his  were  stormy. 

"My  dear — "  His  hand,  taking  hers, 
was  smooth  and  white,  with  long  flexible 
fingers. 

Cynthia  looked  again  at  him — her 
heart  swelled  as  she  realized  that  he 
understood;  his  blue  eyes  were  bent  in- 
tently upon  her,  upon  her  angry,  parted 
lips,  upon  the  indignant  rise  and  fall  of  her 
young  breast,  beneath  the  flowered  dress 
.  .  .  slowly,  with  a  delicious,  creeping 
feeling  of  contentment,  she  smiled  at  him. 
1  lis  fingers  tightened,  for  an  instant,  over 
hers.  ... 

"Max,  are  you  getting  the  bags?" 
From     within    the    house    came    Aunt 

ry  advertisement  In  PHOTOPI^Y  MAG.VZIXB  is  guar,inleed. 


Margaret's  voice,  shattering  the  moment; 
as  Cynthia  turned,  another  voice  sounded 
behind  her. 

" 'Lo,  Cynth.  Aunt  Margaret  come?" 
It  was  Patty,  brisk  and  laughing,  towing 
Tommy  Lowell  behind  her. 

Cynthia  nodded  irritably.  "This  is  my 
sister  Patricia,  Mr.  De  Hart.  And  Mr. 
Lowell."  She  watched  the  handshaking, 
watched  the  artist's  soft  fingers  against 
Patty's  plump  ones,  against  Tommy's 
brown  fist.  "I'll  help  you  get  the  bags, 
Mr.  De  Hart." 

"Don't  be  sil!"  Tommy  Lowell  de- 
tained her  at  the  piazza  steps,  arms  out- 
stretched. "Little  thing  like  you.  Don't 
want  to  get  your  pretty  dress  all  dirty,  do 
you?"  He  grinned,  a  curly,  boy's  grin, 
showing  square  white  teeth. 

Cynthia  shrugged  and  turned  away 
from  him.  Her  pretty  dress!  Pretty! 
Delectable  .  .  .  with  the  wind  rippling  it 
against  youl 


CYNTH  I A  w-as  poised  on  a  rock  against 
a  background  of  sea,  her  slender  legs 
pointed  downwards  toward  a  little  pool 
of  sea-water,  one  slim  arm  flung  across  the 
smooth  surface,  balancing  her.  From  the 
flanks  of  the  rock  dripped  shaggy  brown 
and  yellow  seaweed,  like  the  mane  of  a 
water-lion;  her  one-piece  bathing  suit  was 
a  pallid  green  against  the  bronze  of  her 
skin. 

"That's  too  utterly  splendid!"  Max 
De  Hart  approved,  eyeing  her.  "You 
know,  we'll  have  to  do  something  in 
colors — you're  entirely  too  \ivid  a 
person  to  be  caught  in  black  and  white." 

The  peach  color  in  her  cheeks  deepened. 
"Am  I?"  she  asked,  breathlessly. 

"Tomorrow,"  he  returned,  smiling, 
"And  now  come  o\-er  here  and  see  w^hat 
I've  done  with  you." 

She  sat  beside  him,  exclaiming  in  ex- 
cited monosyllables,  as  he  lifted  one  after 
another  of  the  sketches  he  had  made. 

"Oh,  but  I'm  not  like  that!  So — " 
she  turned  wide  eyes  to  his.  "They're 
heavenly!" 

"And  so  are  you,  my  dear!  We'll  do 
one  in  oils — get  the  texture  of  this  lovely 
flesh."  His  long  forefinger  lightly  touched 
her  knee,  white  against  the  sun-baked 
brown.  "So  you  don't  like  being  sixteen. 
Mademoiselle  Cynthia?" 

She  shook  her  head,  and  amber  colored 
hair  caught  the  sunlight  in  its  meshes. 
"  I  want  to  be — really  grown  up." 

"T'LL  wager  that  you  were  really  grown 
-i-u  p,  as  you  call  it,  when  you  were  twehe ! 
Women — some  \vomen — -are  so  ageless. 
There's  something  of  the  eternal  Lilith  in 
every  one  of  them." 

"75 there?"  Cynthia'slips  parted;  then 
words  spilled  through  them,  in  a  rush. 
"Men  are  so  difTerent,  I  think.  I  don't 
think  they're  ever  interesting  at  all 
until  they're — well,  thirty'  These  callow 
boys  Patty  has  about  her  all  the 
time — what  do  they  know  of — -of  life? 
They —  "  She  broke  off,  as  she  saw  Patty 
and   one    of    the    callow    boys,    Tommy 


Photoplay 

Lowell,  himself,  approaching  up  the 
beach. 

"You  don't  like  them?"  De  Hart  \va^ 
leaning  back  against  a  rock,  contemplat 
ing  her  through  lowered  lids. 

She  shook  her  head.  "Of  course,"  she 
confessed  honestly,  "they  don't  like  me, 
either.  They  don't  realize  that — that — 
I  mean  they  don't  see  that  I'm  really 
grown  up  and  everything." 

"Young  idiots!"  He  was  quite  serious, 
intensely  alive  to  her  problem.  "Some- 
times it  takes  an  older  man,  a  man  of 
more  experience,  to  read  deeply  into 
that  mysterious  riddle,  a  young  woman's 
heart." 

Cynthia  sighed.  She  was  boiling  o^-cr, 
like  a  tea  kettle  on  a  hot  stove,  with  a 
thousand  things  she  wanted  to  say — and 
Patty  and  Tommy  were  upon  them. 


THEY  looked  at  the  sketches,  praising 
them  as  enthusiastically  as  Cynthia 
herself,  but  she  could  see  that  the  artist 
was  little  interested  in  their  comments. 
What  did  they,  Patty  and  Tommy 
Lowell,  know  of  Art? 

"They  look  older  than  Cynth,"  Patty 
commented,  crudely. 

"They're  as  ageless  as  she  is,"  their 
author  returned,  and  Cynthia  flashed  him 
a  radiant  smile. 

"Ageless?"  Patty  frowned.  "Course 
she's  pretty  young." 

Cynthia  concealed  her  amusement  .  .  . 
or  at  least  she  presented  the  tableau  of  a 
young  woman  concealing  her  amusement. 

"I  think  they're  darned  like  her!" 
asserted  Tommy  Lowell.  "She's  so  cute 
and  skinny  and  all."  He  looked  at  the 
model  approvingly.  "Going  back  now? 
I've  got  my  car  parked  down  the  line,  if 
you'd  like  a  lift." 

Cynthia  glanced  at  Max  De  Hart. 

"Thanks — quite  as  soon  walk.  Cynthia 
and  I've  been  settling  a  few  universal 
woes  and  I  really  think  we  should  keep 
up  the  good  work.  Someone  has  to  attend 
10  these  things.  Unless  you'd  like  to  ride, 
Cynthia?" 

"Oh,  no!"  Her  heart  was  throbbing 
with  gratitude.  "Tell  me,  Mr.  De  Hart," 
she  said,  as  Patty  and  Tommy  turned 
away,  "don't  you  think  that  youth  is 
really  a  very  tragic  time?  I  mean,  unless 
you're  one  of  those  people — well,  like 
Patty — who  is  content  with  the  outer 
crust  of  life?" 

"Youth,"  said  Mr.  De  Hart,  thought- 
fully, "is,  after  all,  a  state  of  mind." 

"75  it?"  She  leaned  toward  him, 
wrapping  her  arms  about  her  bare  legs 
and  peering  at  him  over  her  round,  brown 
knees.     "  Do  you  mean  ..." 

A  LESS  sensitive  person  might  ha^e 
found  the  maned  rock,  there  on  the 
edge  of  the  sea,  an  uncomfortable  seat, 
but  Cynthia,  the  next  morning,  felt  bodi- 
less, exalted,  as  she  sat  posing  for  the 
portrait  in  color.  Lips  parted,  eyes  hea\  y 
with  dreams,  sheleaned  toward  thepaintcr, 
uncaring  that  while  the  brush  mo\"ed  in 
his  supple  fingers,  he  was  unaware  of  her 
existence  as  an  actual  person.  As  he 
painted,  she  watched  him,  watched  the 
changes  of  expression  in  his  mobile  face, 
watched  his  eyes  that  looked  directly  into 
hers  without  noting  anything  but  their 
color  and  shape.  Then  that  sublime 
moment,  when  his  face  relaxed,  when  his 


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blue  ej-es,  reallj'  meeting  her  own,  fused 
with  them,  and  he  smiled  and  asked  if  she 
was  tired,  inviting  her  to  come  and  sit 
beside  him  and  rest  and  see  how  the  pic- 
lure  was  getting  on ! 

"We  seem  to  have  picked  the  favorite 
spot  of  your  sister  and  her  lover,"  he  re- 
marked, with,  it  seemed  to  Cynthia,  a 
slight  irritation  as  Patty  and  Tommy 
came  strolling  toward  them. 

"Patty  hates  this  end  of  the  beach," 
she  said.     "It's  funny  ..." 

"Thought  we'd  stop  by  and  see  how  the 
picture  was  coming  on,"  Tommy  Lowell 
said  cheerfully,  apparently  unconscious  of 
the  unfriendliness  in  Cynthia's  gaze.  "  Is 
she  a  good  model,  sir?  " 

Max  De  Hart  winced.  "Excellent,"  he 
replied,  shortly. 

TOMMY'S  hazel  eyes  met  Cynthia's. 
"It's  great  to  be  a  painter!"  he  said. 
"  I  wouldn't  mind  sitting  here  all  morning 
myself,  looking  at  that  view."  But  he 
continued  to  look  at  Cynthia. 

"There  are  lots  of  views,"  she  sug- 
gested, politely. 

"Wowl"  Tommy  clapped  his  hand  to 
his  cheek,  as  though  he  had  been  slapped. 
"Woman,  do  you  mean  \vhat  I  think  you 
mean?" 

She  tossed  her  head.  "  I'm  sure  I  don't 
know."    Their  eyes  met,  squarely. 

"Oh,  do  come  on.  Tommy,"  Patty  was 
urging.    "  I  want  to  swm." 

He  hesitated,  looking  at  Cynthia. 
"You  going  to  take  a  dip?"  he  asked  her. 
"Or  is  that  bathing  suit  the  kind  that 
mustn't  get  wet?" 

She  shrugged.  "Have  a  good  swim, 
Pat." 

After  they  had  gone.  Max  De  Hart 
threw  back  his  head  and  laughed. 

"What?  "  Cynthia  asked  him. 

For  the  first  time,  he  seemed  like  a 
grown  person  ...  or  made  her  feel  like 
a  child. 

"Just  life — and  women."  His  face 
sobered.    "Shall  we  go  on  with  it,  now?" 

It  was  on  the  evening  of  that  day  that 
Cynthia  rushed  to  her  desk  and  her  diary 
before,  even,  she  undressed. 


TONIGHT  Mr.  De  Hart  kissed  my 
hand  when  I  came  up  to  bed!  He 
leaned  over  it  and  said,  '  Au  Revoir,  Little 
Model'  in  the  most  thrilling,  husky  voice! 
I'm  sure  that  no  one  heard  him.  Oh,  I  do 
think  I  am  the  happiest  girl  alive!  To  be 
a  woman  and  young — sixteen  is  probably 
the  most  exquisite  of  all  ages!  Mr.  De 
Hart  has  asked  me  to  call  him  Max.  Max. 
It  seems  strange.  I  don't  know  if  Mother 
would  like  it.  Mother — "  Her  hands 
came  down,  palms  flat,  fingers  outspread, 
o\cr  the  page,  as  the  door  of  her  room 
opened. 

' '  Mother!   You  frightened  me." 

Jane  Perry  laughed.  "Honestly,  now 
Cynth!  And  do  take  your  hands  oft  that 
silly  book — I've  written  enough  of  'em 
in  my  own  life  not  to  have  the  faintest 
curiosity  about  what's  in  yours!  Even 
if  I  didn't  have  a  slight  sense  of  honor, 
which,  among  other  things,  is  something 
to  discuss  with  you." 

"Mother!"  Cynthia  stared,  as  her 
mother  sat  down  at  the  foot  of  the  bed. 
"Did  you  keep  a  diary,  too?" 

"Passionately,  my  dear.  Did  girl  ever 
grow  up  without  it?" 

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"  I  bet  Patty  never  did!" 

"Patty!  Do  you  mean  to  sit  there, 
Cynth  Perrj',  and  tell  me  that  two  years 
ago  when  she  was  sixteen  and  you  were 
fourteen,  you  didn't  know — oh,  well!"- 
She  leaned  forward  and  seized  a  pillow, 
wedged  it  behind  her  back  as  though  she 
were  planning  to  stay. 

Cynthia  looked  reluctantly  at  her 
scarlet  book.  "It  must  be  quite  late" 
she  said. 

"Oh,  not  so  ver}'.  Come  on  over  here 
and  sit  down  where  I  can  look  at  you." 
Uncomfortably,  Cynthia  submitted  to 
her  mother's  scrutiny.  "Growing  up,  my 
lamb — and,  gosh,  how  V\q  dreaded  it!  I 
wish  that  Irene  would  hurry  up  and  have 
a  bab}'  so  we'd  ha\-e  one  in  the  family." 

"She's  only  been  married  three 
months!"  Cynthia  protested,  aghast. 

"Yes,  dear,  I  know."  Jane  Perry 
grinned  at  her  daughter.  "It's  grown 
up,"  she  repeated.  "Lord,  Cynth,  I  bet 
you're  going  to  be  more  trouble  tome  than 
the  other  two  put  together ! " 

Cynthia  was  silent.  Of  course  if  her 
mother  realized  that  she  was  differ- 
ent  

"Cynth!" 

She  looked  up,  called  to  attention  by 
the  note  in  her  mother's  voice.    ' 'What?  " 

THERE  was  a  smile  around  Jane 
Perry's  lips,  but  her  eyes  were  serious. 
"So  funny  to  be  talking  to  you  like  this. 
You  like  your  Aunt  Margaret,  don'tyou?" 

"Why,  I  love  her!"  Cynthia's  eyes 
widened  in  amazement. 

"I  thought  you  did.  She's  just  about 
the  finest  woman  it's  ever  been  my  good 
fortune  to  know."  She  bit  her  lip,  looking 
down  at  the  blue  and  white  bedspread  in  a 
sort  of  confusion.  "  Cynthia,  what  do  you 
think  of  Max?" 

Cynthia's  eyes  blazed  into  soft  flame. 
"Oh,  he's  wonderful.  Mother!  He's  so 
understanding,  so  sympathetic!  He 
doesn't  treat  me  at  all  as  if  I  were  a  little 
girl.    He-" 

"Hmph!"  said  her  mother.  "Baby,  I 
don't  know  how  to  say  what  I  want  to 
say.  I  don't  want  to  put  silly  ideas  in 
your  head  ...  or  give  you  names  for  the 
silly,  nameless  ones  that  are  there.  But 
you're  not  a  child  any  longer.  You're  a 
woman." 

' '  Mother! "  After  an  enthralled  second, 
Cynthia  flung  her  arms  about  her,  kissing 
her  again  and  again.  "Do  you  really 
think  so?" 


JANE  PERRY  nodded.  "Max,"shesaid 
J  slowly,  as  though  she  were  picking  her 
words  carefully,  "is  a  good  artist  and  a 
...  an  impulsive  sort  of  person.  Aunt 
Margaret  is  very  fond  of  him.  If  anyone 
— any  \voinan — w-as  to  flirt  with  him,  it 
would  probably  hurt  her." 

"Oh,  yes!"  agreed  Cynthia,  fervently, 
and  a  shadow  seemed  to  drop  from  Jane 
Perr>''s  face;  her  gray  eyes  were  suddenly 
less  clouded. 

"Women  rather  stand  together,  in 
life,"  she  said.  "And  you've  become  a 
woman,  Cynth.  If  you  ever  saw  a 
woman  deliberately  flirting  with — well, 
say  Max — you'd  feel  that  she  was  being 
dishonorable,  wouldn't  you?" 

Cynthia  stared  at  her.  Did  her  mother 
think  that  she  was  flirting  with  ]\ir. 
De  Hart?  Flirting!   It  was  extraordinary. 


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flirted    with    boys    like 
-at  least  one  did  if  one 


fantastic!  Or 
Tommy  Lowe! 
knew  how.  .  .  . 

"Why,  it  would  be  rotten!"  she  said. 
"He's  so  wonderful,  Mother.  I  do  so 
like  to  be  with  him  and  talk  with  him. 
Hut  he's  Aunt  Margaret's  husband,  of 
course.  I  mean—"  She  paused,  not 
knowing  exactly  what  she  did  mean. 
Flirting— with  Mr.  De  Hart!  She'd 
never  thought  of  it! 

Her  mother  leaned  o\-er  and  kissed  her. 
"I'll    stay   while   j'ou    undress,    honey." 

They  chattered  about  unimportant 
things — her  mother  was  fun  to  talk  with 
—but  Cynthia's  head  continued  to  whirl 
with  a  disorder  of  thoughts.  If  Max 
De  Hart  were  not  Aunt  Margaret's  hus- 
band, could  she,  then,  flirt  with  him?  Her 
mother  had  said  she  was  a  woman  now! 
A  woman ! 

"  Nighty-night,  darling." 
_  She  put  out  her  arms  in  the  old  little- 
girl  gesture,  lifted  her  face  to  be  kissed. 
Her    mother    mo\-ed    toward    the    door, 
humming  softly. 

"Mother!"  Cynthia  sat  up  in  bed^ 
suddenly  alert,  and  Jane  Perry,  one  hand 
on  the  door-knob,  paused.  "Mother, 
do  you  think  that  Aunt  Margaret  under- 
stands Mr.  DeHart?" 

THE  lights  were  out  in  the  room,  but  in 
the  dimness,  she  could  hear  mother 
duck  her  head,  with  an  abrupt  movement. 
"Do  you,  Mother?" 
Her  mother  cleared  her  throat,  coughed. 
"Why,"  she  answered  in  a  voice  that  was 
still  a  little  choked,  "I  think  so,  dear," 
and  she  closed  the  door  swiftly,  without 
further  comment. 

Tommy  Lowell  was  always  hanging 
around  the  house.  Sometimes  Cynthia 
looked  from  him  to  Patty  and  wondered 
what  the  intangible  quality  in  her  sis- 
ter could  be  that  drew  young  men  to  her 
as  a  magnet  draws  steel.  Not  that  she 
cared,  especially — not  any  more.  She 
preferred  talking  to  a  man  of  the  world, 
like  Max  De  Hart,  to  being  escorted  to  a 
country-club  dance  by  a  whole  body- 
guard of  Tommy  Lowells.  But  she  was 
curious.  She  had  attended  several  dances 
at  the  clubhouse;  once,  even,  she  had  gone 
with  a  young  man,  a  cousin  who  had  been 
visiting  them.  But  no  young  man  had 
ever  singled  her  out,  as  they  did  Patty, 
for  his  special  attention.  .  .  . 


MAX  DE  HART  was  upstairs— he 
always  took  a  siesta  after  his  lunch — 
and  Cynthia  was  alone  on  the  ^•erandah, 
curled  up  in  the  Gloucester  hammock 
with  a  book,  when  Tommy  appeared. 

"What  you  reading? " 

She  looked  at  him  vaguely.  The  book 
was  a  novel,  but  she  hadn't  been  read- 
ing it;  she  had  been  lying  drowsily  with 
the  sun  beating  upon  her,  thinking  of  the 
conversation  she  had  had  that  morning 
with  the  painter.  About  honor  .  .  .  her 
mind  had  been  wrestling  with  it,  since 
her  mother's  talk.  "A  purely  artificial, 
arbitrary  thing,"  Max  De  Hart  had 
termed  it.  "More  often  than  not  a 
crutch  for  the  emotionally  infirm  to  lean 
on."  She  hadn't  known  what  he  meant, 
but  he  had  been  so  certain  that  she  did 
understand  and  sympathize  with  his  atti- 
tude that  she  had  not  persisted. 


129 


As  Beauty 
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"Pete  Carter's  coming  along  in  a  sec," 
said  Tommy,  sitting  down,  uninvited, 
at  the  end  of  the  hammock,  "Thought 
we'd  ha\e  some  doubles,  if  you'll  play." 

Cynthia  stretched  out  her  arms  lazily 
and  yawned.  "I  don't  think  that — 
Max — "  She  rather  tripped  oveT  the 
name —  "wants  to  paint  any  more  today. 
He'll  be  down  soon.  Patty's  in  town  with 
Mother." 

"Yes,  I  passed  her  on  the  road."  He 
lighted  a  cigarette.  "You're  a  funny  kid, 
Cynthia." 

She  shrugged. 

"Always  around  with  older  men.  Why 
don't  you  pick  on  some  one  your  own 
size?" 

"Oh,  I  like  'em  older — they  know 
more."  She  turned  to  watch  Patty's  car 
speeding  along  the  road,  conscious  of 
Tommy's  eyes  still  on  her.  Funny,  that 
she  used  to  be  so  awkward  and  self- 
conscious  with  young  men  and  that  now, 
when  she  was  no  longer  interested  in 
them,  she  felt  perfectly  at  ease. 

TOMMY  grunted.  "They  know  more, 
do  they?  Do  you  insist  on  their  being 
married,  too?"  She  looked  at  him 
vaguely,  and  he  flushed.  "That  was  a 
dirty  crack — I  apologize,  Cynthia." 

The  vagueness  did  not  leave  her  eyes. 
She  didn't  even  know  what  he  was 
apologizing  about.  "A  man's  a  man," 
she  said,  "and  being  married  doesn't 
keep  him  from  being  interesting." 

Tommy  laughed.  "You're  a  hard- 
boiled  little  kid — with  your  hair  all  hang- 
ing down  your  back,  too.  I — I  ne\'er  saw 
anyone  like  you!" 

"There  is  no  one  like  Cynthia,"  Max 
De  Hart  interrupted,  from  the  doorway. 
"They  made  her  and  then  they  broke  the 
mould." 

Cynthia  flushed.  "Tommy  wants  me 
to  play  doubles." 

"Fine.  I'll  bring  my  pad  and  pencil 
down  and  make  some  sketches  on  the 
court." 

"You'll  need  a  fast  mo^■ie  camera  to 
catch  Cynthia,"  said  Tommy. 

With  her  flying  hair  pinned  up  on  her 
head,  Cynthia  looked  ver>'  grown-up — ■ 
like  a  little  Psyche,  Max  told  her. 

"Long  hair's  sort  of  nice,  a'Ou  know," 
said  Tommy.  "I  think  you're  awfully 
wise  not  to  cut  it." 

CY\THI.\  only  smiled.  As  she  walked 
to  the  court  between  the  two  men,  she 
had  a  feeling  of  elation  .  .  .  and  she  didn't 
know  why.  She  played  with  Tommy, 
while  Max  sketched,  and  she  found  him 
a  pleasant  partner,  not  taking  her  shots 
as  so  many  men  did,  and  returning  the 
balls  to  her,  when  she  was  ser\ing,  with  a 
manner  that  was  positively  courtly.  They 
won  two  of  the  three  sets,  and  when  he 
took  her  hand  in  his  and  shook  it,  in  mock 
congratulation,  she  smiled  up  at  him. 

Her  parents  and  Aunt  Margaret  were 
going  to  the  Carters'  to  play  bridge  after 
dinner. 

"Coming,  Max?"  Aunt  Margaret 
asked. 

He  grimaced.  "Oh,  hea\'ens,  Margo — 
you  know  how  these  suburbanites  bore  me! 
And  I  don't  play.  I  think  I'll  take 
Cynthia  to  the  movies,  if  she'll  go  with 
inc." 

"I  was  going  anyway,"  Cynthia  said, 

y  advertisement  in  MlOTorUW  MAGAZINE  is  guaranteed. 


smiling  at  Aunt  Margaret.    "Everyone's 
going." 

Patty  was  still  dressing,  and  Cynthia 
and  Max  De  Hart  sat  on  the  verandah, 
watching  the  last  shreds  of  the  sunset 
shifting  over  the  sky. 

"I'm  going  to  hate  going  away,  in  two 
days,"  he  said  softly. 

"Two  daj's!"  Cynthia's  heart  froze. 
"Oh,  you  can't  be!" 

_  "Have  to.     Margo's  having  an  exhibi- 
tion in  New  York." 

CYNTHIA'S  eyes  were  fixed  on  the 
sunset.  What  did  Aunt  Margaret 
ha\-e  to  have  an  exhibition  for — now? 
"I'll  miss — talking  with  you,"  she  said. 

"I'll  miss  you,  my  dear.  Somehow,  in 
these  few  days,  I  think  we've  grown  \ery 
close  to  one  another.  These  talks — do 
you  really  want  to  go  to  the  movies?  Or 
should  we  just  sit  here  in  the  evening  and 
talk?" 

"Oh,  let's!" 

Patty  looked  at  them  oddly,  when  they 
told  her.  "It's  a  Fairbanks  picture, 
Cynth!" 

Cynthia  shrugged.  Fairbanks — what 
did  he  matter? 

"It's  so  beautiful  here,"  Max  was  say- 
ing, softly.  "There's  not  enough  beauty 
in  life,  little  Cynthia.  We  have  to  seize 
it,  greedily,  with  both  hands  where\er  we 
find  it.  Beauty  should  have  no  laws. 
It—" 

Cynthia  leaned  toward  him,  lips 
parted. 

"Come  and  look  at  the  moon,  Cynthia 
— you  should  look  at  the  moon!  Isn't 
yours  the  name  of  the  moon  goddess?" 

Cynthia  shi\-ered  delightedly  at  his 
voice,  so  soft  in  the  darkness.  She  sat 
beside  him  in  the  hammock,  looking 
across  his  shoulder  at  the  little  new  moon 
in  the  sky.  He  put  his  arm  gently  about 
her  and  she  sat,  rigidly,  holding  her 
breath. 

YOU'RE  trembling,  Cynthia!" 
She  shook  her  head.  "Just  a  shiver. 
It — "  She  couldn't  explain  to  him,  but 
she  wished  he'd  take  his  arm  away.  She 
didn't  quite  like  to  say  so.  She  could 
feel,  rather  than  see,  his  face  turned  to- 
wards hers.  She  wished  he'd  talk.  Sit- 
ting, so,  with  him — it  was  almost  like 
lovers,  here  in  the  moonlight.  And  after 
all,  he  was  old  as  her  father,  nearly.  .  .  . 

"  I  think — "  she  began. 

"Don't,"  he  said  softly,  u-ithout  mov- 
ing. 

She  was  silent.  This  was  all  rather 
silly.  Suddenly  she  laughed,  a  short, 
nervous  little  laugh.  "It's  so  dark — and 
quiet,"  she  said. 

She  felt  as  if  she  had  been  swooped  up, 
by  a  wave.  .  .  . 

"Adorable  .  .  .  little  moon  god- 
dess. .  .  ." 

"Oh,  please!"  said  Cynthia. 

Cur\-ed,  like  the  crescent  moon  itself, 
his  arms  had  been  about  her;  as  she 
swayed  back  in  the  darkness,  she  felt  the 
softness  of  his  beard,  unpleasantly,  shiver- 
ingly,  on  her  face. 

"Please?"  He  laughed  under  his 
breath,  and  suddenly,  while  her  young 
body  became  as  tense  and  stiff  as  a  doll's, 
he  was  kissing  her  lips. 

"Please — don't!"  she  said,  against  his 
mouth.    "Mr.  De  Hart,  please — " 


Photoplay  Magazine — Advertising  Section 


He  paid  no  attention  to  her;  again  she 
felt  that  smothering,  dizzying  feeling,  as 
though  she  were  being  engulfed  by  a  great 
wave.  She  beat  against  him  with  her 
hands.  If  this  was  being  grown-up,  she 
didn't  like  it! 

"Please!" 

The  sound  of  footsteps  running  up  the 
verandah  stairs  echoed  through  the  breath- 
less quiet,  and  in  the  darkness,  INIax  De 
Hart  released  her  and  leaned  back  care- 
lessly against  the  cushions  of  the  ham- 
mock. 

"Cynthia!    Cynthia!" 

"Tommy!  I'm  here!"  Through  the 
dimness,  she  rushed  toward  him,  flung 
herself  against  him,  and  felt  his  arm,  firm 
and  comfortable  like  her  father's,  close 
about  her.    "Oh — Tommy!" 

HIS  voice  was  trembling,  in  the  dark- 
ness. "  I  came  to  take  you  to  the 
hall,"  he  said.  "The  Fairbanks  picture 
has  just  started.    Are  you  ready?" 

She  nodded,  still  trembling  against  his 
arm,  clinging  to  him,  and  silently  they 
went  down  the  steps,  down  the  path  to  his 
car,  at  the  foot  of  the  driveway.  In  the 
light  of  the  headlights,  they  looked  at  one 
another,  questioningly,  searchingly. 

"I'm  so — so  glad  you  came!"  she  said. 

His  face  was  sober.  "So'm  I.  Patty 
said  you  were  at  home  alone — with  him. 
I  couldn't  stay  at  the  pictures.  Oh, 
Cynthia,  I  suppose  I'm  just  a  kid  in  lots 
of  things,  but  I  do  like  you  such  a  lot!" 

She  smiled  radiantly,  and  then,  at  the 
same  moment,  they  were  both  conscious 
of  his  arm,   about  her  shoulders. 

She  moved  imperceptibly  and  it 
dropped  to  his  side,  but  their  eyes  e.\- 
changed  a  smile. 

"You  ought  to  come  down  to  Prince- 
ton, some  day,"  Tommy  said,  as  he 
started  the  car.    "You'd  like  it!" 

Cynthia's  lips  parted,  as  she  turned 
toward  him.  "W-woiild  I?"  she  asked,  a 
little  breathlessly. 

IT  was  nearly  three  weeks  later  that 
Cynthia  thought  of  the  scarlet-covered 
book.  She  found  it,  still  hidden  under  the 
pile  of  papers,  a  pile  suddenly  augmented 
by  dance  programs  and  notes  and  photo- 
graphs. 

"I  don't  seem  to  have  any  time  to 
write  in  here  any  more,"  she  wrote. 
"  Here  it  is  the  sixteenth  of  August  and—" 

The  sixteenth!  She  put  down  her  pen 
swiftly  and  hurried  to  her  closet,  flung 
open  the  door. 

A  sigh  of  relief  escaped  her  lips.  Yes, 
the  green  dance  frock  was  back  from  the 
cleaner's,  just  as  they'd  promised.  Heav- 
ens knew  she'd  worn  it  to  the  Club 
enough  times,  but  Mother  had  promised 
her  a  new  one  for  the  dance  next  week. 
She  looked  down  at  her  slippers,  in  a  row 
on  the  shelf,  critically.  If  only  silver 
didn't  tarnish  so,  at  the  seashore.  .  .  . 

.She  shrugged  and  returned  to  the  desk, 
took  up  her  pen.  The  grandfather's 
clock,  downstairs,  struck  once,  lingeringly. 
Cynthia  started.  One  o'clock — and  she 
was  playing  golf  with  Tommy  at  nine! 
She  looked  at  the  scarlet-covered  book 
and  grinned. 

"Bosh!"  she  said,  emphatically,  and 
with  strong,  brown  young  hands,  she  tore 
it  across — and  across — and  dropped  it 
into  the  wastebasket. 


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What  Happened  to  Mary? 


{  CONTINUED  FROM  PAGE  29  ] 


drmtRjcli 

prcjcrs 


•jti 


ith  I 


gratifying  resu/ts.  It  19 
sable  beauty  aid  to  the 
look  h^r  best," 

Sincerely,       • 


MAYBELLINE. 

ritly  an  in  dispell 


1^ 


'V*OU  can  have  inviting,  soulful  eyes  too. 
X  Just  a  touch  of  Maybelline  to  the  lashes, 
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^H 


mother  over  money.  Even  when  the  case 
was  adjusted  by  a  reconciliation  between 
Mary  and  her  mother,  the  memory  of  it 
hung  in  the  public  mind. 

Other  suits  followed.  Mary  was  named 
as  the  corespondent  in  a  divorce  suit.  The 
United  States  go\-ernment  found  that 
Mary  and  her  mother  owed  money  for  in- 
come ta.xes.  The  movies  turned  a  cold 
shoulder  on  Mary.  The  public  heard 
that  the  slender  child  had  turned  into 
a  plump  young  woman.  Pursued  by  all 
the  malevolent  demons,  Mary  fled. 

How  and  where  is  Mary  Miles  Minter 

ing? 

WHAT  becomes  of  a  star  when  the 
gleam  of  it  is  cut  off  by  clouds  that 
scurry  along  between  the  eyes  of  earth 
and  its  stellar  orbit?  Perhaps  the  star 
goes  on  gleaming.  At  any  rate,  Mary 
Miles  Minter  goes  on  li^-ing. 

First,  the  place:  In  an  unostentatious 
hotel  in  a  quiet  street  just  off  the  fashion- 
able Champs  Elysees  in  Paris.  On  the 
top  floor. 

When  I  asked  a  hotel  official  to  be 
shown  to  the  apartment  of  Miss  Shelby, 
he  denied  all  knowledge  of  any  such  per- 
son. I  assured  him  that  no  longer  than  an 
hour  before  I  had  telephoned  Miss  Shelby 
and  had  been  in\ited  to  \isit  her. 

The  official  shook  his  head.  His  sus- 
picion was  by  no  means  appeased.     He 


retired  through  a  door,  which  he  closed 
securely  behind  him.  After  fifteen  min- 
utes he  returned,  summoned  an  attend- 
ant, whispered  a  long  string  of  instruc- 
tionsand  motioned  us  toward"theele\ator. 
We  proceeded  upward  under  escort. 

In  the  beginning  I  rather  resented  this 
escort,  who  insisted  on  keeping  uncom- 
fortably close  to  my  elbow.  Later  I  was 
grateful  for  his  familiarity  with  the  ter- 
rain. Ne\'er,  otherwise,  could  I  have 
found  my  way  through  the  labyrinth  of 
service  halls,  storerooms,  unexpected 
turns  and  blind  passages  leading  to  a 
heavy  gray  door  which  gave  no  indication 
of  what  might  go  on  behind  it. 

The  attendant  knocked  on  the  door.  A 
staccato  knock  of  dots  and  dashes  that 
sounded  like  a  signal.  The  whole  thing 
struck  me  as  being  ludicrously  like  a 
scene  in  a  mystery  play. 

THE  door  was  opened  by  a  slender, 
bird-like  woman  with  searching  eyes, 
straight  set  lips  and  a  crown  of  reddish 
hair.  The  woman  was  Mrs.  Charlotte 
Shelby,  Mary  Miles  Minter's  mother. 

Yes,  Mary  is  living  with  the  mother  she 
once  accused  of  appropriating  her  salary 
and  whom  she  sued  for  appro.ximately  one 
million  dollars  of  those  earnings. 

Mary  and  mother  are  playing  a  sister 
act.  Love  me,  lo\e  my  mother.  Love 
me,  love  my  Mary. 


.Minl( 


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RublMr  Stockings  and  AnkletS; 

LiKht  or  dark  rubber.  For  over  20  years  they 
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"God  only  made  one  Mary,"  says  Mrs. 
Shelby. 

"A  girl's  best  bet  is  her  mother,"  says 
Mary. 

Just  like  the  good  old  days,  when  Mary 
was  at  her  crest. 

There  are  those  who  contend  that  Mary 
and  Mother  Shelby  are  li\ing  in  a  state  of 
armed  neutrality.     I  cannot  say.     There 
was  no  evidence  of  any  hard  feelings  du 
ing  my  visit. 

Mary  was  suffering  from  the  temper  of 
a  balky  tooth.  Mary's  mother  was  full  of 
solicitation  for  her  daughter.  Mary  must 
partake  of  tea  and  toast  even  if  she  had  to 
dip  the  toast  in  the  tea.  Mary  must  have 
an  orange  shawl  thrown  across  her  couch 
so  she  would  not  get  the  draught  from  an 
open  window.  Mary,  Mary,  and  again, 
Mary! 

SOME  there  are  who  claim  remem- 
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Homer  Reilly,  she  was  the  elocution 
teacher  in  the  then  small  but  ^•igorous 
town  of  Dallas,  Texas.  She  taught  the 
young  folk  to  speak  their  pieces  for  the 
church  festi\als  and  the  Christmas  cha- 
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motherhood  was  baby  Juliet  Reilly,  now 
Mary  Miles  Minter. 

When  there  came  a  parting  of  the  ways 
between  little  Juliet's  mother  and  father, 
the  elocution  teacher  resumed  her  maiden 
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Juliet  Shelby.  Then  Mrs.  Shelby  took 
her  two  little  daughters  to  New  "S'ork 
where,  it  was  believed,  she  cherished  hope 
of  realizing  stage  ambitions  for  herself. 

Her  interest,  however,  centered  around 
little  Juliet  who,  being  a  precocious 
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so  marked  that  Mrs.  Shelby  submerged 
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Little  Juliet  became  Mary  Miles  Min- 
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grandmother. 

What  a  tortuous  road  the  elocution 
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And  what  does  Mary  look  like  now? 
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THE  golden  curls  that  once  were  to 
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"  Please,  must  you  say  anything  about 
me?"  Mary  pleaded.  "People  are  not 
interested  in  me  any  more.  They  don't 
remember  me.    My  name  is  forgotten." 

"Nonsense,  Mary,"  expostulated  her 
mother. 

"Well,  then,"  said  the  shorn  lamb,  "I 
am  studying.  Music,  mostly.  No,  I 
don't  play.  Not  even  a  jewsharp.  But  I 
can  hear  music,  and  I  can  love  it.  I  want 
to  make  music  my  friend  instead  of  a 
mere  passing  acquaintance." 


33 


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THE  HOME  CORRESPONDENCE  SCHOOL 

Springlleld,  Mass. 


"Have  you  taken  up  philosophy?"  I 
inquired.  Philosophy  is  so  modish.  And 
psychology.  And  psycho-analysis.  The 
refuge  of  the  misunderstood. 

"You're  getting  deep,"  laughed  Mary. 
"I  have  philosophy  only  so  far  as  I  have 
lived  it.  And,"  she  went  on,  "  I  ha\en't 
read  a  newspaper  or  a  magazinestory  about 
myself  since  1923.  \A'hat's  the  use?  One 
blunder,  one  mistake,  one  misfortune, 
and  fame  becomes  infamy.  The  climb  to 
public  favor  is  sweet.  The  fall  is  swift. 
The  return  journey  is  interminable. 

"Not  long  ago,  I  was  named  as  co- 
respondent in  a  divorce  case.  A  man  I 
had  met  only  in  a  casual  way.  When  the 
news  reached  me,  I  was  in  Italy  with  my 
mother.  Investigation  brought  out  the 
fact  that  the  wife  of  the  casual  acquaint- 
ance had  selected  my  name  as  being  the 
most  sensational  one  on  which  to  base  a 
di\-orce  suit. 

"I  wanted  to  sue  the  wife  who  had 
taken  recourse  to  such  unfair  methods  in 
order  to  win  her  freedom,  or  whatever  it 
was  she  hoped  to  win.  i\Iy  attorney 
ad^■^sed  me  against  such  procedure. 

"  'Drop  it,'  he  said.  'Your  friends 
know  better.  Folks  who  like  to  believe 
such  things  will  belie\e  what  they  want, 
anyway,  no  matter  how  much  you  exon- 
erate yourself.' 

"  I  took  my  attorney's  advice.  One 
blunder.  One  mistake.  One  misfortune. 
The  fireworks  forever  after." 

"And  if  you  had  it  to  do  over  again? 
If  you  were  just  beginning  your  career, 
how  would  you  plan  it?  " 


m; 


ARY  smiled.  She  has  taken  too 
many  wallops  from  life  to  be  dis- 
turbed by  a  powder  puff. 

"  I  would  NOT  go  into  the  movies." 

Take  that,  you  youngsters  and  you 
oldsters  with  young  ideas. 

Not  that  Mary  turns  thumbs  down  on 
the  movies.  How  can  she?  But,  accord- 
ing to  her  own  confession,  she  has  seen 
ten  movies,  aside  from  those  in  which  she 
appeared,  in  her  lifetime.  Two  of  the  ten 
were  Chaplin  comedies. 

"Moving  pictures,"  confesses  Mary, 
"are  a  wonderful  art  and  a  wonderful  in- 
dustry.    But — not  for  me. 

"I  should  ha\e  remained  true  to  the 
speaking  stage,"  sighs  Mary.  "I  made 
my  first  appearance  at  the  age  of  four. 
The  play  was  'Cameo  Kirby'  and  Nat 
Goodwin  was  the  star.  Perhaps  I  will  re- 
turn some  day,  somehow.   Who  knows?" 


Amateur  Movies 


[  CONTINUED  FROM  PAGE  70  ] 

secretary    to   her  cousin,  Richard    Di.\. 

Another  high  school  release  is  "0\er 
the  Goal  Line,"  produced  by  students  of 
the  Cleveland  High  School  of  Seattle. 
The  cast  includes  Betty  Dettore,  Leona 
Surman,  Lew  Smith  and  Ray  Willers. 
The  picture  had  its  premiere  at  the 
Mission  Theater  in  Seattle. 

The  Mo\ie  Club  of  Western  Massa- 
chusetts (Springfield,  Mass.)  has  been 
very  active.  Film  records  were  obtained 
of  the  New  England  flood;  a  film  contest 
was  staged  by  the  club  with  entries  in 

-y  adrertlspraont   in  rnOTOPWT  MAGAZINE  Is  guaranteed. 


What  $2.50 

Will  Bring  You 

More  than  a  thousand 
pictures  of  photoplay- 
ers  and  illustrations  of 
their  work  and  pastime. 

Scores  of  interesting  articles 
about  the  people  you  see 
on  the  screen. 

Splendidly  written  short 
stories,  some  of  which  you 
will  see  acted  at  your  mov- 
ing picture  theater. 

Brief  reviews  of  current  pic- 
tures with  full  casts  of  stars 
playing. 

The  truth  and  nothing  but 
the  truth,  about  motion 
pictures,  the  stars,  and  the 
industry. 

You  have  read  this  issue  of 
Photoplay,  so  there  is  no  neces- 
sity for  telling  you  that  it  is  one 
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the  best  written  and  most 
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published  today — and  alone 
in  its  field  of  motion  pictures. 

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for  $2.50  addressed  to 

Photoplay  Magazine 

Depl.  H-2,750  No.  Michigan  Ave.,  CHICAGO 


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PHOTOPLAY  MAGAZINE 

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Gentlemen:  I  enclose  herewith  $2.50  (Can- 
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with  the  next  issue. 

Send  to 

Street  Address 

City 

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Photoplay  Magazine — Advertising  Secj 


both  16  mm.  and  9  mm.;  and  a  short  ex- 
perimental comedy,  "Home  Cooking," 
was  started.  Robert  White  is  dramatic 
director  of  the  club,  William  H.  Mitchell 
is  technical  director  and  the  cameramen 
at  work  on  "Home  Cooking"  are  William 
G.  Edwards,  Carl  Wilhelm  and  Ray  Wia 
Winans. 

The  Cleveland  (Ohio)  Photographic 
Society,  one  of  the  leading  amateur 
organizations  in  the  United  States,  main- 
tains a  lively  motion  picture  division 
under  the  chairmanship  of  Lloyd  W. 
Dunning.  Trick  photography  and  slow 
motion  experiments  have  been  con- 
ducted. Having  a  completely  equipped 
studio,  this  group  plans  trick  lighting 
experiments,  make-up  studies  and,  e\en- 
tually,  a  photoplay. 

THE  Philadelphia  Zoo  proved  an  inter- 
esting location  for  a  recent  filming 
party  organized  by  the  Philadelphia 
Amateur  Motion  Picture  Club.  In  the 
club  competition  prizes  were  won  by  Dr. 
H.  G.  Goldberg  and  Mrs.  James  W. 
Hughes. 

British  film  amateurs  have  launched 
the  Amateur  Cinematographers  Associa- 
tion, a  national  body  similar  in  purposes 
to  the  Amateur  Cinema  League. 

The  Los  Angeles  High  School,  with 
"Merrill  of  Los  Angeles  High,"  and  the 
University  of  Southern  California,  with 
"A  Sporting  Chance,"  have  entered  the 
amateur  field  from  the  heart  of  the  pro- 
fessional screen  world. 

Colgate  University,  which  offered 
"Roommates"  last  winter,  is  now  pro- 
ducing a  campus  newsreel,  which  includes 
university  shots  from  an  airplane. 

ROBERT  FLAHERTY,  the  creator  of 
"Nanook of  the  North"  and  "Moana," 
made  another  interesting  comment  upon 
the  movie  amateur  before  he  sailed  for  the 
South  Seas  to  make  another  picture. 


"  The  motion  picture  of  today  is  limited 
in  its  scopeby  tradition andconventions," 
he  said. 

"It  resembles  the  artificiality  of  the 
still  photograph  of  former  days,  when 
everything  was  posed  in  a  stilted  fashion. 

"Real  motion  picture  technique  has 
been  lacking,  though  there  are  signs  of  its 
development  now. 

"Some  of  this  naturally  is  freakish,  but 
in  any  event  the  camera  itself  is  being 
gi\en  greater  scope. 

"  I  think  the  biggest  development  will 
come  from  the  amateur  field,  however, 
where  the  restraints  will  not  be  as  great 
as  they  are  in  the  film  studio.  There  are 
few  studio-made  motion  pictures  that 
suggest  this  freedom." 

AN  interesting  example  of  amateur 
cinematography  used  for  ci\-ic  ad- 
vancement has  just  been  brought  to  the 
attention  of  Photoplay  by  Jack  London, 
of  2618  Madison  Avenue,  Birmingham, 
Ala. 

Mr.  London  and  his  associates  made 
a  thousand  foot  reel  of  35  mm.  film  called 
"A  Visit  to  Some  of  the  Community 
Chest  Agencies."  This  reel  was  shown  at 
all  the  luncheon  clubs  in  Birmingham,  as 
well  as  at  some  of  the  bigger  industrial 
plants. 

The  Birmingham  theaters  took  various 
scenes  from  the  reel  and  ran  them  as 
trailers  for  two  weeks  during  the  Com- 
munity Chest  drive  to  raise  $500,000. 

The  reel  showed  some  of  the  directors 
of  the  Chest  visiting  the  agencies  that  are 
helped  by  the  fund,  it  revealed  scenes  of 
people  in  various  institutions  and  how  the 
poor  children  are  cared  for.  In  brief,  it 
showed  graphically  where  the  money 
went  and  the  good  it  did. 

The  film,  which  was  made  by  Mr.  Lon- 
don and  Clyde  Engle,  both  amateurs, 
proved  to  be  the  most  important  item  in 
the  cit)''s  drive. 


Photoplay's  $2,000  Amateur 
Movie  Contest 


1  $2,000  in  cash  prizes  will  be  awarded 
by  PHOTOPLAY  as  follows: 

1 .  $500  for  the  best  1,000  foot  35  mm. 
film. 

2.  $500  for  the  best  400  ft.  16  mm. 
film. 

3.  $500  for  the  best  60  ft.  9  mm.  film. 

4.  $500  as  an  added  prize  for  the  best 
film  submitted  in  any  one  of  these 
three  divisions. 

In  the  event  that  two  or  more  films 
prove  of  equal  merit  in  any  division, 
prizes 


awarded  each  of 


2  The  submitted  film  need  not  nec- 
•  essarily  be  a  drama.  It  may  be 
dramatic,  comic,  a  news  event,  home 
pictures,  a  travelogue,  a  diary  or  any 
form  of  screen  entertainment  presented 
within  the  prescribed  length.  It  need  not 
be  narrative.  It  may  be  anything  the 
amateur  creates.  In  selecting  the  win- 
ners the  judges  will  consider  the  general 
workmanship,  as  well  as  the  cleverness, 
novelty  and  freshness  of  idea  and  treat- 
ment. Under  the  head  of  general  work- 
manship comes  photography,  titling,  edit- 
ing and  cutting  and  lighting.  In  con- 
sidering dramas  or  comedies,  amateur 
acting  ability  and  make-up  will  be  con- 
sidered. 


addresses  of  the  senders  securely  attached 
or  pasted  to  the  reel  or  the  box  containing 
the  reel. 


5  Any  person  can  enter  thi: 
•  except  professional  photographers  or 
cinematographers  or  anyone  employed  by 
PHOTOPLAY  MAGAZINE  or  any  relatives 
of  anyone  employed  by  PHOTOPLAY. 

6  All  films  are  to  be  addressed  to  the 
•  judges.  The  Amateur  Movie  Pro- 
ducer Contest,  Photoplay  Magazine,  221 
West  57th  Street,  New  York,  and  are  to  be 
submitted  between  June  1, 1927,  and  mid- 
night of  February  15,  1928. 

7  The  judges  will  be  Hiram  Percy 
Maxim,  president  of  the  Amateur 
Cinema  League;  S.  L.  Rothafel;  Nickolas 
Muray ;  James  R.  Quirk,  editor  of  PHOTO- 
PLAY; and  Frederick  James  Smith,  man- 
aging editor  of  PHOTOPLAY. 

8  PHOTOPLAY  assumes  no  responsi- 
•  bility  for  loss  of  films  in  transit,  and 
while  every  precaution  will  be  taken  to 
safeguard  them,  the  publication  will  not 
be  responsible  for  loss  in  any  way. 

9  At  the  conclusion  of  the  contest,  the 
•  prize  winners  will  be  announced,  and 
films  returned  to  senders  on  receipt  of 
sufficient  postage  for  return. 


GROW-- 

Yes,  Grow  Eyelashes 

and  Eyebrows  like  this 

in  30  days 


THE  most  marvelous  discovery  has  been  i 
way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  linesl  Read  wliat  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Hefflefinger,  240  W.  ■W  St.,  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  .  . .  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear.'*  From 
Naomi  Otstot,  5437  Westminster  Ave.,  \V.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  evebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  29S4  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  lu.^urious." 

Results  Noticeable  in  a  Week 
In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelaslies  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember ...  in  30  days  I  guarantee  results  that 
will  not  only  deliglit,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  1  mean  just  tliat — no  quibble, 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  $5.00. 


Grower  wilt  he  sent  C.  O.  D.  or  you  can  set 
money  with  order.  If  money  accompanies  ord 
postage  will  be  prepaid, 

r  "cill"  young"  ■■■■■■■■■ 

J     802  Lucille  Young  Building,  Chicago.  111. 

■  Send  me  your  new  discovery  for  growing  eye- 

■  lashes    and    eyebrows.     H    not    absolutely     and 

■  entirely  eatisfted.  I  will  return  it  within  30  days 
I  and  you  will  return  my  money  without  question. 
I  Price  C.  O.  D.  is  $1.95  plus  few  cents  postage. 
I  If  money  eent  with  order  price  is  $1.95  and  post- 
I  age  is  prepaid. 

I         State  whether  money  enclosed  or  you  want 

■  order  C.  O.  D 


mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


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Brief  Reviews   of   Current   Pictures 


CONTINUED  FROM  PAGE   12  ] 


FAIR  CO-ED,  THE- 

Manon  Da  vies  at  her  ve 
college  yarn.    The  gal  is  a 


i-Goldwyn-Mayer. — 
lic'St  in  a  pretty  fair 
>mic.     (December.) 


F\ST  AND  FURIOUS  —  Universal.— Another 
Rfginild  Denny  comed\-.  .And  oh,  how  partial  we  are 
to  Reginald  Denny!     A  good  evening.     (Seplember.) 

FIGHTING  EAGLE,  THE  —  Producers  Dist. 
Corp  — .A  story  of  the  time  of  Napoleon,  just  to  help 
jou  with  your  history  lesson.  Rod  La  Rocque  is  the 
storj  .  but  Phyllis  Haver  steals  the  glory.  (September.) 

FIGHTING   LOVE— Producers'   Dist.   Corp.— A 

slightly  slow  but  interesting  drama  with  some  grand 
acting  by  Jctta  Goudal  and  Victor  VarconL   (August.) 

FIGURES  DON'T  LIE— Paramount.— A  zippy 
farce-romance  of  a  stenographer  and  her  boss.  With 
Richard  Arlen  and  the  lovely  Esther  Ralston.     (No- 

FIREMAN,  SAVE  MY  CHILD— Paramount.— 
Wallace  Beery  and  Raymond  Hatton  in  a  comedy 
adapted  to  the  mentality  of  those  who  enjoy  the 
funny  papers.      (October.) 

FIRST  AUTO.  THE— Warners.— Missing  on  all 
sixes,  in  spite  of  its  interesting  theme.  A  good 
performance  by  Russell  Simpson,  however.  (Sep- 
tember.) 

FLYING  LUCK— Pathe.— Monty  Banks  gets 
some  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.     (December.) 

FORBIDDEN  WOMAN,  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  by  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Schildkraut.     Worth  your  money.     (December.) 

FOURFLUSHER,  THE— Universal.— Pleasant, 
vouthful  comedy  about  a  smart-aleck  in  big  business. 
Ornamented  by  Marion  Nixon.     (December.) 

FRAMED — First  National. — Milton  Sills  in  a 
story  of  the  South  African  diamond  mines.  And, 
incidentally,  the  strongest  vehicle  he  has  had  in  some 
time.      (September.) 

GARDEN  OF  ALLAH,  THE— Metro-Goldwyn- 
Mayer. — Rex  Ingram's  best  picture  in  several  years. 
."X  beautiful  re-telling  of  the  Robert  Hichens  romance, 
made  in  the  original  locations.     (November.) 

*GAUCHO,  THE— United  Artists.— Love,  life 
and  religion  among  the  bandits  of  the  Andes,  excit- 
ingly and  picturesquely  enacted  by  Douglas  Fair- 
banks. Keep  your  eye  on  Lupe  Velez,  his  new  leading 
woman.    Fine  for  the  younger  set.     (January.) 


GENTLEMAN  OF  PARIS.  A— Paramount.— We 

thank  you.  Mr.  Menjou,  for  another  pleasant  evening 
of  smooth  entertainment.      (October.) 

GENTLEMEN  PREFER  SCOTCH— Fox.— Just 

a  short  comedv  but  better  than  most  features.  Keep 
\our  eye  on  Nick  Stuart  and  Sally  Phipps.  (De- 
cember.) 

GINGHAM  GIRL,  THE— FBO— Lois  Wilson 
in  a  foolish  story  that  needed  songs  and  dances  to  put 
it  over.      (October.) 

GIRL  FROM  CHICAGO,  THE— Warners.— Life 
and  love  in  the  underworld,  agreeably  acted  by 
Conrad  Nagel,  Myrna  Loy  and  William  Russell. 
(December.) 

GIRL  FROM  RIO,  THE— Gotham.— An  inde- 
pendent production,  colorful  and  above  the  average. 
Carmel  Myers  as  a  Spanish  dancer  and  Walter  Pid- 
geon  as  a  handsome  Englishman.     (November.) 

GOOD  AS  GOLD— Fox.— Not  an  ingenue  opera 
but  a  roaring  Western  with  Buck  Jones  totin'  the 
guns.     (August.) 

GOOD    TIME    CHARLIE— Warners.— The   sad 

story  of  an  old  trouper,  played  with  so  much  true 
feeling  by  Warner  Gland  that  you  forget  its  senti- 
mentality.   (January.) 

♦GORILLA,  THE— First  National.— Charlie  Mur- 
ray and  Fred  Kelsey.  as  a  couple  of  dumb  Sherlocks, 
plaster  laughs  all  over  this  mystery  yarn.  It's  a  darn 
fool  thing,  but  you'll  like  it.    (January.) 

*GRANDMA  BERNLE  LEARNS  HER  LET- 
TERS— Fox. — The  screen  rises  to  real  greatness  in 
this  story  of  a  war-stricken  German  mother.  Sec  it, 
and  learn  a  lesson  in  tolerance  and  compassion. 
Margaret  Mann  scores  a  hit  as  Grandma.  (January.) 

GREAT     MAIL     ROBBERY,     THE— FBO. — 

The  bandits  get  everything  their  own  way  until  the 
U.  S.  Marines  are  called  into  action — hurrah,  hurrah  I 
(September.) 

HAM  AND  EGGS— Warners.— A  war  comedy, 
done  in  colors  as  it  were.  An  occasionally  amusing 
but  oftcncr  silly  tale  of  the  colored  troops  in  the  war. 
(November.) 


♦HARD-BOILED  HAGGERTY— First  National. 
—No  war  scenes,  but  a  fine  comed\-  of  life  back  of  the 
battle-lines.     Milton  Sills  at  his  best.     (October.) 

HARVESTER,  THE— FBO.— Came  the  yawn! 
If  you  like  Gene  Stratton  Porter's  stories,  help  your- 
self.     (January.) 

HEART  OF  M.VRYLAND.  THE— Warners.— 
Now  it  is  Dolores  Costello's  turn  to  swing  on  the 
bell.     .An  old  favorite.      (September.) 

HEBIE  GEBIES— Hal  Roach. — .A  hypnotist  turns 
Our  Gang  into  animals.  .An  original,  really  amusing 
comedy  that  will  delight  the  children.     (December.) 

HERO  ON  HORSEBACK,  A— Universal.— Hoot 
Gibson  does  his  stuff,  for  the  particular  enjoyment  of 
thecliildren.      (October.) 

HIGH  SCHOOL  HERO,  THE— Fox.— A  youth- 
ful, refreshing  story  of  "prep"  school  life  with  a  cast 
of  youngsters.      (November.) 

HIS  DOG— Pathe-De  Mille.- Fine  acting  by  a 
dog;  terrible  acting  by  Joseph  Schildkraut.  A  good 
human  interest  idea  gone  blah.    (October.) 

HOME  MADE— First  National.— Johnny  Mines 
pursuing  his  .Art.  Some  of  the  "gags"  don't  belong 
on  the  screen — or  anywhere  else.     (December.) 

HONEYMOON  HATE— Paramount.— Florence 
Vidor  and  Tullio  Carminati  enact  a  neat  little  comedy 
duel  between  an  American  heiress  and  her  Italian 
husband.    For  those  who  like  'em  subtle.    (January.) 


HOOK  AND  LADDER  No.  9— FBO.— Some  good 
newsreel  shots  of  a  fire.  A  feeble  excuse  for  a  story. 
(December.) 

*HULA — Paramount. — The  adventures  of  Clara 
Bow  in  Hawaii.  The  glorification  of  IT.  Clara  is  the 
whole  works.    (October.) 

IF  I  WERE  SINGLE— Warners.— The  girls  will 
get  a  giggle  out  of  this  story  of  domestic  life.  Conrad 
Nagel  proves  that  he  can  play  comedy.    (January.) 

IN  OLD  KENTUCKY— Metro-Goldwyn-Maver. 
—.A  story  of  the  Kentucky  Derby  that  is  better  than 
most  race-track  talcs,  thanks  to  a  fine  performance 
by  James  Murray  and  an  exceptional  "  bit "  by  Wesley 
Barry.  (January.) 

IRISH  HEARTS— Warners.— May  McAvoy  suf- 
fers through  anotlier  bad  one  that  isn't  worth  your 
kind  attention.     (August.) 

IRRESISTIBLE  LOVER,  THE— Universal — 
What  happens  when  a  hard-boiled  bachelor  meets  a 
sweet  young  thing.  Just  a  lot  of  nonsense,  snapped  up 
by  Norman  Kerry  and  Lois  Moran.  (January.) 


JAZZ  SINGER,  THE— Warners.— Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitaphone  nor  a  good  story  can  conceal  the  painful 
fact  that  Al  Jolson  is  no  movie  actor.    (December.) 

*JESSE  JAMES — Paramount. — Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distinguished  train  robber.  Don't  let  the  blue-noses 
interfere  with  your  enjoyment  of  a  corking  melo- 
drama.     (December.) 


LADIES  MUST  DRESS— Fox.— A  comedy  that 
starts  off  like  a  whirlwind  and  then  collapses.  (Janu- 
ary.) 

LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  tliat  needs  music — and  a  certain 
verboten  beverage — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  how!     (December.) 

LES  MISERABLES— Universal.— The  Victor 
Hugo  story  is  great,  but  the  acting,  photography  and 
settings  prove  that  fifty  million  Frenchmen  can  be 
wrong  when  they  make  movies.     (November.) 

LIFE  OF  RILEY,  THE— First  National.— George 
Sidney  and  Charlie  Murray  in — you'll  never  guess— 
another  Irish-Jewish  comedy.  Not  as  bad  as  most. 
(October.) 

LONE  EAGLE,  THE— Universal.- Atiother  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Keane.      (December.) 

LONESOME  LADIES— First  National.- Lewis 
Stone  and  .Anna  Q.  Nilsson  in  a  rather  amusing  com- 
edy of  domestic  ructions.      (October.) 


PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


137 


LOST  AT  THE  FRONT— First  National.— Simon 
pure  slapstick  of  the  best  variety.  Not  art,  not 
drama,  just  entertainment.  Charlie  Murray  and 
George  Sidney  are  fine.     (August.) 

*LOVE — Mctro-Goldwyn-Mayer. — Anna  Karen- 
ina?  Not  so's  you  could  notice  it.  But  John  Gilbert 
and  Greta  Garbo  melt  the  Russian  snow  with  their 
love  scenes.  Will  it  be  popular?  Don't  be  silly  1 
(November.) 

LOVELORN,  THE  — Metro-Goldwyn-Mayer.— 
The  talc  of  two  sisters  who  could  have  avoided  a  lot  of 
tragedy  by  heeding  the  \visdom  of  Beatrice  Fairfa.\. 
Not  for  the  sophisticated.    (January.) 

*LOVES  OF  CARMEN— Fox.— Very  rough  ver- 
sion of  the  Merimec- Bizet  classic  with  a  biff-bang 
performance  by  Dolores  del  Rio  and  some  heavy 
cussing  by  Victor  McLaglen.  Lock  up  the  children. 
(September.) 

MADAME  POMPADOUR— Paramount.— Dor- 
othy Gish  and  Antonio  Moreno  in  an  English  produc- 
tion, lavishly  set  but  not  particularly  dramatic.  .\ 
shadv  side  of  history  that  is  not  for  the  little  dears. 
(October.) 

*MAGIC  FLAME,  THE— Goldwyn-United  Art- 
ists.— Melodrama,  comedy,  romance,  pathos — and 
above  all  Vilma  Banky  and  Ronald  Colman.  Step 
right  this  way,  girls.     (September.) 

MAIN  EVENT,  THE  — Pathe-De  Mille.  — Prize- 
fight stuff.  The  story  is  old;  the  directorial  twists  are 
new.  The  acting  is  above  par.  That's  all.  (Janu- 
ary.) 

MAN  CRAZY— First  National.— Dorothy  Mar- 
kaill  and  Jack  Mulhall  in  a  comedy  about  a  couple  of 
Down  East  high-hats  who  go  in  for  adventure. 
Pleasant  light  fiction.    (January.) 

*MAN  POWER— Paramount.— Wherein  Richard 
Dix  and  his  trusty  tractor  save  the  dam  from  burst- 
ing. .\  trite  story  made  excellent  by  the  star's  acting 
and  some  good  thrills.     (August.) 

MAN'S  PAST,  A— Universal.— A  solemn,  worthy 
production   with   Conrad   Veidt,   a   capable   actor. 

(October.) 

*MAN,  WOMAN  AND  SIN— Metro-Goldwyn- 
Mayer. — Scandal  in  a  Washington  newspaper  office, 
with  some  good  capital  atmosphere  and  some  con- 
ventional movie  melodrama.  John  Gilbert  does  well, 
but  Jeanne  Eagels  is  no  Greta  Garbo.     (January.) 

*MILE-A-MINUTE  LOVE— Universal.  — Regi- 
rald  Denny  hands  this  picture  to  Janet  La  Verne,  a 
five-year-old.  You'll  love  her  and  you'll  love  the 
picture.     (November.) 

MILLION  BID,  A  — Warners- A  weepy  yam 
wherein  Dolores  Costello  is  offered  to  the  highest 
bidder.  .\  good  cast  but  a  silly  story  and  too  many 
dizzy  camera  angles.     (August.) 

♦MOCKERY- Metro-Goldwyn-Mayer.  —  Lon 
Chaney,  as  a  Russian  peasant  with  a  harelip,  gets  all 
mixed  up  in  the  Revolution.    (October.) 

MOJAVE  KID,  THE— FBO.— Introducing  a 
new  Western  hero — Bob  Steele.  He's  a  good  kid  with 
a  pleasant  personality.      (October.) 

MOON  OF  ISRAEL— FBO.— A  foreign  ver- 
sion  of  the  "Ten  Commandments."  It  should  not 
have  been  let  by  Ellis  Island.      (September.) 

MR.  WU  —  Metro-Goldwyn-Mayer.  —  Madame 
Butterfly  with  variations — most  of  them  gory  ones. 
lx>n  Chaney  is  swell,  but  Renee  Adoree  is  even  more 
so.     (August.) 

MUM'S  THE  WORD— Fox.— Another  two-reel 
comedy  with  Nick  Stuart  and  Sally  Phipps  that 
deserves  your  kind  attention.    (January.) 


*M  Y  BEST  GIRL— United  Artists.— Some  of  Mary 
Pickford's  best  comedy  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Mary  at  her 
greatest.    The  children,  of  course  I     (December.) 

MY  FRIEND  FROM  INDIA— Pathe-De  Mille.— 
The  sort  of  thing  that  made  'em  laugh  when  girls  wore 
long  skirts  and  high  laced  shoes.    (January.) 

NAUGHTY  BUT  NICE— First  National.— The 
ugly  duckling  goes  to  boarding  school  and  gets  a 
course  in  IT.  Colleen  Moore  makes  it  entertaining. 
(September.) 

NEST,  THE— Excellent.- Pauline  Frederick  brings 
iier  great  gifts  to  the  sincere  portrayal  of  a  mother 
role.     (Decerriber.) 

NEVADA — Paramount. — A  de  luxe  Western,  with 
Gary  Cooper.  Beautiful  scenery,  fine  acting  and 
plenty  of  thrills.      (October.) 

NIGHT  LIFE — Tiffany. — An  engrossing  drama  of 
Vienna,  before  and  after  the  war.  The  crook  stuff  has 
an  original  twist  and  Eddie  Gribbon,  Johnnie  Harron 
and  Alice  Day  contribute  some  fine  acting.  (January.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  with  Mary  Astor  and  Lloyd 
Hughes.      (December.) 

NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Beery  and  Raymond  Hatton  show  signs  of  weak- 
ening under  the  strain.  They  need  a  fresh  line. 
(December.) 


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OLD  SAN  FRANCISCO— Warners— The  earth- 
quake comes  along  just  in  time  to  save  Dolores 
Costello  from  the  Fate  that  is  Worse  Than  Death. 
Lots  of  good  acting — but  not  by  Dolores.  (September.) 

ONE  ROUND  HOGAN— Warners— Wherein  love 
saves  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.     Not  so  bad.     (De- 

ONE  WOMAN  TO  ANOTHER— Paramount.— It 
IS  a  farce  about  nothing  at  all.  but  charmingly  told 
and  ingratiatingly  acted  by  Florence  Vidor  and 
Theodor  von  Eltz.      (November.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comedy,  but  Marie  Prevost,  aided  by  James  Cruze, 
should  do  better  than  tliis.     (December.) 

ON  YOUR  TOES— Universal.— Reginald  Denny 

as  a  man  who  would  nol  be  a  teacher  of  aesthetic 
danang.    We  had  to  laugh!     (January.) 

OPEN  RANGE— Paramount.— Lane  Chandler 
and  his  horse.  "Flash,"  in  one  of  the  best  Westerns 
now  leaping  across  our  screens.    (January.) 

OUT  ALL  NIGHT— Universal.— Reginald  Denny 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      (December.) 

PAID  TO  LOVE — Fox, — .\  sprightly,  charmingly 
directed  comedy  that  kids  the  old  hokum  of  the 
m\  thical  kingdom,  romance,      (October.) 

PAINTED  PONIES— Universal.— More  breath- 
taking incidents  in  the  frantic  career  of  Monsieur 
Hoot  Gibson.      (October.) 

PAINTING  THE  TOWN  —  Universal.— Glenn 
Tryon,  a  new  comedian,  just  up  among  the  Big  Boys. 
A  story  of  a  small  town — nutty  but  refreshing. 
(September.) 

PARIS  OR  BUST— Universal.— Glenn  Tryon  as  a 
boy  who  knew  he  was  a  flyer  "because  his  mother 
gave  liis  father  the  air."  Anyway,  you'll  laugh  at  it, 
(December.) 

*PATENTLEATHERKID,THE— FirstNational. 

— Richard  Barthelmess  gives  a  truly  great  perform- 
ance of  a  prizefighter  who,  drafted  into  the  War, 
turns  out  a  hero.  A  picture  we  are  proud  to  recom- 
mend.    (September.) 

PERFECT  GENTLEMAN,  A— Pathe.— Monte 
Banks  in  a  series  of  unusually  good  gags.  Good  fun. 
(November.) 

POOR  NUT,  THE— First  National.— A  stage 
play  that  misses  fire  on  the  screen  because  of  over- 
drawn characterizations.    Not  so  much.    (September.) 

PRICE  OF  HONOR,  THE— Columbia.- An  old- 
time,  tear-jerking,  heart-stirring  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.      (December.) 

PRINCE    OF    HEAD    WAITERS,    THE — 

Paramount.- — Wherein  a  noble  head  waiter  saves  his 
son  from  the  clutches  of  a  vamp.  Well  told  and 
well  acted  by  Lewis  Stone.  Eminently  satisfactory. 
(September.) 

*PRIV  ATE  LIFE  OF  HELEN  OF  TROY,  THE— 

First  National. — Not  the  satire  of  Erskine's  novel,  but 
a  movie  burlesque  of  Homer  with  wise-cracking  titles. 
Maria  Corda  is  a  fascinating  new  type.    (January.) 

*OUALITY  STREET  —  Metro-Goldwyn-Mayer. 
—Marion  Davies  is  delightful  in  Sir  James  Barrie's 
fragrant  romance.  A  picture  you'll  be  glad  to  see. 
(October.) 

RACING  ROMEO,  THE  —  FBO  —  "Red" 
Grange  in  a  motor  maniac  yarn.  A  weak  one. 
(January.) 


RED  RAIDERS,  THE— First  National.— Ken 
Mavnard  does  his  version  of  the  Irish-Jewish  story. 
Thanks  to  the  star,  it  isn't  so  bad.      (October.) 

REJUVENATION   OF   AUNT   MARY,   THE— 

Pathe-De  Mille.- — May  Robson  plays  the  screen  ver- 
sion of  her  famous  old  play.  It's  still  lots  of  fun. 
(October.) 

RENO  DIVORCE— Warners-Ralph  Graves  wrote 
the  story,  directed  it  and  acted  in  it.  The  strain  was 
too  much  for  him.  .\  fair  film  with  May  Mc.'^voy  as 
its  ornamental  heroine.      (November.) 

RITZY — Paramount. — The  story  of  a  little  snob, 
concocted  by  Elinor  Glyn  for  Betty  Bronson.  Not 
Betty's  stuff  but  amusing,  nevertheless.    (September.) 

ROAD  TO  ROMANCE,  THE— Metro-Goldwyn- 
Mayer.— Joseph  Conrad's  novel  comes  out  as  an  un- 
real movie.  Not  congenial  stuff  for  Ramon  Novarro. 
(December.) 

ROLLED  STOCKINGS  —  Paramount.  —  The 
younger  set  cut  loose  in  a  peppy  college  story.  James 
Hall,\Richard  .Arli-n,and^Louise  Brooks  run  away 
with  the  honors.      (5ep/em*er,)-», 

*ROSE  OF  THE  GOLDEN  WEST— First  Na- 
tional.— Flappers  will  be  more  interested  in  the  ro- 
mantic love  scenes  between  Gilbert  Roland  and  Mary 
Astor  than  they  will  be  in  the  story.  It's  a  beautiful 
picture.      (November.) 

•IIOTOPLAY  M.\0.\ZINB  Is  Buarnnfee 


ROUGH  HOUSE  ROSIE— Paramount.— A  Tenth 
Avenue  gal  discovers  that  ritzy  society  is  just  a  lot  of 
cracked  ice.  A  nice  picture,  thanks  to  Clara  Bow. 
(.iugust.) 

RUBBER  HEELS— Paramount.— One  gorgeous 
stunt  filmed  at  Niagara  Falls  and  that's  all.  The 
rest  just  proves  that  Ed  Wynn  is  no  screen  comic. 
(September.) 

RUNNING  WILD— Paramount.— You'll  get  a 
real  laugh  from  W.  C.  Fields  as  the  hen-pecked 
husband  made  suddenly  brave  by  a  hypnotist.  Great 
stuff.      (September.) 

SAILOR  IZZY  MURPHY— Warners  —  George 
Jessel  in  a  comedy  that  has  thrills  and  a  bit  of  pathos. 
Lots  of  laughs.     ( November.) 

SAILOR'S  SWEETHEART,  A  —  Warners  — 
They  have  nerve  to  call  this  "comedy."  Don't  do  it 
again,  Louise  Fazenda!    (December.) 

SATIN  WOMAN,  THE— Gotham.— One  of  Mrs. 
Wallace  Reid's  little  preachments — if  ^'ou  care  for 
them.      (October.) 

SECRET  HOUR,  THE— Paramount.— A  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted,"  which  proves  that  you  can't  make  picture 
to  please  the  censors  and  have  'em  good.    (December. 

SECRET  STUDIO,  THE— Fox.— Olive  Borden 
is  the  only  attraction  in  a  trite  and  cheap  story  of  a 
poor  girl's  troubles  in  a  big  city.     (September.) 

SERVICE  FOR  LADIES— Paramount.— Adolphe 
Menjou  again  to>'S  with  the  caviar  as  a  head  waiter. 
Light  but  amusing,     (.iugust.) 

*SHANGHAI  BOUND  —  Paramount.  -Adven- 
ture, action,  romance — all  set  in  the  vivid  background 
of  rambuctious  China.     Plus  Richard  Dix.  (October.) 

SHANGHAIED— FBO.— Eat-em-up  love  story 
about  a  sailor  and  a  dance-hall  girl.  You'll  laugh  in 
the  wrong  places.      (November.) 


tames  his  proud  spirit.    A  swell  evening.    (January.'. 


SHOOTIN'  IRONS— Paramount.— Jack  Ludi-n 
and  Sally  Blane  in  a  jitney  story  of  the  great  hokum 
places.      (November.) 

SILENT  HERO,  THE— Rayart.— A  new  dog- 
one  Napoleon  Bonaparte— in  the  same  old  stor^'.  But 
you'll  like  Nap.      (October.) 

SILK  STOCKINGS— Universal.— Proving  that 
divorce  may  be  worse  than  marriage — of  all  things! 
Laura  La  Plante's  best  comedy.  But  not  for  the 
little  darlings.      (September.) 

SILVER  COMES  THRU— FBO— A  really  good 
horse  picture  witli  Fred  Thomson  and  your  old  friend. 
Silver  King.     (.August.) 


SIMPLE  SIS  — Warners  — In  spite  of  Louise 
Fazenda.  this  one  will  bore  you.  Louise  deserves  a 
better  break.     (August.) 

SINEWS  OF  STEEL— Gotham,— A  story  of  big 
business  showing  how  the  big  steel  corporations  eat  up 
the  little  ones.     (November.) 

SINGED — Fox. — Blanche  Sweet  as  a  dance  liall 
queen  and  a  man's  loyal  pal.  And  very  fair  stuff, 
Mortimerl      (September.) 

SLAVES  OF  BEAUTY— Fox.— This  one  has  a 
beauty  shop  background  that  will  interest  the  girls. 
Just  a  fair  story.     (August.) 

SMILE,  BROTHER,  SMILE— First  National.— 
Jack  Mulhall  in  an  amusing  story  of  a  sliipping  clerk 
who  would  be  a  salesman.      (October.) 

SOFT  CUSHIONS— Paramount.— .Douglas  Mac- 
Lean  tries  Broadway  gags  in  a  Bagdad  harem.  A  1  ■! 
of  wise-cracking  and  a  real  hit  by  a  newcomer — Sue 
Carol.     (November.) 

*SORRELL  AND  SON— United  Artists.— Herb-?rt 
Brenon  has  made  a  touchingly  beautiful  picture  of 
this  story  of  a  father's  love  for  his  son.  Superbl.\- 
played  by  H.  B.  Warner  and  a  fine  cast.    (Jaiiuary.) 

SPOTLIGHT,  THE— Paramount.— How  the  bu- 
colic Lizzie  Stokes  became  Rostova,  the  Russian  star. 
Nice  kidding  of  our  craze  for  foreign  names  and  tem- 
perament.   With  Esther  Ralston.     (January.) 

SPRING  FEVER— Metro-Goldwyn-Maycr.-Wil- 
liam  Haines  and  Joan  Crawford  in  a  mildly  funny 
comedy  built  about  the  golf  mania.     (October.) 

STOLEN  BRIDE,  THE  —  First  National.  —  A 
young  countess,  a  stern  parent,  a  marriageable  officer 
— there  you  have  Jt  It's  a  light  farce  witli  Billie 
Dove  as  its  star.    (August.) 

STRANDED — Sterling. — .K  little  girt  goes  to  Hoi- 
hwood  to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  wrote  the  story.     (December.) 


Photoplay  Magazine — Advertising  Section 


^STUDENT  PRINCE,  THE— Metro-Goldw>-n- 
Mayer. — Ramon  Novarro  in  one  of  the  best  love 
stories  ever  \witten.  Unforl  unately  Norma  Shearer  is 
mis-cast  and  Lubitsch  isn't  completely  in  his  element. 
Very  much  worth  seeing,  nevertheless.  (November.) 
*SUNRISE— Fox.— F.W.  Murnau  makes  the  camera 
do  ever^'thing  but  talk.  Short  on  story  interest  but 
long  on  beauty.     (December.) 

SUNSET  DERBY,  THE  —  First  National.  —  A 
jockey,  a  girl,  a  horse  and  a  race.  Not  very  original 
nor  very  exciting.  With  Buster  Collier  and  Mary 
Astor.     (.iugusl.) 

SURRENDER — Universal.-  An  interesting  and 
sincere  portrayal  of  racial  conflict  in  Russia  between 
Christians  and  Jews.  Mary  Philbin  does  some  fine 
acting.     (August.) 

*SWIM,  GIRL,  SWIIW— Paramount.— Credit 
Bebe  Daniels  with  another  personal  hit  in  a  stor\-  of 


SYMPHONY,  THE— Universal.— Rather  wooden 
story  that  tries  to  be  another  "Music  Master." 
Redeemed  by  a  good  performance  by  Jean  Hersholt. 
(January.) 

TARTUFFE,  THE  HYPOCRIl  E— UFA.—  Prov- 
ing that  when  the  Germans  make  a  bad  one.  they  can 
equal  Hollywood's  worst.  Even  Emil  Jannings  can- 
not save  it.      (October.) 

TEA  FOR  THREE— Metro-Goldwyn-Mayer.— 
Tlie  second  of  the  Lew  Cody-Aileen  Pringle  comedies, 
neatly  and  subtlely  acted.     (November.) 

TELL  IT  TO  SWEENEY— Paramount.— Chester 
Conklin  and  George  Bancroft  in  a  comedy  that  is  just 
plain  nickelodeon.      (November.) 

TEN  MODERN  COMMANDMENTS  —  Para- 
mount.— .-K  back-stage  story  of  chorus  girls  and  such- 
like, made  better  than  it  really  is  by  the  presence  of 
Esther  Ralston.      (September.) 

TENDER  HOUR,  THE— First  National.— Gor- 
geous setting,  that  means  nothing,  and  a  plot  that 
means  less.  One  of  those  "you  must  marry  the 
Duke"  stories.    With  Billie  Dove.     (August.) 

TEXAS  STEER,  A— First  National.— Will  Rogers, 
as  star  and  title-writer,  pokes  fun  at  our  politicians. 
A  picture  that  papa  will  enjoy.    (January.) 

THANKS  FOR  THE  BUGGY  RIDE— Universal. 
— Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and.  incidentally.  Laura  La  Plante's 
best.      (December.) 

THIRTEENTH  JUROR.  THE— Universal.  —  A 
satisfying  and  well-made  picture,  with  Francis  X. 
Bushman  and  Anna  Q.  Nilsson  doing  fine  work.  See 
it.      (October.) 

THREE'S  A  CROWD— First  National.— Harry 
Langdon  attempts  too  much  in  this  one.  The  boy's 
good,  but  he's  not  Chaplin  yet.  Better  luck  next 
time.      (October.) 

TILLIE  THE  TOILER— Metro-Goldwyn-Mayer. 
— Marion  Da  vies  plays  the  typewriting  gold  digger  in 
an  amusing  film  adapted  from  the  popular  comic 
strip.     (August.) 

TIME  TO  LOVE— Paramount.— Raymond  Grif- 
fith trying  to  prove  how  silly  he  can  be^and  proving 
it,  too.  Of  course,  if  you  have  a  lot  of  time  to  waste — 
(September.) 

TIP  TOES— British  National.— Dorothy  Gish  in 
another  English  picture  that  is  just  a  filler-in.     A 


akes  : 


TOPSY  AND  EVA— United  Artists.— Broad 
burlesque  of  the  old  story  with  Rosetta  Duncan 
snatching  most  of  the  footage.  Funny  in  a  way 
and  slightly  vulgar.     (September.) 

TUMBLING  RIVER— Fox.— It's  a  Tom  Mix  pic- 
ture and  one  of  his  best.  That's  all  you  need  to 
know.     (October.) 

TWELVE  MILES  OUT— Metro-Goldwyn-Maver. 
—Rum-running  off  our  dry  coasts.  A  highly  popu- 
lar film  with  Jack  Gilbert  giving  a  sound  and  inter- 
esting performance.      (September.) 

*TWO  ARABIAN  KNIGHTS— United  Artists — 
Proving  that  there  can  be  something  new  in  war 
comedies.  Bright!  Original!  Entertaining!  Willi 
Louis  Wolheim  and  William  Boyd.  See  it,  by  all 
means.     (November.) 

*UNCLE  TOM'S  CABIN— Universal.— Harri.n 
Beecher  Stowe's  story  re-written  to  include  the  Civil 
War  and  Sherman's  March  to  the  Sea.  An  effective 
picture,  if  you  don't  mind  the  violence  done  to  the  old 
favorite.    (January.) 

♦UNDERWORLD  —  Paramount.  —  Great  story, 
great  direction,  great  acting.  .\  raw,  red  drama  of 
the  seamy  side  of  life.  George  Bancroft.  Evelyn 
Brent  and  Clive  Brook  are  credited  with  hits.  Not 
for  the  children.      (September.) 

*UNKNOWN,THE— Metro-Goldwyn-Mayer.— A 
fine  sinister  plot,  a  lot  of  macabre  thrills  and  great 
acting  by  L^n  Clianey.  Also  Joan  Crawford  helps  a 
lot.     Don't  go  if  you're  easily  scared.     (August.) 

VANITY— Producers  Dist.  Corp.— A  society  girl 
goes  into  war  work  and  forthwith  renounces  the  higli 
hat.  All  right,  if  you  like  this  sort  of  thing.  With 
Leatrice  Joy.     (September.) 

WANTED,  A  COWARD— Sterling.— If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

*WAY  OF  ALL  FLESH,  THE— Paramount.— Emil 
Jannings  is  the  whole  picture.  Such  acting!  Tlie 
story  has  its  powerful  moments,  weakened  by  senti- 
mentality. But  no  one  can  afford  to  miss  Jannings. 
(August.) 

WE'RE  ALL  GAMBLERS— Paramount.— In 
spite  of  Thomas  Meighan  and  the  direction  of  James 
Cruze,  this  is  disappointing.      (October.) 

WHAT    HAPPENED   TO    FATHER— Warners. 

— Warner  Oland's  first  starring  vehicle  and  a 
picture  quite  unworthy  that  gentleman's  talents. 
(September.) 

WHITE  PANTS  WILLIE— First  National.— Some 
snappy  celluloid  dedicated  to  the  Art  of  Johnny 
Mines.      (October.) 

WILD  GEESE — -Tiffany. — Sincere  presentation  of 
Martha  Ostenso's  novel,  with  a  fine  characterization 
by  Russell  Simpson.    (January.) 

*WIND,  THE— Metro-Goldwyn-Mayer.— Lillian 
Gish  in  a  fine  and  impressive  drama  of  life  on  a  Texas 
ranch.  Excellent  support  by  Lars  Hanson  and 
Montagu  Love.      (November.) 

*WINGS— Paramount.— The  War  in  the  Air— a 
thrilling  spectacle  that  is  nicely  timed  to  your  in- 
terest in  aviation.      (September.) 

WISE  WIFE,  THE— Pathe-De  Mille.— One  of 
those  stories  about  How  to  Hold  a  Husband — if  ^■ou 
are  interested.    (January.) 

WOMEN'S  WARES— Tififany.—Evelyn  Brent  as 
a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.      (December.) 


Dallas,  Texas. 

I  am  a  lonely,  unbeloved,  prac- 
tically unknown  old  maid  in  a  great 
city,  and  surely  must  live  the  world's 
most  monotonous  life.  I  get  up  by 
the  alarm  clock  every  morning  at  six, 
prepare  coffee  on  a  little  alcohol 
burner,  ride  the  street  car  to  work, 
come  home  tired,  weary  and  heart- 
sick, simply  crushed,  sometimes,  by 
the  utter  futility  of  my  life. 

I  recall  one  rainy  night  last  winter 
— -a  night  full  of  the  desolate  sounds 
of  a  strong  wind — I  was  on  the 
verge  of  a  desperate  act  when  I 
chanced  to  see  from  my  window,  in 


electric  lights,  the  advertisement  of 
one  of  Harold  Lloyd's  comedies.  On 
an  impulse,  I  grabbed  my  hat  and  coat 
and  suddenly  was  out  in  the  wild 
night,  walking  briskly  toward  the 
theater.  After  seeing  "The  Kid 
Brother,"  I  foimd  faith  again,  and 
laughter,  and  knew  that  surely 
there  were  greener  pastures  beyond 
for  me. 

Moving  pictures  are  my  only  hap- 
piness. They  have  meant  more  to 
me,  I  believe,  than  to  anybody  else 
on  earth.  Each  year  they  are  getting 
closer  to  life  and  to  human  hearts. 
H.  W. 


Sensational  New 
French  Invention  Gives 

oAPerfectMarcel 
WavemisMinutes 

^costs  only  2< 

Not  a  concoction  from  a  bottle — not 
a  sticky ,  messy  lotion — not  a  "trick ' ' 
brush — not  a  "magic"  cap — not  an 
antiquated  "curliag"  device — not  a 
"scientific"  substitute  for  the  old- 
fashioned  kid  curler.  This  amazing 
French  invention  is  positively  guar- 
anteed actually  to  marcel  wave  any 
head  of  hair  in  IS  minutes  at  a  cost  of 
less  than  2c. 

By  Mile.  Renee  Duval 

FROM  Paris  I  have  brought  to  American  women 
the  greatest  beauty  secret  of  all  time.  French 
hairdressers  have  guarded  it  jealously  for  many 
years.  This  secret  will  enhance  the  beauty  of  any 
woman's  hair  a  hundredfold.  And  there  is  but  one 
simple,  easy  thing  to  do.  Now  every 
American  woman  and  girl  can  know, 
for  the  first  time,  the  real  and  true 
secret  of  the  French  woman's  al- 
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sent  it  to  1.000  A 
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Do  not  send  me  money — just 
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MARCELWAVER 
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Dept.  53-B  Cincinnati,  Ohio 

j  Mile.  Renee  Duval,  Dept.  63-B  I 

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Photoplay  Magazine — Advertising  Section 


Get  Rid  of  Every  Ugly, 

Superfluous  Hair 

—at  Once! 

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I  had  become  utterly  discouraged  with 
a  heavy  growth  of  hair  on  my  face  and 
lip.  I  tried  many  ways  to  get  rid  of  it- 
depilatories,  electrolysis,  even  a  razor,  but 
all  were  disappointments. 

I  thought  it  was  all  hopeless 
until  my  research  brought  me 
a  simple  but  truly  wonderful 
method  which  has   given 
such  great  relief  and  joy 
to    me    and    to    other 
women  that  it  really 
cannot  be  expressed 
in  words. 

My  face  is  now  not 
only  free  from  superfluous 
hair,   but   is  smooth   and 
soft,  all  by  use  of  the  sim 
pie   method   which    I    will 
gladly  explain  to  any  wom- 
an who  will  send  her  name 
and  address. 

This  method  is   different 
from  anything  you  have  ever 
used— not  a  powder,   paste, 
wax  or  liquid,  not  a  razor, 
not  electricity.     It  will  re- 
move superfluous  hair  at 
once  and  will  make  the  skin 
soft,   smooth   and  beauti- 
fully attractive.      Its 
means  an  adorable 
appearance.       And 
you  face  the  brightest 
light— the  most  brilliant 
electric  lamps — even  the 
glareof  sunlight  joyously. 

My  method  is  absolutely  painless  and 
harmless— so  simple  and  easy  to  use — so 
inexpensive  that  you  will  marvel  at  its 
efficiency.  Thousands  of  women  who  have 
thoroughly  demonstrated  its  merits  are 
now  loud  in  their  praise. 

But  don't  take  my  word  for  it— or  even 
theirs.  Send  for  my  FREE  Book  and 
learn  the  secret  I  want  you  to  read  this 
interesting  and  instructive  book,  "Sans 
Every  Superfluous  Hair,"  in  which  my 
theories  and  my  actual  success  are  substan- 
tiated by  genuine  historical  and  scientific 
references.  Postcard  or  letter  brings  your 
copy  in  plain,  sealed  envelope  absolutely 
without  obligation.  Merely  address  Mile. 
Annette  Lanzette,  109  W.  Austin  Ave., 
Dept     .59    Chicago. 


Wales 

How  to  banish  them 

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Cuticura 

Loveliness 

A  Clear 
Healthy  Skin 


Dodging  the 
Wedding  Ring 


[  CONTINUED  FROM  PAGE  33  ] 

really  in  love.  And  I  can't  make  up  my 
mind."  Clara  became  wistful.  "I'm  not 
really  fickle.  It's  just  such  a  chance  in 
this  business.  If  I  could  only  know  they 
loved  me  for  myself,  and  myself  only. 
Yes,  I'm  still  seeing  Victor  Fleming. 
None  of  the  rest,  much.  But  Victor  seems 
to  understand  me.  Calls  me  'A  good 
little  bad  girl.'  " 

Lonely  little  Clara!  Her  big  salary, 
her  fame,  her  genuine  appeal,  her  generous 
nature  do  not  bring  her  the  happiness  of 
the  a\'erage  small-town  marriage,  because 
of  that  insistent  fear,  "It  may  not  be  the 
real  me  they  love;  it  may  be  Clara  Bow, 
the  screen  actress."  So  Clara  has  about 
decided  to  continue  to  dodge  the  wedding 
ring  problem. 

'  'TN  Europe  eet  does  not  make  me  mar- 
-Lried  or  engaged  to  be  seen  weeth  a  man 
\once  in  a  vile.  I  cannot  understand 
\-hy  zee  private  life  has  anything  to  do 
with  those  who  play  on  zee  screen." 

Greta  Garbo  was  frankly  skeptical 
about  just  what  I  wanted  of  her.  What 
she  does  on  the  screen  is  "zee  pooblic's 
heesiness,"  what  she  does  in  private 
life  is  her  own.  She  does  not  believe 
that  it  should  matter  whether  a  star  is 
married  or  single;  has  children  or  no 
children.  If  she  is  a  good  actress,  produces 
good  pictures,  that  should  be  the  end  of 
her  responsibility,  she  tells  me. 

When  I  brought  up  the  question  of 
John  Gilbert  and  Mauritz  Stiller,  her 
glorious  eyes  became  veiled  with  that  im- 
penetrable look  of  deep  mystery  which 
is  one  of  the  many  charms  of  this  alluring 
Swedish  woman. 

"  I  haf  never  been  engaged  to  the  both 
of  them,"  she  said  quietly.  "I  haf  never 
been  engaged  to  anybody. 

"I  do  not  say  I  vill  not  marry.  How 
do  I  know?  I  never  say  I  vill  do  thees  or  I 
vill  do  that.  I  never  know  from  one 
moment  to  another.  I  sit  here  now. 
Maybe  I  take  ofT  my  clothes  zee  next 
moment  and  lay  on  zee  floor  without  any 
clothes.  I  can  never  tell.  But  I  do  not 
thinks  of  zee  marriage. 

EET  ees  not  because  of  my  vork.  Eef 
you  are  so  in  lof  nottings  else  matters. 
You  do  not  tink  of  vat  \  ill  happen.  You 
are  in  lof  and  if  you  marry,  you  marry. 
Hut  eet  ees  not  necessary  to  marrj',  ees 
eet  not? 

"  I  lof  my  vork.  Eet  ees  my  life.  I  vill 
not  give  eet  up. 

"I  like  to  vork  weeth  Meester  Gilbert. 
He  ees,  I  confess,  a  vender.  Eef  he  ees 
an  example  of  zee  American  man,  you 
must  be  \eery  lucky  over  here. 

"I  know  Meester  Stiller  in  Europe. 
He  start  me  in  zee  picture.  I  do  not  know 
eef  I  marry." 

Greta  would  never  marry  any  man, 
howc\er,  if  there  were  any  danger  of 
quarrelling. 

"I  never  quarrel,"  she  told  me.  "I 
hate  zee  idea  of  a  voman  being  vat  you 
call  mad.    I  never  get  zat  way  even  in  zee 

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pictures.  I  vill  not  throw  things  or  do 
anything  like  zat  for  no  director." 

Marriage  is  simply  a  question  which 
this  young  woman  leaves  to  the  right 
moment.  It  has  no  relation  to  her  work; 
none  to  her  public;  none  to  her  present 
self,  as  far  as  that  matters.  Yet,  and  this 
is  the  reason  she  is  included  in  this  story, 
she  has  persistently  refused  every  offer. 
It  may  be  "for  no  reason  at  all,"  but 
ne\'ertheless  she  continues  to  dodge  the 
wedding  ring  obligations. 

LITTLE  Janet  Gaynor  thinks  she  is 
more  or  less  hunting  for  the  man  "big 
enough"  to  place  the  gold  ringlet  upon 
her  third  left-hand  finger.  Yet  she  has 
just  broken  her  one  and  only  engagement. 

"I  just  wasn't  in  love  with  him  any 
more,"  was  her  earnest  interpretation. 

Janet  became  engaged  to  Herbert 
Rloulton,  a  newspaperman  and  actor, 
while  she  was  still  a  fledgling,  flitting  from 
one  studio  to  another.  When  she  became 
a  dramatic  sensation,  reached  the  height 
of  stardom,  her  love  faded  and  died.  She 
herself  sees  no  relation  between  the  two 
interests.     We  wonder. 

"  I  want  to  getmarried.  But  I  want  my 
marriage  to  be  the  biggest  thing  in  my 
life.  I  want  to  find  a  man  so  fine,  so 
splendid  whom  I  will  love  so  much  that 
my  work  won't  make  any  difference. 
One  who  will  come  first  always,  for  whom 
I  would  give  up  my  career  without  a 
moment's  hesitation." 

Janet  is  just  twenty — and  just  honest. 
She  has  heard  people  say  that  she  is  to  be 
the  Bernhardt  of  the  movies,  but  she  has 
no  convictions  about  it.  She  does  not 
realize  that  she  has  put  her  Prince 
Charming  on  a  pedestal  so  high  that  no 
mere  mortal  can  ever  reach  it.  She 
believes  she  is  shyly  waiting  the  wedding 
ring,  yet  she  has  broken  her  engagement. 
Charlie  Farrell's  name  has  been  linked 
with  hers  frequently,  but  they  are  just  a 
couple  of  kids  rising  to  glory  together. 

MARY  PHILBIN  is  another  screen- 
baby  who  believes  she  has  started 
hunting  for  the  perfect  male-being. 

"I  ha\e  been  too  young  to  think  of 
getting  married  before,"  she  tells  us. 
"But  now  I'm  twenty.  I  figure  I  have 
fi\-e  years  more  for  my  work  and  to  save 
money.  I  have  never  gone  out  with  the 
boys,  but  now  I'm  beginning.  And  I'm 
going  out  with  all  the  nice  ones  who  ask 
me.  I  want  to  know  them  all,  so  when 
the  time  comes  and  I'm  ready  to  leave 
the  screen  I  will  know  how  to  choose  the 
man  who  will  make  me  the  best  husband." 

"  'After  I  leave  the  screen!'  "  And  if 
she  never  leaves  it — 

■  Olive  Borden  is  essentially  a  home- 
b'Qdy.  She  lives  so  closely  within  the 
walls  of  her  home  with  her  mother  that 
in  the  four  years  of  her  career,  her  name 
has  been  linked  with  thatof  only  one  man- 
George  O'Brien!  They  went  away  on 
location  for  "Three  Bad  Men,"  came 
back  and  went  to  the  theater  together,  to 
mass  Sunday  morning,  and  so,  of  course,  to 
the  rest  of  the  world  they  were  "going  to 
be  married." 

Only  they  have  never  been  engaged, 
Olive  tells  me. 

"You  can't  concentrate  on  two  things 
at  once!"  she  declared  with  assurance. 
"And    I   will   not   marry   at  least   until 


-Advertising  Section 

mother  and  I  are  economically  independ- 
ent. 

"It  takes  a  very  clever  woman  to  hold 
her  husband  in  this  business.  I  still  have 
a  fairy  idea  about  marriage.  Oh,  I  think 
divorce  is  necessary  if  you  aren't  happy. 
But  when  I  see  all  the  domestic  split-ups, 
I  am  frightened. 

"Marriage  should  be  the  crowning 
glory  of  a  woman's  life.  And,  at  least 
now,  when  I  am  concentrating  every 
thought  upon  my  career,  I  would  be 
afraid  to  even  think  of  it." 


JOAN  CRAWFORD  tossed  her  auburn- 
J  haired  head  in  defiance.  "The  Wedding 
Ring!"  she  scoffed.  "That's  one  thing  I 
hope  I'll  always  be  able  to  dodge.  I 
know  too  much  about  it  from  studying 
other  professional  women  who  have  mar- 
ried. Never!  Not  as  long  as  I  can  sup- 
port myself. 

"Absolutely  everyone  I  know  is  di- 
vorced or  wants  to  be  and  can't  get  one. 
Why  should  I  marry?" 

Joan  was  wearing  an  immense  third- 
finger  diamond  which  she  admitted  was  a 
man's  gift,  but  she  insisted  it  had  no 
meaning.  Since  the  days  when  this  wily 
young  lady  kicked  her  famous  legs  on 
Broadway,  she  has  been  reported  engaged 
to  one  millionaire  after  another.  Of 
course,  the  latest  is  Mike  Cudahy,  the 
scion  of  the  Chicago  packing-genius.  In 
fact  she  left  us  with  this  remark: 

"Got  to  hurry.  The  Cudahy  family  is 
going  to  the  show  this  evening."  But, 
methinks,  she  meant  what  she  said. 
She'll  never  marry. 

Madge  Bellamy,  Lois  Moran,  Sally 
O'Neil,  Jetta  Goudal.  There  are  many 
girls  in  this  much-married  city  who  seem 
to  be  profiting  by  the  examples  of  others. 
Madge  has  never  been  reported  engaged 
to  anyone,  and  her  present  ambition  is  a 
two  year  rest  in  Europe.  John  Barry- 
more  is  reported  to  have  been  the  most 
recent  admirer  of  Lois  Moran.  But  she 
has  avoided  all  serious  arrangements. 
Sally  O'Neil  believes  the  old  yarn, 
"There's  safety  in  numbers."  Phyllis 
Haver  has  been  "going  with"  one  man, 
Stephen  Gooson,  an  art  director,  for  five 
years.  And  she's  too  busy  taking  ad- 
vantage of  her  big  break  to  give  a  thought 
to  any  secondary  matter! 

Love! 

The  one  dream-word  of  every  young 
girl  in  existence. 

Yet  the  most  elusi\e  happiness  in  the 
Cinema  City. 

I  HAD  not  meant  to  make  this  a  sob- 
story.  But  as  I  ha\e  talked  with  these 
girls  whose  ages  would  average  twenty, 
as  I  have  learned  to  know — 'admire — 
appreciate  and  love  them,  my  heart  has 
oftentimes  yearned  over  their  problem. 

Money,  yes.  Fame!  Beauty,  prestige. 
But  that  simple  little  right  of  all  women. 
A  man,  a  home,  happy  children.  The 
opportunity  to  quarrel  and  make  up. 
The  joy  of  fighting,  struggling,  working, 
one  for  another. 

There  are  some  disadvantages  to  their 
lives  so  glamorously  painted  for  us.  And, 
paramount  among  them,  is  the  con- 
centrated effort,  consciously  or  uncon- 
sciously made  by  so  many,  to  avoid  pro- 
fessional and  personal  pitfalls  by  "Dodg- 
ing the  Wedding  Ring"  problems. 


to  advertisers  pleass 


Things,' 
Name 
Occupation 
Address 
PnOTOPr-AY   MAGAZINE. 


Nelson' 

fort  and  (2)  after  Federal 

School  training.  ^^ 

Now  he  l>RAyi$ 
the  thin^  he  wants 

LOOK  at  drawing  No.  1  above. 
Then  compare  it  with  No.  2  and 
note  the  improvement  Federal  School 
training  has  made  in  the  work  of  Art 
Nelson.  He  formerly  worked  as  a 
surveyor's  assistant  at  $18.00  a  week. 
Today  as  an  illustrator  he  makes 
$75.00  a  week.  He  says,  "The  Federal 
Schools  made  this  possible  through 
their  training  and  co-operation  as  I 
had  only  average  ability  before  enroll- 
ing as  a  student."  Nelson  is  one  of 
hundreds  of  young  people  making  big 
money  because  of  Federal  training. 

Publishers  buy  millions  of  dollars 
worth  of  illustrations  every  year.  If 
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Photoplay  Magazine — Advertising  Section 


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7 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"GENTLEMEN  PREFER  BLONDES" 
— P.\RAMOUNT. — From  the  story  by  Anita 
Loos.  Scenario  by  Anita  Loos  and  John 
Emerson.  Directed  by  Malcolm  St.  Clair. 
The  cast:  Lorelei  Lee,  Ruth  Taylor;  Dorothy 
Shaw,  Alice  White;  Giis  Eisnian,  Ford 
Sterling;  Henry  Spoffard,  Holmes  Herbert; 
Sir  Francis  Beekman,  Mack  Swain ;  Lady 
Beekntaii,  Emily  Fitzroy;  Mrs.  Spoffard, 
Trixie  Friganza;  Miss  Chapman,  Blanche 
Friderici;  Robert,  Ed  Faust;  Louis,  Eugene 
Borden;  Lorelei's  Mother,  Margaret  Seddon; 
Lorelei's  Grandfather,  Luke  Cosgrave;  Judge, 
Chester  Conklin ;  Mr.  Jennings,  York  Sher- 
wood; Ltdu,  Mildred  Boyd. 

"CHICAGO"  —  Pathe-De  Mille.  — 
From  the  play  by  Maurine  Watkins. 
Adapted  by  Lenore  J.  Coffee.  Directed  by 
Frank  Urson.  Photography  by  Peverell 
Marley.  The  cast:  Roxie  Hart,  Phyllis 
Haver;  Amos  Hart,  Victor  V'arconi;  Casley, 
Eugene  Pallette;  Katie,  Virginia  Bradford; 
Police  Sergeant,  Clarence  Burton;  District 
Attorney,  Warner  Richmond;  Reporter,  T. 
Roy  Barnes;  Photographer,  Sidney  D'AI- 
brook;  Amos'  Partner,  Otto  Lederer; 
Matron,  May  Robson;  Velma,  Julia  Faye; 
Flynn,  Robert  Edeson. 

"THE  ENEMY"  — M.-G.-M.  — From 
the  story  by  Channing  Pollock.  Adapted 
by  Willis  Goldbeck.  Directed  by  Fred 
Niblo.  Photography  by  Oliver  Marsh.  The 
cast:  Pauli  Arndt,  Lillian  Gish;  Carl 
Behrend,  Ralph  Forbes;  Bruce  Cordon, 
Ralph  Emerson;  Professor  Arndt,  Frank 
Currier;  August  Behrend,  George  Fawcett; 
Mitzi  Wifikelmann,  Fritzi  Ridgeway;  Frits 
Winkelmann,  John  S.  Peters;  Jan,  Karl 
Dane;  Baruska,  Polly  Moran;  Kurt,  Billy 
Kent  Sheafer. 

"GET  YOUR  MAN  "—Paramount.— 
From  the  story  by  Louis  Verneuil.  Adapted 
by  Hope  Loring.  Directed  by  Dorothy 
Arzner.  The  cast:  Nancy  Worthington, 
Clara  Bow;  Robert  de  Bellecontre,  Charles 
Rogers;  Dtic  de  Bellecontre,  Josef  Swickard; 
Marquis  de  Villeneuve,  Harvey  Clarke; 
Simone  de  Villeneuve,  Josephine  Dunn;  Mrs. 
Worthington,  Frances  Raymond. 

"THE  LEGION  OF  THE  CON- 
DEMNED" —  Par.\mount.  —  From  the 
story  by  John  Monk  Saunders.  Scenario  by 
John  Monk  Saunders.    Directed  by  William 

A.  Wellman.  Photography  by  Henry 
Gerrard.  The  cast :  Christine  Charteris,  Fay 
Wray;  Gale  Price,  Gary  Cooper;  Byron 
Dashwood,  Barry  Norton ;  Charles  Holabird, 
Lane  Chandler;  Gouzalo  Vasques,  Francis 
McDonald;    Von  Hohendorff,  Albert  Conti. 

"THE  VALLEY  OF  THE  GIANTS"— 
First  Nation.\l. — From  the  story  by  Peter 

B.  Kyne.  Directed  by  Charles  J.  Brabin. 
The  cast:  Bryce  Cardigan,  Milton  Sills; 
Shirley  Pennington,  Doris  Kenyon;  Buck 
Ogilvy,  Arthur  Stone;  John  Cardigan, 
(jeorge  Fawcett;  Randeau,  Paul  Hurst;  Pen- 
nington, Charles  Sellon;  Felice,  Yola  d'Avril; 
Big  Boy,  Phil  Brady. 

"THE  WRECK  OF  THE  HESPERUS" 
— Pathe-De  Mille. — From  the  poem  by 
Henry  Wadsworth  Longfellow.  Adapted  by 
Harry  Carr  and  John  Farrow.  Directed  by 
Elmer  Clifton.  The  cast:  Capt.  David 
Slocjim.  Sam  De  Grasse;  Gale  Slocum, 
Virginia  Bradford;  John  Hazzard.  Francis 
Ford;  John  Hazzard,  Jr.,  Frank  Marion; 
Singapore  Jack,  Alan  Hale;  Deborah  Slocum, 
Ethel  Wales;  The  Bride,  Josephine  Norman; 
Zeke,  Milton  Holmes;  Cabin  Boy,  James 
Aldine;  First  Mate,  Budd  Fine. 

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"THE  LOVE  MART"— First  Na- 
tional.— From  the  story  by  Edward  Childs 
Carpenter.  Adapted  by  Benjamin  Glazer. 
Directed  by  George  Fitzmaurice.  The  cast: 
Antoinette  Frobelle,  Billie  Dove;  Victor 
Jallot,  Gilbert  Roland;  Poupet,  Raymond 
Turner;  Capt.  Remy,  Noah  Beery;  Jean 
Delicafo,  Armand  Kaliz;  Louis  Frobelle,  Emil 
Chautard;  Fleming,  Boris  Karloff;  Caresse, 
Mattie  Peters. 

"LONDON  AFTER  MIDNIGHT"  — 
M.-G.-M. — From  the  story  by  Tod  Brown- 
ing. Adapted  by  Waldemar  Young. 
Direqted  by  Tod  Browning.  Photography 
by  Merritt  B.  Gerstad.  The  cast:  Burke, 
Lon  Chaney;  Lucille  Balfour,  Marceline 
Day;  Sir  James  Hamlin,  Henry  B.  Walthall; 
Butler,  Percy  Williams;  Arthur  Hibbs, 
Conrad  Nagel ;  Miss  Smithson,  Polly  Moran ; 
Bat  Girl,  Edna  Tichenor;  The  Stranger, 
Claude  King. 

"WEST  POINT"  —  M.-G.-M,  —  From 
the  story  by  Raymond  L.  Shrock.  Con- 
tinuity by  Raymond  L.  Shrock.  Directed 
by  Edward  Sedgwick.  The  cast:  Bill 
Wheeler,  William  Haines;  Betty  Channing, 
Joan  Crawford;  Sperrv,  Neil  Neely;  Tex 
McNeil,  William  Bakewell;  Bob  Chase, 
Ralph  Emerson;  Hugh  Anderson,  Edward 
Clayton;  Dana  Stephens,  Baury  Bradford 
Richardson;  Captain  Munson,  Leon  Kellar; 
Coach  Towers,  Major  Raymond  G.  Moses, 
Corps  of  Engineers,  U.  S.  A. ;  Major  Mullens, 
Major  Philip  B.  Fleming,  Corps  of  Engi- 
neers, U.  S.  A. 

"FRENCH  DRESSING"  — First 

National. — From  the  story  by  Adelaide 
Heilbron.  Directed  by  Allan  Dwan.  The 
cast:  Phillip  Grey,  H.  B.VVarner;  Cynthia 
Grey,  Lois  Wilson;  Henri  de  Briac,  Clive 
Brook;  Peggy  Nash,  Lilyan  Tashman. 

"STAND  AND  DELIVER"  —  Pathe- 
De  Mille. — From  the  story  by  Sada 
Cowan.  Directed  by  Donald  Crisp.  Photog- 
raphy by  David  Abel.  The  cast:  Roger 
Norman,  Rod  La  Rocque;  Jania,  Lupe 
Velez;  Chika,  Warner  Oland;  Capt.  Dargis, 
Louis  Natheau.x;  Patch  Eye,  James  Dime; 
Muja,  A.  Palasthy;  Pietro,  Frank  Lanning; 
Blind  Operator,  Bernard  Siegel;  Command- 
ing Officer,  Clarence  Burton;  Krim,  Charles 
Stevens. 

"GALLAGHER"— Pathe-De  Mille.— 
From  the  story  by  Richard  Harding  Davis. 
Adapted  by  Elliott  Clawson.  Directed  by 
Elmer  Clifton.  Photography  by  Lucieii 
Andriot.  The  cast:  Gallagher,  Junior 
Coghlan;  Callahan,  Harrison  Ford;  Clarissa, 
Elinor  Fair;  McGifity,  Wade  Boteler;  City 
Editor,  E.  H.  Calvert;  Burglar,  Ivan 
Lebedeff. 

"SERENADE  "  —  Par.\mount.  —  From 
the  story  by  Ernest  Vajda.  Scenario  by 
Ernest  Vajda.  Directed  by  H.  D'Abbadie 
D'Arrast.  The  cast:  Franz,  a  Composer, 
Adolphe  Menjou;  Gretchen,  His  Inspiration, 
Kathryn  Carver;  Josef  Brucktier,  Lawrence 
Grant;  The  Dancer,  Lina  Basquette; 
Crelchen's  Mother,  Martha  Franklin. 

"BECKY"— M.-G.-M.— From  the  story 
by  Rayner  Seelig.  Scenario  by  Marion 
Constance  Blackton.  Directed  by  John  F. 
McCarthy.  Photography  by  John  Arnold. 
The  cast:  Rebecca  O'Brien  McCloskey,  Sally 
O'Neil;  Dan  Scarlett,  Owen  Moore;  John 
Carroll  Estabrook,  Harry  Crocker;  Nan 
Estabrook,  Gertrude  Olmsted;  /mwg  Speigel- 
berg,  Mack  Swain;  Boris  Abelard,  Claude 
King, 


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"  P-A.JAM AS  "— Fox.— From  the  story  by 
William  Conseiman.  Directed  by  J.  G. 
IMystone.  The  cast:  Angela  Wade,  Olive 
Borden;  John  Weston,  Lawrence  Gray; 
Russell  Forrest,  Jerry  Miley;  Daniel  Wade, 
John  J.  Clark. 

"LEGIONNAIRES  IN  PARIS"  — 
FBO. — From  the  story  by  Louis  Sarecky. 
Continuity  by  Jefferson  Moffitt.  Directed 
by  A.  E.  Gillstrom.  Photography  by  Phil 
Tannura.  The  cast:  Al  Cooke,  Himself;  Kit 
Guard,  Himself;  Annette,  Louise  Lorraine; 
Fiji,  Virginia  Sale;  Shorty,  the  Giant  Gen- 
darme, John  Aason. 

"HER  WILD  OAT"— First  National. 
— From  the  story  by  Howard  Irving  Young. 
Directed  by  Marshall  Neilan.  The  cast: 
Mary  Brown,  Colleen  Moore;  Philip  Latour, 
Larry  Kent;  Tommy  Warren,  Hallam 
(ooley;  Daisy,  Gwen  Lee;  Doivager,  Martha 
.Mattox;  Djike  Latour,  Charles  Giblin;  Miss 
Whitley,  Julanne  Johnston. 

"THE  GARDEN  OF  EDEN"— United 
Artists. — From  the  play  by  Rudolph 
Hernnauer  and  Rudolph  Oesterreicher. 
Directed  by  Lewis  Milestone.  Scenario  by 
Hans  Kraly.  The  cast:  Toni  Lebrun, 
Corinne  Griffith;  Rosa,  Louise  Dresser; 
Henry  von  Glessing,  Lowell  Sherman; 
Madame  Bauer,  Maude  George;  Richard 
Spanyi,  Charles  Ray;  Colonel  Dupont, 
Edward  Martindel. 

"THE  GAY  DEFENDER"  — Par.\- 
MOUNT. — From  the  story  by  Grover  Jones. 
Scenario  by  Ray  Harris,  Sam  Mintz  and 
Kenneth  Raisbeck.  Directed  by  Gregory 
La  Cava.  Photography  by  Edward  Crin- 
jager.  The  cast:  Joaquin  Murrieta,  Richard 
Di.\;  Ruth  Ainsworth,  Thelma  Todd;  Jake 
Ilamby,  Fred  Kohler;  Chombo,  Jerry 
iMandy;  Ferdinand  Murrieta,  Robert  Bower; 
Padre  Sebastian,  Harry  Holden;  Comm. 
Ainsworth,  Fred  Esmelton;  Aunt  Enfily, 
Frances  Raymond;  Bart  Hamby,  Ernie  S. 
Adams. 

"THE  DESIRED  WOMAN"  — 
Warners. — From  the  story  by  Mark  Can- 
field.  Scenario  by  Anthony  Coldeway. 
Directed  by  Michael  Curtiz.  Photography 
by  Conrad  Wells.  The  cast:  Lady  Diana, 
Irene  Rich;  Capt.  Maxwell,  William  Russell; 
Lt.  Larry  Trent,  William  Collier,  Jr.;  Fitzroy, 
Douglas  Gerrard;  Henery,  Jack  Ackroyd; 
Lieut.  Kellogg,  John  Miljan;  Sir  Syd?iey 
Vincent,  Richard  Tucker. 

"THE  WIZARD  "—Fo.x.— From  the 
play  by  Gaston  Leroux.  Scenario  by  Harry 
O.  Hoyt.  Directed  by  Richard  Rosson. 
The  cast:  Stanley  Gordon,  Edmund  Loew; 
Anne  Webster,  Leila  Hyams;  Paul  Coriolos, 
Gustav  Von  Seyffertitz;  Edivin  Palmer,  E. 
H.  Calvert;  Judge  Webster,  Norman  Trevor; 
Reginald  Van  Lear,  Barry  Norton;  Sam, 
Oscar  Smith;  Detective  Sergeant  Murphy, 
Perle  Marshall;  Chauffeur,  Richard  Frazier; 
Ape,  George  Kotsonaros;  Mrs.  Van  Lear, 
Maude  Turner  Gordon. 

"VERY  CONFIDENTIAL"  —  Fo.x.  — 
From  the  story  by  James  K.  McGuinness 
and  Randall  H.  Faye.  Scenario  by  Randall 
H.  Faye.  Directed  by  James  Tinling.  The 
cast:  Patricia  Murphy,  Madge  Bellamy; 
Roger  Allen,  Patrick  Cunning;  Priscilla 
Travers,  Mary  Duncan;  Donald  Allen, 
Joseph  Cawthorn;  Stella,  Marjorie  Beebe; 
Adelaide  Melbottrne,  Isabelle  Keith;  Chauf- 
feur, Carl  von  Haartmann. 

"RED  RIDERS  OF  CANADA"— FBO. 
— From  the  story  by  William  Byron 
Mowery.  Directed  by  Robert  DeLacy. 
The  cast:  Joan  Duval,  Patsy  Ruth  Miller; 
Sergeant  Brian  Scott,  Charles  Byer;  Msieu 
Le  Busart,  Harry  Woods;  Pierre  Duval,  Rex 
Lease;  Nicholas,  Barney  Furey. 


EARLE  E.  LIEDERMAN,  the  Muscle  Builder 

.ivihor  0/  "Muscle  Building."  ".'ictence  of  Wreitling," 
Secrets  of  Slrength,"  "Here's  Health,"  "Eniurance,"  etc. 

The  Man  I  Pity  Most 

P 


0  one  had  any  u 
Across  his  face 
-FAILURE.    He  just  lived  i 
1  of  a  man.  doing  his 


for  him. 
read  one 


Th 


the  world.  II  he  had  realized  just  one  thing,  he  could 

made  good.    He  might  have  been  a  brilliant  success. 

like  Jones.    They,   too. 


are  thousands  < 

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'■      ■'  bigtact— that  pr.icticany 

^^i.*^'""**     worm     wniie    living     for     depends     uiion 
STRENGTH— upon  live,  red-blooded,  he-man  muscle. 

Everything  you  do  depends  upon  strength.  No  matter 
what  your  occupation,  you  need  the  health,  vitality  and 
clear  thinking  only  big.  strong  virile  muscles  can  giv 
When  you  are  jll  thestrength  in  those  big  muscle 


riullsyo 


the  offlee,  ln"the  farm  flelS.  or"oii'thc 
find  your  success  generally  depends  upon 


courts,  you" 

your  muscular  development. 
Here 


a  Short  Cut  to  Strength  and  Success 

"But"  you  say,  "It  takes  years  to  build  my  body  up  to 
the  point  where  It  will  equal  those  of  athletic  c-hampion.s." 
It  does  if  you  go  about  it  without  any  system,  but  there's 
a  scientific  short  cut.  And  that's  where  I  come  in. 
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"THE  TIGRESS  "—Columbia.— Sce- 
nario by  Harold  Shumate.  Directed  by 
George  B.  Seitz.  Photography  by  Joseph 
Walker.  The  cast:  Winston  Graham,  Earl 
of  Eddington,  Jack  Holt;  Mono,  "The 
Tigress,"  Dorothy  Revier;  Pietro,  the  Bold, 
Frank  Leigh;  Pippa,  Philippe  de  Lacy; 
Tser,  Howard  Truesdell;  Wibhle,  Frank 
Nelson. 

"LADIES  MUST  DRESS"  —  Fo.x. — 
From  the  story  by  Victor  Heerman.  Sce- 
nario by  Reginald  Morris.  Directed  by 
Victor  Heerman.  The  cast:  Eve,  Virginia 
V'alli;  Joe,  Lawrence  Gray;  Art,  Hallani 
Cooley;  Mazie,  Nancy  Carroll;  George  Ward, 
Jr.,  Earle  Foxe;  Office  Manager,  Wilson 
Hummell;  Mr.  Ward,  Sr.,  William  Tooker. 

"THE  THIRTEENTH  HOUR  " — 
AL-G.-M. — From  the  story  by  Douglas 
Furber  and  Chester  M.  Franklin.  Con- 
tinuity by  Edward  T.  Lowe,  Jr.,  and  Chester 
M.  Franklin.  Directed  by  Chester  M. 
Franklin  and  Errol  Taggart.  Photography 
by  Ma.ximilian  Fabian.  The  cast:  Professor 
Leroy,  Lionel  Barry  more;  Mary  Lyle, 
Jacqualine  Gadson;  Matt  Gray,  Charles 
Delaney;  Detective  Shaw,  Fred  Kelsey;  The 
Dog,  Napoleon;  Polly,  Polly  Moran. 

"DE.'^D  MAN'S  CURVE"  — FBO.— 
From  the  story  by  Frank  Richardson  Pierce. 
Adapted  by  Ewart  Adamson.  Directed  by 
Richard  Rosson.  Photography  by  Phillip 
Tannura.  The  cast:  Vernon  Keith,  Douglas 
Fairbanks,  Jr.;  Ethel  Hume,  Sally  Blane; 
George  Marshall,  Charles  Byer;  Fergus 
Hume,  Arthur  Metcalfe;  Goof  Goober,  Kit 
Guard;  Benton,  Byron  Douglas;  Derne, 
James  Mason. 

"CHEATING  CHEATERS"  —  U!«;i- 
VERS.\L. — From  the  play  by  Max  Marcin. 
Adapted  by  Charles  Logue.  Directed  by 
Edward  Laemmle.  Photography  by  Jack- 
son Rose.  The  cast:  Nan  Carey,  Betty 
Compson;  Tom  Palmer,  Kenneth  Harlan; 
Mrs.  Brockton,  Sylvia  Ashton;  Mr.  Brock- 
ton, Edwin  Connelly;  Mrs.  Palmer,  Maude 
Turner  Gordon;  Mr.  Palmer,  E.  J.  Ratcliffe; 
Lazarre,  Lucien  Littlefield;  Steve,  Eddie 
Gribbon;  Tony,  Cesare  Gravina. 

"TWO  GIRLS  W.ANTED"  — Fo.x. — 

From  the  play  by  Gladys  Unger.  Scenario 
by  Seton  I.  Miller.  Directed  by  Alfred  E. 
Green.  The  cast:  Marianna  Miller,  Janet 
Gaynor;  Dexter  Wright,  Glenn  Tryon;  Jack 
Terry,  Ben  Bard;  Sarah  Miller,  Marie 
Mosquini;  Philip  Hancock,  Joseph  Caw- 
thorn;  Miss  Timoney,  Doris  Lloyd;  Edna 
Delafield,  Alyce  Mills;  William  Moody, 
William  Tooker;  Mrs.  Delafield,  Pauline 
Neff;  Johnny,  William  Blatcher;  Michael, 
C.  L.  Sherwood. 

"WOMAN  WISE  "—Fox.— From  the 
story  by  Donald  McGibney  and  J.  K. 
McGuiness.  Adapted  by  Andrew  Bennison. 
Directed  by  Albert  Rav.  The  cast:  Ne'er- 
Do-Well,  William  Russell;  Millie  Baxter, 
June  CoUyer;  U.  S.  Consul,  Walter  Pidgeon; 
Abdtd  Mustapha,  Theodore  Kosloff;  Valet, 
Ernie  Shields;  Khiird  Chief,  Raoul  Paoli; 
Guard,  Duke  Kahanamoku;  Native  Girls, 
Josephine  Borio  and  Carmen  Castillo. 

"THE  LAST  MOMENT"— Fine  Arts. 
— FromthestorybyPaulFeios.  Directed  by 
Paul  Fejos.  The  cast:  Otto  Matieson, 
Georgia  Hale,  Lucile  LaVerne,  Anielka 
Eltar,  Vivian  Winston,  Isabel  Lamore. 

"ACROSS  THE  ATLANTIC"  — 
Warners. — From  the  story  by  John  Ran- 
some.  Scenario  by  Harvey  Gates.  Directed 
by  Howard  Bretherton.  Photography  by 
Barney  McGill.  The  cast:  Hugh  Clayton, 
Monte  Blue;  Phyllis  Joynej,  Edna  Murphy; 
John  Clayton  (Father),  Burr  Mcintosh;  Dan 
Clayton,  Robert  Ober. 


"THE  GIRL  IN  THE  PULLMAN"— 
Pathe-De  Mille, — From  the  story  by 
Willson  Collison.  Adapted  by  F.  McGrew 
Willis,  Directed  by  Erie  C.  Kenton. 
Photography  by  Dewey  Wrigley.  The  cast: 
Hazel  Burton,  Marie  Prevost;  Dr.  Donald 
Burton,  Harrison  Ford;  Hector  Brooks, 
Franklin  Pangborn;  Dollie  Jones,  Kathryn 
McGuire;  Mrs.  Jones,  Ethel  Wales;  Jerry 
Mason,  Harry  Myers. 

"THE  SILVER  SLAVE  "—Warners.— 
From  the  story  by  Howard  Smith.  Scenario 
by  Peter  Milne.  Directed  by  Howard 
Bretherton.  Photography  by  Frank  Kesson. 
The  cast:  Bernice  Randall,  Irene  Rich; 
Jatiet  Randall,  Audrey  Ferris;  Tom  Richards, 
Holmes  Herbert;  Philip  Caldwell,  John 
Miljan;  Larry  Martin,  Carrol  Nye. 

"A  LIGHT  IN  THE  WINDOW"  — 
R.\YART. — From  the  story  by  Arthur 
Hoerl.  Directed  by  Scott  Pembroke.  The 
cast:  Johann  Graff,  Henry  B.  Walthall; 
Dorothy  Graff,  Patricia  Avery;  Maizie,  Erin 
La  Bissner;  Peter  May  field,  Henry  Sedley; 
Teddie  Wales,  Tom  O'Grady ;  Bert  Emmonds, 
Cornelius  Keefe. 

"  PRETTY  CLOTHES  "  —  Sterling.— 
From  the  story  by  Peggy  Gaddis.  Directed 
by  Philip  Rosen.  The  cast:  Marion  Dun- 
bar, Jobyna  Ralston;  Rose  Dunbar,  Gertrude 
Astor;  Russel  Thorpe,  Johnny  Walker; 
Philip  Bennett,  Lloyd  Whitlock;  Thorpe,  Sr., 
Charles  Clary;  Albert  Moore,  Jack  Mower; 
Mrs.  Dunbar,  Lydia  Knott. 

"COME  TO  MY  HOUSE"— Fox.— 
From  the  story  by  Arthur  Somers  Roche. 
Scenario  by  Marion  Orth.  Directed  by 
Alfred  E.  Green.  The  cast:  Joan  Century, 
Olive  Borden;  Floyd  Bennings,  Antonio 
Moreno;  Fraylor,  Ben  Bard;  Murtagh 
Pell,  Cornelius  Keefe;  Renee  Parsons,  Doris 
Lloyd;  Jimmy  Parsons,  Richard  Maitland. 

"CASEY  JONES"  — Rayart.  — From 
the  story  by  Arthur  Hoerl.  Directed  by 
Charles  J.  Hunt.  The  cast:  Casey  Jones, 
Ralph  Lewis;  Casey,  Jr.,  Jason  Robards; 
Roland  Ayres,  Brooks  Benedict;  Peggy  Rey- 
nolds, Anne  Sheridan ;  Mrs.  Casey  Jones, 
Kate  Price;  Jock  MacTavish,  Al  St.  Johns. 

"DISCORD"— Pathe.— From  the  story 
by  Dr.  Paul  Merzbach.  Directed  by  Gustaf 
Molander.  The  cast:  Cathleen  Paget,  Lil 
Dagover;  Mrs.  Brock  [her  Mother),  Karin 
Swanstrom;  Poppy  Brock,  Brita  Appelgren; 
Bruce  Brock,  Hakan  Westergren;  Ivor  Wil- 
lifigton,  Gosta  Ekman;  Lionel  Jessop, 
Wilhelm  Bryde;  Birger  Holm,  Urho  Somer- 
salmi;  Antje,  Stina  Berg. 

"BABY  MINE"— M.-G.-M.— From  the 
play  by  Margaret  Mayo.  Adapted  by 
Sylvia  Thalberg  and  Lew  Lipton.  Directed 
by  Robert  Z.  Leonard.  The  ca.st:  Jimmy, 
George  K.  Arthur;  Alfred,  Karl  Dane;  Helen, 
Louise  Lorraine;  Flo,  Charlotte  Greenwood. 

"WIZARD  OF  THE  SADDLE"— FBO. 

— From  the  story  by  Frank  Howard  Clark. 
Directed  by  Frank  Howard  Clark,  Photog- 
raphy by  Roy  Eslick.  The  cast:  "Red" 
Heoner,  Buzz  Barton;  Hank  Robbins,  Mil- 
burn  Jiloranti;  To7n  Ellis,  Jimmy  Ford; 
Jenny  Adams,  Duane  Thompson;  "Pop" 
Adams,  James  Welch;  Kirk  McGrew,  Bert 
Apling. 

"WOLF  FANGS"— Fo.x,— From'  ^the 
story  by  Seton  I,  Miller  and  Elizabeth 
Pickett.  Scenario  by  Seton  I,  Miller. 
Directed  by  Lew  Seller,  The  cast:  Thunder, 
Himself;  Ellen,  Caryl  Lincoln;  Neat  Barrett, 
Charles  Morton;  Pete,  Frank  Rich;  Bill 
Garside,  James  Gordon;  White  Fawn,  Her- 
self; Zimbo,  Himself;  Oswald,  Himself. 


Etcry  ailvcrtlscmciit  In  rnOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"THE  LIGHTER  THAT  FAILED"— 
M.-G.-M. — Directed  by  James  Parrot. 
Photography  by  Len  Powers.  The  cast: 
Charley  Chase,  Edna  Marion,  May  Wal- 
lace, Eugene  Pallete,  William  Orlamond. 


Questions  ^Answers 


[  CONTINUED  FROM  PAGE  99  ] 

M.  E.  D.,  Spokane,  Wash.— Norman 
Kerry  was  born  in  New  York  City  about 
thirty-two  years  ago.  His  wife  is  a  non- 
professional. No,  Norman  doesn't  do  much 
travelling  nor  does  he  make  personal  appear- 
ances. 

E.  W.  H.,  Los  Angeles,  Calif.— Yes, 
Clara  Bow  was  the  ah — "sort  of  fat  girl" 
in  "Down  to  the  Sea  in  Ships."  Clara  has 
the  leading  feminine  role  in  "Wings." 
Richard  Arlen  and  Charles  Rogers  are  also 
in  the  cast.  Sure,  "Wings"  has  been  re- 
leased for  some  months. 

Norman  D.,  West  Chester,  Pa. — Mary 
Astor's  real  name  is  Lucille  Langhanke  and 
she  was  born  in  Quincy,  111.,  on  May  3,  1906. 
Wrile  to  her  at  the  First  National  Studios, 
Burbank,  Calif.  Raymond  Griffith  is  not 
making  pictures  at  present. 

Mrs.  a.  C,  Swansea,  Mass. — Richard 
Dix  pays  the  penalty  of  being  a  bachelor 
in  Hollywood;  he's  the  hero  of  all  sorts  of 
rumors.  But  I  don't  think  he's  going  to 
marry  the  girl  you  mention.  Write  to 
Lois  Wilson  in  care  of  the  First  National 
Studios,  Burbank,  Calif.  Thanks  for  the 
nice  words. 

E.  E.  G.,  Greenwich,  Conn. — Vilma 
Banky  just  passed  her  twenty-fifth  birthday 
on  the  ninth  of  January.  She  came  to 
this  country  from  Hungary  in  1925.  Write 
to  her  at  the  United  Artists  Studio,  7100 
Santa  Monica  Blvd.,  Hollywood,  Calif. 

A  Reader,  Marshall,  Tex. — For  the 
benefit  of  you  and  the  twenty-three  other 
trirls,  I  hereby  announce  that  Tim  McCoy's 
address  is  in  care  of  the  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Calif. 

R.  M.,  Birmingham,  Ala. — Flatterer! 
Billie  Dove  is  married  to  Irvin  Willat  and 
Lloyd  Hughes'  wife  is  Gloria  Hope.  John 
Gilbert  is  an  American. 

A.  L.,  New  Y9RK,  N.  Y.— Rex  Ingram 
was  born  in  Dublin,  Ireland.  You're  right; 
his  father  was  an  English  bishop. 

Toots,  Brooklyn,  N.  Y. — Here's  a 
short  sketch  of  Clive  Brook:  Born  in 
London,  England,  thirty-six  years  ago. 
Five  feet,  eleven  inches  tall  and  married 
to  a  non-professional.  His  current  picture 
is  "The  Devil  Dancer"  and  you  may  write 
to  him  at  the  Paramount-Famous-Lasky 
Studio,  Hollywood,  Calif. 

G.  H.,  Henryetta,  Okla. — You  win  and 
the  boy  friend  was  wrong.  It  was  Antonio 
Moreno  and  not  John  Gilbert  who  played 
oppo,site  Greta  Garbo  in  "The  Temptress." 
Collect  your  dollar. 

V.  G.  S.,  Canton,  Ohio.— "Monte 
Cristo"  was  first  released  on  March  19, 
1922.  Robert  Harron  has  been  dead  for 
some  years.  Charles  Emmet  Mack  was 
killed  on  March  17,  1927.  His  last  picture 
was  "The  First  Auto." 

Jimmy,  Oteen,  N.  C— George  Bancroft 
is  his  real  name  and  he  attended  the  Naval 
Academy  at  Annapolis.  So  that  looks  as 
though  he  might  have  been  in  the  Navy. 


45 


mm  TOP 


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■r^-- »»  (  ■)  "y  li  t>  .    M.S.,    PhD  — Head    of    Department    of    Industrial    Chemistry,  ^^ 
»^)l    mJ  }\,/  Pratt    Institute:     L.     M.    Tolman.    Ph.D.— Formerly    -«^    iMTrousTiniu  »i 

l^\  ^    ^iH^rri     /S  Chief  Chemist.  Wilson  &  Co.     Now  Vice-president.  ^<^  '^ '    cr  u  Jn?"*"- 

'""^A,///  VJ^-lJLirf&\  United    Chemical    and    Organic    Products    Co. ;  ^*»^  -^  rScSr^Tav 

W'L«/f.^^^d,\        Bkadlky    Stocohton,    B.S.— Head   ai  ^^  ^^  CHEMISTRY 

l!(\  K/m^^^Sti^^ ,  \^the  Department  of  Metallurgy,  Lehigh  ^^^^  Division   of  the 

University,  and  Owen  L.  Shinn,  ^^^    International  Correspondence  Schools 
PhD. — Professor  of  AppUcd^'"'^  Dept.  651  l-B,  Scranton,  Penna. 

(htmistry.  University  of  ^.^       Without  cost  or  obllsation,  please  send  me 
Pennsylvania.  ^■^     fun  details  of  your  home-study  course  In 

Mad  Coupon      ^  CHEMISTRY 

for  Free  ^r^ 

Book-  ^"^^    Name 

j^-<^    Address 

write  to  advertisers  please  mention   PHOTOPLAY   M.iGAZI.N'B. 


46 


Photoplay  Magazine— Advertising  Section 


9N^25C 


^„»^  *«•*  ^'^•' 


'>lu-- 


SECOND 
EDITION 
NOW  READY 


I 


100 

FAVORITE  RECIPES 
OF  FAMOUS  FILM  STARS 

PHOTOPLAY'S  Cook  Book 

Edited  by  Carolyn  Van  Wyck 


PHOTOPLAY  readers  do  enjoy  good  things  to 
eat.  We  are  convinced  of  that,  as  the  entire  first 
edition  of  our  new  Cook  Book  was  completely  sold 
out  only  a  few  months  after  the  appearance  of  the 
first  announcement.  The  second  edition  is  now 
ready  for  distribution,  so  you  will  not  be  disap- 
pointed. 

PHOTOPLAY'S  Cook  Book,  of  course,  is  in  no  sense  a 
»)Ook  on  HOW  TO  COOK.  It  is  merely  a  guide  of  WHAT 
TO  COOK.  The  recipes  are  not  beyond  the  skill  of  the 
average  housewife.  In  fact,  very  few  of  them  call  for  any 
delicacies  that  are  not  in  stock  in  every  kitchen. 

You  will  not  find  any  charts  or  calories,  proteins  or  vita- 
mins in  this  book,  but  you  will  find  among  its  recipes  some 
very  delicious  vegetable  and  fruit  salads  that  should  be  on 
the  menu  of  every  woman  who  values  her  health,  her  com- 
plexion   and    her    figure. 

Menus  for  All  Occasions 

The  many  "party"  recipes,  the  many  dishes 
that  are  appropriate  for  luncheons,  teas  or  suppers 
will  make  this  little  book  priceless  to  the  hostess. 
The  foreign  recipes  furnished  by  prominent  French, 


German,  Swedish  and  Hungarian  Stars  will  add 
a  welcome  variety  to  your  menus.  Also  included 
in  this  amazing  little  book  are  22  favorite  recipes 
for  desserts  and  candies,  for  which  you  would 
gladly  pay  double  its  price.  Tasty  desserts  and 
delicious  candies,  just  the  thing  to  serve  after  an 
evening  of  Bridge  or  after  the  theater. 

Write  your  name  and  address  plainly  in  the  space  provided 
in  the  coupon,  and  enclose  only  25  cents  (stamps  or  currency), 
and  you  will  receive  your  copy  of  this  wonderful  little  Cook 
Book  by  return   mail. 


Photoplay  Publishing  Co., 
750  N.  Michigan  Ave., 
Chicago,  III. 

Gentlemen: 

Enclosed  please  find  25  cents   (''"^'^^"pY)   for  '^hich  kindly 

send  me  Photoplay's  Cook  Book  containing  100  favorite 
recipes  of  the  film  stars. 

Name 

Address 

City 


.State Ph-2-28 


rilOTOI'L.W  M.\GASnXE  I 


The  Pity  of /fe 
Over  fat  (m 


cirt  is  so  unnecessary. 
So  easy  to  correct. 
You  do  yourself 
a  great  injustice 
to  permit  it  — ' 


Correct 

the  cause 

In  this  Easy, 
Pleasant  way 

FAT  used  to  indicate  langour,  or  an 
over-desire  for  sweets.  But  it  was 
found  that  fat  people  were  often 
the  most  active,  and  often  light  eaters. 
Then  science  sought  the  real  cause. 

Fat  became  unpopular.  All  dress  styles 
were  adapted  to  the  thin.  All  ideas  of 
beauty  centered  on  the  slender. 

Some  adopted  strenuous  excercise, 
some  abnormal  diet.  But  their  doctors 
soon  forbade.  There  are  dangers  in  those 
ways  of  reducing. 

Then  science  came-> 

Then  science— particularly  German  sci- 
ence—sought the  cause  of  excess  fat.  It 
was  found  in  the  thyroid  gland.  That 


gland  is  a  great  factor  in  the  control  of 
nutrition.  It  is  the  gland  which  helps 
turn  food  into  fuel  and  energy,  rather 
than  into  fat. 

Experiments  were  made  on  animals — 
on  thousands  of  them.  It  was  found  that 
feeding  the  thyroid  gland  reduced  the 
fat.  Then  it  was  tried  on  human  beings, 
with  the  same  result. 

t_^  new  era  earner 

That  was  20  years  ago  or  over.  Then  a 
new  era  came.  Marmola  prescription 
tablets  presented  this  new  factor,  in  con- 
venient form,  two  decades  ago. 

All  can  see  the  results.  Million  of  boxes 
of  Marmola  have  been  used.  Excess  fat 
is  far  less  common.  Slenderness  prevails. 

Some  fear  ill  effects.  For  years  and 
years  we  never  mentioned  thyroid  in 
connection  with  Marmola.  Now  we  pub- 
lish our  complete  prescription  in  con- 
nection with  every  package. 

Thyroid  is  a  food,  taken  from  food 
animals.  Its  use  is  intended  to  feed  the 
human  thyroid  when  more  strength  is 
needed.  And  that  strengthened  thyroid, 
assisting  nutrition,  does  what  Marmola 
does. 

Ijo  not  worry 

When  you  take  Marmola,  and  weight 
comes  aown,  don't  worry.  You  may  lose 


two  or  three  pounds  per  week.  But  that 
comes  only  through  benefits  to  nutri- 
tion. You  are  turning  food  to  its  real 
uses,  not  to  fat. 

This  is  the  modern  way,  the  scientific 
way,  for  dealing  with  excess  fat.  Cor- 
rect the  cause.  No  abnormal  exercise 
or  diet  is  required.  Let  the  stimulated 
thyroid  gland  take  care  of  the  food  you 
don't  need. 

People  all  around  you  will  show  you 
the  results.  The  slender  figures  which 
prevail  today  are  due  largely  to  Marmola. 

Take  four  tablets  daily,  then  watch  the 
results.  When  weight  comes  down  to 
normal,  stop  Marmola.  You  have  had 
enough.  But  take  more  Marmola  tablets 
if  the  weight  goes  up. 

Keep  the  thyroid  at  its  normal  activity 
and  you  will  keep  normal  weight.  Try 
this  at  once,  and  you  and  those  you 
like  best  will  be  delighted   by  results. 

MARMOLA 

^-^    '^Prescription  'Ablets 
V/?e  T^leasant  V)ay  to%duce 

SOLD  BY  ALL  DRUGGISTS 

at  $1.00  per  box.  yJdillions  of  boxes.  If 
your  druggist  is  out  he  will  get  them. 


Not  just  an 
average  skin 

But  a  skin  with  that 
vital  bloom,  that  brightness 
and  richness  and  radiance  we  call 
beauty  ....  You  can  have  it  if  you 
will! 

Give  your  skin  the  special  care  that 
today  thousands  of  beautiful  women 
are  using  to  build  up  the  health  of 
their  skin  and  keep  it  lovely  and  clear 
and  smooth! 

Debutantes— college  girls— women 
guests  at  America's  most  exclusive 
resorts— are  telling  the  wonderful 
improvement  they  have  been  able  to 
make  in  their  complexion,  by  means 
of  Woodbury's  Facial  Soap — the  soap 
recommended  by  skin  specialists  as 


)est  for  a  sen- 
sitive skin. 
'As  long  as  I  use 
Woodbury's  I  have  no  trouble 
with  blemishes,"  writes  one  girl.  "1 
had  an  oily  irritated  skin,"  writes 
another;  "after  using  Woodbury's  for 
a  few  months  my  skin  became  smooth 
and  clear."  "Woodbury's  has  cleared 
my  skin  of  blackheads ..."  "The  only 
soap  that  does  not  irritate  my  skin . . ." 
These  are  characteristic  comments. 
In  the  booklet  that  comes  free  with  every 
cake  of  Woodbury's  you  will  learn  just  how 
to  use  Woodbury's  for  your  type  of  skin. 

If  you  have  a  clear,  naturally  good  com- 
plexion—  you  should  use  the  famous  Wood- 
bury treatment  for  normal  skins  given  in 
this  booklet. 

If  you  are  troubled  with  blackhead8,blem- 


ishes,  oily  skin,  or  any  afliei  skin  defect- 
use  the  special  treatment  recommended  for 
that  trouble. 

A  25c  cake  of  Woodbury's  Facial  Soap 
lasts  a  month  or  six  weeks.  Get  a  cake  today! 

Your  Woodbury  Treatment  for  ten  days 
Now— the  large-size  trial  set! 


Thp  Andrew  Jorgens  Co. 

2203  Alfred  Street,  Cincinnati.  Ohio. 

For  the  enclosed  lo  cents  please  send  me  the  new 
large-size  trial  cake  of  Woodbury's  Facial  Soap, 
the  Cold  Cream.  Facial  Cream  and  Powder,  the 
treatment  booklet.  -'A  Skin  Yon  Love  to  Touch," 
and  instructions  for  the  new  complete  Woodbury 
••Facial."  In  Canada,  address  The  Andrew  Jergens 
Co.,  Limiled,  ZgOS  Sherbrooke  Si.,  Perth,  Unt. 


You  too  can  have  the  charm  of  "a  skin  you  love  to  touch 


i  he  ISdtionai  yuide  to  ^Motion  Pictures 


MARCH 


25  Cents 


Mary 


^f 


^^-j^^^,!**'-; 


Are  The  Stars  Doomed? 

The  Inside  Story  of  the  Hollywood  Revolution 


What  FAMOUS  people 

WOULD     HAVE     SAID 
ABOUT     MARLBORO 


Always  befcre  a  famous 
battle  I  calm  my  nerves 
with  a  MARLBORO' 


Whether  or  not  your  battles  are 
as  famous  as  Napoleon's — you'll 
be  strong  for  Marlboros  from  that 
first  satisfying  intake  of  mild,  blue 
Marlboro  smoke. 

Philip  Morris — none  other — 
did  it!  With  rich, warmly-flavored 
Turkish  he  blended  Virginia's  best 
leaf — and  discovered  Marlboro. 
His  bold,  scarlet  signature  across 
the  front  of  the  distinctive 
black-and-white  package  marks 
the  man  who  carries  one  as  a  wise, 
contented  smoker. 

Marlboro  is  a  cigarette  that 
really  achieves  mildness — ^yet  with 
enough  sparkle  to  remain  inter- 
esting every  hour  of  the  smoking 
day.    Buy  a  package  today. 

2<d  for  2Q  cents 


(^MdmMm) 


Always  Fresh 
Wrapped  in  Heavy  Foil 


MARLBORO 

CIGARETTE    S 

Marlboro  Bridge  Score  sent  frc-c  upon  request.  Philip  Morris  &  Co.  Ltd.,  Inc.  44  West  18th  Street,  Dept.  B,  New  York 


Photoplay  Magazine — Advertising  Section 


How  Screen  Stars 


{i^mpk 


^asize 


by  wearing  a  certain 
type  of  hosiery 


t^ 


ToAN  Crawford 

chooses  this  exquisitely  femi-     j 
nine  all-silk  hose,  with  this 
smart  Allen-A  Heel* 

Those  marvelously  shaped  legs  of  Joan  Crawford's. 
Acknowledged  the  most  perfect  in  all  moviedom. 
If  you  knew  the  infinite  pains  taken  in  the  selection 
of  her  hosiery,  you  would  never  again  treat  the 
selection  oi yours  lightly. 

For  movie  stars  and  directors  have  discovered  that 
shapeliness  of  ankle  and  leg  is  due,  in  no  small 
way,  to  hosiery.  That  by  wearing  a  certain  type 
hose  it  is  possible  to  make  legs  less  perfectly 
formed  than  Joan  Crawford's  actually  appear 
graceful  and  appealing. 

To  emphasize  the  symmetry  of  her  legs,  Miss 
Crawford  chooses  this  new  Allen-A  Heel  style.* 
A  most  exquisite  creation  of  sheer  chiffon  silk, 
from  top  to  toe.  Full-fashioned  to  mold  closely  to 
ankle  and  knee,  thus  enhancing  the  natural  curve. 

The  new  Allen-A  Heel,  which  tapers  to  a  point 
above  the  slipper,  gives  an  alluring  slenderness  to 
the  ankle  never  before  attained.  It  also  reinforces 
the  heel. 

And  to  assure  long  service,  the  silken  foot  is  further 
reinforced  by  an  extra  narrow  sole  and  special  side 
and  top  toe  guards  of  fine  lisle.  Invisible  even 
when  worn  with  "cut-out"  slippers. 

You  will  find  this  lovely  Allen-A  creation  at  your 
dealer's  in  all  of  the  newest  shades.  Ask  for  it 
by  style  number— 3715.  Only  $195  the  pair.  If 
your  dealer  does  not  carry  this  style,  simply  send 
us  his  name — a  postcard  will  do — and  we  will 
see  that  you  are  promptly  supplied. 

THE  ALLEN-A  COMPANY,  Ksnosha,  Wisconsin 

Allen-A  1 

Hosiery 


*The  same  hosiery  styles  shoxvn  in  the  smart 
AUen-A  Hosiery  Shop,  Fifth  Jve.  at  38th  St.— 
and  other  New  York  stores — are  now  available  at 
Allen-A  dealers  everywhere.  Priced  from  $1.50  to 
$3  the  pair. 


please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


^OO  featttte 
Will  be  V"^ 


will  you 
choose  the  best? 

With  some  700  pictures  coming  in  1928,  and 
all  clamoring  for  your  time,  it's  too  great  a 
risk  to  just  go  out  and  gamble  on  seeing  a 
good  one.  Don't  do  it.  Heed  this  .  .  . 
Of  these  700,  about  85  will  be  Paramount 
Pictures.  We  do  not  say  they  are  the  only 
good  ones.  We  do  say  they  are  all  good 
ones,  and  that  you  never  need  take  any 
chances  when  you  remember—"  if  it's  a  Par- 
amount Picture  it's  the  best  show  in  town!" 


A- 


%ramount  9^ictures 


Paramount  l< 


amousLaskyCorporation,AdolphZ„kor,Pres.,ParamountBldg.,NewYorkCit- 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is 


The  World's   Leadi 


FREDERICK  JAHES 


otion   Picture   Publication 


For 

March 

1928 


The  High-Lights  of  This  Issue 


Cover  Design 

Mary  Philbin- 


Charles  Sheldon 

-Painted  from  Life 


As  We  Go  to  Press 

Latest  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 


Lasky's  Brook 

Qive — an  English  Soldier, 


Ruth  Waterbury 

.  Scholar  and  a  Gentleman 


Mrs.  Douglas  Fairbanks  Analyzes  Mary  Pick- 
ford  Alma  Whitaker 

America's  Sweetheart  Tells  What's  on  Her  Mind 

The  Diary  of  "Lorelei  Lee" 

In  Which  Ruth  Taylor  Jots  Down  Both  Events  and 
Thoughts 

See  Hollywood  and  Die  Herbert  Howe 

Some  Deductions  of  Hollywood's  Man-About-Town 

My  Life  Story  Clara  Bow 

Second  Installment  of  a  Touching  Narrative  as  Told 
to  Adela  Rogers  St.  Johns 

The  Lucky  Thirteen 

Hollywood  Newcomers  Honored  by  the  Wampas 

Are  the  Stars  Doomed?  James  R.  Quirk 

Photoplay  Presents  to  Its  Readers  the  Inside  Story 
of  the  Hollywood  Revolution 


8 
10 

16 
27 

29 

30 
32 

34 
38 

40 

42 


Gossip  of  All  the  Studios  Cal  York    44 

What  the  Film  Folks  Are  Doing  and  Saying 

Companionate  Stardom  Ruth  Biery    48 

Killing  Rumors  About  the  Marriage  of  Vilma  Banky 
and  Rod  La  Rocque 

Are  We  Morons?  Dr.  Louis  E.  Bisch    50 

The  Scientific  Answer  to  Those  Who  Belittle  the 
Intelligence  of  Movie  Audiences 

The  Shadow  Stage  52 

Reviews  of  Newest  Pictures 

Love  and  Laughter  (Fiction  Story) 

Emma-Lindsay  Squier    56 

She  Thought  She  Loved  One  Other  Than  Her  Hus- 
band, But — 

Don't  Call  Her  a  Rich  Girl  Ruth  Biery    63 

Photoplay's  First  Story  About  Sue  Carol— a  Wam- 
pas Star 


Tom  Mix    64 


Making  a  Million 

Still  Hunting  the  Elusive  Dollar 

Just  a  Song  at  Midnight  (Fiction  Story) 

Margaret  E.  Sangster    68 

A  First  Love  Goes  on  the  Rocks 

Amateur  Movies  Frederick  James  Smith    71 

Dorothy  Farnum  Gives  Six  Rules  for  Home  Scenario 

Writers 

Shop  Through  Photoplay  72 

Fifth  Avenue  Fashions  for  Limited  Incomes 

Recipes  to  Please  Men  81 

A  Peek  Into  Photoplay's  Cook  Book 

Questions  and  Answers  The  Answer  Man    95 

What  You  Want  to  Know  About  Films  and  Film  Folk 

Casts  of  Current  Photoplays  136 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


A  complete  list  of  all   photoplays   review^ed  in  the   Shadow  Stage  this  issue   will  be  found  on  page  li 


Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  III. 

The  International  News  Company,  Ltd.,  Distributine  Agents,  5  Bream's  Building,  London,  England 

James  R.  Quirk,  President  Robert  M.  Eastman,  Vice-President  Kathryn  Dougherty.  Secretary  and  Treasurer 

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Entered  as  second-class  matter  April  24,  1912,  at  the  Postoflice  at  Chicago,  111.,  under  the  Act  ol  March  3,  1879. 
Copyright.  1928,  by  the  PHOTOPLAY  PUBLISHING  COMPANY,  Chicago. 


5 


.£ast  Minute  J^civs from  oast  andWest 

s  we  go 
to 

Press 


JOHN  BARRYMORE  will  do  the  film 
version  of  Frederick  Londsdale's  "The 
Last  of  Mrs.  Chaney,"  played  success- 
fully behind  the  footlights  by  Ina  Claire. 
Every  United  Artists  feminine  star  was 
after  this  vehicle,  from  Norma  and  Con- 
stance Talmadge  to  Gloria  Swanson  to 
Corinne  Griffith.  Joseph  Schenck  solved  the 
problem  by  giving  the  play  to  Jack.  At  this 
way  of  giving  out  r61es  think  what  a  nar- 
row escape  Lon  Chaney  had  from  doing 
"Gentlemen  Prefer  Blondes"!  Ernst  Lu- 
bitsch,  incidentally,  will  direct  Banymore. 

JACK    HOLT    is    back    with    Paramount 
again.      He  will  star  in  Westerns  once 


T^HE  differences  between  Janet  Gaynor 
-*•  and  the  Fox  Company  have  been  ad- 
justed. Janet  gets  a  brand  new  five-year 
contract  at  an  increase.  The  second  assign- 
ment will  he  a  trip  to  Vienna  and  Paris, 
while  "Blossom  Time"  is  filmed  on  the 
other  side  with  Frank  Borzage  directing. 
Before  "Blossom  Time"  Miss  Gaynor  will 
do  "The  Four  Devils"  with  F.  W.  Mumau 
directing. 

n^OM  MIX,  PHOTOPLAY'S  famous  con- 
-*■  tributor,  says  that  he  will  sail  for  the 
Argentine  on  June  10,  and  that  he  may  make 
a  film  or  two  on  the  pampas. 

COLLEEN  MOORE  isn't  going  to  become 
a  United  Artist  after  all.  She  will  re- 
main at  First  National.  Colleen  gets  a  new 
contract  with  a  substantial  increase. 


TV/TAL   ST.   CLAIRE  is  going  to  Metro-     T    ILLIAN  GISH  has  been  visiting  Doug 
•*■''-*■  Goldwyn  to  direct  one  picture,  a  story     -•—'and  Mary.    Very  soon  she  starts  work 


RICHARD   ARLEN   is  playing   opposite 
Clara   Bow   in   "Ladies  of  the   Mob," 
which  William  Wellman  is  directing. 


D 


OLORES  DEL  RIO  has  been  seriously 
ill  with  flu  and  congested  lungs. 


"DY  mutual  agreement  Universal  did  not 
-•-'take  up  its  option  on  Jean  Hersholt's 
services.  He  will  do  a  big  picture  for  them, 
however,  at  a  big  salary  jump. 

■pERENC  MOLNAR,  the  Hungarian 
■••  playwright,  has  been  signed  to  write 
originals  for  Paramount.  Molnar  is  the 
famous  author  of  "The  Devil,"  "Liliom," 
"The  Guardsman"  and  "The  Goat  Song." 

"K^AY  McAVOY  and  Warner  Brothers 
••■▼■•■have  agreed  to  a  brand  new  three-year 
contract  vhich  will  take  the  place  of  the  old 
agre«ment. 


P.  &  A.  Photo 
Lady  Sholto  Douglas  has  the  small- 
est feet  in  Europe  and  $40,000,000. 
.\lso  she  has  had  four  husbands. 
She's  going  to  Holh-wood  to  go  in- 
to the  mo\ies 


on  a  picture  for  United  Artists.  Up  to  her 
departure  for  Beverly  Hills,  Miss  Gish  was 
still  doing  Broadway  first  nights  with 
George  Jean  Nathan,  lie  critic. 

'T^OD  BROWNING  has  sailed  for  a  vaca- 
-*■  tion  in  Paris. 

"D  EPORTS  have  it  that  Metro-Goldwyn- 
-•■^ Mayer  plan  to  do  "The  Shanghai  Ges- 
ture." And  Universal  is  said  to  be  about  to 
film  Cosmo  Hamilton's  play  and  novel, 
"Scandal." 

CLARENCE  BROWN  is  going  to  do 
Wassermann's  "The  World's  Illusion," 
announced  so  many  times  as  the  next  pro- 
duction to  be  done  by  Rex  Ingram,  tici- 
dentally,  from  Nice,  Mr.  Ingram  writes  to 
Photoplay  to  deny  once  again  that  a 
separation  is  contemplated  between  his 
wife,  Alice  TerrVj  and  himself.  "Won't 
that  rumor  ever  die?"  queries  Mr.  Ingram. 

MONTY  BANKS,  lately  a  Pathe  come- 
dian, is  going  abroad  to  make  comedies 
for  British  International  Films. 

MARY  HAY  BATH,  former  wife  of  Rich- 
ard Barthelmess  and  now  married  to 
Vivian  Bath,  is  the  mother  of  a  second 
daughter,  bom  at  a  New  York  hospital.  Mrs. 
Bath  recently  hurried  back  from  Singapore 
that  her  child  might  be  bom  in  America. 

EDWIN  C  AREU^  is  to  produce  "Woman- 
hood," an  original  by  Rupert  Hughes. 
It  deals  with  women's  work  in  war. 

LON  CHANEY  is  to  foUow  "Laugh, 
Clown,  Laugh"  with  "Chinatown." 
William  Nigh,  who  has  just  completed 
"China  Bound,"  starring  Ramon  Novarro, 
will  direct. 

NANCY     CARROLL,    the    Rosemary    of 
"Abie's  Irish  Rose,"  is  playing  opposite 
Richard  Dix  in  "Easy  Come,  Easy  Go." 

"  A  FREE  SOUL,"  the  novel  by  our  own 
•**•  Adela  Rogers  St.  Johns,  has  been 
dramatized.  It  had  its  Broadway  premiere 
recently.  Metro-Goldwyn-Mayer  will  pro- 
duce it  as  a  screen  play. 


Photoplay  Magazine — Advektisino  Section 


Tiomanfic 

Uamon  Novarro 
Tieautiful 
Normajhearer 


V 


L 


,^. 


%jsm 


n 


in 

AN  ^umi  wm^ycM  vnoDvumn 

In  Old    Heidelberg 

with  Jean  Henholf 

lour  theatre  uiU ihoui  this  notable  Broadway  Succejf  at  Iota! prkei 

H  ETKO  -  GOIIDWYN  -  N  AYi 


Brief  Reviews  of 


*lndicates  that  photoplay  was  named  as  one 
of  the  six  hest  upon  its  month  of  review 


Current  Pictures 


ACROSS  THE  ATLANTIC— Warners.— A  war 
and  aeroplane  story  that  furnishes  routine  entertain- 
ment.     (February.) 

ADAM  AND  EVIL— Metro -Goldwyn- Mayer.— 
Clever  and  amusing,  with  a  smooth  performance  by 
Aileen  Pringle  and  Lew  Cody  in  a  dual  r6Ie.  What 
could  be  sweeter?     (September.) 

AFTER  MIDNIGHT— Metro-Goldwyn-Mayer.— 
In  spite  of  its  modern  veneer,  just  the  story  of  the 
good  girl  who  never  slips  from  the  straight  and  narrow 
path.    Not  worthy  of  Norma  Shearer.     (October.) 

ALIAS  THE  DEACON— Universal.— A  good 
show,  thanks  to  Jean  Hersholt  who  plays  a  psalm- 
singing  card  sharp  with  fine  gusto.  See  it  and  enjoy 
yourself.      (September.) 

ALIAS  THE  LONE  WOLF— Columbia.— Bert 
LytcU  returns  to  the  character  that  made  him  famous 
ten  years  ago.  A  crook  story,  well  told,  agreeably 
acted  and  safely  presented  for  the  family.  (January.) 

AMERICAN  BEAUTY— First  National.— Billie 
Dove  has  her  fling  at  playing  a  modern  Cinderella. 
Frothy  but  nice.     (December.) 

ANGEL   OF    BROADWAY,    THE  —  Pathe  -  De 

Mille. — In  which  a  Night  Club  hostess  joins  the  Sal- 
vation Army  to  look  for  drama.  She  finds  it.  You'll 
like  Leatrice  Joy  and  Victor  Varconi.   (November.) 

BABY  MINE— Metro-Goldwyn-Mayer.  —  Karl 
Dane.  George  K.  -Arthur  and  Charlotte  Greenwood  in 
an  old  farce,  dressed  up  in  new  gags.    (February.) 

BACK  STAGE— Tiffany.— Social  research  into 
the  lives  of  dancing  girls.  It  will  excite  only  the  very 
naive.     (November.) 

BACK    TO    GOD'S    COUNTRY— Universal.— 

Written  by  James  Oliver  Curwood  and  set  in  a  beauti- 
ful background.  Also  splendidly  played  by  Renee 
Adoree  and  a  fine  cast.      (September.) 


BARBED  WIRE— Paramount.— The  romance  of 
a  French  peasant  girl  and  a  German  prisoner  of  war. 
A  sincere  story  of  the  war,  enacted  by  Pola  Negri, 
Clive  Brook  and  Einar  Hansen.     (September.) 

BATTLE  OF  THE  CENTURY,  THE— Metro- 
Goldwyn-Mayer. — More  than  three  thousand  pies 
were  used  in  one  sequence  of  this  two  reel  comedy.  A 
burlesque  on  the  fistic  doings  in  Chicago.  (January.) 

BEAUTY  PARLOR,  THE— FBC— A  swell 
series  of  two  reelers.  adapted  from  H.  C.  Witwer's 
stories.     Worth  your  steady  patronage.    (September.) 

BECKY  —  Metro-Goldwyn-Mayer.  —  Again  the 
poor  working  girl  goes  on  the  stage.  A  light,  routine 
comedy  brightened  by  the  antics  of  two  Irishers — 
Sally  O'Neil  and  Owen  Moore.      (February  ) 


aren't  thrilling.      (December.) 

BLONDES  BY  CHOICE-Gotham.-The  ad- 
ventures of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  sex  but  no 
appeal.        Not  bad,  Mortimer  I     (December.) 

BLOOD  SHIP,  THE— Columbia.— Mutiny  bru- 
Uilityand  murder.  A  fine  performance  by  Hobart 
B<iiworth.  Too  gruesome  for  good  entertainment. 
(October.) 

cu^?^  ^^^  SOU^-Metro-GoIdwyn-Mayer.— 
Should  a  surgeon  kill  his  wife's  boy  friend?  Even  the 
actingol  Aileen  Pringlc.  Lionel  Barrymore  and  Nor- 
ton Kerry  can't  enliven  this  cheery  little  problem. 


BOY  OF  THE  STREET,  A— Rayart.— Wherein  a 
little  brother  reforms  a  crook.  Young  Mickey  Ben- 
nett makes  the  sentimental  yarn  agreeable.  (Jainiary.) 

BOY  RIDER,  THE— FBC— The  exploits  of  one 
Buzz  Barton,  a  freckle-faced  kid  who  can  ride  a  hoss. 
For  the  less  critical  of  the  younger  generation. 
(November.) 

BRASS  KNUCKLES— Warners.— More  crooks  re- 
form, thanks  to  the  sweet  presence  of  Betty  Bronson. 
With  Monte  Blue  and  Bill  Russell.  And  rather  good, 
at  that.      (January.) 

BREAKFAST  AT  SUNRISE— First  National.— 
Lively  little  French  farce  about  one  of  those  trick 
marriages.  Deftly  played  by  Constance  Talmadge. 
The  children  will  prefer  Tom  Mix.     (December.) 

BROADWAY  KID,  THE— Warners.— A  George 
Jessel  comedy  that  looks  like  a  convention  of  old 
gags.  A  good  performance  by  Audrey  Ferris,  a  new- 
comer.     (October.) 


Pictures   You 
Should  Not  Miss 

"The  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Sorrell  and  Son" 

"The  Circus" 

"The  Gaucho" 

"Love" 

"Gentlemen  Prefer  Blondes" 

"Underworld" 

"The  Patent  Leather  Kid" 

"The  Crowd" 

"My  Best  Girl" 

-As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  si.x  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whetJier  or  not  your 
promised  evening's  entertairunent  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


8 


BROADWAY  MADNESS— Excellent.— Proving 
that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  whiff  of  country  air.    (December.) 


BUCK  PRIVATES— Universal.— Laughing  off  the 
I'ar.  Malcolm  McGregor,  Eddie  Gribbon,  Lya  de 
'utti  and  ZaSu  Pitts  are  the  members  of  an  excellent 
1st.    (January.) 

BUSH  LEAGUER,  THE— Warners— Monte  Blue 
takes  the  big  team  and  wins  the  love  of  the  own- 
•'s  daughter.    Need  we  say  more?    (November.) 


♦BUTTONS- Metro-Goldwyn-Mayer.- 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  by  Jackie. 
For  the  whole  family.      (December.) 

CABARET  KID,  THE— Peerless.— Made  in  Eng- 
land and  France,  with  Betty  Balfour,  the  Belle  of 
Britain,  as  its  star.  Some  good  scenes  but  a  discon- 
nected story.    (January.) 

CALLAHANS  AND  THE  MURPHYS,  THE— 

Metro-Goldwyn-Mayer. — Polly  Moran  and  Marie 
Dressier  are  a  panic  in  this  slapstick  story  of  life  as 
it  is  supposed  to  be  led  among  the  Irish.  (September.) 

CASEY  JONES— Rayart.— "  Come  all  you  round- 
ers if  you  want  to  hear."  Simple  melodrama  with 
Ralph  Lewis  as  the  brave  engineer.      (February.) 

CHAIN  LIGHTNING— Fox.— If  you  like  to 
watch  Buck  Jones  chasing  horse  thieves,  here  is  a 
picture  in  which  Buck  Jones  chases  horse  thieves. 
(November.) 

CHEATING  CHEATERS  —  Universal.  —  Fun 
among  a  lot  of  unusually  agreeable  crooks.  With 
Betty  Compson  and  Kenneth  Harlan.    (February.) 

♦CHICAGO  —  Pathe-De  Mille. — A  shrewd  satire 
on  the  lady  murderess,  beloved  of  the  newspapers. 
And  Phyllis  Haver.  Grown-up  entertainment.  See 
it.      (February.) 

CHINESE  PARROT,  THE— Universal.— Who 
swiped  the  pearl  necklace?  The  mystery  is  well  sus- 
tained and  the  Oriental  backgrounds  are  interesting. 
And  Sojin  does  a  real  Lon  Chaney.    (January.) 

♦CIRCUS,  THE— United  Artists.— The  triumphant 
return  of  Charles  Chaplin.  Must  we  waste  space  ad- 
vising you  to  see  it?     (January.) 

CITY  GONE  WILD,  THE— Paramount.— Thom- 
as Meighan  in  a  lively  meller  of  the  Chicago  Under- 
world.   Good  stuff.     (October.) 

CLANCY'S     KOSHER    WEDDING  —  FBC— 

This  Irish-Jewish  nonsense  has  gone  far  enough.  All 
infavor  say  "Aye!"   (October.) 

COLLEGE — United  Artists. — Buster  Keaton  as  a 
wet  smack  who  would  be  an  athletic  hero.  Not  over- 
whelmingly funny.     (November.) 

COLLEGE  WIDOW,  THE— Warners.— Dolores 
Costello  vamps  the  football  team  and  the  boys  win 
the  game  for  dear  old  Whoozis.  Just  another  one  of 
those  things.    (January.) 

COMBAT— Pathe.— Bad  direction  and  heavy 
mugging  by  George  Walsh  eliminate  this  as  entertain- 
ment.     (December.) 

COME  TO  MY  HOUSE— Fox.— OUve  Borden  and 

Antonio  Moreno  flounder  around  in  a  lot  of  insipid 
doings.      (February.) 

♦COUNTRY  DOCTOR,  THE— Producers  Dist. 
Corp. — Sound  New  England  drama  and  a  masterly 
performance  by  Rudolph  Schildkraut  in  the  title  r61e. 
For  discriminating  audiences.     (September.) 

COWARD,  THE— FBC— Warner  Baxter  as  a 
wealthy  sap  who  turns  out  to  be  a  hero.  Old  stuff  but 
always  good.      (November.) 

[  CONTINUED  ON  PAGE  12  ] 


Photoplay  Magazine — Advertising  Section 


Jove  versus  Juxurij 
in  asiorij  oCGoId-  Qi^gmg  TJJives 


on  IVING 


/^ADGE  BELLAM 


"  JOHN  MACK  BKOWN 

MARY  DUNCAN  OLIVE  TELL  HENRY  KOLKER 

In  this  highly  amusing  story  of  a  wise  little  gold 
digger  who  had  her  divorce  plans  all  laid  before  she'd 
even  said  "yes"  to  the  marriage  proposal,  winsome 
Madge  Bellamy  gives  another  of  those  delightful 
light  comedy  portrayals  which  have  brought  her  an 
international  following. 

John  Mack  Brown,  former  University  of  Alabama 
football  star,  plays  the  leading  male  role  of  the  in- 
different husband  who  teaches  his  alimony-seeking 
wife  a  few  things  about  "soft  living"  that  she  hadn't 
bargained  for. 

"Soft  Living,"  based  upon  the  original  story  "The 
Marriage  Graft"  by  Grace  Mack,  is  one  of  the  spright- 
liest  comedies  of  the  new  year,  with  an  unexpected 
twist  at  the  end  that  will  keep  you  chuckling  for 
hours  after  you  leave  the  theatre.  Don't  miss  it !  ^^= 

JAMES  TINLING  PRODUCTION  Scenario  by  FRANCES  AGNEW 


advertisers  pie; 


PHOTOPLAY   MAGAZINE- 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$25,  $10  and  $5 


The  Real  Critics,  the  Fans,   Give  Their  Views 


The  Monthly  Barometer 

RUTH  BIERV'S  article  about  Francis 
X.  Bushman  started  a  storm.  Most  of 
the  writers  protest  that  Mr.  Bush- 
man's marriage  had  nothing  to  do  with  his 
decline  in  popularity.  So  there!  A  ve- 
hement minority,  however,  still  insist  that 
they  prefer  their  favorites  unmarried. 

There  was  a  heart-warming  welcome  for 
Mar>'  Pick-ford  in  "My  Best  Girl,"  while 
"Dress  Parade,"  "Chang,"  and  "Seventh 
Heaven"  are  the  most  popular  of  the  newer 
pictures.  "Helen  of  Troy"  and  "Love" 
are  widely  discussed,  with  plenty  of  brick- 
bats sprinkled  among  the  bouquets. 

Janet  Gaynor,  Sue  Carol,  Charles  Rogers 
and  Charles  Farrell  are  the  most  popular 
of  the  younger  players.  Too  much  vaude- 
ville, silly  college  pictures  and  exaggerated 
flapper  stories  are  almost  unanimously 
panned. 

Photopl.vy's  "Shadow  Stage,"  "Brief 
Reviews"  and  the  articles  by  Dr.  Bisch  re- 
ceive the  most  favorable  comment. 

Now  step  right  up  and  speak  your  piece. 

$25.00  Letter 

Pueblo,  Colo. 

I  just  read  one  of  the  prize  letters  in  the 
December  Photopl.'W  from  Wichita,  Kan- 
sas. I,  too,  get  ruffled  at  the  churches  for 
their  gospel  of  "Thou  shalt  not."  But  may 
I  correct  Miss  Kersting  this  far:  it  is  not  the 
"churches"  that  are  to  blame  for  the  curb- 
ing of  innocent  amusements,  but  certain  de- 
nominations. 

When  people  blame  the  churches  for 
things,  all  churches  suffer  in  general.  A  few 
denominations  seem  to  make  it  their  busi- 
ness to  be  moral  policemen  to  the  commu- 
nity, whereas  I  feel  very  sure  that  Christ 
never  intended  the  church  to  be  that.  The 
church  is  to  be,  among  other  things,  a 
teacher  of  principles,  and  should  give  the 
layman  credit  for  having  enough  real  intelli- 
gence to  apply  those  principles  to  their  own 
lives. 

I  agree  with  the  writer  that  all  legislation 
which  forbids,  will  not  make  people  go  to 
church.  And,  personally,  I  would  rather 
have  all  my  young  people  going  to  a  picture 
show  on  Sunday  afternoon,  than  to  guess 

10 


The  readers  of  Photoplay  are  in- 
vited to  write  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


what  outlying  town  or  road  house  they  have 
gone  to  on  the  sly. 

If  the  churches  would  stick  to  their  own 
business,  instead  of  trying  to  force  people 
into  straight-jackets,  they  wouldn't  have  to 
worry  about  congregations.  The  church 
never  was  meant  to  be  a  kill-joy,  but  quite 
the  reverse. 

Just  as  the  majority  of  film  actors  in 
Hollywood  resent  the  implication  that  they 
are  profligates,  because  a  few  of  them  go 
wild,  so  do  I,  as  rector  of  a  church,  resent 
the  implication  that  the  church  is  opposed  to 
Sunday  movies,  just  because  a  denomina- 
tion or  two  make  "Thou  shalt  not"  their 
creed,  and  then  seek  to  impose  it  on  every- 
body else. 

Rev.  Heber  C.  Benjamin. 

$10.00  Letter 

Houston,  Texas. 
I,  together  with  all  other  citizens  of  my 
community,  have  recently  suffered  a  fresh 
outrage  at  the  hands  of  those  insufferable 
pests,  the  censors.  They  have  forbidden 
"Don  Juan"  to  be  shown  here.  I  had  looked 
forward  to  seeing  this  production  because 
John  Barrymore  is  one  of  my  favorites  and 


because  it  had  been  so  highly  praised  in 
Photopl.w. 

Why  do  we  put  up  with  censors  anyhow? 
Is  it  because  we  need  guardians  for  our 
morals?  In  my  opinion,  if  a  person's  morals 
are  so  weak  that  a  hectic  movie  can  dissolve 
them,  they  are  doomed  to  destruction  sooner 
or  later,  censors  or  no  censors.  I  see  neither 
reason  nor  justice  in  giving  a  dozen  or  so 
people  the  right  to  regulate  and  limit  the  per- 
sonal amusement  of  two  hundred  thousand. 

Your  magazine  gives  reviews  of  the  differ- 
ent pictures  which  can  be  referred  to  by 
anyone  who  wishes  to  do  so.  With  such  a 
guide,  a  normally  intelligent  person  should 
be  able  to  select  pictures  to  his  individual 
taste.  If  we  could  only  do  that,  and  send  the 
censors  into  the  discard  with  all  other  relics 
of  the  Dark  Ages,  what  a  great  world  this 
would  be!  Estelle  W.\de. 

$5.00  Letter 

Milan,  Italy. 

I  belong  to  a  group  of  American  students 
in  Milan,  Italy.  We  all  have,  at  times,  felt 
terribly  lonesome,  and  some  of  us  have  even 
thought  of  giving  up  everything  and  taking 
the  next  steamer  back  to  U.  S.  A. 

One  evening  a  member  of  our  party  saw  a 
copy  of  Photopl.w  on  the  newsstand  and 
brought  it  home.  We  all  clustered  around 
and  looked  at  the  pictures.  Then  we  read 
and  discussed  some  of  the  articles.  Surely 
that  night,  as  by  a  magic  wand,  all  sadness 
and  discouragement  were  completely  ban- 
ished! 

Since  then  we  have  taken  to  reading 
Photoplay  regularly,  and  our  spirits  have 
risen  considerably.  Each  number  seems  like 
a  greeting  from  home. 

When  Photoplay  tells  us  how  many  of 
the  artists  now  occupying  leading  positions 
have  struggled,  we  feel  encouraged  to  do  our 
best.  Those  among  us  who  were  almost 
quitters — especially  at  this  season  when 
Christmas  is  approaching  and  there  is  an 
epidemic  of  homesickness  here — have  de- 
cided to  stick  it  out. 

We  may  well  say  that  if  any  of  us  ever 
achieve  anything  near  success,  we  owe  a 
great  part  of  it  to  Photoplay. 

Jo  Otten. 
[  continued  on  page  114  ] 


Photoplay  Magazine— Advertising  Section 


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PHOTOri..\Y   M.\GAZI.> 


Photoplay  Magazine — Advertising  Section 


How  Bill  Smith 
Made  Good! 


FOR  over  ten  years  Bill  worked  in 
the  shipping;  department  of  a  big 
manufacturing  concern.  He 
worked  long,  tiresome  hours  at  very 
low  pay.  It  seemed  that  every  pay 
day  his  pay  was  gone  as  soon  as  he  got 
it.  He  saved  and  denied,  so  did  Mary 
and  the  children,  to  pay  for  the  little 
home  that  would  some  day  be  theirs. 
As  soon  as  Bill  was  able  to  save  a 
few  dollars  it  was  just  his  luck  to 
have  something  happen  to  take  it 
away  from  him.  Always  something 
.  .  .  taxes  on  the  little  cottage  they 
were  buying  .  .  .  coal  to  keep  them 
warm  .  .  .  clothing  for  some  member 
of  the  family  .  .  .  insurance  ...  a 
doctor  bill  or  some  necessity  that  had 
to  be  taken  care  of.  Such  was  Bill's 
luck  all  the  time. 

One  day  something  happened.  One  of  the 
children  look  sick  suddenly.  With  the  Doc- 
lor'sdaily  visits.  Bill  hardly  knew  what  todo. 
The  bills  were  ^'eUiri^'  bifj^'er  every  day.  Then 
the  unexpected  happened.  Bill  lost  his  job. 
The  factory  had  rlospd,  and  Hill  had  no  good 
prospects  in  view.  lo  a  small  town  jobs  were 
few,  and  Bill  was  forced  to  join  the  great  army 
of  unemployed.  Then  one  day  Bill's  luck 
changed — 

Bill  passed  a  newsstand  at  a  prominent  cor- 
ner in  his  town.  He  saw  a  copy  of  Oppor- 
tunity Magazine.  Printed  on  it  were  the 
words  "Now  only  10c  a  copy"  and  "New 
Way.s  to  Make  Money."  Bill  only  wanted  to 
know  of  ONE  way  to  make  money  so  when  so 
many  ways  were  offered,  this  was  a  new 
thing  and  very  interesting.  Bill  bought  Op- 
portunity Magazine,  and  after  reading  it  one 
evening.  Bill  decided  to  be  a  salesman  and 
make  big  money  every  day. 

or  the  hundrfls  of  new  ways  to  make  big 
morii-y  .•„lvfrlisi-,l  i„  ( lp|,„rHiMily.  Bill 
M-li-<:lr.d  on.-  Ilial  :.,,]„-:,\,;\  I,,  him.  lie  wrote 
..  l.-ll.-r  and  i,'.,l  a  good  job  at  once.  Now 
Mill  H  ;i  sah'^rrian  ;ind  makes  hij^'  money  every 
day.  Two  years  have  passed.  The  home  is 
paid  for.  Bill  has  money  in  the  bank,  and  his 
bfMs  gave  him  a  Chrysler  car  for  being  his  Star 
Salesman. 

There  arc  thousands  of  men  just  like  Bill 
Smith.  If  you  are  one  of  them,  we  know 
Opportunity  will  help  you  on  your  road  to 
success  the  same  as  it  did  Bill.  Just  clip  a 
dollar  bill  to  a  slip  of  paper  with  your  name 
and  uddresa  and  mail  it  to  the  address  below. 
Your  year's  subscription  (12  issues)  will  start 
with  the  next  issue.  It  will  be  the  best  dollar 
you  ever  invested. 

OPPORTUNITY  PUBLISHING  CO. 

Dept.PH-3     750  No.  Michigan  Avenue 
CHICAGO,  ILLINOIS 


Brief  Reviews   of   Current   Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


*CROWD,  THE  —  Metro-Goldwjn-Mayer.  —  The 
storv  of  a  white-collar  man  and  his  wife  and  their 
struggles  in  a  big  city.  Truthfully  and  beautifully 
told  by  King  Vidor  and  sympathetically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.) 

CRUISE  OF  THE  HELLION,  THE— Rajart.— 

In  which  a  bad  boy  is  reformed  by  an  energetic  papa. 
It's  good  stuff.  With  Donald  Keith  and  Edna  Mur- 
phy.    (December.) 

CRYSTAL  CUP,  THE— First  National.— Dorothy 
Mackaill  in  the  drama  of  a  man-hater  that  sometimes 
approaches  the  weird.  Only  for  the  sophisticated. 
(October.) 


DEAD  MAN'S  CURVE— FBO.— An  automobile 
yarn  that  is  a  flat  tire.  Douglas  Fairbanks,  Jr.,  heads 
the  cast,  in  case  you  care.    (February.) 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors. Stay  home  and  catch  up  with  the  darning. 
(December.) 

DESIRED  WOMAN,  THE— Warners.— Irene 
Rich  in  a  drama  that  proves  that  English  women 
sometimes  have  a  rotten  time  in  India.    (February.) 

*DEVIL  DANCER,  THE— United  Artists.— Gilda 
Gray  among  the  Llamas  of  Thibet.  The  lady  can  act, 
and  her  dancing  would  insure  tlie  success  of  a  far  less 
interesting  picture.  A  good  show  for  the  grown-ups. 
(January.) 


DOG  OF  THE  REGIMENT— Warners.— Rin- 
Tin-Tin  plus  a  good  story  plus  good  acting.  In  other 
words,  a  good  picture.     (December.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  States  Military  Academy  at 
West  Point.  Real  entertainment,  thanks  to  William 
Bo>'d,  Bessie  Love  and  Louis  Natheaux.     (December.) 

DROP  KICK,  THE— First  National.— It  is  now 
Richard  Barthelmess'  turn  to  win  the  game  for  dear 
old  Alma  Mater.    Who's  next?    (November.) 

EAST  SIDE,  WEST  SIDE— Fox.— A  modern 
Horatio  Alger  story  of  New  York,  with  some  fine 
realistic  backgrounds.  Well  played  by  George 
O'Brien.    See  it.    (January.) 

*ENEMY,  THE— Metro-Goldwyn-Mayer.— Anti- 
war propaganda,  told  in  the  terms  of  a  tragedy  that 
befell  a  Viennese  household.  Lillian  Gish's  most  human 
and  appealing  performance  makes  it  worth  seeing. 
(February.) 

FAIR  CO-ED,  THE— -Metro-Goldwyn-Mayer.— 
Marion  Davies  at  her  very  funniest  in  a  pretty  fair 
college  yarn.    The  gal  is  a  real  comic.     (December.) 

FAST  AND  FURIOUS  —  Universal.— Another 
Reginald  Denny,comed>'.  And  oh,  how  partial  we  are 
to  Reginald  Denny!     A  good  evening,     (September.) 


FIGHTING  EAGLE,  THE  —  Producers  Dist. 
Corp. — .'\  story  of  the  time  of  Napoleon,  just  to  help 
you  with  your  history  lesson.  Rod  La  Rocque  is  the 
story,  but  Phyllis  Haver  steals  the  glory.  (September.) 

FIGURES  DON'T  LIE— Paramount.— A  zippy 
farce-romance  of  a  stenographer  and  her  boss.  W^th 
Richard  Arlen  and  the  lovely  Esther  Ralston.     (No- 


FIREMAN,  SAVE   MY  CHILD— Paramount.— 

Wallace  Beery  and  Raymond  Hatton  in  a  comedy 
adapted  to  the  mentality  of  those  who  enjoy  the 
funny  papers.      (October.) 

FIRST  AUTO,  THE— Warners.— Missing  on  all 
sixes,  in  spite  of  its  interesting  theme.  A  good 
performance  by  Russell  Simpson,  however.  (Sep- 
tember.) 

FLYING  LUCK— Pathe.— Monty  Banks  gets 
some  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.     (December.) 

FORBIDDEN  WOMAN,  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  bj-  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Schildkraut.     Worth  your  money.     (December.) 

*FOUR  SONS— Fox.— Reviewed  under  title  of 
"Grandma  Bernle  Learns  Her  Letters."  The  screen 
rises  to  real  greatness  in  this  story  of  a  war-stricken 
German  mother.      (January.) 

FOURFLUSHER,  THE— Universal.— Pleasant, 
youthful  comedj'  about  a  smart-aleck  in  big  business. 
Ornamented  by  Marion  Nixon.     (December.) 

FRAMED— First  National.— Milton  Sills  in  a 
story  of  the  South  African  diamond  mines.  And, 
incidentally,  the  strongest  vehicle  he  has  had  in  some 
time.      (September.) 

FRENCH  DRESSING  —  First  National,  —  In 
which  the  dowdy  wife  outvamps  the  vamp.  Swell 
trouping  by  Lois  Wilson,  Lilyan  Tashman  and  Clive 
Brook.      (February.) 

GALLAGHER— Pathe-De  Mille.— Richard  Hard- 
ing Davis'  charming  story  of  the  adventures  of  an 
office  boy  in  a  newspaper  office.  Young  Junior 
Coghlan  merits  applause.      (February.) 

GARDEN  OF  ALLAH,  THE— Metro-Goldwyn- 
Mayer.— Rex  Ingram's  best  picture  in  several  years. 
A  beaijtiful  re-telling  of  the  Robert  Hichens  romance, 
made  in  the  original  locations.     (November.) 

GARDEN  OF  EDEN— United  Artists.— Just  a  so- 
so  vehicle  for  Corinne  Griffith.  Miss  Griffith  and 
Charles  Ray  are  hampered  by  a  second-rate  chorus 
girl  yarn.      (February.) 

*GAUCHO,  THE— United  Artists.— Love,  life 
and  religion  among  the  bandits  of  the  Andes,  excit- 
ingly and  picturesquely  enacted  by  Douglas  Fair- 
banks. Keep  your  eye  on  Lupe  Velez,  his  new  leading 
%voman.    Fine  for  the  younger  set.     (January.) 

GAY  DEFENDER,  THE— Paramount.— Richard 
Dix,  in  Spanish  get-up,  strays  by  accident  into  a 
Douglas  Fairbanks  plot.  A  pleasant  evening. 
(February.) 

[  CONTINUED  ON  PAGE  14  ] 


Photoplays  Reviewed  in  the  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out 


your  evenings  entertainment. 
Page 

A  Girl  in  Every  Port — Fox 55 

Beau  Sabreur — Paramount 53 

Big  City,  The— M.-G.-M 54 

Branded  Sombrero — Fo.x 100 

By  Whose  Hand?— Columbia 100 

Cheer  Leader,  The— Gotham 100 

Chicago  After  Midnight— FBO 100 

Comrades— First  Division 100 

Crimson  City,  The — Warners 100 


Divine  Woman,  The— M.-G.-M.. . 

Dove,  The— United  Artists 

Fortune  Hunter,  The — Warners.  . 

Gateway  of  the  Moon — Fox 

Her  Suniincr  Hero — FBO 

Husbands  for  Rent — Warners.  .  .  . 

Judgment  of  the  Hills — FBO 

Ladies'  Night  in  a  Turkish  Bath- 
First  National 

Lady  of  Victories,  The— M.-G.-M. 


.  52 
.  54 
.100 
.  55 
.100 
.100 
,   54 

.  54 
100 


Ma\e  this  your  reference  list. 

Page 
Last  Command,  The — Paramount. . .  53 
Latest  from  Paris,  The— M.-G.-M. .  .  55 
Law  of  the  Range,  The— M.-G.-M. .  .  100 
Leave  'Em  Laughing — Hal  Roach- 

M.-G.-M 100 

Leopard  Lady,  The— Pathe-De  Mille  53 

Love  and  Learn — Paramount 55 

Noose,  The — First  National 52 

On  Your  Toes— Universal 100 

Rainona — United  Artists 52 

Rose  Marie— M.-G.-M 54 

Shepherd  of  the  Hills— First  National  100 

Silk  Legs— Fox 100 

Sporting  Goods — Paramount 55 

Tenderloin — Warners 99 

Two  Flaming  Youths — Paramount.  .  55 
Under  the  Black  Flag— M.-G.-M..  .  .  99 
Whip  Woman,  The — First  National.  54 
13  Washington  Square — Universal .  .   99 


Every  advertisement  In  PUOXOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  HAVE  great  respect  for  Dorothy  Devore.  She  is 
a  beautiful  girl  who  knows  the  value  of  a  good 
"Educational." 

More  movie-precious  than  a  new  plot  is  a  beautiful 
girl  with  brains  and  a  sense  of  humor.  And  rarer  than 
an  artistic  picture  that  makes  money  at  the  box-office 
is  a  capable  comedienne. 

Dorothy  Devore  is  the  sole  feminine  funster  left  in 
-reel  comedies.  Most  cuties  hold  themselves  above 
clowning  and  are  lured  from  their  bathing-suit  hilarity 
to  the  solemnity  of  bigger  and  better  things, 
flippant  Dorothy  is  wise  to  the  fact  that  producing  a 
laugh  a  day  keeps  freelancing  away.  She  much  prefers 
going  up  on  the  payroll  to  going  down  in  history. 

Comedy  demands  quick  tempo  and  Dorothy  has 
always  been  a  fast  worker.  At  fifteen,  she  produced 

Educational  is  the  world's  greatest  producer  and  distributor  of  Short  Features  — 
exclusively.      That's  why  Educational  Pictures  always  make  a  good  show  better. 


HOPE  HAMPTON 

"The  Call  of  the  Sea 

{Photo£raphed  in  Technicolor) 

McCALLCOLOUR 
FASHION  NEWS 


OUTDOOR  SKETCHES 

by  Rabtrt  C  Bruce 


FELIX  THE  CAT 

$  by  Pat  Sullivan 


LYMAN  H.   HOWE'S 
HODGE-PODGE 

EDUCATIONAL  FILM   EXCHANGES,    Inc.,  E.  W.  Hammond,  President 
Executive  Offices:  1501  Broadway,  New  York,  N.  Y. 

When  you  write  to  advertisers  please  mention   rHOTOPLAY  M.VGAZI> 


LARRY  SEMON 


Photoplay  Magazine — Advertising  Section 


CONRAD  VEIDT  and 
MARY  PHILBIN 

in  "The  Man  Who  Laughs" 

Here's  the  way  I  feel  about  it — that  while 
*'THE  HUNCHBACK  OF  NOTRE  DAME"  was  a 

mighty  fine  picture  and  a  great  favorite  with  the  public,  there 
is  still  another  story  by  Victor  Hugo  which  will  be  liked  even  better  than 
THE  HUNCHBACK. 

"  The  Man  Who  Laughs  **  is  as  thrilling 
a  drama  as  I  have  ever  seen.  The  work  of  CONRAD 
VEIDT  is  so  superior  to  anything  I  have  seen  in  recent 
years,  that  I  am  compelled  to  say  to  you  that  here  is  a  picture  that  will 
give  you  a  piece  of  character-work  that  will  remain  in  your  mind  for 
months  to  come. 

It  is  a  picture  of  passionate  loves  and  subtle 
intrigues  in  the  royal  courts  of  long  ago,  and  Paul 
Leni,  director,  has  invested  it  with  so  much  beauty  and  stir- 
ring action  that  I  am  confident  it  will  be  sought  by  every  moving-picture 
theatre  in  the  civilized  world. 

"77ie  Man  Who  Laughs, ' '  has  CONRAD 

VEIDT  in  the  leading  role.  Europe  produced  this  tal- 
ented man  and  enjoyed  his  acting  long  before  America  knew 
there  was  such  an  actor.  I  saw  him  in  a  theatre  in  Germany  and  I  couldn't 
rest  until  I  secured  him  for  UNIVERSAL. 

MARY  PHILBIN  in  the  role  of  "Dea" 

does  the  finest  work  of  her  entire  career.  Other 
notable  players  in  the  cast  are:  GEORGE  SIEGMANN, 
JOSEPHINE  CROWELL,  STUART  HOLMES,  BRANDON  HURST, 
and  OLGA  BAKLANOVA. 

Be  on  the  qui  vive  for  this  magnificent  spectacle. 
Mention  it  to  the  manager  of  your  favorite  theatre.  When  you 
see  it,  write  me  your  opinion  of  it. 

Watch  for  the  coming  of  "Uncle  Tom's  Cabin"  in  your 
vicinity.  It  is  a  thrilling  spectacle  which  I  advise  you  not  to  miss. 

(To  b.  continued  n...  mon.h)  C^^^   -^emmk 

Pretident 

UNIVERSAL  PICTURES 

730  Fifth  Av New  Yorh  City 


Brief  Reviews  of 
Current  Pictures 


[  CONTINUED  FROM  PAGE   12  ] 


THE — Fox. — Poisonous   com- 

GENTLEMAN  OF  PARIS,  A— Paramount.— We 
thank  you.  Mr.  Menjou,  for  another  pleasant  evening 
of  smooth  entertainment.      {October.) 

♦GENTLEMEN  PREFER  BLONDES  —  Para- 
mount.— If  you  don't  want  to  see  this  film  version  of 
Anita  Loos'  story,  something  is  \vrong  with  you.  It  is 
all  laughs,  thanks  to  Ruth  Taylor,  Alice  White  and 
Ford  Sterling.      (February.) 

GENTLEMEN  PREFER  SCOTCH— Fox.— Just 

a  short  comedy  but  better  than  most  features.     Keep 
your  eye  on  Nick  Stuart  and  Sally  Phipps.      (De- 


*GET    YOUR    MAN 

and  Chark-s  Rogers  in  a 
daily  for  Young  America. 


-Paramount. — Clara  Bow- 
light  romance,  made  espe- 
(.F  ■ 


February.) 

GINGHAM     GIRL,  THE— FBO.— Lois    Wilson 

in  a  foolish  story  that  needed  songs  and  dances  to  put 
it  over.     (October.) 

GIRL  FROM  CHICAGO,  THE— Warners.— Life 

and  love  in  the  underworld,  agreeably  acted  by 
Conrad  Nagel.  Myrna  Loy  and  William  Russell. 
(December.) 

GIRL  FROM  RIO.  THE— Gotham —An  inde- 
pendent production,  colorful  and  above  the  average. 
Carmcl  Myers  as  a  Spanish  dancer  and  Walter  Pid- 
geon  as  a  handsome  Englishman.     (November.) 

GIRL  IN  THE  PULLMAN,  THE  —  Pathe-De 

Mille. — One  of  those  farce  honeymoon  adventures 
that  aren't  for  the  very  innocent,  nor  vet  the  very 
sophisticated.    With  Marie  Prevost.    (February.) 

GOOD    TIME    CHARLIE— Warners— The    sad 

story  of  an  old  trouper,  played  with  so  much  true 
feeling  by  Warner  Gland  that  j-ou  forget  its  senti- 
mentality.   (January.) 

*GORILLA,  THE— First  National.— Charlie  Mur- 
ray and  Fred  Kelsey,  as  a  couple  of  dumb  Sherlocks, 
plaster  laughs  all  over  this  mystery  yarn.  It's  a  darn 
fool  thing,  but  you'll  like  it.    (January.) 

GREAT     MAIL     ROBBERY,     THE— FBO. — 

The  bandits  get  everything  their  own  way  until  the 
U.  S.  Marines  are  called  into  action — hurrah,  hurrah! 
(September.) 

HAM  AND  EGGS— Warners.- A  war  comedy, 
done  in  colors  as  it  were.    An  occasionally  amusing 
colored  troops  in  the  war. 

*HARD-BOILED  HAGGERTY— First  National. 
— No  war  scenes,  but  a  fine  comedj-  of  life  back  of  the 
battle-lines.    Milton  Sills  at  his  best.    (October.) 


HEART  OF'  MARYLAND.  THE— Warners.- 
Now  it  is  Dolores  Costello's  turn  to  swing  on  the 
bell.     An  old  favorite.      (September.) 

HEBIE  GEBIES— Hal  Roach. — A  hypnotist  turns 
Our  Gang  into  animals.  An  original,  really  amusing 
comedy  that  will  delight  the  children.     (December.) 

HER  WILD  OAT— First  National.— Colleen 
Moore,  the  humble  proprietress  of  a  lunch  wagon, 
goes  berserk  at  a  fasliionable  resort.     (February.) 

HERO  ON  HORSEBACK,  A— Universal.— Hoot 
Gibson  does  his  stuff,  for  the  particular  enjoyment  of 
the  children.      (October.)  "^ 

HIGH  SCHOOL  HERO,  THE— Fox.— A  youth- 
ful, refreshing  story  of  "prep"  school  life  with  a  cast 
of  youngsters.      (November.) 

HIS  DOG— Pathe-De  Mille.— Fine  acting  by  a 
dog;  terrible  acting  by  Joseph  Schildkraut.  A  good 
human  interest  idea  gone  blah.    (October.) 

HOME  MADE — First  National. — Johnny  Hines 
pursuing  his  Art.  Some  of  the  "gags"  don't  belong 
on  the  screen — or  anywhere  else.    (December.) 

HONEYMOON  HATE— Paramount.- Florence 
Vidor  and  Tullio  Carminati  enact  a  neat  little  comedy 
duel  between  an  American  heiress  and  her  Italian 
husband.    For  those  who  like  'em  subtle.    (January.) 


HOOK  AND  LADDER  No.  9- 

newsree!  shots  of  a  fire.    A  feeble 
(December.) 


*HULA- 

3ow  in  Hav 
vhole  worki 


'aramount. — The  adventures  of  Clara 
ii.  The  glorification  of  IT.  Clara  is  the 
(October.) 


IF  I  WERE  SINGLE— Warners.— The  girls  will 
get  a  giggle  out  of  this  story  of  domestic  life.    Conrad 
Nagel  proves  that  he  can  play  comedy.    (January.) 
[  CONTINUED  ON  P.\GE  141  ] 


PHOTOPLAY  M.\GAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


15 


VUERtlTCOMB/ 

lTcmBrDadivdyat^2^per$eat 
toyourlheabieatPopubrlVices 

BAKIUELMBS 


RICHARD 


i  iMsmummm 


THINK  OF  IT!— 

16  weeks  on  Broadway! 

7  weeks  in  Chicago  — 
6  weeks  in  Detroit  .  .  . 
THINK  OF  IT! 

THINK  what  a  THRIL- 
LER it  must  be  when 
Great  Critics  call  it  "A 
cinema  knockout!" — 
"Close  to  perfection" — 
"Barthehness'  best  since 
'Torable  David'!" 

THINK 

what  an  Entertainment 
Event  it's  going  to  be 
when  this  great  $2.00 
hit  comes  to  your  town 
at  popular  prices!! 

Ask  your  theatre  mana- 
ger when. 


Drama  that  siieeps  from  a  Broadiiay 
Honky-Tunk  throuijh  the  frenzy  of  the 
Fight  Game  to  a  Living  Hell  —  then 
back  to  a  Heaven  of  Happiness  two 
Lovable  Lovers  had  never  dared  to 
hope  for! 


ci^ALFRED  SANlELL^n«k*o«. 

\       TrodHdimmmiqemeKir'  •  •  ALROCKEIT 


AliK&t  national  Picture 

Takes  the  Guesswork  Out  of  "Going  to  the  Movies" 


When  you  wr 


advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


irlsL^oblems 


DEAR  CAROLINE  VAN  WYCK, 
In  June  I  shall  graduate  from  High 
School  and  I  can't  go  on  to  college  be- 
cause my  parents  need  my  immediate  help 
in  supporting  our  family.  I  have  taken  a 
commercial  course  at  High  and  expect  to 
graduate  an  honor  pupil.  Still  I  hate  the 
idea  of  an  office.  I'm  restless  though  very 
energetic.  But  I  like  to  work  on  my  own 
and  detest  taking  orders.  I'd  like  some 
sort  of  spectacular  career  but  I've  no  out- 
standing talents.  I'd  like  a  future.  Can  you 
help  me? 

Corinne. 

/^ORINNE  is  facing  one  of  the  most  diffi- 
^^-"cult,  most  important  decisions  in  her  life. 
The  girl  who  finds  her  job — who  discovers 
work  that  expresses  all  her  talents,  abilities 
and  dreams,  has  discovered  happiness. 
Reversely,  the  girl  forced  to  toil  at  something 
uncongenial  can  only  be  miserable. 

We  can  even  learn  to  live  without  love. 
But  no  human  being  can  live  without  work 
of  some  sort.  All  games  and  sports  are 
merely  work  under  a  pleasanter  name.  Real 
work  with  a  real  salary  and  real  praise  for  a 
job  well  done  are  the  pleasant  things  in  the 
world. 

The  most  important  thing,  therefore,  is  to 
know  what  one  is  after  and  how  to  get  it. 

Now  here's  Corinne,  who  hates  offices 
and  routine  and  subserviency,  graduating 
from  a  commercial  course.  Dear  Corinne, 
you  shouldn't  have  taken  that  course  in  the 
first  place  but  I  admire  you  for  doing  it  with 
honors,  just  the  same.  But  there's  an  urge 
for  freedom  in  you  and  you  face  being  put 
in  a  bookkeeper's  cage! 

Know  thyself!  Philosophers  have  said  it 
for  ages,  but  oh,  how  we  need  philosophers 
sitting  around  in  corners  of  every  classroom 
in  the  country,  shouting  it  at  the  girls 
about  to  go  out  into  the  world! 

Conscientious  or  imaginative,  flighty  or 
reliable,  daring  or  timid,  changeable  or  con- 
servative? On  the  answer  to  those  questions 
rests  your  job,  for  all  careers  are  founded  on 
character. 

Corinne  is  wise  to  distrust  secretarial 
work  for  herself.  She  likes  to  work  alone. 
She  likes  mdependence.  She  won't  get  that 
m  an  office.    Girl-secretaries  are  often  super- 

16 


executives,  but  the  field  is  so  overcrowded 
with  talented  youngsters,  the  salaries  are 
small  and  the  rewards  invisible.  Most 
office  work  is  blind  alley  work,  leading 
nowhere,  and  an  ambitious  girl  should  not 
regard  it  as  a  permanent  career.  Only  the 
girl,  marking  time  till  marriage,  should  con- 
sider it  seriously. 

Let  Corinne  make  sure  first  of  her  health, 
her  appearance,  her  ability  to  dress  neatly 
on  a  small  salary,  her  energy.  Clear  skin, 
shining  hair,  bright  eyes — all  within  the 
reach  of  every  girl — can  give  even  the 
plainest  face  an  appearance  of  beauty.  And 
of  course  it's  obvious  that  a  pretty,  well- 
dressed  girl  succeeds  where  a  frumpy  one 
gets  fired. 

Then,  in  the  months  before  graduation, 
Corinne  should  study  herself  to  sort  from 
her  dreams  of  fame  and  fortune  the  tangiljle 
abilities  she  possesses  to  make  those  dreams 
come   true.      Her    letter   indicates   in    her 


Choosing  the  Right 
Career 

Is  This  Month's  Problem 

WITH  graduation  days  close  at 
hand,  many  girls  write  me 
they  are  faced  with  the  problem  of 
choosing  the  right  career  for  them- 
selves. A  whole  life's  happiness  or 
failure  may  depend  upon  that  de- 
cision. Here  I  try  to  help  you  make 
the  correct  one. 

I  will  be  glad  to  help  you  indi- 
vidually on  this  or  any  other 
problem  relating  to  beauty,  health 
or  happiness.  Letters  with  stamped 
envelopes  enclosed  will  be  answered 
by  return  mail;  those  without  re- 
turn postage,  in  the  columns  of 
Photoplay.  Pamphlets  on  the  care 
of  the  skin  will  also  be  yours  for  the 
sending  of  a  stamped,  self-addressed 
envelope,  and  a  booklet  on  weight 
reduction  may  be  had  for  ten  cents. 
CAROLYN  VAN  WYCK. 


something  of  the  pioneer  spirit — very  im- 
portant to  a  successful  business  girl — but  i 
the  necessity  for  going  slowly,  due  to  her  ■ 
financial  need. 

Corinne  should  bring  all  her  intelligence 
to  thinking  of  untried  positions  to  conquer. 
Every  profession  open  to  men  is  now  open 
to  women,  yet  girls  in  professions  like  medi- 
cine, the  law,  the  ministry,  in  industries  like  ; 
manufacturing,    banking   and   building,    in 
businesses  like  advertising,  selling,  trading, 
even    in    bricklaying,    are    conspicuously 
missing.    And  the  fact  is  that  girls  in  these 
lines,   by  the  very  value  of  contrast,   by 
their  plain  willingness  to  compete  with  men  : 
openly  and  not  shyly,  are  much  more  apt  j 
to  go  ahead  if  they  are  at  all  talented  than 
they  are  in  the  positions  now  accepted  as 
"nice  jobs"  for  ladies. 

I  HAVE  a  friend  who  wanted  to  become  a 
scenario  writer  in  Hollywood — a  very 
common,  usually  disappointing  ambition. 
But  this  girl  used  her  intelligence  and  talent. 
She  was  lucky  enough  to  have  a  college 
education  and  to  be  very  pretty  and  per- 
sistent. Arriving  in  Hollywood,  she  soon 
discovered  she  was  doomed  when  asking 
for  scenario  work  by  the  fact  that  she  was 
unknown  and  inexperienced.  So  she  finally 
took  a  job  as  telephone  operator  in  a  studio 
and  spent  her  evenings  studying  shorthand. 
It  being  true  that  if  you  aren't  too  big  for 
your  job  )'ou  are  too  small  for  it,  Mary  soon 
loomed  forth  to  the  studio  executives  as  too 
bright  a  girl  to  waste  on  a  telephone  board. 
When  questioned,  Mary  asked  for  a  job  on 
the  lot.  She  got  one  as  script  girl,  using  her 
newly-learned  stenography.  There  she 
worked  so  well  and  made  such  clever  sug- 
gestions on  scenes,  she  won  a  place  as 
assistant  to  a  man  writer.  He  recognized 
her  talents  and  today  Mary  is  turning  out 
originals  for  one  of  the  largest  studios. 

There,  to  me,  is  the  whole  technique  for 
Corinne  to  follow.  Let  her  choose  as  an 
initial  job  one  in  line  with  her  ultimate 
ambition  yet  one  she  won't  want  to  be 
holding  two  or  three  years  hence.  Don't 
let  her  be  held  back  by  pride  from  any  job. 
Don't  let  her  be  too  polite  to  work  hard  or 
too  ladylike  to  fight  her  way  forward.  Let 
[continued  on  page  110] 


Photoplay  Magazine — Advertising  Section 


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'/he  wonderful  present 
—it  is  all  that  really  be- 
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If  you  long  for  a  beauti- 
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it  the  day-by-day  care  that 
will  build  up  its  resistance 
— keep  it  smooth  and  clear 
and  brilliant  with  health 
and  vitality! 

Never  again  will  your  skin 
respond  quite  so  quickly  and 
satisfactorily    to   the   right 
care  as  now— this  very  night!  In  a  month 
—in  a  year— it  will  have  lost  a  little  of  its 
power  to  recuperate;  you  will  find  it  harder 
to  bring  it  back  into  perfect  condition. 

Begin  now,  to  give  it  the  habit  of  health 
—of  beauty.  Care  for  it  as  skin  specialists 
recommend— with  warm  or  hot  water,  ice, 
and  Woodbury's  Facial  Soap. 

Thousands  of  beautiful  women— debu- 
tantes—college  girls— women  guests  at 
America's  most  exclusive  resorts,  most 
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A  25-cent  cake  of  Wood  bury's 
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this  wonderful  soap,  to  gain  the  charm  of  "a 


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For  the  enclosed  10  cents  please  send  me  the  new 
large-size  trial  cake  of  Woodbury's  Facial  Soap,  the 
Cold  Cream,  Facial  Cream  and  Powder,  the  treat- 
ment booklet,  "A  Skin  You  Lovl  to  Touch,"  and  in- 
structions for  the  new  complete  Woodbury  ''Facial." 

If  vou  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,    2205  Sherbrooke  Street,  Perth,  Ont. 

Nam^ 


JUST  a  liftle  girl  all  dressed  up  for  dancing  school?    No,  it  is 
not  Baby  Peggy.    This  charming  child  is  Sally  Rand,  one  of 
Hollywood's  smallest  and  most  fatal  blond  Menaces. 


"VXTON'T  some  one  please  give  this  little  girl  a  picture  worthy  of  her  talents?    Won't 

^^  some  discerning  producer  give  May  McAvoy  a  chance  to  equal  her  unforgettable 

performance  in  "The  Enchanted  Cottage"? 


M 


ARION  NIXON  arrived  in  Los  Angeles  as  the  member  of  a  vaudeville  dancing  act. 
She  remained  to  play  the  much-rescued  heroine  of  countless  horse  operas.    Recently 
she  has  been  promoted  to  safer  rSles  in  more  sedate  dramas. 


MS 


ETRO-GOLDWYN'S  newest  recruit  to  the  Foreign  Legion  of  Swedes,  Mexicans, 
^  rmans  and  Hungarians — Josephine  Bono.    Just  to  be  different,  Miss  Borio  is  an 
Italian  and  came  from  Milan  two  years  ago  to  work  as  an  "extra." 


TpWO  years  ago,  Enc  von  Stroheim  cast  Fay  Wray  in  the  leading  role  of  "The  Wedding 

■*■  March."     After  a  siege  of  months,  Fay's  great  performance  will  emerge  from  the 

cutting  room  and  finally  see  the  light  of  the  screen. 


HTHE  public  loves  Charles  Farrell  because  of  his  Chico  in  "Seventh  Heaven."     Holly- 
wood loves  him  because  he  still  drives  the  same  old  pre-reformation  flivver  that  he 
owned  when  he  was  a  seven-fifty  a  day  "extra"  boy. 


"OROM  breast  to  thigh,  this  shimmering  Gossard  combination 
^  dings  about  the  body,  etching  with  Diana-like  clarity  the 
natural,  supple  lines  of  the  fashionable  silhouette.  Though  noth- 
ing more  than  a  sheath  of  satin  ....  (the  lower  sections  of 
double  thickness) . . .  combined  with  inserts  of  soft,  woven  elastic, 
it  brings  to  the  figure  a  new  grace,  unfailing  continuity  of  line. 

Ask  your  corsetiere  to  show  it  to  you.     Model  6664,  $10. 

The  H.  W.  Gossard  Co.,  Chicago,  San  Francisco,  New  York,  Atlanta,  Dallas,  Sydney,  London,  Toronto,  Buenos  Aires 


E 


MBARRASSED 

by  Uishpan 
rdands 


DICK'S  'chief  was  pleasant  and  friendly,  but  I 
knew  that  he  had  the  fastidious  standards  of  a 
man  of  culture  and  wealth.   And  I  was  so  eager, 
ai  Dick's  wife,  to  meet  those  standards. 

"  It  was  a  little  thing  which  upset  me— just  the  merest 
change  of  expression  on  his  face  ...  I  was  pouring  coffee, 
and  for  the  fraction  of  a  second  his  glance  had  rested 
on  my  hands. 

"I  knew  my  hands  looked  red  and  rough  from  house- 
work and  dishes  — and  knew  he  had  noticed  them  ...  I 
became  self-conscious,  ill  at  ease.    Foolishly,  perhaps,  I 


V^ux  keeps  lovely  the 
hands  that  wash  dishes 


Vll  at  ease  .  .  .  at  her 
own  dinner  table 


felt  the  evening  was  a  failure.  Now  I  knovN  how  need- 
less it  was.  Since  I  have  been  usmg  Lux  for  dishwashing, 
for  all  cleansing  my  hands  have  to  do—  my  hands  are 
soft  and  smooth  and  white.  I'm  never  embarrassed  now 
by  'dishpan'  hands." 

So  many  soaps— whether  flakes,  chips,  or  cakes  — con- 
tain harmful  alkali  which  dries  up  the  skin,  aging  and 
coarsening  it. 

There  is  no  injurious  alkali  in  Lux!  Made  by  a  re- 
markable process— Lux  actually  soothes  the  skin,  leaves 
it  a  little  whiter  and  softer  than  before.* 

Dissolving  instantly,  before  you  ever  put  your  hands 
in,  a  little  Lux  foams  up  into  a  mountain  of  suds  — 
so  rich,  so  cleansing,  the  dishes  seem  almost  to  wash 
themselves! 

The  big  package  of  Lux  washes  six  weeks'  dishes! 
Lovely  hands  for  so  small  a  price! 

*  Many  beauty  parloi 


The    National     Guide     to     Motion     Pictures 

(TRADE   MAEKI 

PHOTOPLAY 


March,  1928 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


CANON  WILLIAM  S.  CHASE, 
rector  of  Christ  Church  of 
Brooklyn,  champion  all-around 
reformer  of  America,  and  loud-speak- 
ing arch  enemy  of  the  movies,  rushes 
in,  without  the  slightest  foundation  of 
fact,  to  charge  motion  pictures  with 
responsibility  for  William  Hickman's 
atrocious  crime. 

And  this  atop  of  Hickman's  own  statement 
that  he  thought  himself  steered  toward  crime  by 
reading  newspapers. 

This  is  the  most  newspapered  and  movied 
country  in  the  world,  and  if  there  was  a  spark 
of  truth  in  the  gabbings  of  either  of  these  two 
eminent  logicians,  nine-tenths  of  the  population 
would  be  in  jail  or  en  route  to  the  scaffold,  and 
the  other  tenth  in  insane  asylums. 

npHE  reformer  and  the  criminal  have  a  lot  in 
-^  common.     The  reformer  covets  your  per- 
sonal liberty,  and  the  criminal  is  intolerant  of 
your  pocketbook. 

AND  just  a  day  or  two  before  the  Canon  got 
off  his  theological  gag  about  the  Los  An- 
geles murder,  Adolph  Hotelling,  deacon  of  a 
church  and  father  of  five  children,  committed 
an  equally  outrageous  murder  of  a  five-year-old 
girl  at  Flint,  Michigan.  Family  influence  and 
church  attendance  didn't  do  much  for  the 
deacon.  He  must  have  seen  a  Charlie  Chaplin 
comedy  in  his  impressionable  youth. 


told  the  child  he  was  a  movie  director 
and  offered  to  take  her  to  Hollywood. 
Leave  it  to  the  reformers.  They'll 
find  some  way  to  blame  that  on 
Douglas  Fairbanks,  Ben  Turpin,  or 
Cecil  B.  De  Mille. 


'  I  'HE  agile  Canon  and  his  crowd  of 
-*-  heavenly  politicians  are  working 
for  federal  regulation  of  motion  pictures,  calling 
them  "schools  of  crime."  The  churchmen  of 
the  country  should  get  together  and  demand 
federal  regulation  of  these  cuckoos  who  mis- 
represent the  spirit  of  Christ  and  breed  con- 
tempt for  religion. 

TF  it  goes  much  further  they'll  need  a  Will 
-^Hays  to  protect  them.     I  suggest  Al  Smith. 

TN  every  mail  comes  the  same  letter  from 
-'-readers: 

"What  chance  has  an  unknown  to  sell  an 
original  story  by  sending  it  to  a  scenario  de- 
partment?" 

My  answer  is  one  chance  in  ten  thousand. 

'"T'HAT  is  no  criticism  of  motion  picture 
-^  scenario  departments.  It  is  about  the 
average  of  even  fairly  good,  screenable  material 
that  is  received.  Besides,  the  companies  have 
barned  by  experience  that  they  are  always  in 
danger  of  plagiarism  suits,  and  the  chance  of 
finding  a  good  story  is  too  remote. 


A  FEW  days  later  an  ordained  minister  was     TF  you  must  write,  attempt  the  short  story 
convicted   in  Tennessee   of   abducting   a     -*-form,    and  submit  your  brain  child   to  the 
fourteen-year-old  girl  and  given  ten  years.    He     magazines.      The   scenario   departments    read 

21 


every  one  of  them.  There  is  a  general  im- 
pression that  one  need  not  be  an  experienced 
writer  to  whittle  out  a  picture  story,  but  that 
is  just  another  Hollywood  illusion,  as  true  as 
the  average  tabloid  newspaper  pipe  dream  of 
studio  life,  or  the  synthetic  true  love  stories. 
The  Photoplay  Magazine- Paramount  Fa- 
mous Lasky  idea  contest  was  an  entirely  different 
matter.  Ideas  for  stories  were  wanted,  ideas 
written  in  two  hundred  words,  and  $15,000  in 
cash  will  be  paid  for  the  winning  ideas.  The 
winners  will  be  announced  in  next  month's 
issue. 

BUT  regardless  of  the  merit  of  the  winning 
ideas,  it  will  take  trained  writers  to  put 
them  in  form.  It  is  one  thing  to  have  an  idea 
for  a  story — quite  another  to  make  a  story  of  it. 

There  is  no  royal  road  to  proficiency  in  short 
story  writing  any  more  than  there  is  to  pro- 
ficiency in  playing  the  piano.  It  takes  practice 
and  work  and  study  and  then  more  practice 
and  work  and  study. 

And  even  then  you  might  not  be  able  to  get 
a  job  in  an  orchestra. 

CINEMA  CITY  has  gone  completely  Mexi- 
can.    You  cannot  get  in  unless  you  are 
related  to  Popocatepetl  (and  can  pronounce  it). 

I  can  remember  when  the  old 
Metro  studio  wanted  to  make 
Ramon  Novarro  a  Spaniard, 
but  Ramon  was  proud  of  his 
ancestry,  and  even  at  the  risk 
of  losing  his  opportunity, 
would  not  stand  for  the  mask. 
Right  here  I  rise  to  say  that 
Mexico  can  well  be  proud  of 
her  Ramon.  On  or  off  the 
screen  I  have  never  known  a 
finer  gentleman.  Came 
Dolores  Del  Rio  who  adds 
further  lustre  to  her  country. 


/GILBERT  ROLAND  is 
^'-^Mexican.  So  is  Donald 
Keith  over  at  First  National. 
Then  there's  that  new  sensa- 
tion, Lupe  Velez,  the  red  hot 
tamale  of  Doug  Fairbanks' 
"Gaucho." 

Roland     and     Keith    have 
Mexican  names  tucked  away 


with  the  family  frijoles  and  other  heirlooms. 
Mexico  should  kick  about  our  films  depicting 
its  natives  in  a  harsh  light.  All  our  heroes  are 
Mexican  and  all  our  Mexican  villains  are 
Americans.  If  we  wanted  to  make  a  film  showing 
Coolidge  we  would  have  to  hireCalles,andif  we 
wanted  to  show  a  Mexican  bandit  we  would 
call  upon  Will  Rogers. 


METRO   still   retains 
r 


"Ladies  and  gentlemen.  Due  to 
the  actors'  and  musicians'  strike 
we  regret  very  much  to  announce 
that  we  will  be  compelled  to  show 
a  motion  picture" 

The  Chicagoan 


the  all-around  title 
-changing  championship  of  the  world  with 
"Annie  Laurie"  to  "Ladies  from  Hell,"  but 
Fox  has  just  changed  "Pigs"  to  "The  Mid- 
night Kiss,"  and  Universal  replaces  "The 
Symphony"  with  "Jazz  Mad." 

Anyhow,  they  give  us  credit  for  liking  kisses 
better  than  pigs. 

'T-'WAS  in  1914. 

-*-  Three  men  sat  on  a  cold  bench  before  the 
old  D.  W.  Griffith  studio  where  the  director 
was  filming  "Intolerance." 

They  were  awaiting  the  opportunity  to  do 
anything  which  might  give  them  the  price  of 
one  square  meal. 

Finally,  the  first  was  called.  D.  W.  needed 
a  Pharisee  in  his  picture. 

Then  the  second:   a  dirt  shoveller  was  re- 
quired, one  who  could  also  take  the  part  of 
a  thief  to  be  hung  in  the  pro- 
duction. 

The  third  was  put  before 
the  camera;  but  stage  fright 
overwhelmed  him  and  he  re- 
treated. 


npHE  first  was  Robert  An- 
-*-  derson;  the  second  Monte 
Blue;  the  third  Eric  Von  Stro- 
heim. 

That  was  the  first  and  last 
time  these  three  played  to- 
gether, until  now,  when  Robert 
Anderson  and  Monte  Blue 
have  been  sent  to  the  South 
Sea  Islands  to  play  side  by 
side  in  the  Robert  Flagherty 
production. 

As  for  Von  Stroheim, — he 
has  successfully  conquered  his 
fear  of  the  camera  although 
he  has  not  lost  his  patience 
in  waiting. 


I 


asky's 


Brook 


Properly  cast,  Clive  will 
go  on  forever 

By  Ruth  Waterbury 


ONE  day  Clive  Brook  came  to  Hollywood. 
The  next  day  no  one  important  knew 
it.  Nor  the  day  after  that.  Nor  the 
following  month.  He  was  just  a  charm- 
ing English  leading  man  in  a  town  already  over- 
crowded with  charming  English  leading  men. 
True,  he  worked  fairly  regularly.  He  played  leads  at 
Warner's,  leads  at  First  National.  He  even  appeared 
in  that  hunk  of  cinema  cheese  yclept  "When  Love 
Grows  Cold,"  starring 
Mrs.  Rudolph  Valen- 

.  ,        ..  ^         ^  ^, .     tino.       But    nobody 

A  low,  dirty  part,  the  — ^m^v  ^ 

bum  in   "Under- 
world," in  which 
Clive  Brook  reached 
new  heights 


a   the   inner   circle 

knew  and  nobody 

seemed  to  care. 

Then  overnight 

Hollywood  be- 


One  of  those  charming  people,  Clive  Brook  is  an 
English  soldier,   a  scholar  and  a  gentleman 


gan  talking  of  him.  He  played  two  leads  with  Florence 
Vidor.  He  played  in  "Hula"  and  "Underworld"  and 
"Barbed  Wire."  Everywhere  I  went  I  heard  conver- 
sations about  him.  Women's  conversations.  Women's 
whispers  such  as  they  used  to  whisper  about  Tommy 
Meighan  when  he  played  in  the  De  Mille  comedies  like 
"Don't  Change  Your  Wife";  as  they  talked  of  Eugene 
O'Brien  when  he  first  was  Norma  Talmadge's  leading 
man;  as  they  talked  of  Ronald  Colman  after  "The 
Dark  Angel." 

A  STAR  who  had  recently  finished  a  picture  with 
-**-him  told  me,  "I  had  to  remember  all  the  time  that 
he  was  devoted  to  his  wife  and  small  daughter." 

A  girl  in  the  Paramount  press  department  sighed, 
"Don't  let  anything  keep  you  from  interviewing  him. 
He's  simply  marvelous." 

A  script  girl  who  had  worked  on  the  Lasky  lot  during 
two  of  his  pictures  confessed,  "Just  to  have  him  say 
'Good  morning'  made  my  day  perfect." 

So  I  called  him  up  to  get  the  answer  to  the  riddle. 
We  met  in  a  clattery  little  restaurant  across  from  the 
De  Mille  studio  where  Mr.  Brook  was  working  on 
"The  Devil  Dancer."  The  room  was  full  of  celebri- 
ties.    Rupert  Julian,  the  director,  was  lunching 
with  Joseph  and  Rudolph  Schildkraut.     Phyllis 
Haver  and  Jacqueline  Logan  sat  together  against 
the  wall  next  to  William  De  Mille  and  Clara 
Beranger.    Julia  Faye,  in  a  corner,  had  a  book 
propped  up  against  a  glass  of  milk.     Extras 
mobbed   the  place  and  waiters  went  about 
carrying  their  loaded  trays  high  in  the  air. 

Yet  when  Clive  Brook  appeared  the  roomful 

J       stopped  eating  for  a  moment  and  looked  at  him. 

'M  There  was  no  reason   [continued  on  page  105] 


(JT^TS.  Douglas  Fairbanks 


FEW  women  have  enjoyed  more 
universal  love  than  Mary  Pick- 
ford.  Screen  beauties  may  come 
and  screen  beauties  may  go,  but 
Mary  reigns  on  forever. 

Since  she  was  twelve  years  old — and 
that  is  almost  since  the  very  beginning 
of  motion  pictures — this  little  sprite  of 

a  Mary  has  grown  in  influence,  afflu-  " 

ence  and  importance  in  the  picture 

world  and  entrenched  herself  in  the  hearts  of  the  public. 

And  today  she  has  reached  the  position  they  all  yearn 
and  strive  for.  She  is  as  free  as  it  is  possible  for  a  star 
actress  to  be.  She  can  afford  to  do  what  she  likes,  with- 
out a  "May  I?"  or  a  "Must  I?"  to  thwart  her  will.  No 
short-sighted  or  pig-headed  producer  can  throttle 
Mary's  ambitions  for  herself,  no  director  can  dominate 
her  art,  no  financial  considerations  can  balk  her  desires. 

Surely  an  enviable  state  for  any  starry  lady  to  find 
herself  in  at  the  age  when  many  male  novelists  have 
maintained  that  a  woman  is  at  her  best.  And  yet,  when 
1  told  Mary  this  .  .  . 

"Yes,  I  could  start  a  million  dollar  picture  tomorrow," 
she  agreed,  thoughtfully,  almost  wistfully.  "And,  be- 
lieve me,  I  have  a  vastly  greater  respect  for  producers 
now.  I  have  come  to  realize  that  exploitation  is  fifty 
per  cent,  no,  I  would  even  say  sixty  per  cent,  of  a  picture 
star's  success.  I  even  respect  their  judgment,  their 
knowledge  of  public  psychology.  It  is  no  sinecure,  this 
producing  job." 

Today,  in  private  life,  Mary  looks  a  thoughtful, 
rather  mature  23.    Not  a  day  more.    Her  blonde  curls 


An  intensely  interesting 
interview  in  which  Mary 
tells  what's  on  her  mind 


are  shorter,  her  figure  as  fairy-like  as  ever,  her  eyes 
as  blue,  her  complexion  unmarred,  with  never  the 
faintest  little  line  to  hint  that  time  is  passing. 

IT  is  not  in  her  appearance  that  Mary  has  ma- 
tured. But  Mary  has, grown  mentally,  amazingly. 
When  I  first  knew  Mary  it  was  a  year  or  so  be- 
fore the  war.  She  had  a  rather  childish,  almost 
babyish,  voice  in  those  days  and  was  so  very  little- 
girlish  in  her  manner.  It  wasn't  even  a  pretty  voice. 
But  today  Mary  talks  ina  rich,  soft,  matured  voice, 
with  a  cultured  accent,  quite  unaffected,  and  with 
intelligent,  well-informed  assurance. 

You  know,  there  is  an  old  couplet  which  says: 
"  'Tis  folly  to  be  wise  where  ignorance  is  bliss."  And 
so  we  have  Mary  saying, 

"I  have  to  remind  myself  that  there  is  a  tremen- 
dous gap,  a   mighty  dif- 
ference between  the  trav- 
\^  elled,  sophisticated  Mrs. 

Douglas  Fairbanks  and 
the  Mary  Pickford  the 
public  knows.  You  see,  I 
represent  Youth  in  pic- 
tures to  the  public,  very 
unsophisticated,  un- 
tutored youth." 

"And  it  was  Mrs.  Doug- 
las Fairbanks  who  em- 
ployed Ernst  Lubitsch?" 
I  suggested. 

"Yes,     that's   it,"   she 

^  smiled.      "I   admire   Mr. 

Lubitsch  and  his  work.  I 
had  come  to  know  and  understand  his  sort  of  sophistica- 
tion, and  I  didn't  realize  that  he  was  at  one  extreme  end 
and  Mary  Pickford  at  the  other  extreme  end  of  the 
modern  social  scale  in  the  public  mind.  It  was  my  own 
mistake.  That  was  a  mistake  a  producer  would  not 
have  made.  One  of  the  penalties  of  being  one's  own 
producer,  you  see.  Oh,  'Rosita'  wasn't  so  very  bad,  but 
I  might  have  known  I  am  not  the  Spanish  type,  the 
Latin  type.    I  am  essentially  Nordic.  I  know  that  now." 

CINCE  Mary  has  been  her  own  producer  she  has  made 
^fourteen  pictures.  "Daddy  Long-Legs"  was  the  first. 
"I  never  did  like  'Daddy  Long-Legs,'  "  said  Mary, 
musingly.  She  is  a  very  critical  critic  of  her  own  work. 
"But  we  don't  know  whether  a  picture  is  good  when  we 
are  making  it.  But  the  moment  it  is  shown  before  an 
audience  we  know." 

"You  mean,"  I  said,  "that  you  only  consider  it  a 
good  picture  if  it  is  a  box  office  success?" 

"No,  I  don't  mean  that,"  said  Mary.  "But  the 
audience  gives  a  picture  life.  They  put  the  vital  spark 
in  it.     Before  that  it  is  like  a  beautiful  wax  figure,  a 


MARY  PICKFORD,  the 
eternal  child.  On  the 
screen,  the  very  symbol  of 
innocent  childhood.  It  is 
Mary  who  cannot  forget  her 
early  years  of  poverty,  her 
struggle  for  success.  Ruled 
by  her  heart  and  her  in- 
stincts, not  by  her  head. 


analyzes  Mary  Pickford 


By  Alma  Whitaker 


carefully    constructed     dummy — but     it     doesn't 
breathe  until  the  audience  gives  it  life." 

Mary  approved  of  "Pollyanna."  "It  was  a  sweet 
little  picture  made  with  sincerity.  When  we  are 
sincere  and  feel  our  roles,  they  are  invariably  good." 

SUDS,"  "Hoodlum,"  "Heart  of  the  Hills,"  "Love 
Light,"    "Through    the    Back    Door,"    passed 
Mary's  criticism  of  Mary,  but — 

"  'Fauntleroy' was  a  mistake.  No  woman  should 
ever  play  a  male  role — ever.  I  should  have  been 
content  to  be  Dearest  and  have  engaged  a  real  little 
boy  for  Lord  Fauntleroy.  We  created  a  false  situa- 
tion, I  was  distressed  at  being  separated  from  my- 
self," said  Mary.  It  will  be  remembered  she  played 
the  dual  role  of  mother  and  son  in  this. 

"Tess  of  the  Storm  County"  lost  interest  for 
Mary  because  it  was  made  over  a  second  time. 

So  then  we  arrive  at  "Dorothy  Vernon  of  Haddon 
Hall,"  our  Mary's  first  attempt  to  grow  up. 
"What,"  I  asked,  "was  the  matter  with  'Dorothy 
Vernon'?" 

"Oh,  so  many  costume  pictures  just  then,  and 
most  of  them  done  better 
than  mine,"  she  said,  with 

that  little  quirky  smile  at  y 

the  corner  of  her  mouth 
which  comes  when  she  is 
admitting  things  to  her- 
self. 

When,  a  few  minutes 
later,  we  were  talking  of 
little  Mary,  now  eleven 
years  old,  Lottie  Pick- 
ford's  little  girl  adopted 
by  Mary  and  her  mother, 
I  asked  if  they  were  going 
to  put  her  into  pictures. 
Mary  said:  X.^ 

"Oh,  no.  Certainly  not 
unless  she  loves  them.  So  many  heartaches  in  our 
profession.  If  we  really  love  pictures  as  I  do,  we  can 
bear  the  heartaches.  But  we  have  to  love  them,  like 
babies,  you  know,  love  them  enough  to  do  the  messy 
little  chores  for  them  and  adore  doing  them." 

Mary  Pickford  has  loved  pictures  in  just  this  way. 
Until  very  recently  she  was  an  indefatigable  picture  fan 
— sawevery  picture  of  any  consequence.     But  now  .  .  . 

"T  WON'T  go  to  see  bad  pictures  any  more.  I  can't 
bear  it.  I  wish  I  were  not  becoming  so  critical.  But  I 
went  to  see  'What  Price  Glory?'  and  I  think  it  is  the 
best  picture  ever  made.  Even  its  vulgarity  enchants 
me.  The  character  of  Captain  Flagg  is  so  cleverly, 
humanly  portrayed.  And  I  loved  'Seventh  Heaven.'" 
I  was  conscious  of  suspecting  Mary  of  wishing 
"Seventh  Heaven"  had  been  a  Mary  Pickford 
vehicle.  .  .  . 

"You  see,"  Mary  was  adding,  with  a  sly  smile,  "I  am 
not  exclusive  in  my  judgments  any  more.  I  can  approve 
them  whole-heartedly,  even  if  they  are  not  United  Art- 
ists' pictures.    I  am  getting  the  same  about  nations  too. 


MRS. 
BANKS, 


DOUGLAS  FAIR- 
sophisticated, 
travelled,  cultured.  Mrs. 
Fairbanks  cannot  forget  her 
wealth,  her  position.  Ruled 
by  her  intelligence,  guided  by 
her  experience.  And  always 
at  war  with  the  rebellious, 
impulsive,  child-like  Mary. 


We  had  such  a  wonderful  experience 
during  our  last  tour.  They  were  show- 
ing a  picture  of  mine  in  Berlin  and  I 
was  to  make  a  personal  appearance. 
The  house  was  packed,  but  I  had  that 
queer  little  sense  left  over  from  the 
war  that  this  was  an  'enemy  countrj-.' 
I  was  half  expecting  a  critical,  antag- 

y  onistic  audience  in  a  vague  sort  of 

way.  But  presently  I  realized  they 
were  playing  'The  Star  Spangled  Banner'  and  every 
soul  in  the  house  stood  up  respectfully.  Quite  a  curious 
emotional  experience.  My  voice  choked  a  little  at  first. 
But  I  soon  found  they  were  just  the  same  loving,  whole- 
some public  that  puts  life  into  our  art  for  us. 

"I  sought  the  world  for  types  and  stories  for  my  pic- 
tures, and  then,  like  the  blue-bird,  I  come  home  to  find 
them  right  here  in  my  own  country.  I  believe  you  are 
going  to  like  'My  Best  Girl.'  I  slipped  into  three  pre- 
views at  little  out-of-town  theaters  and  I  heard  it  click. ' ' 
Her  eyes  glistened  happily. 

"You  see,  I  am  about  seventeen  in  that,  and  a  poor 
girl  of  the  masses,  the  type  that  abounds  in  this  and 
every  country.  The  kind  I  understand  because  I  was  a 
poor  girl  once  too.  I  am  glad  I  was  a  poor  girl,  that  we 
had  those  early  struggles  after  father  died.  They  seeni 
much  more  real  to  me  than  my  life  since.  I  come  from 
the  sort  of  stock  that  prevails  in  every  country,  a  nice, 
modest  home,  just  ordinary  folks.  My  English  grand- 
mother, who  died  at  92,  went  to  the  same  church  in 
Liverpool  for  80  years.  When  father  died  we  were  quite 
little,  and  mother  was  left    [continued  on  page  127] 

31 


The  Diary  of  "Lorelei 

Ruth  Taylof  's  own  record  of  her 
from  obscurity  to  the  role  of  the 


Here  is  one  of  the  most  human  documents  Photoplay  has  ever 
printed.  Here,  in  chronological  order,  are  presented  actual  excerpts — 
exactly  as  they  were  originally  penned — from  the  private  diary  of 
Ruth  Taylor,  the  unknown  who  was  selected  to  play  Lorelei  Lee  in 
"Gentlemen  Prefer  Blondes." 

Step  by  step  you  can  trace  the  hopes,  the  disappointments,  the  heart 
breaks  and  the  joys  of  a  girl  who  fought  alone  for  a  hearing  in  Holly- 
wood— where  one  girl  in  ten  thousand  gets  a  break. 

— The  Editor. 

JAN.   4,    1926— Started   the   fourth   picture   of   the 
"Puppy  Love"  series  with  Eddie  CHne  today. 
He  certainly  is  a  grand  director  to  work  for.    We 
have  a  lot  of  fun  on  his  set. 
Jan.   7 — Great!     The  studio  took  up  my  option  for 

another  six  months.    I  like  it  at  Sennett's. 
Jan.  18 — You  certainly  have  to  go  in  for  everything  to 

be  a  comedy  queen.    Started  taking  horseback  riding 

lessons  today. 
Jan.  19 — Gosh!     I'm  lame. 
Jan.  30 — Success!     I'm  doing  two  pictures  at  once. 

I'm  going  to  do  the  lead  with  Ralph  Graves  and  also 

the  next  "Puppy  Love"  series.    Went  to  the  studio 

for  wardrobe. 
March  16 — My  first  day  out.    Have  been  in  bed  for 

three  weeks  from  an  infected  vaccination.    Good  to 

be  out  again. 
April  8 — Finished  the  picture  in  the  morning  and  then 

said  good-bye  to  Mr.  Sennett.  He  is  leaving  for  New 

York  tomorrow.    Went  to  a  preview  of  the  last  pic- 

**I  was  just  one  of  about  200  blondes 


V*)0ULM-«   -ttT'  KXyXAAy>    (XAX^    f  KJU«.  \KJJUX,   QMKJ^ 

(uUJt^  djiJuit  i«MiXCc.  lU  ^MjLAAj  5m  fiix^^ 


m 


ture  and  it  is  pretty  good.  Then  Mother  and  I  went 
over  to  Eddie  Cline's  and  played  bridge. 

April  18 — Just  got  home  after  working  until  one  a.  m. 
for  Eddie  Cline.  Had  a  grand  time.  I  made  up  like 
a  colored  mammy  and  none  knew  me  when  I  walked 
on  the  set.  We  certainly  have  a  lot  of  laughs  at  that 
studio. 

May  14 — Started  another  picture  today.  It  seems  I 
just  go  from  one  picture  to  another.  Everything  is 
great,  and  I'm  getting  ahead  beautifully.  I'm  awfully 
happy. 

June  19 — Worked  on  retakes  in  Ben  Turpin  picture. 
I'm  sorry  the  picture  is  ending.  Ben  has  been  a  riot. 
He's  the  funniest  thing.  He  has  everyone  on  the  set 
laughing  all  the  time. 

JULY  8 — Studio  took  my  option  for  another  six  months. 
I  think  with  another  year  of  Sennett  training  I  hope 
I'll  be  ready  to  go  into  features.    Lots  of  girls  who  have 
worked   at   Sennett's  got  a  good   break  when   they  left 
Sennett's.     Maybe  I'll  get  some  good  offers,  too.     But 
that's  too  far  ahead.     I'm  signed  for  comedies  for  six 
months  more. 
August  3 — Had  my  first  swimming  lessons  at  the  Holly- 
wood Athletic  Club  today.     Not  that  I  have  to  for 
pictures,  because  it  seems  like  a  Sennett  girl  never 
goes  in  the  water,  but  I  would  like  to  know  how 
to  swim. 
August  30 — Warner  Brothers  want  me  for  the  lead 
opposite  Syd  Chaplin.     Gee,  I'd  get  a  lot  of  work  if  I 
weren't  under  contract  at  Sennett's. 
Oct.  21— Worked  all  day.     Went  to 
Madeline  Hurlock's  for  dinner  and  to 
the  theater.    Dead  tired. 
Nov.  1 — The  Wampas  Baby  Stars  are 
going    to    be    picked    pretty    soon. 
Wouldn't  it  be  great  if  I  were  picked? 
Nov.    19 — Went    to    the    opening    of 
"What  Price  Glory."     It  was  mar- 
velous and   Phyllis   Haver  was  ex- 
cellent in  it.     Another  Sennett  girl 
makes  good.    Wonder  if  I  will. 
Nov.  30 — The  studio  has  been  closed 
for  three  weeks.     Open  today,  and 
I'm  back  at  work  again,  and  glad  of 
it.    I  hate  to  loaf. 
Dec.  4 — Started  a  picture.    Eddie.Quil- 
lan,  Madeline  Hurlock  and  myself 
are  featured. 

JAN.  20 — I  don't  think  my  option  will  be 
taken  up.  I'm  terribly  sorry,  because  I 
hate  to  leave,  but  in  another  way,  I'm 
sort  of  glad.  The  sooner  I  can  get  out 
and  get  into  feature  pictures  the  better. 

Feb.  5 — Going  to  start  a  picture  with 
Ben  Turpin.  My  option  is  not  up 
until  the  9th.  I  hope  they  don't  re- 
new. I  want  to  get  out  and  try  my 
luck  in  features. 


^1^ 


32 


Lee 


amazing  jump 
''preferred'' 


Feb.   9 — No  option.      I  don't 

know  whether  to  be  glad  or 

frightened.      Now   that   it's 

happened,  it  seems  like  I'm 

starting  all   over   again.      I 

hope  I  have  luck. 
March    7 — Finished    my    last 

picture  at  Sennett's. 
March    9 — Woke    up    feeling 

fine.     This  was  my  last  day 

at  Sennett's.     Went  to  the 

studio   in   the   afternoon   to 

check  in  my  wardrobe.  Ev- 
eryone wished  me  luck  as  a 

free-lance.  I  know  my  train- 
ing and  experience  in  come- 
dies will  help  me  in  features. 

Said  good-bye  to  Ben  Tur- 

pin.  Last  set  I  saw  at  Sen- 
nett's had  ten  bathing  girls 

on  it.    Six  of  them  were  new 

and  seemed  awfully  eager. 
March   10 — Got  up  early   to 

rush  out  to  Universal.  Had  a 

letter  of  introduction  to  the 

general  manager.      He  sent 

me  to  the  casting  director. 

Put  my  picture  on  file.  They 

told  me  they  would  call  me. 

This    free-lancing   is    great. 

Madeline  ought  to  get  away 

from    two-reelers,  too.      I 

missed  being  with  her  today. 
March    12 — Went  to  a  mat- 
inee with   mother   today. 

Played  bridge  tonight  at 

Madeline's.    My  time's  my  own  now. 

MARCH  16 — Lost  a  big  part  today.  I  was  called  to  Samuel 
Goldwyn's  in  the  morning  to  see  Henry  King  about  a  part 
in  "The  Magic  Flame."  The  casting  director  wanted  me 
to  have  it,  but  Mr.  King  said  I  wasn't  the  type.  It  was  an 
Italian  princess.  I  don't  care — I've  worked  hard  for  two 
years.    I  can  stand  a  little  rest. 

March  21 — Went  to  dinner  at  Victor  Hugo's  with 
some  friends  from  New  York.  I  want  to  go  to  New 
York  and  see  things.  Maybe  I'll  get  a  chance  after 
a  few  more  pictures.  I've  never  been  there.  The 
glamour  of  New  York  thrills  me.  I'll  get  there — 
and  soon! 

March  31 — Called  to  a  little  independent  studio  to  see 
about  a  lead  in  a  western.  I  didn't  get  it,  but  I  didn't 
want  it.  Why  don't  one  of  the  big  studios  call  me? 
Loafing  is  nice,  but  after  all — 

Aprils — Saw  Ina  Claire  in  "The  Last  of  Mrs.  Cheney." 
How  I  would  love  to  be  as  great  an  actress  as  she  is. 
I  wonder  if  she  had  a  hard  time  getting  started? 

April  6 — I  had  some  pictures  taken  for  Peggy  Hamil- 
ton.   The  De  Mille  studio  called,  and  I  took  some 


For  months  Miss  Taylor  told  her  diary,  "I  didn't  get  the  part." 
And  then — well,  read  and  find  out  what  happened  on  August  19th 


cut-outs  from  a  Ben  Turpin  picture  out  for  them  to 
see.  The  film  was  good,  and  I  left  it  there.  This  is 
going  to  be  the  break.  I  can  feel  it.  Hope  it  starts 
soon. 

April  7 — Metropolitan  called  me  to  come  over  about  a 
lead  with  Edward  Everett  Horton  in  a  two-reeler. 
They  told  me  I  was  all  set,  but  to  call  back  at  two 
o'clock  to  find  out  what  kind  of  a  riding  habit  I  was 
to  get  at  the  Western  Costume  Company.  When  I 
called,  they  told  me  Nila  Cavalier  had  been  given  the 
part.  Another  disappointment — I  don't  care;  De 
Mille's  will  call  tomorrow. 

April  8 — Stayed  home  all  day  waiting  for  a  call  from 
De  Mille. 

April  9 — Waited  again  for  the  call,  but  I  didn't  get  it. 
I  am  going  out  there  the  first  thing  Monday. 

April  10 — Heard  Ruth  Draper's  recital  this  afternoon. 
She  is  marvelous — alone  up  there  for  two  hours 
without  a  prop.  I  was  absolutely  awed.  She  is  a 
really  great  artist,  but  I  want  to  be  a  comedienne. 

April  11 — The  De  Mille  picture  has  already  been  cast 
and  started.    I  didn't  get   [  continued  on  page  121  ] 

33 


Qee  Hollywood  and  Die 


By 

Herbert  Howe 


Hollywood's  man-about-town 
says  the  limelight  is  as  fatal  to  in- 
dividuals as  the  flame  to  the  moth 


WELL,  here  I  am  back  in  the  land  where 
dreams  come  true — and  turn  out  to  be  night- 
mares. 

My  absence  from  the  haunts  of  the  wicked 
has  caused  considerable  gossip — as  what  does  not  in 
Hollywood? — and  all  because  my  sudden  disappearance 
was  followed  by  an  announcement  from  Evangelist 
Aimee  McPherson  that  she  had  chased  the  devil  out  of 
town — an  unkind  boast  at  best! 

I  trust  that  none  of  my  loj^al  readers  leaped  to  a  hasty 
conclusion  from  this  statement.  I'm  not  the  gentleman 
whom  Aimee  chases,  though  I  am  one  of  her  warmest 
admirers  and  have  pet-named  her  the  Garbo  of  the 
Gospel. 

Naturally  this  confusion  of  identities  aroused  my 
interest  in  His  Majesty,  who  is  said  to  work  so  success- 
fully here  in  Hollywood.  Despite  all  the  publicity 
given  him  he  never  makes  a  personal  appearance,  and 
this  modesty  alone  sets  him  apart  from  all  the  other 
successful  gentlemen  of  the  town.  My  curiosity  was 
soon  fed  with  evidence  of  his  handiwork.  .  .  . 

""DUSINESS  has  fallen  off  sumpin'  terrible  since  you 

■'-'been  gone,"  quoth  Betty,  the  honest  waitress  of 
the  Come-On-Inn.  "Three  of  our  best  customers 
committed  suicide,  two  were  sent  to  San  Quentin  peni- 
tentiary and  one  got  shot." 

"My,  my,  most  unusual  for  this  time  of  year,"  said 
\.  "I  trust  my  absence  had  nothing  to  do  with  this 
general  despair." 

The  week  of  my  return 
girl  attempted  suicide  after 
being  photographed  in  a 
way  to  catch  the  fancy 
of  the  producers.  Both 
attempts  faik'd. 

Another  gii  1,  how- 
ever, had  the  mis- 
fortune to  kill  her- 
self accidentally  in 
the  attempt,  and 
left  behind  a  diary 
containing  names 
of  gentlemen  and 
amounts;    this 
caused   consider- 
able comment,  es- 
pecially   among 
the  wives  of  the 
gentlemen,  owing 
to  the  amounts. 


Hollywood  is  the  place 
where  a  gingham  doll 
who  is  charming  be- 
cause she  is  gingham 
takes  on  satin  airs 
because  she  feels  she 
should  improve  herself 


None  of  these  people  were  of  the  film  colony  though 
they  had  every  intention  of  becoming  of  it.  "See 
Hollywood  and  die"  seems  to  be  the  world  ambition 
today,  at  least  for  those  who  would  rather  expire  than 
live  unphotographed. 

"PVERYONE  on  earth  wants  to  get  to  Hollywood, 
-'—'and  everyone  in  Hollywood  wants  to  get  out.  Even 
the  half-wits  at  some  time  or  other  burst  forth  with 
the  common  remark,  "  I'm  going  to  get  the  money  and 
get  out." 

Of  course  none  ever  does  get  out — at  least  not  volun- 
tarily— because,  for  one  thing,  the  United  States 
government  had  not  yet  minted  enough  money.  .  .  . 

TpHE  reason  for  this  discontent  in  the  city  of  Aladdin's 
-^  Lamps  is  an  interesting  puzzle  for  the  psychologist. 
Here  one  ma^^  achieve  in  a  very  short  space  of  time, 
while  one  is  still  young,  all  the  things  on  which  the 
material  world  sets  its  heart. 

Girls  from  department  store  basements  who  used  to 
hang  perspiring  by  straps  in  subway  trains  suddenly 
are  transported  in  town  cars  scented  at  fifteen  dollars  an 
ounce  and  blooming  with  orchids  and  chow  dogs. 

Gentlemen  who  formerly  looked  for  dimes  that  the 
diners  left  on  marble  top  tables,  now  occupy  palaces 
designed  from  the  Medici's  and  are  introduced  to 
princes    and    prelates. 

Yet  they  rave  around  as  though  they'd  been  robbed — 
and  they  have.    They've  been  robbed 
of  themselves. 

They  are  no  longer  individ- 
uals but  lime-lighted  "types" 
with  as  much  privacy  and 
volition  as  the  ladies  and 
gentlemen  of  the  late 
Mrs.    Jarley's  wax 
works. 

■pOR  eight  years 
■*-  I've  sat  beside 
the  movie  gates 
making  notes  on 
people  passing  in — 
and  people  passing 
out.  My  statistics 
prove  that  the  lime- 
light is  as  fatal  to 
the  individual  as 
the  gas  flame  to  the 
bug.  It  destroys 
him. 

On  a  few  occa- 
sions when  I've  ob- 
served a  particu- 
larly fine  young  en- 
trant   I've   been 

[  CONTINUED  ON 
PAGE   88 1 


8h 


Steps   ///   the 

Making 

Of  A 

MOVIE 


Showing  the  actual 

progress  of  the  filming 

of  "Red  Hair" 


®  Like  all  good  ideas, 
it  has  a  casual  begin- 
ning. Elinor  Glyn  goes 
on  a  yachting  trip  with 
Clara  Bow  and  as  the 
sea  breezes  romp 
through  Clara's  flam- 
ing hair,  Mme.  Glyn 
gets  the  idea  for  the 
story 


^ 


m' 


®  Elinor  Glyn  sells  the  story  to  B.  P. 
Schulberg.  The  producer  calls  in 
Clarence  Badger,  director,  and  Lloyd 
Corrigan,  scenario  writer.  They  are 
delegated  to  act  as  foster-fathers  to 
Elinor's  brain  child 


®  "This  idea,"  says  Corrigan,  as  he 
works  on  the  script,  "rose,  like  Venus, 
from  the  waves."  And  so  he  does  his 
writing  in  the  bathtub,  thereby  in- 
suring a  clean  picture 


Turn     the     page     and    see     how     the     idea     grows 


35 


Do  you  know  how  motion  pictures  really  are 


®  The  gods  in  Valhalla  — 
supervisors  and  department 
heads — tear  the  script  to 
pieces  and  put  it  together 
again.  The  smoke  arises 
from  conference  cigars,  not 
from  the  situations  in  the 
Glyn  opus 


made?     Study  the  photographs  and  find  out 


©Not  a  camera 
has  ground 
yet.  Nor  can 
any  real  film- 
ing begin  until 
Van  Nest  Pol- 
glanze  com- 
pletes the 
designs  for  the 
settings 


®  The  carpen- 
ters, under  the 
su  pervision  of 
Harry  Strite, 
play  the  overture 
of  the  film  with 
hammers  and 
saws 


'S)  And  here  is  the 
whole  gang,  from 
prop  boy  to  di- 
rector, hard  at  it, 
while  directly  op- 
posite is  what  they 
are  shooting  atand 
what  you  will 
in  the  film 


37 


9v/f  y^  Life 


Slowly  rage  began  to  well  up  in  me.     Why  should  they  look 
at  me  like  that? 


Last  monlh  Clara  Bow  told  how  her  mother,  who  was  of  French 
descent,  married  her  father,  the  youngest  of  a  neighboring  Scotch- 
English  family  of  fourteen.  The  newly  married  couple  moved  to  a 
small  place  in  Brooklyn.  Clara' s  father  had  difficulty  making  a  place 
in  life  for  himself.  Troubled  days  came.  Their  first  two  children 
died  almost  at  birth.  Clara  was  the  third.  She  grew  up  to  be  the 
tomboy  of  the  neighborhood.  She  never  had  a  doll  in  her  life — but 
she  had  a  place  on  the  street  corner  baseball  team. 

At  school  Clara  read  of  a  motion  picture  contest.  She  went  to  a 
small  photographer  and  had  two  pictures  made  for  a  dollar.  They 
were  terrible,  but  she  sent  them  to  the  contest  judges. 

Next  Month — A  third  thrilling  installment. 

HOPE  is  a  funny  and  wonderful  thing. 
Every  bit  of  reason  I  had,  every  logical 
thought  process  I  followed,  told  me  I  had  no 
chance  to  win  any  contest  to  enter  motion 
pictures.  It  was  silly  to  even  dream  of  it.  There  wasn't 
a  single  person  who  knew  me,  except  my  Dad,  who 
wouldn't  have  laughed  loud  and  long  at  the  mere  idea. 
Why,  the  contest  was  open  to  everyone  in  the  United 
States.  The  world  was  full  of  beautiful  girls,  girls  with 
clothes  and  education  and  advantages  of  every  kind, 


Illustrated   b} 

Corinne  Dillon 


who  wanted  to  go  into  pictures. 
They  would  enter  such  a  con- 
test. 

What  chance  would  I  have? 

I  lay  awake  night  after  night 
telling  myself  all  these  things, 
preparing  myself  for  what  I 
felt  was  an  inevitable  disap- 
pointment. 

Yet  hope  went  on  singing  in 
my  breast.  Sometimes  I  think 
that  is  why  hope  was  included 
with  faith  and  charity  by  St. 
Paul,  as  the  greatest  thing  to 
possess.  Hope  is  the  thing  that 
enables  us  to  try  to  accomplish 
the  impossible,  that  urges  us  on 
to  heights  that,  without  the  en- 
couragement of  its  music,  we 
would  never  dare  attempt. 

Finally,  a  letter  came.  My 
hands  were  cold  as  I  opened  it. 
I  don't  think  I  breathed  for 
several  minutes.     I  was  afraid 


One  of  Clara  Bow's  first  portraits,  made  by 
Muray  just  after  winning  the  contest 


Story 


Part  II.    Miss  Bow  tells  of 
the  days  when  ridicule,  dis- 
aster and  defeat  nearly 
ended  her  career 


By 
CLARA  BOW 

as  told  to 

Adela  Rogers  St.  Johns 


to  look.     At  last  I  did.     It  told  me  to  come  to  the 
magazine  offices. 

That  didn't  mean  anything.  The  judges  in  this  con- 
test were  Howard  Chandler  Christy,  Harrison  Fisher 
and  Neysa  McMein.  Judges  of  beauty,  all  right.  No 
fooling  them.     Still,  it  was  one  tiny  step  nearer. 

My  school  work  was  going  all  to  pieces  under  the 
strain.  I  couldn't  keep  my  mind  on  it  for  a  second.  I 
was  just  one  big  pulse  of  hope  and  excitement.  Every 
teacher  I  had — I  was  in  my  third  year — was  sore  at  me. 
But  I  couldn't  help  it. 

On  the  day  set,  I  went  to  the  contest  offices.  I  sat 
rigid  all  the  way.  It  seemed  that  ages  passed.  I  had 
a  fantastic  idea  that  my  hair  would  have  turned  from 
red  to  white  by  the  time  I  arrived. 

The  office  was  full  of  girls  and  my  heart  just  flopped 

when  I  saw  them.     Every  bit  of  hope  and  assurance 

oozed  right  out 

through  my  boots. 

Oh,  they  were 

pretty  girls.  To  me 

they  seemed  the 

-^IC  most  beautiful  girls 

'''  in  all  the  world. 


Blondes   and    bru-  page  116] 


nettes,  no  vulgar  little  redheads.  They  were 
elegantly  dressed,  perfectly  groomed,  with 
lovely,  manicured  hands  and  slim,  delicate 
legs  in  sheer  stockings.  They  had  poise. 
I  hadn't  dressed  up  because  I  had  nothing 
to  dress  up  in.  I  had  never  had  a  manicure  nor  a  pair 
of  chiffon  stockings  in  my  life.  I  had  never  even  been 
close  to  the  scent  of  such  perfumes  as  filled  that  room. 
I  wore  the  one  and  only  thing  I  owned.  A  little  plaid 
wool  dress,  a  sweater  and  a  woolly  red  tam.  I  hadn't 
thought  much  of  that  angle.  I  had  only  looked  at  my 
face,  and  that  was  disappointing  enough. 

But  now,  in  this  gathering,  I  was  painfully  aware  of 
how  I  was  dressed.  I  felt  presumptuous  to  be  there  at 
all.     Shame  and  humiliation  overcame  me. 

Those  girls  didn't  leave  me  much  room  for  doubt  that 
the  impression  I  made  was  as  bad  as  I  thought  it  would 
be.  Eyebrows  went  up,  noses  elevated,  there  were 
snickers  here  and  there.  At  first  I  wilted.  Tears  came 
up  and  choked  me,  but  I  beat  them  back  somehow.  I 
had  learned  not  to  cry  in  a  hard  school — onthepavement 
of  Brooklyn  with  a  gang  of  boys. 

But  slowly  rage  began  to  well  up  in  me.  Why  should 
they  look  at  me  like  that?  Why  need  they  be  so  un- 
kind? I  wasn't  much,  but  I  knew  I  wouldn't  be  as 
cruel  as  that  to  anyone  that  was  worse  off  than  I  was. 
Suffering  had  taught  me  how  bitter  suffering  can  be,  and 
I  never,  never  wanted  to  inflict  it  on  anybody  else. 

[C0XTINt-]:D0N 


"Oh,  I'm  the  girl  all 
right,"  I  pleaded.  "But 
I've  lost  so  many  parts 
because  I  was  too  young 
that  I  put  on  mother's 
dress" 


^k  Lucky 

The  Hollywood  press  agents 
of  the  most  promising 


Sue  Carol  was  a  sure  bet. 
You'll  find  an  interview 
with  her  on  Page  63.  She's 
the  lucky  girl  who  has 
played  nothing  but  lead- 
ing roles  and  played  them 
so  engagingly  that  pro- 
ducers regard  her  as  a  girl 
beaded  surely  for  stardom. 
Married  but  separated 
from  her  husband 


Sally  Eilers,  not  just 
a  leading  woman 
but  a  real  come- 
dienne. She  repre- 
sents  the  Mack 
Sennett  studio  and 
Mack  thinks  so 
much  of  her  clown- 
ing that  he  gave  her 
the  lead  in  "The 
Goodbye  Kiss,"  the 
first  feature  length 
comedy  that  Mack 
has  made   in  years 


Molly  O'Day,  nee  Su- 
zanne Noonan,  and  sis- 
ter of  Sally  O'Neil.  The 
daughter  of  Judge 
Noonan  of  Bayonne,  N. 
J.  First  National  thinks 
she  deserves  special 
honor  for  her  work  in 
"The  Patent  Leather 
Kid"  and  "The  Little 
Shepherd  of  Kingdom 
Come."  Eighteen  years 
old;  unmarried 


Gwen  Lee  has  been 
the  good  little  bad 
blonde  in  a  flock  of 
Metro-Goldwyn- 
Mayer  pictures. 
Gwen  comes  from 
Hastings,  Neb.,  and 
is  twenty-two  years 
old.  Hers  is  no  sud- 
den success;  she  has 
worked  two  years  for 
the  honor  of  being 
one  of  the  Baby  Stars 


Ruth  Taylor,  of  course.  If  the  Lorelei  Lee  of  "Gentlemien  Prefer 
Blondes"  had  been  left  out,  the  Wampas  would  have  had  to  face  an 
indignant  public.  Press  agents,  like  gentlemen,  prefer  'em.  Read 
Ruth's  diary  elsewhere  in  this  issue  of  PHOTOPLAY.    Unmarried! 


Alice  Day,  younger 
sister  of  Marceline. 
Just  a  kid  of  nineteen, 
but  with  plenty  of 
training.  For  two 
years  she  worked  in 
Sennett  comedies  and 
recently  played  the 
leading  feminine  role 
in  "The  Gorilla." 
Alice  was  born  in 
Pueblo,  Colo.,  and  she 
isn't  married 


iO 


THE  Wampas,  an  organization  of  Hollywood 
press  agents,  has  selected  the  thirteen  girls  that 
will  be  singled  out  for  special  honors  during  the 
year  of  1928.  In  the  presence  of  Chet  Vanderlip, 
banker,  and  the  Rev.  Neal  Dodd,  chaplain  of  the 
organization,  the  publicity  men  cast  the  votes  that 
mean  so  much  to  the  debutante  set. 

On  these  pages  you  will  find  pictures  of  the  new 
Baby  Stars  and  something  about  their  careers.  The 
Wampas  pride  themselves  on  being  discoverers  of  new 
talent.  Do  you  agree  with  them  that  these  girls 
represent  the  best  of  the  younger  players? 


Thirteen 


make  their  annual  selection 
girls  on  the  screen 


Audrey  Ferris  is 
looked  upon  as  the 
most  promising 
youngster  at  the 
Warner  Brothers' 
Studio.  Her  first  worli 
was  with  Educational 
in  1926.  Audrey  goes 
from  one  ingenue  role 
to  another,  and  has 
played  in  five  impor- 
tant pictures  since 
last  June.  Eighteen 
and  single 


Ann  Christy  is  the 
little  girl  from  In- 
diana who  was  chosen 
as  Harold  Lloyd's 
leading  woman  in 
"Speedy."  Nineteen 
years  old,  Irish  and 
unmarried.  Made  her 
first  appearance  in 
Christie  (no  relation) 
comedies  in  1926. 
Lloyd  has  signed  her 
to  a  long  contract 


Lupe  Velez,  the  dancing 
girl  of  Mexico  City.  She 
was  snatched  from 
comedies  to  play  oppo- 
site Douglas  Fairbanks 
in"TheGaucho."  And 
then  chosen  by  Griffith 
for  the  lead  in  his  next 
story.  A  really  vivid  and 
glittering  young  ac- 
tress. Single-hearted 
and  fancy  free 


Lina  Basquette  is  the  brave  young  widow  of  Sam  Warner,  the  pro- 
ducer.    She  was  a  child  actress  and  dancer.     Miss  Basquette  will 
be  starred  by  Cecil  De  Mille  in  "The  Godless  Girl,"  one  of  the 
biggest  roles  of  the  year.     She  is  the  mother  of  a  baby  boy 


Dorothy  Gulliver  is  Uni- 
versal's  choice.  Of  course 
you  know  the  heroine  of 
"The  Collegians."  Dor- 
othy was  born  in  Salt  Lake 
City,  nineteen  years  ago 
and  she  has  been  married 
to  William  De  Vite  for 
nearly  two  years.  She 
started  in  motion  pictures 
in  1925 


Flora  Bramley  is  one 
of  the  surprise  selec- 
tions. She  didn't  ex- 
pect it  and  she  is 
probably  the  happiest 
girl  in  the  thirteen. 
Flora  is  only  eighteen 
years  old  and  single. 
She  started  in  pictures 
in  1926  and  got  her 
first  chance  with 
"Buster"  Keaton  in 
"College" 


June  Collyer  has  been 
in  pictures  for  less 
than  a  year  but  she  is 
already  a  featured 
player.  June  is  the 
daughter  of  Judge 
Clayton  J.  Heermance 
of  New  York  City. 
Allan  Dwan  met  her 
at  a  social  gathering 
and  asked  her  to  play 
a  part  in  "East  Side, 
West  Side" 


J^l 


^2 


OEX  appeal  has  given  way  to  checks  appeal  in  selecting  new 

(^  )  ^^^^^-  .    ^ox  office  figures  will   replace   nature's   alluring  lines 

^^-^  m  decisions.     In  the  past  exhibitors  hesitated  to  tell  producers 

what  personalities  drew  in  the  coin  because  they  were  afraid   their 

prices  would  be  raised.     But  now  the  producers  own  theaters  and  their 

auditors  can  tell  who  makes  the  cash  register  click" 


A  re  the  Stars  Doomed? 


The  Inside  Story  of  the 
Hollywood  Revolution 


By 

James  R. 
Quirk 


FOLKS  who  live  in  sections  of  the  world  subject  to 
violent  earthquakes  will  tell  you  that  a  fraction 
of  a  minute  before  the  tremor  is  felt  by  the  most 
sensitive  recording  instruments  they  are  awakened 
from  sleep  by  some  unknown  influence,  and,  mentally 
alert  and  conscious  of  impending  disaster,  await  the 
inevitable. 

All  Hollywood  is  experiencing  that  uncomfortable 
feeling.  The  local  John  the  Baptists  of  the  film  colony 
babble  and  rant  and  call  upon  the  populace  to  seek 
salvation.  The  actors  meet  in  catacombs  where  they 
are  safe  from  the  spies  of  the  producers  and  listen  to 
the  words  of  the  clean  shaven  patriarchs  and  prophets, 
all  portentious,  all  charged  with  dire  predictions  from 
tragic  salary  reduction  to  the  end  of  the  film  world. 

The  editors  of  the  intimate  little  film  journals, 
possessed  of  oracular  powers,  wail  dismal  forebodings  of 
the  victory  of  mammon  over  art,  and  rail  at  the 
stupidity  and  cupidity  of  the  producers,  the  repression 
of  talent,  and  the  oppression  of  monopoly. 

The  inhabitants  hold  their  cloaks  over  their  heads  as 
they  run,  fear-stricken,  before  the  wrath  of  the  Jehovahs 
of  the  movies. 

Hollywood  is  about  as  cheerful  and  merry  as  London 
during  the  black  plague,  and  it  doesn't  know  where  to 
look  for  deliverance. 

On  the  far  horizon,  some  of  the  faithful  believe  they 
can  discern  the  figures  of  L^ncle  Sam  and  a  regiment  of 
owners  of  independently  operated  motion  picture 
theaters  galloping  to  the  rescue,  but  they  are  not  sure. 

V\  THAT  is  happening?    Who  fears  what?    And  why? 
*^  And  what's  all  the  shootin'  for? 

Just  this.  The  motion  picture  industry  is  undergoing 
a  violent  adjustment,  and  a  violent  adjustment  means 
a   revolution,    not   an   evolution. 

Before  the  fracas  is  over 
there  will  be  a  lot  of  headaches, 
heartaches,  rude  awakenings 
from  golden  dreams  of  fame 
and  fortune,  back-to-the-stage 
movements  by  well  known 
actors,  and  back  to  cloaks-and- 
suits  by  inefficient  and  unin- 
spired and  overpaid  directors 
and  egomaniacal  executives. 

Other  than  that,  business 
will  continue  as  usual. 

Stars  who  draw  money  at 
the  box  office,  talented  actors 
and  actresses  who  are  will- 
ing to  draw  less  salary  than 
the  president  of  the  United 
States,  competent  directors 
who  make  profitable  pictures, 
authors  who  write  screenable 
stories,  and  executi\'es  who  can 
work  for  their  organizations 
and  not  for  the  satisfaction  of 
their  own  egomania,  will  con- 


tinue to  enjoy  the  climate  of  Southern  California. 
Sounds  simple,  doesn't  it?  But  nothing  is  simple  in 
Hollywood.  Everything  is  dramatized.  It  is  a  com- 
munity of  unusually  talented  and  temperamental 
people,  as  fine  and  interesting  a  group  of  men  and 
women  as  exist.  It  is  an  actual  center  of  beauty  and 
art.  The  lodestone  of  fame  and  fortune  draws  to  that 
lovely  city  beauties  of  all  nations,  as  well  as  masters 
of  all  arts.  The  eyes  of  the  world  are  actually  centered 
on  Hollywood  every  day  when  millions  of  people 
crowd  into  theaters  all  over  the  world. 

"V\  THEN  Henry  Ford  saw  fit  to  close  down  his 
VV  factories  and  his  selling  forces,  employing  many 
times  the  studio  population  of  Hollywood,  not  a  groan 
was  heard  from  Detroit.  But  when  producers  of 
motion  pictures,  goaded  on  by  bankers,  start  a  readjust- 
ment of  things,  the  event  takes  on  all  the  pageantry 
and  color  of  a  drama. 

Strange  as  it  may  seem,  and  in  spite  of  the  Arabian 
Nights  tales  of  vast  wealth  accumulated  by  the  royalty 
of  the  screen,  comparatively  few  great  fortunes  have 
been  made  in  motion  picture  production. 

Chaplin,  Fairbanks,  Pickford,  Lloyd,  Mix,  Meighan 
and  possibly  one  or  two  others  among  the  players  are 
millionaires.  Ruth  Roland  is  as  rich  as  any  of  them, 
but  she  made  it  in  real  estate  operations.  De  Mille  is 
a  millionaire,  but  he  made  it  by  canny  investments  as 
much  as  in  pictures. 

Adolph  Zukor  and  Jesse  Lasky  are  in  the  millionaire 
class.  So  is  Joseph  and  Nicholas  Schenck,  presidents 
of  the  United  Artists  and  Metro-Goldwyn-Mayer  com- 
panies. So  is  Richard  Rowland,  of  First  National.  So 
is  Joseph  Kennedy  of  FBO.  So  is  William  Fox  and 
Carl  Laemmle.  Of  them  all,  the  latter  is  perhaps  the 
only  one  who  made  the  bulk  of  his  fortune  in  motion 
pictures.  Wise  investments 
built  most  of  them.  Kennedy 
brought  his  from  the  banking 
business. 


"In  the  past  the 
producers  picked 
the  stars  on  their 
own  judgment. 
Now  they  put  it 
up  to  the  public. 
The  box  office  will 
automatically  reg- 
ulate salaries." 


/^F  the  pioneers  who  have 
^^ retired  I  venture  that  not 
one  of  them  had  a  million  when 
they  got  through.  Spoor,  head 
of  Essanay,  made  money  in 
pictures,  but  put  it  back  in 
his  stereoscopic  camera.  Selig, 
retired,  is  not  rated  as  a  rich 
man. 

Ten  years  ago,  bankers  be- 
gan to  invest  money  in  pictures. 
Two  years  ago,  they  began  to 
be  curious  about  the  return  on 
their  investment,  to  be  inter- 
ested in  the  economics  of  pro- 
duction. They  were  informed 
that  there  was  an  undue 
amount  of  waste.    They  asked 

[  CONTINUED  ON  PAGE  76  j 


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HI 

To  protect  her  make-up  from  dust  and  wind  on 

location    scenes,    Joan    Crawford    uses    a    portable 

celluloid  windshield.    It  is  attached  to  the  arm  of 

her  chair 


WHEN  Vilma  Banky  and  Rod  La  Rocque  left  on  their 
honeymoon  journey,  Vilma  sighed,  and  said,  "Well, 
now  the  fuss  is  all  over." 

"Oh,  no,  dear.  It's  just  beginning.  By  the  time  we've 
reached  San  Francisco,  someone  will  have  started  divorce 
proceedings  for  us." 

But  it  wasn't  until  Vilma  Banky  decided  to  go  to  Hungary 
to  persuade  her  mother  and  father  to  return  for  a  long  visit  to 
this  country,  that  the  rumors  started. 

And  the  very  day  after  they  started,  I  chanced  to  be  on  the 
Banky-Colman  set.  Fred  Niblo  and  Sam  Goldwyn  had  been 
trying  for  four  hours  to  persuade  Vilma  to  remove  an  anklet, 
which  did  not  fit  in  with  the  sixteenth  century  version  of  the 
novel  "Leatherface." 

"  But  Rod  gave  it  to  me.  I  vill  not  take  it  off, "  Vilma  was 
insisting. 

AND  at  the  same  time,  over  on  the  De  Millelot,  Rod  was  be- 
ing instructed  to  remove  his  wedding  ring  and  love  bracelet 
because  college  boys  do  not  wear  such  adornments. 

"What  the  Hell,"  Rod  was  more  emphatic  even  than  Vilma. 
"  I  didn't  ask  to  play  in  a  college  picture.  Vilma  gave  these  to 
me  and  I  will  not  remove  them. " 

"And  even  though  I  have  to  burn  the  studio  I  am  going  to 
New  York  with  Vilma,"  Rod  told  me. 

Which  is  all  a  pretty  good  answer  to  this  divorce  gossip  that 
somebody  or  other  started  about  one  of  Hollywood's  most 
devoted  couples. 

J^ONTA  BELL  tells  this  one. 

"And  how,"  asks  one  film  gentleman  of   another, 
"is  Eric   von   Stroheim's  picture   progressing?" 

"Oh,  wonderful!     He's  cut  it  down  to  a  snappy  forty- 
four  reels." 

r^NE  of  the  newest  romances  in  the  Cinema  City  is  Joan 
WCrawford  and  Douglas  Fairbanks,  Jr.  Thus  are  Michael 
Cudahy  and  Dolores  Costello  forgotten. 

AND  G wen  Lee  gave  George  Hill  a  high-backed  chair  for 
Christmas! 
Not  a  bad  way  to  give  credence  to  that  rumor  that  Gwen  and 
George  are  soon  to  be  married.     Nor  a  bad  way  to  start  in 
accumulating    furniture,    either. 

U 


(  .ossip 


The 


By  Cal 


Nancy  Carroll 
was  a  New  York 
chorus  girl  who 
married  a  writer. 
Jack  Kirkland. 
The  couple  went 
to  Hollywood 
where  Kirkland 
landed  as  a  sce- 
narist and  Nancy 
got  the  title  part 
of  "Abie's  Irish 
Rose" 


THE  rest  promised  Janet  Gaynor  at  the  end  of  "  Crysalinda" 
came  sooner  than  she  expected.  Janet  suffered  a  complete 
nervous  breakdown  and  was  sent  to  the  country.  Frank 
Borzage  held  up  the  new  Gaynor-Farrell  production  until  she 
recovered. 

With  characteristic  grit,  Janet  said  nothing  about  how 
miserable  she  was  feeling.  But  one  day  while  running  up  and 
down  some  steep  steps  she  fainted.  She  tried  it  twice  there- 
after and  fainted  both  times.    Borzage  stopped  production. 

"\X7HEN  Buster  Keaton  was  a  small  boy,  his  father, 
"  ''  who  was  a  great  fight  fan,  got  into  an  argument  with 
a  friend  about  the  relative  merits  of  Sharkey  and  Sullivan. 
Finally,  heated  by  aspersions  cast  upon  his  favorite  fighter, 
Keaton,  pete,  declared,  "And  I  say  that  John  L.  Sullivan 
is  the  greatest  man  in  the  world!" 

Little  Buster  became  nervous  at  this  tactless  remark 
(it  being  the  Christmas  season)  and  tugging  at  his  dad's 
coat  tail,  he  whispered,  "Don't  say  that,  dad.  You're  for- 
getting Santa  Claus  and  God." 


of  All 

Ctudios 


York 


Just  so  no  one 
will  mistake  it 
for  a  street  cos- 
tume, Clara  Bow 
has  a  fish 
stitched  on  her 
bathing  suit. 
But, please, Clara, 
don't  wear  that 
jeweled  wrist 
watch  when  you 
really  go  in  swim- 
ming 


THOSE  of  you  who  have  not  seen  Bill  Hart  on  the  screen  for  a 
time,  may  think  he  is  half  forgotten,  but  you  never  were 
worse  fooled  in  your  life. 

His  business  office  happens  to  be  across  the  hall  from  us  in 
Hollywood,  and  my  curiosity  was  aroused  by  the  tremendous 
packages  going  out  of  the  office  daily.  When  I  inquired  about 
it,  I  was  astounded  to  find  that  he  sends  out  thousands  of 
pictures  every  week  to  the  fans  who  continue  to  write  him 
about  the  place  he  holds  in  their  hearts.  The  expense  of  those 
pictures!  "He  just  can't  refuse  them,  when  he  knows  the  fans 
love  him  and  miss  him,"  his  stenographer  explained  to  me. 

Incidentally,  the  demands  for  his  pictures  have  been  so 
insistent  that  he  may  return  to  the  screen,  when  he  completes 
the  book  he  is  now  writing.  We  agree  with  Chas.  A.  Siringo, 
writer  of  Western  stories,  that  Bill  Hart  "can  shoot  two  guns 
quicker  than  any  man  I  ever  saw  shoot  pistols. " 

FOX  has  discovered  a  new  Western  star  to  take  the  place  of 
Buck  Jones  whose  contract  with  that  company  is  all  washed 
up.    The  new  horse  opera  hero  has  been  christened  Rex  King 


The  girls  twenty  years  from  now  will    probably  be 
begging  young  Donald  Reid  Hughes  for  his  photo- 
graph.    He  is  the  son   of  Lloyd   Hughes   and   his 
mother  is  Gloria  Hope 


and  he  was  discovered  among  the  unknown  cowboys  who  hang 
around  the  Western  lots  looking  for  work. 

MARIE  PREVOST  is  so  anxious  for  a  chance  to  play  a 
dramatic  role,  instead  of  continuing  in  comedy,  that  she 
has  relinquished  her  stellar  position  to  accept  a  secondary  role 
in  "The  Godless  Girl."  She  will  support  Lina  Basquette,  a 
newcomer. 

This  new  De  Mille  film  tackles  the  subject  of  atheism. 
De  Mille  walks  boldly  into  another  religious  subject. 

'T^HELMA   TODD    may   have    been    a    Boston    school 
■^  teacher,  but  she's  learning. 
"Where  you  going  for  your  vacation,  Thelma?"  we  asked. 
"Don't  know  for  sure.  Maybe  Lake  Arrowhead." 
"Is  there  a  big  party  going?" 
"Not  that  I  know  of.    But  there  will  be,  if  I  go." 

BLANCHE  MEHAFFEY,  comedienne,  has  married  George 
Joseph  Hansen,  an  oil  well  supply  man  of  Los  Angeles.  And 
Grace  Darmond  is  going  to  marry  R.  P.  Jennings,  theater 
owner,  as  soon  as  she  gets  a  di\-orce.  Also  Larry  \^'eingarten 
is  said  to  be  engaged  to  Syhia  Thalberg,  scenario  writer  and 
sister  of  Irving. 

Weingarten  is  a  press  agent,  but  he's  going  to  be  promoted 
to  the  production  department. 

CLARA  BOW'S  father,  Robert  Bow,  won  his  annulment 
suit  against  his  twenty-three  year  old  wife,  whom  he 
married  back  in  1924.  Soon  after  the  marriage,  the  bride,  who 
is  about  Clara's  age,  walked  out  and  Mr.  Bow  claimed  that  he 
had  been  \amped  into  marrying  her. 

After  various  quarrels  and  legal  skirmishes,  the  Bows  are 
now  free  to  go  their  separate  ways. 

GEORGE  O'BRIEN  has  a  new  yacht  with  a  60  horsepower 
engine  that  rides  any  sort  of  an  ocean.  George  sailed  home 
to  San  Francisco  in  the  "Pascualita"  to  show  his  father  that 
mo\ies  aren't  such  a  bad  business  for  a  young  man. 

And  now  George  has  been  cast  as  a  convict  in  "Honor 
Bound." 

Just  to  keep  things  in  the  family,  wouldn't  it  be  nice  if  Fox 
could  persuade  O'Brien,  senior,  to  take  a  lay-off  as  Police  Chief 
of  San  Francisco  and  play  the  captor! 


h5 


Indulging  in  a  Hollywood  pastime— throwing 
mud  at  a  star.  The  "prop"  boy  has  been  ordered 
to  wreck  Lea  trice  Joy's  pretty  costume  for  a 
scene  in  "The  Blue  Danube,"  just  for  realism 


A  GIRL  sat  behind  a  typewriter  at  the  De  Mille  publicity 
office,  laboriously  trying  to  write  a  letter. 
Phyllis  Haver  walked  through  the  door,  stopped,  stared  at 
the  girl  a  moment,  then  remarked  seriously: 

"Little  girl,  you  should  be  in  pictures.    You're  cute  enough. " 
Sue  Carol  looked  up  from  her  typing.    "Yes?"  she  answered. 
"Thank  you.  Miss  Haver." 
What  a  laugh  the  boys  gave  the  bewildered  Phyllis! 

HOLLYWOOD  was  represented  in  far  climes  during  the 
Yuletide  season.  Monta  Bell  spent  Christmas  in  Paris; 
Lars  Hansen  in  Sweden,  and  Robert  Flaherty  and  his  company 
of  thirty  actors  in  the  South  Sea  Isles.  Tim  McCoy  got  as  far 
as  the  town  where  he  was  born,  Saginaw,  Michigan. 

ANOTHER   startling   example   of    how    closely   the    girls 
follow  the  movie  stars  in  their  coiffures: 
The  Gainsborough  hairnet  people  report  a  remarkable  in- 
crease in  the  sale  of  hairnets,  just  because  there  is  a  noticeable 
tendency  among  the  stars  to  neglect  the  scissors. 

OUR  GANG"  gave  a  Christmas  party  for  Mrs.  Carter, 
their  teacher.  At  least  the  four  of  them  who  go  to  school 
on  the  Hal  Roach  lot  got  in  on  it.  You  should  have  seen  the 
presents.  Each  youngster  made  his  own  purchases.  Farina 
brought  a  bath  towel  and  had  mother  embroider  it  with  a  huge 
basket  of  many  colors.  Jackie  Condon  brought  a  face  veil. 
J.  Smith  donated  a  string  of  yellow  beads  which  the  clerk  told 
him  came  from  Niagara  Falls,  while  Joe  Cobb  purchased  a 
guest  towel. 

■\X7HEN  Edwin  Carewe  learned  that  his  wife  was  going 
to  leave  him,  the  first  thing  he  did  was  to  go  to  the 
telephone  and  call  the  engravers. 

"Take  the  name  Mrs.  off  those  Christmas  cards,"  he  is 
said  to  have  ordered.    "Just  leave  the  Mr." 

And  when  he  turned  from  the  telephone,  "Whew,  that 
was  a  close  call.  They  were  just  going  on  the  machine. 
It  would  have  been  too  late  in  another  moment." 

HOLLYWOOD    slang    is    changing.      "Arc    you    between 
pictures?"  has  been  changed  to  "Are  you  between  retakes 
or  working?" 


Frank  Marion,  De  Mille's  new  leading  man, 

runs  a  hot  dog  wagon  in  Los  Angeles.     It 

nets  him  $400  a  month.     He  is  starting  a 

chain  of  "feed  'em  quicks" 


And  the  average  featured  player  doesn't  greet  her 
friend  with,  "Hello,  where  are  you  going?"  but  "Hello, 
dear,  where  are  you  free  lancing  now?" 

THE  Hollywood  opening  of  "My  Best  Girl"  was  being  re- 
ported over  radio.  As  the  various  stars  arrived,  they  stood 
a  minute  to  be  photographed,  their  costumes  were  described, 
and  then  they  were  asked  to  say  a  word  into  the  microphone. 

"Miss  Pickford  arri\ing.  .  .  .  Just  a  minute  and  Miss  Pick- 
ford  will  speak  to  you.     She  is  waiting  for  a  STILL." 

"Miss  Griffith  arri\ing.  .  .  .  Just  a  minute  and  Miss  Griffith 
will  speak  to  you.    She  is  waiting  for  a  STILL." 

After  listening  to  this  for  four  or  five  times,  John  Barrymore 
remarked:  "This  is  the  dryest  crowd  I  ever  saw  at  an  opening. " 

IS  the  world  coming  to  an  end?    Glenn  Tryon  is  kicking  to  the 
officials  of  Uni\ersal  because  he  feels  that  he  has  been  ad- 
vertised as  being  too  good. 

Tryon  claims  he'd  rather  prove  it  to  the  public  first,  before 
being  labelled  as  great. 

■XXT^HEN  Wilson  Mizner  was  in  Europe,  he  discovered 
"  "  a  man  who  could  reproduce  a  Rembrandt  or  a  Millet 
in  a  twinkling  of  an  eye,  by  a  process  he  had  invented. 
Wilson  immediately  imported  him  to  this  country  and 
started  him  in  business  on  Fifth  Avenue. 

One  day  an  Oshkosh  gentleman  came  in  and  fell  in  love 
with  a  huge  mural  painting  of  "The  Last  Supper." 

"How  much?"  he  inquired. 

And  Wilson  answered,  "Two  dollars  a  plate,  my  friend." 
He  sold  the  painting. 

IF  there  are  any  women  still  bewailing  short  skirts  and  bobbed 
hair.  Patsy  Ruth  IMiller  would  like  to  have  them  step  forward 
and  work  one  day  as  Rebecca  Lcvine,  the  part  Patsy  is  playing 
in  "We  Americans."  Nineteen-sixteen  was  a  time  for  long 
skirts  and  great  knots  of  hair,  and  when  Patsy  Ruth  says  there 
is  no  fun  in  them,  you  may  know  it's  true. 

By  the  way.  Patsy  will  make  her  "dash  for  freedom"  just  as 
soon  as  this  picture  is  finished.  A  trip  to  Europe  with  all  the 
trimmings.  No,  there  is  no  boy  along.  Patsy  knows  she  is  a 
good  sailor,  but  might  not  be  certain  of  the  boy,  so  there  must 
be  no  risk  of  anything  spoiling  this  first  trip  abroad.  It  is 
rumored  she  will  do  a  picture  for  UFA  while  in  Berlin,  but  she 
will  have  to  work  fast,  as  her  contract  with  TifTany-Stahl  calls 
for  four  pictures  a  year. 


Mary  Philbin  entertains  visitors  from  England. 
These  little  triplets  are  Claudette,  Claudine  and 
Angela  Newby.  And,  you'd  never  guess  it,  they 
want  to  go  into  the  movies.  They're  five  years  old 


Jean  Hersholt  instructs  his  wife  how  to  act 

in  her  first  appearance  before  the  camera. 

Mrs.  Hersholt  plays  a  "bit"  in  "Abie's  Irish 

Rose."    Her  husband  is  Solomon  Levy 


FOR  years,  physicians  have  told  Richard  Arlen  his 
tonsils  were  infected  and  must  be  removed,  but  you 
know  we  neglect  such  things. 

For  the  past  three  years,  Dick  has  not  had  a  longer  vacation 
than  three  days.  So  when  Paramount  said,  "Vou  may  have  a 
whole  month  to  yourself,"  he  and  his  wife,  Jobyna  Ralston, 
planned  a  lovely  trip. 

On  January  2nd,  the  tonsils  "acted  up"  again  and  out  they 
had  to  come,  and  more  than  ten  days  of  the  precious  vacation 
were  spent  in  the  hospital. 

ALTHOUGH  Roscoe  Arbuckle  is  working  steadily  these 
days  in  vaudeville,  he  still  has  his  troubles.  Recently  his 
first  wife,  Minta  Durfee,  threatened  to  attach  his  salary  and 
property  unless  he  paid  up  $25,000  which  she  says  is  due  her 
in  alimony. 

Cm  THOMAS  LIPTON  was  visiting  the  First  National 
'^Studios  recently  and  was  introduced  to  Mrs.  Sills 
(Doris  Kenyon)  when  she  was  without  make-up.  An  hour 
or  so  later,  Sir  Thomas  was  taken  out  on  the  sets  by  a 
different  party,  and  was  again  introduced  to  Mrs.  Sills. 

The  gorgeous  beauty  in  the  1898  costume  was  such  a 
different  being  from  the  demure  creature  he  had  met  an 
hour  before,  that  he  was  completely  fooled.  As  soon  as 
he  could,  he  inquired  of  his  host,  "How  many  'Mrs.  Sills' 
ajre  there  working  for  you?" 

ANEW  type  of  supervisor  has  been  disco\-ered. 
One  that  ne\er  comes  near  the  set  while  a  picture  is 
being  made!  No  wonder  the  directors  love  him  and  affection- 
ately call  him  "Milly." 

Bertram  Millhauser,  Beulah  Marie  Dix,  and  Rupert  Julian 
hold  their  conferences  frequently,  until  the  story  is  completed. 
When  actual  work  begins  on  the  picture,  "INIilly"  disappears 
and  leaves  Julian  to  get  results.  Not  a  bad  thing  for  some 
other  supervisors  to  remember. 

As  long  as  this  combination  turns  out  pictures  like  "Silence, " 
"The  Country  Doctor,"  and  "The  Leopard  Lady,"  we  think 
C.  B.  proves  his  wisdom  in  keeping  them  together. 

CLARENCE  BROWN  admits  that  he  had.  several  oflferrof 
more  money  from  other  producers,  and  gives  this  as  a  reason 
for  signing  a  new  three- year  contract  with  I\L-G.-RL 

"  I  get  so  much  sympathetic  co-operation  here.  I  like  to  work 
with  Irving  Thalberg. " 


Which  we  think  is  a  loyal  tribute  for  one  man  to  pay  to 
another. 

NO.AH  BEERY  broke  a  rib  during  the  filming  of  the  adap- 
tation of  "Leatherface, "  Vilma  Banky  and  Ronald  Col- 
man's  last  co-starring  feature.  Sam  Goldwyn's  agile  press 
agent,  Barrett  Kiesling,  hastened  to  explain  it: 

"  It  was  not  in  pursuit  of  his  profession.  Noah  slipped  on  a 
prosaic  board  between  the  set  and  his  dressing  room." 

Going  to  dressing  rooms  might  be  considered  in  pursuit  of 
some  actors'  professions. 

■p  LIN  OR  GLYN  has  a  gracious  manner  for  those  whom 
-'-^she  likes  to  remember.    For  others,  a  different  greeting. 

A  well  known  actress  had  been  introduced  to  Miss 
Glyn  a  number  of  times.  Some  mutual  friend  would 
say:  "Of  course,  you  have  met  Miss.  .  .  ."  Each  time  Miss 
Glyn  would  reply :  "I  don't  believe  I  have  had  that  pleasure." 

Finally,  on  the  fourth  occasion,  the  actress  remarked: 
"Miss  Glyn  is  so  kind  to  me.    I  am  always  as  good  as  new." 

ALL  of  Ronald  Colman's  friends  were  mighty  excited 
recently  when  the  newspapers  carried  the  report  that  Mrs. 
Ronald  Colman,  wife  of  the  motion  picture  star,  had  been  in 
a  taxi  smash-up  in  Chicago. 

Ronald  had  thought  his  wife  was  living  happily  in  England. 

The  truth  came  out,  when  the  Chicago  police  started  a 
thorough  investigation  of  the  claims  of  the  woman. 

When  she  found  out  that  it  took  longer  to  get  out  of  jail  by 
claiming  to  be  Mrs.  Ronald  Colman,  than  plain  Mrs.  Hossen- 
feffer,  she  confessed  to  the  latter  cognomen. 

"Being  the  wife  of  a  star  ain't  so  much  fun,"  she  is  reported 
as  saying.     Mrs.  Ronald  Colman  was  in  England. 

PHIL  SLEEMAN  is  one  Hollywood  actor  who  will  tell  you 
that  a  "pretty  mug"  doesn't  go  as  far  in  the  movies  as  a 
marred  one. 

Two  years  ago  Sleeman  was  the  sleek  Latin  type  with  Valen- 
tino ambitions.  Ambitions  uhat  didn't  seem  to  materialize  in 
a  speedy  fashion. 

An  automobile  accident  put  Phil  in  the  hospital  and  out  of  the 
game  for  ayear.  Now  he  is  back  with  a  nasty  scar  on  his  face  and  is 
in  constant  demand  to  play  villains,     [continued  on  page  78) 

47 


Coirfpanionate 


Rod  takes  care  of  their  investments.    Tlie  La  Rocques  frankly 
own  up  to  an  ambition  to  make  and  save  plenty  of  money 


WE    ha^^e    heard    about    the    girls    who    are 
"Dodging  the  Wedding  Ring"  in  the  Cin- 
ema City.    We  have  read  Francis  X.  Bush- 
man's advice  "  Don't  Marry  "  given  to  young 
men  with  screen  aspirations.     Now  let  us  spend  an 
evening  with  two  stars  who  failed  to  heed  such  words  of 
warning,  who  just  went  out  and  were  married. 

Rod  La  Rocque  and  Vilma  Banky. 

You  know,  I  am  glad  I  had  not  chanced  to  meet  these 
two  stars  until,  son.e  eight  months  after  their  world- 
renowned  marriage,  I  went  out  to  talk  to  them  about  it. 
Glad  that  I  was  not  prepared,  had  no  inkling  as  to 
whether  they  were  really  happy  or  already  half-tired  of 
their  bargain. 

As  we  sat  down  to  dinner,  it  was  Rod  who  remarked 
casually,  "We've  never  missed  a 
dinner  together.    Not  one,  since 
we  were  married." 

And  V^ilma  who  added,  "We 
usually  eat  alone.  We  don't  like 
company  for  dinner."  Then  said 
hurriedly,  "That  is,  we  don't 
mind  one  or  two,  but  we  don't 
like  to  be  in  a  crowd  for  dinner." 

"But  how  do  you  manage 
your  schedules?"  I  queried.  Al- 
though there  seemed  little  doubt 
that  they  were,  indeed,  happy, 
yet,  to  one  used  to  the  early 
hours,  the  night  hours,  the  loca- 
tion hours  of  the  motion  picture 
schedule,'  it  just  didn't  seem  th-.t 
matrimony  between  stars  could 
run  as  smoothly  as  this  surface- 
taste  promised. 

"We   have   two,"   they   both 


TTERE  are  some  of  the  rules  that 
*-  •*- Vilma  Banky  and  Rod  La 
Rocque  apply  to  keep  peace  in  the 
family: 

They  eat  dinner  together. 

They  go  to  parties  together. 

They  aren't  jealous  of  each 
other's  professional  associates. 

They  never  criticize  each  other's 
work  until  the  film  is  finished. 

They  pool  their  money,  but  each 
reserves  a  small  separate  account 
for  minor  expenditures. 

And — this  is  most  important — 
they  never  both  lose  their  tempers 
at  the  same  time. 


Vilma  Banky  and  Rod 
they  reconcile  domes- 


By  Ruth 


answered.      "One  when  we're  working 
and  one  when  we're  not." 

The  working  schedule  is  as  follows: 

Rise  at  eight.     "When  the  studio  is 

good  to  me,"  Vilma  interjected.   "When 

it's  not,  up  an  hour  earlier." 

Breakfast  together. 

At  the  studio  by  nine. 

Luncheon  together,  when  they're  both 

working.     When  Vilma  is  working  and 

Rod  isn't,  which  is  the  case  while  this 

story  is  being  written.  Rod  sees  Vilma 

off,  takes  an  hour  in  his  gymnasium  with 

his  trainer,  then  comes  into  the  house, 

reads  the  morning  papers  and  checks  up 

the  amount  they  have  lost  or  have  made 

on  the  rise  or  fall  of  the  stocks  they  have 

purchased.     If  it's  a  rise,  he  orders  his  car  and  dashes 

to  the  studio  and  lunches  with  Vilma  to  tell  her  how 

much  money  they  have  made  since  yesterday  morning. 

If  they  have  lost,  he  telephones  her  and  says,  "  Dear, 

I  have  to  go  down  town  and  talk  to  our  brokers  about 

it. "  And  even  though  they  have  won,  when  he  leaves  her 

after  luncheon,  he  goes  into  Los  Angeles  to  talk  with  his 

business  advisers  to  see  if  they  can  sell  anything  at  a 

profit  and  invest  where  they  can  make  even  more  profit! 

npHEN  home  to  dinner,  together,  alone,  and  out  to  a 
'-  picture  show  in  the  evening. 

Yes,  a  picture  show  is  what  they  insist  is  their  favorite 
recreation.  Oh,  they  have  to  go  to  parties  once  in 
awhile,  but  not  any  oftener  than  is  professionally  and 
socially  essential.  For  they  are 
movie  "fans"  pure  and  simple. 
And  I  doubt  if  there  is  a  pictuie 
you  could  mention,  that  they 
haven't  seen  and  discussed  to- 
gether. 

There  is  a  neighborhood 
theater  around  the  corner,  where 
they  see  most  of  their  pictures. 
Independent  productions,  come- 
dies, whatever  hodgepodge  is 
offered.  Once  in  awhile,  down- 
town to  a  big  theater,  or  to  Cecil 
B.  De  Mille's  private  projection 
room,  or  some  other  producer's. 
Home  early  and  to  bed,  where 
they  read,  usually,  O.  Henry. 

"You  know,"  Rod  said,  "I 
had  heard  Europeans,  as  a  rule, 
do  not  appreciate  our  O.  Henry. 
Imagine  my  surprise  and  my  joy 


Stardom 


La  Rocque  tell  how 
ticity  with  their  careers 

Biery 


when  I  found  Vilma  loves  him.  We 
read  him  over  and  over,  and  the 
other  day  I  caught  Vilma  telling  her 
maid  an  O.  Henry  story!" 

In  one  respect,  at  least,  it  is  a  very 
modern  marriage.  They  have  separate 
bedrooms  and  separate  baths,  too. 
This  arrangement,  Balzac  once  said, 
is  the  sign  either  of  a  completely 
happy  marriage  or  a  completely  dis- 
astrous one.  In  this  particular  case, 
it  is  the  sign  of  a  completely  congenial 
marriage. 

They  are  happiest,  they  both  agree, 
when  neither  happens  to  be  working, 
when  they  are  both  "on  vacation"  at 
the  same  time. 

"Our  schedule  is  wonderful!  We 
do  exactly  as  we  please!"  Vilma 
described  it. 


Since  their  marriage,  their  "fan"  mail  has  increased 
twenty  per  cent,  which  shows  that  the  public  approves 
of  the  match 


Vilma  keeps  the  family  budget.    She  runs  her  home  far  more 
economically  than  many  housewives  with  nothing  better  to  do 


They  go  to  parties  only  when  they  are  network- 
ing, and  they  go  only  together.  They  don't  even 
dance  with  others — "unless  we  can't  help  it," 
Vilma  explained. 

"Are  you  ever  jealous  of  each  other's  leading 
men  and  leading  women?"  'It's  a  dangerous 
question,  but  I  asked  it. 

"Why,  we  never  think  about  it!"  Rod  answered, 
calmly. 

"But,  isn't  it  true  the  world  wanted  Mima  to 
marry  Ronald  Colman?" 

ROD  leaned  across  and  answered  quietly,  "Our 
fan  mail  has  increased  between  fifteen  and 
twenty  per  cent  since  we  married,  and  there  has 
never  been  a  suggestion  that  Vilma  should  have 
married  Ronald  Colman." 

"Do  you  criticize  each  other's  pictures?"  I 
thought  it  time  to  change  the  subject. 

"And  how ! "  Vilma  promptly  aided  in  switching 
the  conversation. 

"  But  not  while  they  are  being  made.  Not  until 
they  are  finished  do  we  talk  about  them,"  Rod 
added. 

Aside  from  their  love  and  their  profession, 
money  is  the  most  important  question  between 
them. 

"We  want  to  be  very  rich,"  \"ilma  announced 
frankly. 

Rod  laughed.  "You  know,  I  realized  I  was 
marrying  a  star,  and  I  was  prepared  to  make  al- 
lowances.     I  did  not       [  CONTINUED  ON  PAGE  92  ] 

49 


Movie  audiences  are  the  population  of  a  prosperous  nation, 
flow  from  so  manv  feeble  minds? 


Can  so  much  energy 


IN  a  neuropsychiatric  office  one  naturally  becomes; 
accustomed  to  sui  prises. 
Human  nature  presents  so  many  queer  twists  and 

turns,  you  know.  Now  you  think  the  last  case  has 
revealed  a  genuine  novelty,  and  then — Presto! — along 
comes  another  amazing  phenomenon  that  immediately 
throws  the  startling  interest  of  its  forerunner  quite  in 
the  shade. 

Well,  when  James  R.  Quirk,  the  Editor  of  Photo- 
PL.\Y,  was  announced  by  my  secretary  as  wishing  to 
consult  me  professionally,  my  surprise  amounted  al- 
most to  "shell  shock." 

"  What's  wrong  with  him?  "  I  blurted.  "  Is  it  possible 
after  all  that !" 

But  no!  My  ego  and  doctor's  pride  would  not  let  me 
admit  that  my  visitor  could  be  in  need  of  an  alienist's 
attention.  Had  I  not  talked  with  him  only  a  few  davs 
previousK  ?  Surely  I  would  have  noticed  a  change  had 
anything  mental  been  amiss! 

"I  liitl  not  come  for  a  personal  examination,"  said 
Mr.  Quirk  right  at  the  outset,  as  though  he,  himself, 
had  made  an  analysis  of  me  and  had  divined  my 
thoughts.  "  I  came  because  I  want  a  psychiatric 
opinion  on  the  American  public." 

That  surely  was  a  new  one  too! — the  most  surprising 
reason  for  a  consultation  in  many  a  moon.  And  I  told 
him  so. 

"Yes,  that's  exactly  what  I  want,"  he  continued. 
"Every  day,  from  all  sides,  people  throw  mud  at  the 
moving  picture  audiences.  They  call  them  morons.  If 
these  millions  of  movie  fans  are  morons,  then,  bv  far  and 
large,  the  majority  who  compose  the  general  public 
are  morons  too. 

"Are  we  morons?    Or  are  we  not? 

"What  I  am  after  is  an  absolutely  unbiased,  scientific 
article  to  settle  that  question. " 

50 


And,  of  course,  I  immediately  agreed  to  take  Mr. 
Quirk  up  on  this  proposition.  Afterwards,  when  I 
came  to  consider  the  matter  I  wondered  why  I  had  not 
thought  of  it  niN'self. 

For  Mr.  Quirk  is  right — as  right  as  rain.  To  find  out 
whether  actually  we  are  morons  or  not  is  a  most  timely 
inquiry. 

Not  so  long  ago  George  Bernard  Shaw  admitted  that 
he  is  a  movie  fan.  More  recently  the  famous  Austrian 
playwright,  Ferenc  Molnar,  on  a  visit  to  this  country, 
admitted  the  same  thing. 

Scores  and  scores  of  prominent  men  and  women  in  the 
United  States  are  not  ashamed  to  say  they  enjoy 
pictures.  Intelligent,  capable,  educated  and  cultured 
persons  of  all  ages  find  relaxation  in  a  movie  show.  Often 
do  I  hear  men  in  my  own  profession  say  that  a  picture 
refreshes  them  after  a  day  of  strenuous  work. 

CAN  it  really  be  possible  that  the  picture  enthusiast 
is  moronic?     What  is  a  moron,  anyway? 

The  term  was  first  suggested  for  general  use  by  Dr. 
H.  H.  Goddard,  a  psychological  authority  on  mental 
tests  and  defective  mental  states. 

Quoting  from  his  book  on  feeble-mindedness: 

"  If  we  leave  out  those  whom  society  has  already 
recognized  as  idiots  and  imbeciles,  we  have  the  higher 
group,  specifically  feeble-minded  or  moron,  which  has 
been  defined  by  the  Ro\al  College  of  Physicians  in  the 
following  terms:  'One  who  is  capable  of  earning  his 
living  under  favorable  circumstances,  but  is  incapable 
from  mental  defect  existing  from  birth  or  from  an  early 
age  (a)  of  competing  on  equal  terms  with  his  normal 
fellows,  (b)  of  managing  himself  and  his  aft'airs  with 
ordinary  prudence.'  " 

In  other  words,  a  moron  is  a  mental  defective — no 
more,  no  less. 


We  Mor 


o  n  s 


■    The  scientific  answer  to  those  who  be- 
little the  intelligence  of  movie  audiences 


7 


The  word  itself  comes  from  the  Greek,  wapos,  and  it 
means  a  fool.  The  Great  War  is  responsible  for  putting 
"moron"  on  the  map. 

Between  May  1  and  Oct.  1, 1918,  about  1,300,000  men 
in  the  American  Expeditionary  Forces  were  examined  by 
trained  psychologists  by  means  of  two  systems  of  mental 
tests  called  the  "Alpha  tests"  and  the  "  Beta  tests. " 

THE  Alpha  tests  were  devised  for  men  who  could  read 
and  write  while  the  Beta  tests  were  for  illiterates 
and  foreigners  and  were  carried  out  by  pantomime. 

These  tests  were  group  tests,  mind  you.  From  75 
to  500  men  were  tested  at  one  time. 

The  tests  were  supposed  to  show  whether  the  sub- 
ject's intelligence  was  normal,  super-normal  or  sub- 
normal. Idiots  and  imbeciles  were  rarely  drafted,  of 
course.  But  the  borderline  cases  escaped  detection  at 
the  first  registration  examination  and  so  practically  all  of 
those  found  to  be  sub-normal  in  intelligence  were  morons. 

Now  then,  the  striking  discovery  made  was  the  fact 
that,  according  to  the  tests,  45  per  cent  of  the  men 
tested  belonged  in  this  moron  class. 

By  inference  this  meant  approximately  fifty  per  cent 
of  the  population  feeble-minded ! 

Half  of  us — think  of  it! — with  the  intelligence  of  a 
child  of  from  8  to  12!! 

Half  of  us  (according  to  the  Royal  College  of  Physi- 
cians' definition  of  moronj 
"capable  only  of  earning 
our  livings  under  favorable 
circumstances  and  inca- 
pable from  mental  defect  ex- 
isting from  birth  or  from  an 
early  age  of  competing  on 
equal  terms  with  our  nor- 
mal fellows  or  of  managing 
ourselves  and  our  affairs 
with  ordinary  prudence." 


A  ND  worse  than  that, 
■*  *-half  of  us  never  being 
able  to  develop,  no  matter 
what  the  educationor  train- 
ing, higher  than  the  twelve- 
year  level !  On  the  face  of 
it  something  certainly  is 
wrong  somewhere. 

This  is  a  prosperous  na- 
tion, a  preeminently  lead- 
ing, influential  nation. 

Can  it  be  possible  thatwe 
have  brought  this  nation 
where  it  is  today  with  half 
of  us   mentally  defective? 

This  is  a  busy,  bustling, 
go-getter  nation. 

Can  so  much  energy  flow 
from  so  many  feeble  minds? 


TAMES  R.  QUIRK,  Editor  of  PHOTO- 
JpLAY,  went  to  Dr.  Bisch  with  this 
problem:  "Every  day,  from  all  sides, 
people  throw  mud  at  the  moving  pic- 
ture audiences.  They  call  them 
morons.  If  these  millions  of  movie 
fans  are  morons,  then,  by  far  and 
large,  the  majority  who  compose  the 
general  public  are  morons  too. 

''Are  we  morons?  Or  are  we  notV 
In  this  article.  Dr.  Bisch  gives  his 
frank  answer.  He  tells  why  mental- 
ity tests  are  often  inaccurate.  He 
explains  why  the  movies  interest  sen- 
sible, intelligent  people  as  well  as 
those  of  inferior  mentality.  And  he 
proves  that  the  term  "moron,"  as 
applied  to  audiences,  has  been  widely 
abused. 

Read  this  fascinating  and  instruc- 
tive analysis. 


This  is  also  a  fairly  clean-minded  and  healthy  nation 
despite  our  foreign  critics.  Suppose  this  government  of 
ours  does  reveal  graft  and  incompetence?  Is  this  democ- 
racy not,  after  all,  better  on  the  whole  than  the  govern- 
ments such  critics  hail  from?  And  can  it  be  possible 
that  all  this  progress  of  ours  in  government,  as  well  as 
in  finance,  education,  and  in  the  economic  status  of  the 
average  citizen,  has  been  accomplished  with  a  dead- 
weight drag  of  so  many  millions  of  moronic  minds? 

TT  happens  that  I,  myself,  was  engaged  in  psychiatric 
-'■work  during  the  war  and  in  April,  1919,  published  in  the 
United  States  Naval  Medical  Bulletin  a  paper  entitled, 
"A  Routine  Method  of  Mental  Examinations  for 
Naval  Recruits,"  based  upon  my  experiences  with  the 
intelligence  tests  employed  at  the  time. 

I  shall  quote  directly  from  this  paper  as  it  summarizes 
my  criticisms  of  the  group  method  of  intelligence  test- 
ing— which  group  method  was  responsible  for  the  sup- 
posed existence  of  so  many  millions  of  morons. 

"  (1  j  In  group  tests  the  scores  depend  exclusively  on 
the  time  element.  We  have  no  psychological  grounds 
for  believing  that  a  mental  process  shall  occupy  a  given 
amount  of  time.  (2)  The  group  method  leaves  no 
opportunity  for  the  adaptation  by  the  examiner  to  the 
individualities  of  the  subject.  (3)  Failure  in  per- 
formance of  tests  given  by  the  group  method,  in  the 
absence  of  the  individual 
observation  of  that  per- 
formance on  the  part  of  the 
examiner,  is  not  reliable 
evidence  that  a  failure  was 
due  to  low  mentality.  (4) 
The  best  group  tests  are  of 
necessity  dependent  upon 
written  responses,  and  the 
act  of  writing  adds  a  com- 
plication which  it  is  diffi- 
cult to  evaluate  and  sepa- 
rate from  pure  intelligence 
factors  in  scoring." 


A  S  Director  of  the  Psy- 
-**-chiatric  Division  of  the 
5th  Naval  District,  I  soon 
came  to  the  conclusion  that 
group  tests  were  unreliable 
and  that  they  gave  an  en- 
tirely misleading  idea  of  the 
intelligence  of  the  individ- 
uals forming  a  group. 

We  therefore  employed 
individual  tests  solely. 

And  we  did  not  find  any- 
where near  the  number  of 
morons  that  the  .Army  tests 
did! 

[  CO.VTINUED  ON   P.\GE   90  ] 

61 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


THE  DIVINE  WOMAN— M.-G.-M. 

A  STORY  based  on  the  life  of  Sarah  Bernhardt  and 
played  by  Greta  Garbo  as  the  Divine  Sarah  herself.  The 
interest  centers  in  the  acting  of  Miss  Garbo  and  Lars  Han- 
sen, her  soldier  lo\er,  rather  than  in  the  story  itself. 

Marianne,  as  they  have  called  the  Divine  Sarah,  is  brought 
to  Paris  as  a  surprise  present  to  a  worldly-wise  mother  who 
does  not  wish  to  acknowledge  a  sixteen-year-old  daughter. 
She  is  gawky,  untutored,  ugly.  Thrown  upon  her  own  re- 
sources, she  falls  in  love  with  a  soldier.  Chance  introduces 
her  to  the  stage.  The  conflict  between  her  love  for  the 
stage  and  her  love  for  the  man  is  the  theme  of  the  story. 

Watching  Marianne  make  love;  watching  her  suffer  in 
poverty;  glory  in  applause;  rage  at  the  unkindness  of  Fate — 
makes  it  well  worth  your  while  to  see  this  production. 


THE  NOOSE— First  National 

AAIORE  heart  gripping  melodrama  than  "The  Noose" 
will  be  difficult  to  locate  in  the  year's  crop  of  screen 
productions.  Richard  Barthelmess  again  presents  to  the 
public  a  superb  performance.  The  audience  will  be  held 
tense  from  the  moment  that  Barthelmess  slays  Montagu 
Love,  leader  of  the  bootleg  ring.  He  has  the  role  of  a 
youngster  reared  in  ignorance  of  his  parentage  by  the 
bootlegger  leader.  He  has  been  in  charge  of  one  of  the 
trucks  running  booze,  but  within  himself  there  is  the  urge 
for  a  better  life.  Dorothy  (Lina  Basquette),  a  little  chorine 
in  the  bootleggers'  den,  is  the  one  that  stands  by  when  he 
is  in  his  greatest  trouble.  John  Francis  Dillon's  direction 
is  excellent.  Lina  Basquette  contributes  a  colorful  per- 
formance.   Alice  Joyce  is  compelling  in  a  leading  role. 


The 

Shadow 
Stage 

A  Review  of  the  New  Pictures 


RAMON  A— United  Artists 

TO  those  who  have  read  and  loved  Helen  Hunt  Jackson's 
novel  of  early  California,  the  entire  elimination  of 
Ranwna's  life  from  the  time  she  runs  away  with  Allessandro, 
her  Indian  lover,  until  her  child  dies,  three  years  later,  will 
be  a  keen  disappointment.  But  the  scenic  beauty  of  the 
production  and  the  splendid  acting  of  Dolores  Del  Rio  will 
do  much  to  make  up  for  the  deficiencies  in  the  handling  of 
the  story.  It  is  a  superbly  beautiful  series  of  episodes  which 
depend  upon  titles  rather  than  action  to  carry  the  dramatic 
value. 

With  the  exception  of  the  years  of  her  early  wandering 
with  her  Indian  lo\'er  and  the  omission  of  any  reference  to  her 
marriage,  the  picture  adheres  to  the  original  story.  We  find 
her,  first  playing  with  her  adopted  brother,  Don  Felipe,  on 
one  of  the  \-ast  ranches  of  early  California.  Much  is  made 
of  a  sheep  shearing  scene.  Raniona's  struggle  with  her  auto- 
cratic stepmother;  her  indignant  repudiation  of  jewels  in 
lieu  of  her  Indian  lover;  and  the  loss  and  reco\-ery  of  her 
memory  at  the  end  of  the  story  offer  intense  moments.  But 
wc  are  forced  to  admit  that  much  of  the  drama  that  one  feels 
in  reading  the  story  is  lost  in  the  picture. 

There  could  ha\-e  been  no  more  fitting  person  to  imper- 
sonate the  Indian-blooded  Ramona  than  the  Mexican 
Dolores  Del  Rio.  At  the  end,  when  she  recovers  her 
memory,  her  work  rises  to  the  heights.  Warner  Baxter  is 
well-cast  as  the  Indian,  Allessandro,  while  Roland  Drew  is 
capable  as  Felipe,  the  Spanish  Don,  brother  and  lo\er.  Edwin 
Carewe  directed. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 


RAMONA 

THE  DIVINE  WOMAN 

BEAU  SABREUR 


THE  LAST  COMMAND 

THE  NOOSE 

THE  LEOPARD  LADY 


The  Best  Performances  of  the  Month 

Emil  Jannings  in  "The  Last  Command" 

Greta  Garbo  in  "The  Divine  Woman" 

Lars  Hansen  in  "The  Divine  Woman" 

Richard  Barthelmess  in  "The  Noose" 

Gary  Cooper  in  "Beau  Sabreur" 

Dolores  Del  Rio  in  "Ramona" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page    136 


THE  LAST  COMMAND— Paramount 

IN  this,  his  second  American-made  picture,  Emil  Jannings 
lives  up  to  the  high  standard  his  former  pictures  have  led 
us  to  expect  of  him.  As  Sergiiis,  Jannings  makes  a  complete 
departure  from  the  type  of  character  he  portrayed  in  "The 
Way  of  All  Flesh."    This,  however,  is  an  unusual  portrayal. 

As  favourite  cousin  of  the  Czar  and  Grand  Duke  of 
Russia,  Sergius  Alexander  was  easily  the  most  important 
man  in  the  Russian  army.  Imperious  of  necessity,  he  made 
bitter  enemies.  He  falls  in  love  with  a  beautiful  woman 
revolutionist,  Natacha,  but  strikes  and  arrests  her  com- 
panion, Leo.  When  the  revolution  comes,  Natacha  helps  the 
general  escape,  but  she  is  killed. 

Poor,  humiliated,  beaten,  grief-stricken,  he  searches  the 
world  over  for  Natacha,  finally  landing  in  Hollywood  among 
the  extras  working  for  $7.50  a  day.  Leo,  meanwhile,  has  be- 
come a  famous  director,  and  now  has  his  revenge,  which 
you  must  see.  As  the  all-powerful  leader  of  the  Russian 
army  and  as  the  pathetic  mo\ie  extra  man,  his  fine  shadings 
of  different  emotions  are  perfect.  E\-elyn  Brent  acquits 
herself  most  creditably  and  displays  enough  beauty  and 
brains  to  disturb  an  army. 

Joseph  Von  Sternberg,  who  also  directed  "Underworld," 
proves  again  how  well  he  can  handle  tremendous  crowds  or 
single  individuals. 

Von  Sternberg  gives  us  in  this  picture  the  best  inside  por- 
trayal of  studio  activity  that  has  ever  been  put  on  the  screen ; 
also,  tremendously  realistic  background  both  in  studio  and 
behind  the  scenes  on  Russian  front.    A  thrilling  melodrama. 


BEAU  SABREUR— Paramount 

YES,  this  reminds  you  of  "Beau  Geste,"  but  while  not 
built  with  the  same  suspense  as  the  former  picture,  this 
is  a  story  of  adventure  and  romance  that  is  most  intriguing. 

Gary  Cooper,  handsome  French  officer,  sworn  to  live  and 
die  for  France  and  never  look  at  a  woman,  is  sent  to  a 
French  garrison  on  the  Sahara.  He  does  not  know  then  he 
would  meet  Evelyn  Brent,  but  he  covers  himself  with  glory 
even  though  he  breaks  his  promise  about  women. 

"Beau  Sabreur"  means  "beautiful  swordsman"  and,  in 
this  picture,  we  have  such  a  battle  with  swords  as  you  have 
never  seen,  with  Cooper  on  the  ground  and  William  Powell 
(the  polished  villain)  on  a  horse.  The  suspense  through 
this  is  terrific.  Noah  Beery,  William  Powell  and  Mitchell 
Lewis  lend  virility  to  all  the  actions. 


THE  LEOPARD  LADY—Pathe-De  Mille 

IF  you  are  interested  in  any  kind  of  a  circus,  you  will  enjoy 
the  realistic  atmosphere  of  the  Continental  traveling  tent 
show  in  this  picture.  You  will  be  tense  with  excitement  as 
you  watch  Jacqueline  Logan,  in  the  service  of  Vienna,  trying 
to  find  the  party  who  is  responsible  for  the  murders  that 
follow  in  the  wake  of  this  circus. 

There  is  a  new  slant  to  the  story  and  a  great  surprise  at 
the  finish.  Director  Rupert  Julian  has  contributed  a  most 
commendable  piece  of  work.  It  is  handled  so  deftly  that 
the  characterizations  of  Miss  Logan,  "The  Leopard  Lady," 
and  Alan  Hale,  the  Cossack  rider,  stand  out  in  cameo-like 
clearness.  Both  do  their  best  work  in  ages.  Jacqueline 
may  go  right  into  stardom  on  the  strength  of  this.  Robert 
Armstrong  and  James  Bradbury,  Sr.,  are  well  cast. 

53 


Photoplay  Gets  Its  Reviews  Months  Ahead 


THE  BIG 

CITY— 

M.-G.-M. 


THE  DOVE— 

United  Artists 


LON  CHANEY  is  a  crook  of  no  mean  ability  in  this  story. 
When  one  crook  can  step  into  a  cabaret,  undisguised,  and 
capture  the  other  crook's  loot,  conceal  it  in  a  dish  of  spaghetti 
and  make  his  get-away,  you  ha\-e  the  acme  of  underworld 
intriguing.  Lon  wears  only  his  God-given  face  in  this  picture. 
The  story  is  complicated  but  has  good  action.  Betty  Compton 
is  Lon's  crook  aid  whose  jealousy  reveals  his  secrets. 


WHEN  Willard  Mack  wrote  this  as  a  play  for  David 
Belasco  he  went  back  to  the  screen's  pioneer  plot:  the 
dance  hall  girl  who  is  fought  over  by  the  hero  and  the  villain. 
This  is  dull  and  colorless — -and  Norma  Talmadge  is  wooden 
as  Dolores.  Such  honors  as  exist  go  to  Noah  Beery.  The 
subtitles  shift  the  action  from  Mexico  to  "somewhere  on  the 
Mediterranean"  but  the  settings  still  border  the  Rio  Grande. 


THE  WHIP 
WOMAN— 
First  National 


JUDGMENT 


A  ROMANCE  of  Hungary  during  the  post  war  period,  with 
Estelle  Taylor  in  the  title  role.  After  seeing  her  take  care 
of  herself  with  the  gay  old  Romeos  of  the  village,  you'll  admit 
that  there  is  something  in  association,  and,  after  all,  she  is  Mrs. 
Jack  Dempsey.  Antonio  Moreno  plays  the  role  of  the  heir 
of  a  royal  house  who  falls  in  love  with  her  and  finally  is  wed 
to  her. 


A  FAIRLY  swift-mo\'ing  drama  depicting  a  certain  type  of 
Kentucky  mountaineers.  Brant  Dcmiison,  (Orville  Cald- 
well), was  the  "hero  to  a  crowd  of  drunken  loafers."  His 
young  brother.  Tad  (Frankie  Darro),  wanted  him  to  be  a  real 
hero  and  helped  make  him  one.  Virginia  Valli,  as  the  school 
teacher,  did  all  that  could  ha\-e  been  done  with  her  part. 
You  will  remember  onlv  Frankie  Darro. 


ROSE 

MARIE— 

M.-G.-M. 


LADIES' 
NIGHT  IN  A 
TURKISH 
BATH— 
First  National 


"PXCITIXG  fights  and  daring  escapes.  An  excellent  cast 
i-«wiih  Joan  Crawford  a  charming  Rose  Marie,  the  daughter 
of  the  northern  ice-bound  country  who  warms  the  hearts  of  all 
the  men  around  her.  The  fur  traders  bring  a  new  comer,  Jim 
Kenyan,  played  by  James  Murray,  who,  although  hunted  by 
the  police,  is  so  lovable  and  so  daring  that  Rose  Marie  cannot 
forget  him.     It's  a  little  complicated  but  offers  suspense. 

64 


THE  stage  farce  by  Charlton  Andrews  and  Avery  Hopwood 
has  been  picturized  in  a  manner  that  is  going  to  keep  you 
laughing  to  the  final  fade  out.  The  action  is  more  or  less 
stereotyped,  but  it  has  been  deftly  directed  by  Edward  Cline. 
Dorothy  Mackaill  and  Jack  Mulhall  are  co-featured,  both 
giving  excellent  performances.  The  honors,  howe\-er,  must 
be  tendered  to  Gwynn  Williams,  as  Mike  Sweeney. 


of  All  Other  Magazines.    Check  Up  and  See 


GATEWAYOF 

THE  moon- 
Fox 


U       SPORTING 
GOODS— 
Paramount 


A  BADLY-DIRECTED,  sappy  melodrama  obviously  re-  Til  CHARD  SHELBY,  enterprising  salesman 
leased  only  to  cash  in  on  the  popularity  of  the  star.  But  -^vTweedo  Golf  Suits,  was  "up  with  the  lark,  dc 
don't  let  that  fool  you.  This  is  not  the  Del  Rio  of  "What  Price 
Glory"  and  "Resurrection,"  but  Dolores  being  very  terrible  as 
one  of  those  coy  undressed  shebas  of  the  South  Seas,  pursuing 
her  man  amid  swamps  and  crocodiles.  Cheap  in  every  respect. 
Fans  should  stay  away  in  droves. 


for  Elasto- 
p  witn  the  lark,  down  with  the 
grapefruit,  and  out  with  the  samples."  Nevertheless,  he  got 
into  trouble.  But  you  will  forget  your  troubles  when  you  see 
Richard  Dix  in  this  hilarious  farce,  as  he  is  a  joy  from  start  to 
finish.  Beautifully  directed  by  Mai  St.  Clair.  Laughs  for  all. 
Too  good  to  miss. 


THE  LATEST 
FROM 
PARIS— 
M.-G.-M. 


LOVE  AND 

LEARN— 

Paramount 


ALL  the  cloak  and  suit  houses  in  America  will  want  to  hire 
Norma  Shearer  after  the  release  of  this  picture.  She  sure 
sells  the  goods,  no  mistaking,  and  lines  up  the  men  in  the 
bargain.  Ralph  Forbes  supplies  the  love  interest.  George 
Sidney  and  Tenen  Holtz,  the  proprietors,  give  corking  comedy 
performances.  Bert  Roach  tickles  the  palate  with  his  fun- 
making.    Corking  titles.    Snappy,  light  entertainment. 


A  YOUNG  girl  comes  home  and  finds  her  parents  on  the 
verge  of  a  separation.  She  has  heard  "it  is  trouble  that 
keeps  married  people  together,"  so  she  starts  out  to  contribute 
the  trouble.  Esther  Ralston  is  pleasing.  Lane  Chandler  gives 
a  delightful  performance.  Claude  King,  Hedda  Hopper,  and 
Helen  Lynch  render  good  support.  A  fast  mo^"ing  comedy 
drama,  well  directed  by  Frank  Tuttle.     You'll  love  it. 


TWO 

FLAMING 
YOUTHS— 
Paramount 


A  GIRL  IN 

EVERY 

PORT— 

Fox 


WC.  FIELDS  and  Chester  Conklin,  the  newest  co-starring 
•  comedy  team — and  how!  The  picture  is  plain  slapstick 
comedy  and  it  is  not  meant  to  be  anything  else.  If  you  aren't 
amused  at  this  whole  piece — then  we  gi\e  up.  Fields  and 
Conklin  are  rivals  for  the  hand  of  Widow  Malarkey.  But 
widdie  has  other  ideas  and  marries  someone  else.  John  Waters 
may  receive  your  applause  for  his  direction. 


VICTOR  McLAGLEN  is  featured  in  this  picture  because 
of  the  popularity  he  won  in  "What  Price  Glory."  McLag- 
len,  as  Spike  Madden,  a.  deep  sea  sailor  on  a  tramp  schooner, 
finds  that  another  seafaring  youth  is  stepping  in  his  love  affairs 
in  the  various  ports  of  call.  McLaglen  and  Robert  Armstrong 
are  excellent  as  the  rovfng  rivals.  Their  adventures  will 
intrigue  and  amuse  you.  [  Additional  reviews  on  page  99  ] 

55 


OVE 


Laughter 


By 
Emma-Lindsay  Squier 


Illustrated  by  R.    Van  Bu, 


SHE  Stood  before  him,  dark  and  straight 
and  tempestuous.  He  found  it  a  little 
difficult  to  maintain  the  careful  imper- 
sonality of  his  tone. 

"But,  Evelyn,  my  dear,  you  haven't 
answered  my  question ;  what  can  this  Forbes 
Nathan  give  you  that  I  can't — that  I 
haven't?" 

Her  dark  eyes,  vivid  with  unrestrained 
emotion,  filled  with  sudden  tears.  She  was 
perhaps  not  conscious  that  she  was  acting. 
She  had  been  an  actress  so  long  that  she  had 
ceased  to  analyze  her  reactions  as  to  the  quality  of  their 
sincerity.  Her  rich  voice,  the  voice  that  had  thrilled 
thousands  of  worshipful  listeners  from  behind  the 
amber  footlights,  held  the  same  poignant  note  of  appeal 
now  in  the  luxurious  privacy  of  her  husband's  apart- 
ment as  it  would  hold  the  night  of  her  new  play,  "The 
Sorrowful  Lady." 

"I  want — I  want — love;   love — and  laughter." 

If  Lawrence  Danvers  was  hurt,  he  gave  no  sign  of  it. 
He  had  what  his  lovely  wife  did  not  suspect,  a  facile 
imagination.  He  also  understood  her,  although  he  had 
never  permitted  her  to  guess  the  fact.  She  was  curious- 
ly like  a  child,  revelling  in  the  eternal  playtime  of  life 
and  emotion.  Well  he  knew  that  a  single  careless  word 
of  his  at  any  moment  of  the  eight  years  of  their  married 
life  might  have  brought  the  insecure  structure  tumbling 
about  their  ears. 

Those  who  marvelled  at  the  fact  that  the  prosaic 
business  man  could  win — and  hold — the  love  of  the 
exotic  Evelyn  Lorraine,  did  not  know  that  the  simple, 
though  subtle  secret  had  been  his  matter  of  fact  accept- 
ance of  every  mood  of  her  make-believe. 

Sometimes  it  had  not  been  easy.     Particularly  the 
5G 


times  when  she  had  fancied  herself  passionately  in  love 
with  another  man — usually  an  actor  in  her  company. 
Lawrence  Danvers  knew  these  comet-like  emotions  for 
the  effervescent  things  they  were;  but  he  had  never 
made  the  mistake  of  belittling  them,  or  of  showing 
jealousy.  He  knew  that  his  aloof  self-control  was  the 
bond  that  held  Evelyn  to  him. 

He  was  not  an  actor  by  profession.  But  it  required 
no  mean  skill  to  stand  there,  facing  her  passionate  con- 
fession of  this  new  love,  without  yielding  to  the  tempta- 
tion to  cry  out,  to  crush  her  in  his  arms  and  tell  her 
savagely  that  she  was  his,  his,  that  he  loved  her  more 
than  life,  and  that  no  man  should  take  her  from  him 
while  he  lived. 

He  was  older,  he  reflected,  and  Evelyn  still  possessed 
a  glorious  beauty  that  time  had  touched  with  scarcely 
perceptible  fingers.  This  Forbes  Nathan  was  young 
too;  younger  than  Evelyn.  Was  that  the  attraction? 
Did  she  turn  to  youth  when  she  felt  her  own  youth 
gently  slipping  from  her?  Or  was  it  merely  the  insistent 
urge  of  propinquity? 

They  were  rehearsing  "The  Sorrowful  Lady,"  which 
would  open  on  Broadway  within  the  week.    A  curious, 


CTh 


HE  tragi-comedy 

/  of  an  actress,  her 

^-^    prosaic    husband 

and  the  leading  man 

who    held   the   stage 

kiss  just  a  few  seconds 

too  long 


foreign  play,  with  tricky  barbed  lines  and  smoldering 
love  scenes— damnable,  insidious  love  scenes  he  had 
thought  them,  as  he  watched  from  the  empty  darkness 
of  the  theater. 

He  recalled  the  comment  of  the  stage  manager,  who 
shook  his  head  at  the  conclusion  of  the  third  act. 

"Nathan,  you'll  have  to  play  the  part  older,  or 
Evelyn  will  have  to  make  up  younger — a  lot  younger. 
As  it  is,  the  thing  isn't  balanced.  I'm  afraid  it  won't 
get  by." 

There  had  been  a  short  silence.  Then  Evelyn  had 
spoken,  softly,  with  compelling  vibrance  in  her  voice, 
never  dreaming  of  the  hurt  she  sent  across  the  foot- 
lights into  the  heart  of  the  man  sitting  there  in  the 
echoing  darkness. 

"You  need  not  worry  about  that,  Mr.  Butler.  I  am 
sure  we  will  do  the  love  scenes — realistically." 

Now  his  voice  almost  faltered  from  its  level,  imper- 
sonal tone.  "You  want  love — and  laughter,  Evelyn? 
Do  you  think  that  I  do  not  love  you?  Don't  you  think 
we  have  been  happy — together?" 

She  caught  a  note,  that,  disguised  as  it  was,  stirred 
the  quick  sympathy  of  her  heart. 


Why,  she  was — clean !  So  metic- 
ulous in  her  person,  her  mind, 
her  manner  of  life.  He  could 
not  visualize  her  plunging 
through  the  mud  to  be  lifted 
upon  the  unstable  pinnacle  of 
passion 


"Oh  Larry  dear,  I  know  that  you 
love  me.  You  have  been  so  wonderful 
about  everything.  It's  because  I 
trust  your  love  for  me  that  I  am  not 
afraid  to  tell  you  that  I  love  Forbes 
Nathan,  love  him  with  every  breath, 
every  heart  beat  of  my  existence. 
Larry,  I  know  that  it  hurts  to  hear  me 
say  that.  But  I  can't  be  anything  but 
honest  with  you.  I  would  rather  hurt 
you  than  shame  you.  I'm  asking  you 
to  let  me  go,  to  divorce  me  or  let  me 
get  a  divorce.  I  want  to  marry  him, 
Larry,  you've  never  heard  me  say  that 
about  any  other  nian,  have  you? 
Please  let  me  go,  Larry,  I  can't  live 
without  him!" 
Lawrence  Danvers  moved  mechanically  to  the  tiled 
fireplace.  He  took  a  cigarette  from  a  brass  container, 
and  lighted  it  with  steady,  unshaken  fingers. 

"Evelyn,  you  have  a  rather  unique  position  in  the 
theatrical  world.  There  has  never  been  the  slightest 
rumor  of  anything  ugly  connected  with  your  name.  If 
you  will  look  over  the  letters  from  young  girls — and 
their  mothers,  you  will  realize  what  an  ideal  you  have 
made  yourself.  You  know  the  laws  of  New  York  state. 
A  divorce  can  be  obtained  in  only  one  way — a  most  un- 
pleasant, filthy  way.  Are  you  willing  to  smirch  your- 
self, or  have  me  smirch  myself  for  you,  to  gratify  this — " 
he  paused  slightly —  "love?" 

His  fingers  were  wet  upon  the  flimsy  paper  of  the 
cigarette.  He  could  not  bring  himself  to  look  at  her. 
Why,  she  was — clean !  So  meticulous  in  her  person,  her 
mind,  her  manner  of  life.  He  could  not  visualize  her 
plunging  through  the  mud  to  be  lifted  upon  the  unstable 
pinnacle  of  passion.  Ah,  what  they  would  say  about 
her!  They  would  strip  her  bare,  and  run  her  through 
and  through  with  all  the  long-suppressed  delight  and 
jealousy  of  little,  evil  minds.  He  heard  her  sigh,  ever  so 
faintly.  [  CONTINUED  ON  PAGE  111  ] 

57 


An  Automobile 
Smash-  Up 

Polly  Moran 

In  many  a  fall, 
Has  never  been  hurt, 

No — not  at  all ! 

She's  fallen  through  films. 
As  comedy  gags, 

Her  hair  has  come  down. 

And  her  frock  has  been 
rags. 

But  she  never  was  hurt, 

'Til  the  other  day — 

When  a  rollicking  Rolls, 
Got  in  her  way. 


EMIL  JANNINGS 


Sergius  Alexander 
in 

**The  Last 
Command" 


A  Sonnet  lmp\ 
of  the  Month's 
Performance — 


Against  the  melodrama  of  the  story, 
He  stands — a  figure  tragic,  brave  and  bold — 
He  never  seems  to  lose  his  look  of  glory, 
Though  beaten  by  the  world,  and  growing  old. 
He  who  had  known  the  flame  of  pomp  and  power, 
He  who  had  scorned  the  cringing  and  the  weak. 
Could  never  wholly  bow  beneath  the  shower 
Of  scorn  and  poverty  and  words  men  speak. 

The  studio  has  made  a  screen  behind  him 
Of  shadow  shapes  that  only  come  and  go; 
He  is  no  shadow,  we  will  always  find  him. 
Where  blood  is  hot,  and  passions  dare  to  glow. 
Pathetic?   Yes,  perhaps,  we  watch  through  tears. 
As  he  goes  marching  down  the  broken  years! 


Baby 
Stars 


Congratulations  are  in  order 

For  every  W'ampas  baby  star ; 
We  hope  that  they  may  reach 
their  goals. 
That  they  may  travel  very 
far. 

Thirteen   of  them — who  ever 
said 
From  number  thirteen  luck 
was  lacking? 
Get  to  it  girls,  and  strut  your 
stuff— 
You'\-e   youth    and    beauty 
for  your  backing! 


Reel 


\^y  Ring  'Em,  Sylvyf  \^^^      ^/( 


The  New 
Griffith  Picture 

He's  doing  a  battle  again,  he  is. 
And  battles  have  always  been 

wholly  his; 
The  wars  that  were  civil,  those 

less  polite 
He's  done — ^he's  a  bear  when 

he  films  a  fight. 

But  now  he  is  doing  an  age-old 

war — 
(And    one,    incidentally,    he's 

filmed  before), 
A  war  that  troubles  and  thrills 

and  vexes — 
You're  right— it's  "The  Battle 

of  the  Sexes." 

58 


Miss  Dupont  is  married  now, 
Orange  blossoms  on  her  brow — 
She  has  wed  Sylvanus  Stokes, 
One  of  these  here  wealthy  blokes. 


A  Distinguished 
Visitor 


Ruthie  Taylor— "Miss  L.  Lee"— 

She  who  got  the  much  sought  role, 

Is  to  visit  our  New  York, 

Every  good  gold  digger's  goal ! 

Ruth,  for  all  her  artful  ways. 
Never  left  the  west  before. 

She  has  got  a  lot  to  see. 

When  she  opens  New  York's  door. 

What,  you  ask  us,  do  we  mean — 

What  should  e\-ery  bright  girl  see? 

The  aquarium,  of  course. 

Grant's  Tomb  and  Miss  Liberty! 


Vilma  Goes 
Abroad 

Vilma  La  Rocque  (do  you  like 
it  that  way?) 
Is  going  to  visit  the  land  that 
is  natal ; 
Is  going  to  wish  her  dear  par- 
ents "Good  day," 
And  maybe  return  with  them 
— would  that  be  fatal? 

That  fact  that  she's  going  to 
Hungary's  shore, 
Isnotthatshe'scastingyoung 
Rod  from  her  life — 
Ah,  no — -for  she  loves  him,  she 
says,  more  and  more — 
In  fact,  she  is  Hollywood's 
plus-perfect  wife. 


hen 


Night' 

Time 

Comes— 

By 

Margaret  E. 
Sangster 


Whin  iiighi-iiiiic  cuines  to  Hollywood, 
I  ihink  the  lady  moon  looks  down, 

Wiih  kindlintss  and  sympathy, 
Upon  the  silent,  resting  town. 

She.  gencl>-  swaying  in  the  sky. 

Bathes  with  a  healing,  silver  fire, 

The  tired  city  that  has  wept. 

And  laughed,  and  worked,  and  known  dt 


And  all  the  faiths  that  have  been  lost, 
And  all  the  plans  that  went  awry, 

Are  giving  back  to  dreaming  hearts, 
Her  benediction  from  the  sky. 

For,  as  the  wistful  breezes  sing. 

And  as  the  clouds  about  her  creep. 

The  lady  moon  is  keeping  guard 

Above  ttie  earth-bound  stars  who  sleep. 


Ruth  Harriet  lx>uise 


ON  these  two  pages,  we  have  Hollywood's  best  arguments  in  favor  of  short  skirts — 
or  no  skirts  at  all.    Here  is  Joan  Crawford,  Texas'  (the  state's,  not  Guinan's)  greatest 
gift  to  the  ocular  drama. 


ND  here  is  Olive  Borden  of  Virginia.  Not  so  long  ago,  Olive  worked  in  her  mother's 
'little  candy  store.    Today  she  is  a  United  Artist,  along  with  Mary,  Doug,  Charlie 
and  Jack  Barrymore. 


CUE  CAROL  S  hit  parallels  that  of  Janet  Gaynor.  Sue  didn't  need  the  money  and  she 
wasn  t  looking  for  fame  when  she  went  to  Hollywood.  One  picture— "Soft  Cushions" 
—made  her.     Now  she's  playing  opposite  William  Boyd  "in    "Skyscrapers  " 


f)on'tCall 
Her  A 

Rich  Girl 


But  give  Sue  Carol  credit 

for  succeeding  in  spite  of 

her  money 

By  Rttth  Btery 


CHARLIE  CHAPLIN  was  coming  to  the  Hunt- 
ington Hotel  in  Pasadena.  An  exciting  event  for 
the  children,  back  in  1913,  when  this  story  opens, 
as  it  would  be  today  among  any  group.  It  was 
in  the  middle  of  winter,  when  many  youngsters  were 
spending  their  winters  in  California,  rushed  away 
from  the  cold  and  snow  of  the  East  and  Middle  West. 
"Let's  give  Charlie  a  show,"  they  said.  "We  have 
given  benefits  for  poor  people  and  parties  for  ourselves. 
Now  let  us  do  something  for  Charlie  Chaplin  who  has 
given  us  so  many  wonderful  entertainments!" 

So- they  ran  to  their  respective  mothers  at  the  bridge 
table  and  took  up  the  matter  with  fathers  on  the  golf 
links.  As  the  evening  approached  for  the  entertain- 
ment, there  was  much  excitement  among  the  tiny  per- 
formers. Chief  among  the  merry-makers  was  a  dark- 
eyed  child  of  six  winters,  thrilled  because  she  was  to 
dance  for  Charlie  Chaplin. 

And  how  she  did  dance  upon  that  evening  dedicated 
to  her  favorite  actor!  Danced  so  hard,  with  so  much 
genuine  ecstasy  and  motion,  that  right  in  the  middle  of 
her  principal  number,  the  scant,  chiffon  costume  which 
mother  had  ordered  especially  created,  fell  to  the  floor. 

WITH  one  look  at  the  withered  costume  beneath  her, 
she  burst  into  hysterics,  kicking  and  screaming. 
She  had  disgraced  the  party! 

"And  Charlie  Chaplin  did  everything  but  stand  on 
Jiis  head  to  make  me  forget  it !"  Sue  Carol's  eyes  danced 
with  mischief  in  memory  of  the  six-year-old  tantrum 
which  she  was  describing.  "He  did  everything  to  make 
me  feel  happy.  And  later  he  asked  mother  about  my 
going  into  pictures.  When  mother  said  'No,'  he  agreed 
that  she  had  made  a  wise  decision  because  he  felt  it  was 
a  hard  life  for  little  children. 

"When  I  left  Pasadena,  I  wrote         „,.  . 
Charlie   Chaplin  a  love  letter.      It         Without  preten- 
^1  1  r  ^u  ^  sions,      without 

must  have  been  one  of  the  most  ar-  pull,  without 
dent  fan  letters  he  ever  received,  I  publicity.  Sue 
.am  certain."  Carol   won    her 

Only,  Charlie  never  did  get  it.  audiences  im- 
And  Sue,    [continued  on  page  108]  mediately 


Tom  continues  his  quest  for  a  for- 
tune, telling  how  he  threw  an 
elderly,  but  game,  buffalo,  for  $500 


Out  on  the  Oklahoma 
ranch  the  studio  staff 
had  spread  ten  barrels 
of  salt  mixed  with 
mica,  producing  the 
effect  of  winter.  Here 
Tom,  doubling  for  the 
leading  man,  was  to 
throw  the  buffalo, 
thereby  saving  the 
pioneer  hero's  ftarv- 
ing  wife  and  child 


Illustrated    by 
Russell    Patter  so, 


Making  A 


MAKIN'  a  million  when  I  first  started,  didn't 
seem  like  it  was  a  goin'  to  be  difficult.  But, 
I'd  discovered,  like  I  suppose  many  other  men 
have,  that  the  groupin'  together  of  a  million 
ain't  so  easy. 

Cipherin'  the  whole  thing  out,  I'd  found  that  for  me 
to  get  a  million,  I'd  have  to  take  it  away  from  some  gent 
who  had  already  gathered  a  million  for  himself,  an'  I 
knew  that  a  bird  smart  enough  to  have  already  accom- 
plished that  job  wasn't  a  goin'  to  let  go  of  it  without 
somebody  havin'  to  give  him  gas  or  mebbe  somethin' 
worse.  Before  me  was  the  task  of  outsmartin'  some 
gent,  already  smart  enough  to  outsmart  some  other  feller 
who  was  smart  enough  to  grab  himself  a  million. 

My  first  effort  in  gettin'  the  million  through  workin' 
in  the  movin'  pictures  hadn't  turned  out  so  well.  My 
second  endeavor,  where  I  was  town  marshalin'  in 
Dewey,  Oklahoma,  had  failed  to  increase  the  Mix  bank- 
roll. The  sS.SOO  gold  Madera  had  paid  me  in  Mexico  had 
dwindled  down  1o  less  than  two  hundred.  Which  way 
I'd  have  turned  I  don't  know,  but  along  came  this  tele- 
gram askin'  if  I  was  in  the  market  to  bulldog  a  buffalo 
as  one  of  the  big  scenes  in  a  movin'  picture. 

I  recallerl  that  I  hadn't  done  so  well  stranglin'  wolves 
for  a  movie  concern  in  Chicago.  But,  I  reasoned  that 
I  didn't  know  much  about  wolves  in  the  first  place,  an' 

6^ 


I  did  know  a  lot  about  buffalos  an'  besides,  I  was  out 
here  in  Oklahoma,  where  I  was  at  home.  You  see,  over 
on  the  101  Ranch,  at  Bliss,  where  I'd  been  foreman, 
they  had  a  herd  of  buffalos  an'  I  was  pretty  well  ac- 
quainted with  'em  an'  their  ways.  An',  besides,  I  might 
as  well  confess  that  I'd  always  entertained  an  idea  that 
I  could  bulldog  a  buffalo,  only  the  Miller  boys,  who 
owned  101  would  never  let  me  try  it,  sayin'  they  didn't 
want  me  to  break  the  spirit  of  one  of  their  buffalo  bulls. 

T  MIGHT  put  in  now  for  the  information  of  the  general 
public  which  probably  don't  know  a  heap  about  buf- 
falos, but  nothin'  in  the  world  will  fight  harder,  longer- 
or  more  desperately  than  a  buffalo  bull.  At  the  same 
time,  nothin'  will  give  up  so  easy,  once  he  knows  he's 
whipped.  A  lot  of  folks,  probably,  will  think  I'm  mis- 
statin'  facts,  but  I'm  not,  when  I  tell  you  that  if  you 
rope  a  buffalo  bull  an'  throw  him,  an'  he  realizes  that 
you've  got  him  where  he  can't  do  nothin'  to  help  him- 
self, Mr.  Bull  will  just  lay  right  down  there  on  the 
prairie  and  die — pass  out  from  a  broken  heart.  He's 
been  humbled  an'  he  can't  live  an'  remember  that. 

Well,  to  get  back  to  my  story  about  the  million. 
Commencing  where  I  left  oft',  I  had  this  telegram  askin' 
me  to  bulldog  the  buffalo,  an'  I  wired  'em  to  come  on, 
a  bringin'  their  buffalo  with  'em. 


I\     •' 


V  vflw^  tt'i(^'s'^ ' ""  ^Vi^wiN^wV 


illion 


Saturday  mornin'  I  went  down  to  the 
railway  station  an'  saw  the  outfit  get  off  the 
train.  The  director  in  charge  introduced  him- 
self as  Otis  Turner,  an'  he  will  be  recalled  by  old 
time  picture  folks  as  "  Dad  "  Turner.  He  had  with  him 
a  cameraman,  named  Tom  Persons,  a  mighty  fine  feller 
an'  me  an'  him  became  good  friends  an'  are  to  this  day. 
There  were  some  other  actors,  but  I  didn't  notice  'em 
particularly.  It  was  a  week,  mebbe,  before  the  leadin' 
lady  arrived  in  Dewey.  She  was  introduced  to  me  as 
Miss  Myrtle  Stedman  an'  I  considered  her  about  the 
niftiest  young  person  that  ever  struck  Oklahoma.  After 
lookin'  her  carefully  over,  I  decided  then  an'  there  that 
if  Miss  Stedman  was  a  goin'  to  keep  on  the  movin' 
picture  business,  permanent,  it  was  as  good  a  trade  as 
any  for  me  to  follow. 

DAD  TURNER  took  me  up  to  the  hotel  an'  read  the 
story  we  were  to  make.  I  don't  know  who  wrote  it 
;^n'  I  hope  I  never  find  out.  This  understandin'  author, 
who  had  probably  lived  all  his  life  around  Times  Square, 
New  York,  an'  thought  there  were  Indians  a  runnin' 
around  the  streets  of  Indianapolis,  Ind.,  an'  that  the 
citizens  of  Buffalo,  New  York,  were  used  to  havin'  the 
street  traffic  tied  up  with  animals  of  the  same  name  a 
roamin',  promiscuous  like,  around  the  town.    I  told  Dad 


By 
Tom  Mix 


the  story  wouldn't  do.  Then,  says  he,  it's  up  to  you  an' 
me  to  sit  down  an'  make  up  one,  so  we  started   in. 

In  the  first  place,  we  had  to  have  some  good  reason 
why  the  buffalo  was  to  be  bulldogged  an'  not  shot.  If 
we  went  back  to  the  early  days,  the  Injuns  would  have 
killed  the  buffalo  with  bow  an'  arrow — they'd  never 
heard  of  bulldoggin'.  After  much  sittin'  up  nights,  me 
an'  Dad  threshed  a  yarn  something  like  this. 

A  young  fellow  comes  out  of  the  east — he  is  an  engi- 
neer, plans  bridges  an'  buildin's  an'  such  stuff.  He  gets 
adventurin'  down  in  the  Injun  country  an'  meets  up 
with  a  mighty  pretty  young  squaw — an'  we  make  her  so 
pretty  an'  attractixe  that  I  don't  mind  addin'  that  if 
there  really  had  been  that  kind  of  young  squawdown 
there,  I'd  still  be  in  Texas  or  Oklahoma.  Well,  this 
Easterner  gets  plumb  crazy  over  young  Miss  Squaw. 
She'd  had  a  little  education  an'  savvied  English.  I 
think  we  made  her  name  Go-Wan-Shosho,  which  is 
Osage  for  Flamin'  Arrow.  So  our  young  engineer  ups 
an'  marries  her.  The  Osages,  accord! n'  to  our  literary 
masterpiece,  didn't  take  kindly  to  this  white  man  a 
bustin'  into  their  tribe  by  marryin'  the  niftiest  lookin' 
squaw  they  had  an'  one  who  had  already  been  looked  at 
admirin'ly  by  some  of  the      [  con'tixued  ont  p.age  86  ] 

65 


J^ow  to  Dress 


Esther  Ralston  proves  that 
clothes  lighten  the  hardest 


The  girl  who  goes  gar- 
dening in  a  chiifon 
dress,  a  small  hat  and 
high-heeled  shoes 
courts  a  torn  frock,  a 
sunburn  and  tired  feet. 
If  you  would  enjoy 
your  flowers,  wear  a 
smock,  a  large  hat, 
gloves  and  get  a  pad  to 
keep  your  knees  off  the 
damp  ground 


Tennis  can  be  tor- 
ture in  long  sleeves, 
a  wool  skirt  that  is 
tight  over  the  hips 
and  rubber  soled 
sandals  which  do 
not  support  the  feet 
du  ring  a  vigorou  s  set. 
Black,  for  sports,  is 
hot  and  dusty 


Tennis  is  fun  in  a 
white  sleeveless 
frock,  with  a  full 
pleated  skirt  and 
regulation  tennis 
shoes.  Unless  your 
hair  is  very  short, 
weara bandeau.  And, 
for  the  love  of  Helen 
Wills,  no  jewelry! 


for  Tfrying 


Roles 


correct 
tasks 


At  the  right,  you  see  a  lady 
in  for  a  bad  afternoon.  The 
umbrella  will  never  cover 
that  big  hat.  The  shoes  will 
spring  a  leak  and  the  fur 
trimming  will  soon  look  like 
a  wet  cat.  Moreover,  the 
pleats  will  come  out  of  the 
skirt.  And,  behold  (at  near 
right),  a  young  person  who 
will  look  chic  in  the  worst 
weather! 


When  dish-washing 
is  drudgery.  Long 
sleeves,  lace  collars 
and  cuffs,  and  a  ja- 
bot to  absorb  dish- 
water. Ruffles  to 
catch  on  every  cor- 
ner. And  jeweled 
hands  at  the  mercy 
of  soapy  water 


Kitchen  work 
needn't  be  messy  if 
you  have  a  pretty 
apron,  comfortable 
shoes  and  a  pair  of 
rubber  gloves. 
Notice,  too,  that 
Miss  Ralston  slicks 
back  her  hair  to 
keep  it  out  of  eyes 


1  ^^ 

_  ^^HE 

^  H^Hff 

mIH 

67 


ust  a  Song  at 


Illustrated 

by 

Lorene 

Bredeweg 


"Do  you  mind  if  I 
stay  here  with  you? 
It's  —  it's  so  lonely 
eating  by  one's  self." 
Her  voice  was  wistful 


THE  park  path — save  for  the  shadowy  bulk  of  a 
distant  policeman   (and  his   back  was   turned!) 
— seemed  utterly  deserted.     The  trees  made  an 
arch  of  green  above  their  heads.     And  Ann — 
cuddling  suddenly  close  to  the  roughness  of  Richard's 
tweed   coat  sleeve — knew   that  she  was  about  to   be 
kissed.    Knew  it  with  a  small,  delicious  shiver. 

"Why— I  might  be  sixteen,  the  way  I'm  feeling!" 
she  told  herself. 

Richard  looked  down  at  her.  Although  they  were 
almost  of  a  height,  it  seemed  as  though  he  were  looking 
down  from  an  unimagined  mountain  peak.  Why  does 
bemg  in  love  make  a  woman  feel  so — so  physically 
small? 

68 


"You — you  darling — "  he  breathed  huskily. 

And  then  he  did  kiss  her.  And  it  was  even  more 
wonderful — that  kiss — than  it  had  been — in  dreams. 
Even  though  Ann's  dreams  were,  often,  rather  spec- 
tacular things.  For,  you  see,  she  was  a  poet.  Richard 
wasn't — he  was  a  broker. 

"You  darling — "  he  said  again.  And  his  voice 
quivered  on  a  strange,  high  boyish  note.  And  then  he 
added — in  the  tone  of  a  person  who  steps  out  of  a 
bewildering  tumult  into  a  high  ceilinged,  white  church 
— "You  do  love  me!"  It  was  not  a  question — it  was  a 
statement. 

Ann's  laugh,  answering  his  voice  through  the  dark- 
ness, was  also  shaken. 


Midnight 


By 

Margaret  E.  Sangster 


"I've  loved  you  for  a  very  long  time,"  she  said 
slowly.  "I  never  guessed  what  it  was  to  care  in  just 
this  way,  before." 

Richard  was  a  business  man.  Had  he  been  a  poet, 
too,  he  might  have  dallied  with  a  swift,  bright  moment 
■ — the  sort  of  a  moment  that  can  seldom  be  found  again 
once  it  has  passed,  even  though  one  searches  for  it.  But 
he  did  not  dally.  This  thing  that  had  happened — it 
was  too  important  to  be  trifled  with. 

"You'll  marry  me?"  he  asked — and  the  words  came 
with  a  rush.    "You'll  marry  me — soon?" 

Ann  laughed.  She  didn't  feel  quite  so  small  as  she 
had  a  moment  ago.  She  was  beginning,  ever  so  slightly, 
to  regain  her  poise. 


"But  of  course  I  will!"  she  answered.  And 
knew  that  she  was  about  to  be  kissed  again — (even 
though  the  not-nearly-so-distant-as-he-had-been 
policeman  was  now  facing  in  their  direction) ! 

TpIME  passes  very  quickly  when  two  people  are 
-*-  getting  engaged  and  making  marriage  plans. 
It  didn't  seem  very  much  later  that  Richard — • 
bidding  Ann  a  reluctant  good-bye  in  the  foyer  of 
the  tiny  hotel  in  which  she  lived — looked  deep  into 
her  eyes  and  went  his  way.  But  when  Ann  had 
reached  her  room  and  had  switched  on  the  lights — 
when,  with  incredulous  gaze,  she  had  dared  to  look 
at  the  little  leather  bound  clock  upon  the  mantle 
shelf — she  realized  that  it  was  well  past  midnight. 
And  that  she  was  more  vividly,  more  widely  awake 
than  she  had  ever  been  in  all  of  her  life.  Her  very 
pulses  were  singing — and  their  song  was  an  echo  of 
every  dawn  that  the  world  has  ever  known. 

Breathlessly — rather  like  a  person  who  had  fin- 
ished a  race — Ann  threw  herself  into  a  chair.  It  was 
all  so  wonderful.  So  shining.  She  found  herself 
speculating  as  to  whether  any  other  woman  had 
e\er  loved — and  been  loved — in  quite  the  way  that 
she  and  Richard  were  loving  each  other.  She  found 
herself  wondering  whether  any  other  two  people 
had  ever  kissed  as  she  and  Richard  had  kissed.  Out 
of  doors.  Under  the  friendly  moon  and  the  in- 
quisitive small  stars.  And  with  the  trees  coming 
together  so  that  the  moon  and  the  stars  were  just 
a  trifle  shut  away.    She  wondered.    And  then — 

She  was  remembering.  Remembering  a  girl  of 
eighteen  who  had  lifted  her  lips  to  receive  the  first 
kiss  of  a  young  lover.  A  very  radiant  girl,  with  her 
hair  up!  (ten  years  ago  a  girl  of  eighteen  had  hair 
to  do  up!)  for  the  first  time.  She  was  remembering 
arms — the  strong  arms  of  an  athlete,  the  tender 
arms  of  a  dreamer — clasping  her  tight.  While  the 
moon  and  the  stars  laughed  down  and  the  branches 
of  a  tall  elm  made  velvet  shadows  on  the  grass. 

npHEY  had  called  it  the  trysting  tree — she  and 
-^  Jeremy.  They  had  met  there,  to  see  visions  and 
to  create  futures.  All  through  one  May  they  had 
met  there,  and  one  June,  and  one  languid,  sweet 
July.  And  then — then  had  come  the  legacy  from 
her  aunt.  And  she  had  gone  to  the  city  to  make  a 
name  for  herself.  She  had  gone  courageously, 
recognizing  her  chance — but  the  tears  had  stood 
upon  her  cheeks  as  she  said  good-bye. 

"I'll  come  back,  Jer — "  she  had   murmured — 

"when  I'm  a  great  poet.     And  I'll  write  the  lyrics 

to  go  with  your  music.    And  we'll  be  happy — so  happy, 

with  our  art — "  she  had  gulped  over  the  word —  "and 

with  each  other.    Oh,  Jer — " 

The  boy,  too,  had  tears  upon  his  cheeks.  After  all, 
he  was  only  twenty-three. 

"I'll  be  waiting,  Ann,"  he  told  her —  "here.  Under 
the  trysting  tree.  When  it's  moonlight,  try  to  remem- 
ber me — waiting.  I'll  bring  my  violin,  and  I'll  play 
Schubert's  Serenade — "  (it  had  been  Ann's  favorite, 
then) — ■  "I'll  play  it  for  you.  And,  somehow,  across 
the  miles,  you'll  hear  the  sound  of  it." 

Jeremy  and  his  violin.  Ann — looking  back  across 
centuries,  rather  than  years,  was  remembering.  They 
had  meant  so  much — Jeremy  and  his  music.    They  had 

69 


A   first   love  fails   to  still  a  new 


one 


And  it  was  even  more  wonderful — that  kiss — than  it  had  been — in  dreams 


been  her  life — at  eighteen.  But,  at  eighteen,  love  is  not 
always  unchanging.  It's  a  weather-vane  thing,  then. 
Love,  at  twenty-eight — ^Ann  caught  her  breath  sharply 
— is  different. 

She  had  parted  from  Jeremy.  Meaning  to  return.  Of 
course.  She  had  come  to  the  city.  Her  verse  hadn't 
gone  too  well, at  first — but  her  aunt's  legacy  had  stood 
between  her  and  the  legendary  starvation  in  a  garret. 
Her  verse  hadn't  gone  well,  at  all.  In  the  beginning. 
But,  in  time,  her  advertising  copy  had  made  a  place  for 
her  in  an  agency  of  national  reputation.  And,  with  a 
pay  envelope  bearing  her  name  each  week,  the  verse 
began  to  sell.    Poetry  is,  often,  like  that! 

TOURING  the  first  month  she  had  written  to  Jeremy 
-»-^every  day.  And  had  received  letters  from  him  each 
day,  in  return.  The  tiny  photograph  of  him,  that  she 
carried  in  a  small  silver  frame,  grew  rather  smudged 
because  of  her  tears — and  her  kisses.  But,  after  the 
first  month,  she  began  to  meet  people.  And  there  were 
parties  and  parlies.  As  well  as  work.  And  so  she 
wrote  to  Jeremy  once  a  week  and  her  kisses  upon  his 
portrait  took  on  an  almost  impersonal  briskness.  And, 
sometimes,  she  found  herself  too  busy  of  a  morning  to 
read  his  letters  when  they  arrived  at  her  door.  Some- 
times ii  was  noon  before  she  had  gotten  around  to  open- 
ing them.  And  at  night,  usually,  she  was  too  tired  to 
write  an  answer. 

70 


Ten  years — Ann,  going  over  them  in  retrospect, 
found  it  quite  impossible  to  identify  the  place  where  she 
had  ceased  to  be  interested  in  Jeremy.  Their  corre- 
spondence had  stopped  with  no  thought  of  blame,  of 
recrimination,  on  either  side.  The  letters  rather 
dwindled  away.  And  she  had  never  gone  back  to  the 
trysting  tree — and  when,  in  some  motion  picture 
theater,  she  heard  the  melody  of  a  certain  Serenade  it 
meant  very  little  to  her. 

And  yet,  curiously  enough,  Ann  had  never  cared  for 
any  men  between  the  era  of  Jeremy  and  the  time  of 
Richard's  coming.  There  had  been  flirtations,  j-es! 
Moments  of  amusement — exciting  interludes.  But  she 
had  never  cared — not  really — until  she  had  looked 
across  a  drawing  room,  one  evening,  and  had  seen 
Richard's  heart — leaping  from  his  eyes  to  her  eyes. 

CITTING  there,  in  her  chair — with  the  hands  of  her 
^clock  working  havoc — Ann  went  over  the  months,  since 
meeting  Richard.  There  had,  until  that  moment, 
never  been  a  doubt  in  her  mind.  But,  suddenly,  she 
was  swept  with  a  thousand  doubts.  What — what  if  it 
were  really  Jeremy — Jeremy  who  belonged  to  the  past? 
What  if  it  were  he,  instead  of  Richard,  the  stars  had 
chosen  for  her?  What  if  she  had  gone  back — keeping 
her  promise?  Would  her  pulses  have  throbbed  to  the 
voice  of  Jeremy  as  they  did  to  the  sound  of  Richard's 
tone?  [  CONTINUED  ON  PAGE   129  ] 


I 


Amateur  Movies 

By  Frederick  James  Smith 

PHOTOPLAY'S  $2,000  Contest  Closes— Dorothy  Farnum 
Gives  Six  Rules  for  Home  Scenario  Writers 


Photoplay's  S2,000  Amateur 
Movie  Contest  closed  on  Feb- 
ruary 15th. 

An  announcement  of  the 
winning  films  will  be  made  in 
Photoplay  as  soon  as  possible  after 
the  judges  completely  examine  the 
entries. 

The  contest  aroused  tremendous 
interest  among  amateurs  not  only 
in  this  country  but  abroad.  It  was 
the  first  international  amateur 
movie  contest  ever  held  anywhere. 
It  had  the  full  backing  of  the  Ama- 
teur Cinema  League  and  all  of  the 
films  submitted  are  to  be  studied  by 
the  league  in  preparing  an  amateur 
standard.  Thus,  everyone  who 
entered  the  contest  is  doing  his  or 
her  bit  toward  furthering  the  cause 
of  amateur  photography.  Never 
before  has  it  been  possible  to  study 
and  analyze  amateur  films  in  suffi- 
cient numbers  to  make  possible  the 
preparation  of  an  amateur  standard. 
When  the  winners  are  announced, 
Photoplay  will  tell  more  about  its 
plans  to  show  the  prize  films,  so  that 
as  possible  will  have  an  opportunity  to  see  and  study 
the  work  of  the  lucky  contestants. 


scene  by  saying  to  yourself:  "If  I 
happened  to  come  across  these 
characters  in  real  life,  engaged  in 
carrying  out  this  scene,  would  I 
understand  it?" 

Second:  Let  your  story  be  so 
arranged  that  it  moves  forward 
with  every  scene.  Try  as  hard  as 
you  can  to  eliminate  flash-backs 
and  other  devices  which  retard  or 
slow  up  the  movement  of  your 
story.  The  continuity  of  your 
motion  picture  should  carry  for- 
ward your  story  from  the  beginning 
to    the   end   without   a    flashback. 

However,  I  do  not  mean  by  this 
that  the  tempoof  your  story  should 
be  monotonous.  This  should  vary 
to  suit  the  theme  of  each  separate 
scene. 


T-HIRD: 


Dorothy  Farnum  tells  amateurs 
how  to  write  their  scenario 


many  amateurs 


DOROTHY  FARNUM,  the  scenario  writer  who  did 
the  scripts  of  such  well  known  professional  motion 
pictures  as  "The  Di- 
vine Woman,"  "The         

Torrent"  and  "The 
Temptress,"  has  pre- 
pared six  guiding  rules 
foramateursinprepar- 
ing  stories  for  produc- 
tion. Miss  Farnum  is 
an  enthusiastic  ama- 
teur movie  maker  and 
her  rules,  consequent- 
ly,  carry  a  real 
practical  value  for 
amateurs. 

Here  are  Miss  Far- 
num's  rules: 

First:  Be  visual. 
Keep  always  in  mind, 
when  writing  the 
^scenario  for  your 
picture,  the  fact  that 
every  idea,  emotion 
and  thought  has  to  be 
conveyed  to  the  on- 
looker by  visual 
means.     Test     every 


Margaret  Ervin  as  Anne  Howe  in  "And  How!"  produced  by 
the  Motion  Picture  Club  of  the  Oranges 


Let  your  script  have 
unity.  By  unity,  I  mean  not 
onlya  unity  of  plot  butalsoaunityof 
purpose,  theme  and  content.  Don't 
ever  let  it  get  top  heavy  in  the 
wrong  places.  For  instance,  don't 
give  too  much  footage  to  unimportant  sequences  and 
try  always  to  make  your  characterization  scenes  as 
brief,  pointed  and  pungent  as  possible.  Be  sure  to  have 
every  incident  and  every  scene  directly  concerned  with 
the  story  you  are  attempting  to  tell. 

Fourth:     Let  3'our  story  have  appeal  and  human 
interest.     I  would  al- 

ways    suggest     that 

everyone,  professional 
as  well  as  amateur 
script  writers,  workal- 
wa}swiththesimplest 
plots  and  themes. 
Perhaps  you  are  a 
golf  enthusiast.  Then 
you  know  thoroughly 
all  the  aspects,  grave 
and  humorous,  of  the 
"right  noble  and  an- 
cient game."  If  so, 
this  makes  a  fine  back- 
ground for  a  motion 
picture.  Think  up 
some  simple  little 
plot,  perhaps  a  love 
story  of  the  links, 
write  your  scenario, 
bringing  in  the  ele- 
ments of  humor  and 
suspense.  If  you  are 
[continued  on 
page  126] 

71 


Above — Im  ported 
cluster  of  fioxters  that 
can  be  worn  with  equal 
chic  on  coat  or  dress. 
The  floirers  are  small 
and  of  velvet  u-ith  liny 
■pearl  centers  and  the 
leaves  are  of  imitation 
mother  of  pearl.  Colors: 
rose,  bhif,  pink,  ynaize, 
orchid  or  while.     SI. 00 


Jacquard  jersey  and  crepe 
de  chine  are  vaed  to  make 
the  attractive  two-piece  dress 
at  right.  The  jacquard 
jersey  jumper  blouse  is 
tailored  ivith  bands  of  crepe 
de  chine,  and  the  bodice- 
topped  skirt  of  crepe  de 
chine  has  front  plaits. 
Available  in  cocoa-brown, 
light  green,  flesh  or  maize. 
Sizes  14  to  40.  Price  S8.9-5 


Right — A  printed  silk  frock, 
to  refresh  ijour  winter 
wardrobe,  that  can  be  rvorii 
amj  daytime  hour.  It  has 
the  neic  slanting  neckline 
with  side  jabot  extending  to 
hemline.  The  novel  printed 
design  conies  in  assorted 
cowbinations  on  blue,  green , 
red,  tan  or  grey  background. 
Sizes  14  in  40.  Moderately 
priced  at  SS.95 


€ 


To  brighten  up  frocks  thai 
seem  drab  or  trim  those  that 
need  a  finishing  touch — at 
left — a  novelty  collar  and 
cuff  set  with  .^cullopcil  edge 

Ui.de     (lininlh'l     r.inUoprd 

cnff~^n„lujhlrrr,nn,:h„de 

of  assorted  ()ri<iiliil  ml  and 

Vol   lace    combinations. 

Set  or)C 


Right — Neic  polka 
dot  sweater  of  Zephyr 
and  rayon — crew  or  V 
neckline.  Colors:  rose, 
tan,  green,  brown,  red 
or  navy.  34  to  43. 
S2.95.  Wool  crepe 
skirt  on  bodice  top  has 
finely  plaited  front. 
Blue,  green,  broicn. 
or  navy.  Sizes  I4  lo 
42.     $.5.95 


VvOV 


T^'hrough 


Fifth  Avenue  Fashions 


How  to 

THOUSANDS  of  women 
are  delighted  users  of 
Photoplay's  Shopping 
Service,  which  is  at  the 
disposal  of  every  reader. 
It  is  simple  to  order. 

Any  article  may  be  re- 
turned if  not  entirely  sat- 
isfied. 


At  right — To  complete  your 
important  costumes  the  one 
strap  pumps  of  French 
beige  kid  inth  genuine  tan 
lizard  strap,  brown  kid 
with  genuine  tan  lizard 
strap,  grey  kid  uith  gen- 
uine grey  lizard  strap,  or 
black  patent  leather  with 
genuine  tan  lizard  strap. 
Sizes  3  to  8,  ividths  triple 
AtoD.     Price  SI  0.50 


The  smart  siinpliciti/ 
of  the  tailored  tub 
silk  dress,  at  Icjt,  in- 
creases its  attractive- 
ness and  makes  it 
vsefid  for  wore  than 
house  ivear.  In 
green  and  white,  red 
and  white  and  blue 
and  white  checks. 
Sizes  36  to  46. 
$7.95 


Pi 


Order 

Send  check  or  money 
order,  together  with  size 
and  color  of  article  de- 
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accepted.  No  articles  will 
besentC.  O.  D.  Order  di- 
rect from  Photoplay  Shop- 
ping Service,  221  West 
57th  St.,  New  York,  N.  Y. 


At  left — An  irresistible 
negligee  of  heavy  crepe 
de  chine  which  has  the 
swaijing  grace  of  three 
tiers  of  ivide  silk  fringe 
trimming  the  skirt,  while 
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same  wide  fringe.  In 
lovehj  boudoir  shades — 
turquoise  blue,  peach, 
coral,  rose,  orchid,  Nile 
green,  French  blue  and 
black.  Sizes  small,  me- 
dium and  large.      $9.9,5 


The  oxfords  at  left  combine 
smartness  and  comfort. 
May  be  ordered  in  French 
beige,  brown  kid  or  patent 
leather  with  piping  of  con- 
trasting color.  Sizes  3  to  8. 
Widths  triple  A  to  D. 
Price  §10.50 


Right — Another  scarf  for 
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Spring — it  is  36  inches 
square  and  made  of  very 
fine  georgette  in  Futuristic 
designs.  Beautiful  color 
comlrinations  in  green,  rose, 
tan    or   blue.     Only  $2.95 


The  latest  accessory — 
above — A  buckle  pin  of 
rhinestones  will  answer 
the  need  for  pinning 
belt  or  drapery  and  can 
be  used  ivith  equally 
good  taste  for  daytime  or 
evening  wear.  Remark- 
ably priced  $1.00 


At  left— An  unusually  ap- 
pealitig  chemise  of  crepe  de 
chine  richly  trimmed  icith 
creamy  lace,  and  although 
it  has  slim  lines  freedom  is 
gained  by  the  slashed  sides. 
Colors:  peach,  flesh,  nile 
green  or  orchid.  Sizes  34 
to  40.     Priced  at  $2.95 


When 

the 


OCTORS 
IS  AGREE 


Sometimes  the  jury  brings  in  a  fifty-fifty  verdict 

"CHICAGO"  "HONEYMOON  HATE" 


"Phyllis  Haver  seemed  to  be 
a  logical  choice  for  the  part  of 
Roxie  Hart.  From  long  years 
of  roles  portra>ing  ladies  who 
are  no  better  than  the>-  might 
be.  Miss  Haver's  work  is 
effortless;  eminently  real." 
Joseph  McElliott,  A'.  Y.  Daily 
Mirror. 


"It  would  behoove  the  new- 
star  (Phyllis  Haver)  to  over- 
come her  exaggerated  facial 
contortions  and  learn  some- 
thing^of  restraint.  As  it  is,  she 
still  displays  traces  of  the  broad 
facial  expressions  of  the  Mack 
Sennett  school."  George  Ger- 
hard, A^  r.  Eveuiiio  World. 


THE  PRIVATE  LIFE  OF  HELEN 
OF  TROY" 


"Xo  better  choice  than 
Maria  Corda  could  have  been 
made  for  the  role  of  i/e/f».  She 
is  quieth"  amusing,  graceful, 
fascinating  and  fully  cognizant 
of  her  feminine  attractions  as 
the  fair  lady  who  stirred  up 
wars."  Mordaunt  Hall,  A^.  F. 
Times. 


"Maria  Corda  once  again 
pro\es  that  there  is  such  a 
thing  as  a  role  invulnerable  to 
both  mediocre  histrionics  and 
tepid  biological  urge.  ...  As 
a  connoisseur  qf  the  hot  dig- 
gity,  it  is  our  s&d  duty  to  re- 
port that  the  Corda  is  hot  stuff 
up  to  and  possibly  including 
the  limits  of  Miss  Bessie 
Mason,  our  fa\-orite  eiitre- 
preueur  de  physique  of  the 
Houston  Street  Winter  Gar- 
den." Donald  Thompson,  A^. 
1'.  Telegram. 


"Miss  Vidor  gives  an  intel- 
ligent conception  of  the  girl 
who  had  everything  and  who 
wanted  her  husband  to  be 
obedient  to  her.  Tullio  Carmi- 
nati  is  capital  as  the  Prince." 
Mordaunt  Hall,  A''.   Y.  Times. 


"To  see  Florence  \'idor,  who 
is  looking  quite  mature  these 
days,  assuming  the  part  of  a 
spoiled,  petulant  daughter  of 
wealth  and  Tullio  Carminati 
enact  a  juvenile  prince  is  a 
little  too  much  to  take  seriously 
even  in  these  days  of  miscast- 
ing." Regina  Cannon,  N.  Y. 
American. 


"THE  DOVE' 


"Miss  Talmadge  proves  her 
versatility  by  reason  of  an  in- 
telligently drawn  character  of 
a  sprightly,  temperamental 
senorita."  Joseph  McElliott, 
A^.  Y.  Daily  Mirror. 


"Dolores,  the  Dove,  comes 
but  faintly  to  life  under  the 
ministrations  of  Miss  Tal- 
madge, who  seems  preoccupied 
with  gentility."  Wilella  Wal- 
dorf, A^.  Y.  Evening  Post. 


•THE  CHINESE  PARROT" 


"In  his  second  American 
film,  'The  Chinese  Parrot,' 
Paul  Leni  has  produced  a 
worthv  successor  to  'The  Cat 
and  the  Canary.'  "  A^.  1'. 
Times. 


"Paul  Leni's  second  picture 
for  Universal,  'The  Chinese 
Parrot,'  is  not  up  to  the  stand- 
ard set  by  his  earlier  film, 
'The  Cat  and  the  Canary.' 
A'.   Y.  Graphic. 


On  LAND  or 
SEA 


The  two  homes  of  John  Gilbert.  On 
land,  Mr.  Gilbert  lives  on  one  of  the 
highest  of  the  Beverly  Hills.  When 
he's  at  sea,  his  home  is  his  yacht. 
The  yacht  is  called  "The  Temptress." 
Do  we  hear  a  faint  chorus  of  "Ah, 
theres!" 


74 


Photoplay  Magazine — Advertising  Section 

^he  Xfively  Young 


7S 


Marchioness  of  Queensberry 

looks  at  Beauty  with  the  Artist's  Eye 


Cathleen  Mann,  now  Lady  Slueens- 
herry,  is  the  daughter  of  one  of 
England's  most  distinguished  por- 
trait painters,  and  is  herself  an 
artist  of  unusual  talent.  Li^e  her 
father,  her  special  gift  is  for 
portraiture 


SMALL,  dark,  vivid  —  and  very 
modern  is  this  petite  English  gentle' 
woman,  the  Marchioness  of  Queens- 
berry. 

Still  in  her  early  twenties,  she  deftly 
combines — as  only  the  "moderns"  seem 
to  know  how — the  roles  of  wife,  mother, 
hostess,  sportswoman,  artist. 

The  daughter  of  one  of  England's  most 
distinguished  portrait  painters  widely 
known  for  his  portraits  of  the  Royal 
Family,  Lady  Queensberry  is  herself  a 
painter  of  unusual  talent.  Like  her 
father  her  special  gift  is  for  portraiture. 

She  entertains  frequently  and  charm- 
ingly in  London;  she  rides,  plays  golf, 
hunts  with  the  famous  Bicester 
Hounds. — And  always  she  paints.  For 
to  Lady  Queensberry  her  work  is  her 
life. 

"I  like  society,"  she  says,  " — and  oh, 
I've  been  delighted  with  your  American 
society!  But  it  can  only  be  a  recreation 
with  me — never  a  pursuit!"  Always 
the  keen  eye  of  the  artist  is  seeking  the 
unusual,  the  beautiful;  the  deft  fingers 


The  Tenth  Marchioness  of  Queensberry 


long  for  the  brush  and  canvas  to  record  it. 

A  portrayer  of  lovely  women.  Lady 
Queensberry 's  comments  upon  beauty 
are  of  exceptional  interest  to  women 
everywhere.  "To  the  eye  of  the  artist," 
she  observes,  "nothing  is  at  once  so  ex' 
quisite  and  so  elusive  as  a  lovely  com- 
plexion.  And  the  artist,  perhaps  more 
than  most  women,  values  the  gift  of 
Beauty,  knows  that  it  should  be  culti- 
vated, and  appreciates  the  means  of 
guarding  it. 

"For  my  own  part,  I  sincerely  believe 
in  the  gentle  ministrations  of  Pond's 
Two  Creams." 

The  Delightful  Jiew  Pond's  Way 
Now  there  are  two  delicious  new  Pond's 
preparations  for  use  with  the  famous  creams. 
First  apply  Pond's  light  and  fragrant 
Cold  Cream.  Its  fine  oils  lift  out  all  dirt, 
restore  suppleness.  Then  with  Pond's  new 


Guardians   of  that   precious 
called  Beauty,  Pond's  Two  Creams 
are  chosen  by  icomen  of  distinction 

Cleansing  Tissues  wipe  away  all  oil  and  dirt. 

Next  tone  and  firm  your  skin  with 
Pond's  new  Skin  Freshener.  Finally  apply 
Pond's  Vanishing  Cream  for  an  exquisite 
finish  and  protection.  At  night  refresh  and 
cleanse  your  skin  again  with  the  Cold 
Cream  and  Freshener. 

Used  regularly,  this  method  brings  new 
beauty  to  your  skin. 

I{eiu  14c  Offer :  Mail  this  coupon  and  four- 
teen cents  (14c)  for  trial  tubes  of  Pond's  Two 
Creams  and  enough  of  Pond's  new  S}{in 
Freshener  and  Pond's  new  Cleansing  Tissues 
to  last  you  a  wee\. 

Pond's  Extract  Company,  Dept.  C, 
114  Hudson  Street,  New  York,  N.  Y. 

Name 


Street_ 
City— 

IOT(>rl..\Y    MAG-\/.IXE. 


Are  the  Stars  Doomed? 


[  COxNTl.NUED  FROM  PAGE  43 


if  there  was  any  good  reason  wh\-  ordinary 
business  methods  were  not  applicable. 

About  the  same  time,  a  crisis  developed 
in  the  policy-  of  acquisition  and  construc- 
tion of  theaters  to  ser\e  as  outlets  for  the 
products  of  the  studios.  Paramount, 
under  the  able  leadership  of  Adolph 
Zukor,  fought  its  way  to  leadership  and 
naturally  was  the  principal  target  of 
complaints  of  small  theater  competitors, 
and  the  object  of  attention  by  the  Federal 
Trades  Commission. 

All  of  the  machinery  of  the  larger  com- 
panies had  been  built  up 
around  a  system  of  "block 
booking."  Theater  owners 
had  to  bu\-  all  the  produc- 
tions of  a  company  to 
secure  any  at  all.  The 
Hays  group,  the  organized 
producers  and  distributors, 
were  willing  to  battle  it  out- 
among  themselves,  but  the 
independent  theater  oper- 
ators \elled  "murder,"  and 
the  go\  ernment  took  a  hand 
in  the  game. 

The  independents  com- 
plained that  the  big  oper- 
ators were  crowding  them 
out  by  methods  that  were 
not  good  cricket,  a  nd  wanted 
the  go\ernment  to  let  them 
pick  and  choose  pictures  to 
show  in  their  theaters.  The 
battle  is  still  on.  One  thing 
we  may  be  sure  of.  The 
independent  theater  owner 
is  too  concerned  with  his 
own  troubles  to  worry  about 
the  star's  problems. 


executi\-e  incompetencies  that  reflected 
on  the  producers.  It  might  become  em- 
barrassing if  the  bankers  overheard  and 
took  a  hand  in  the  shindig. 

The  artists  promised  to  control  their 
temperaments,  pay  attention  to  their 
school  work,  behave  themselves  after 
school  hours,  and  not  to  carry  their  flasks 
to  church.  The  scientists  patted  them 
on  the  back,  and  promised  them  lollipops 
for  Christmas. 

Then  the  producers  forgot  all  about 
their  scientific  glory  and  settled  down  to 


GETTING  back  to 
Hollywood.  Last  sum- 
mer the  producers  got  to- 
gether and  announced  a 
horizontal  cut  of  ten  per 
cent  in  all  salaries  o\"er 
fifty  dollars. 

That  started  something. 
The  actors,  directors, 
and  writers  affected 
screamed    with    pain    and    indignation. 

Good  fellows  all,  the  producers  were 
willing  that  the  matter  should  be  sub- 
mitted to  arbitration  by  the  newly  formed 
Academy  of  Motion  Picture  Arts  and 
Sciences,  a  supposedly  idealistic  and  al- 
truistic organization,  the  published  pur- 
pose of  which  was  a  renaissance  of  art  and 
all  that  sort  of  thing.  All  the  little  artists 
and  scientists  were  to  be  one  happy 
family;  you  know,  one  of  those  one-for-all 
and  all-for-one  Utopian  affairs. 

The  decision  of  the  illustrious  academy 
was  that  the  salary  lads  were  the  artists 
and  the  producers  the  scientists,  and  that 
there  were  other  ways  of  skinning  a  cat 
than  putting  it  under  a  buzz  saw. 

The  producers  were  glad  enough  to 
call  off  the  fight  because  it  was  arousing 
the  neighborhood.  The  artists  got  out 
of  hand  and  were  loudly  calling  attention 
to   a   lot   of    business   inefiiciencies   and 

76 


"TPHE  golden  days  of  sudden  riches  are 
-*-  over.    Dreams  are  rudely  shattered, 
and  headaches  and  heartaches  are  epi- 
demic in  Hollywood." 


become  just  ordinary  good  business  men 
working  on  business  principles,  the  ones 
those  inartistic  bankers  had  been  wonder- 
ing about. 

Stars  and  directors  whose  bo.x  ofifice 
efTecti\eness  didn't  measure  up  to  their 
salaries  were  dropped  when  their  con- 
tracts expired,  and  featured  players  and 
others  began  to  feel  the  effects  on  the 
unpaid  mortgages  on  the  swimming  pools 
of  Be\erly  Hills. 

The  producers  took  the  artists  seriously 
and  began  to  measure  them  by  their  box 
ofifice  appeal  instead  of  their  sex  appeal. 
The  artists  had  yelled  loudly  for  business 
methods  in  the  halls  of  the  Academy,  and 
the  producers  gave  them  what  they 
wanted. 

And  the  terrible  part  of  it  is  that  the 
artists  .  .  .  going  back  to  my  first  para- 
graph .  .  .  feel  that  tiie  real  quake  is 
sull  to  come. 


They  are  whispering  "conspiracy"  (in 
restraint  of  trade),  but  they  are  whisper- 
ing it.  There  is  talk  of  midnight  meetings 
of  the  mo\'ie  Romanoffs  and  Rasputins, 
and  of  blood  flowing  in  the  gutters,  but 
there  has  been  no  real  massacre  of  the 
stars. 

THE  conspiracy  line  was  thought  up  by 
the  la^\yer  for  a  leading  man  whose 
box  ofifice   value   was  decreasing  as  his 
years  were  increasing.     He  held  out  for 
three  thousand  dollars  a  week  and  the 
producers  knew  he  wasn't 
worth   it. 

So  because  a  few  of  them 
talked  it  o\er,  he  claimed 
he  was  being  conspired 
against.  The  truth  of  the 
matter  is  that  they  got  on 
to  him. 

The  drastic-actions  of  the 
producers  ha\-e  involved 
principally  elder  stars  who 
ha\-e  declined  in  box  office 
value  and  won't  admit  it, 
or  younger  players  who 
either  failed  to  li\e  up  to 
their  early  promise,  or  who, 
after  a  few  successes,  gained 
an  exaggerated  idea  of  their 
own  \-alue.  These  two 
classes  of  players  are  in  an 
unhappy  position.  The 
older  stars  ha\-e  for  years 
been  getting  thousands  of 
dollars  a  week,  and  for  the 
most  part  pretty  much  their 
own  way  in  the  selection  of 
stories  and  directors.  They 
have  considered  themsehes 
the  ^■ery  bulwark  of  the 
industry,  and  the  producers 
who  held  them  under  expen- 
sive long  term  contracts, 
encouraged  them  in  that 
attitude,  partly  because 
they  belie^ ed  it  themsehes. 
and  partly  because  it  was 
considered  good  business  to 
use  their  popularity  and 
box  office  value  to  help  sell 
the  other  pictures  in  their  program. 

THE  shining  example  of  this  was  Para- 
mount's  offer  of  twenty  thousand 
dollars  a  week  to  Gloria  Swanson  who 
had  been  a  best  seller.  Gloria  made  the 
mistake  of  her  life  when  she  didn't  accept 
it.  Colleen  Moore  gets  half  that  amount 
because  First  National  thinks  she  is  valu- 
able as  a  headliner  for  their  program. 
Metro's  contracts  with  John  Gilbert  and 
Greta  Garbo  have  some  time  to  run,  but 
those  players  mean  actual  cash  in  the  till, 
and  unless  their  box  office  appeal  dies 
down,  Metro  will  reach  away  dowm  into 
the  sock  to  hold  them. 

In  the  mo\ie  business,  as  in  monarchies, 
the  frequent  coronation  of  new  kings  and 
queens  is  expensive.  It  costs  a  lot  to 
publicize  a  new  crown  head  or  a  new 
mo\ie  star. 

And  so  the    [  continued  on  page  98  J 


Photoplay  Magazine — Advlrtising  Section 


n 


more  becoming  than 

your  nicest  hat  ? 


WTien  you  take  off  your  hat,  are 
you  prettier?  Does  your  hair  re- 
lease natural  little  lights  to  lend 
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satiny,  so  alive  that  it  flatters 
your  features  and  warms  your 
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be.  With  Packer's  you  can  keep 
you  hair  always  fluffy,  soft,  en- 
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This  profusely  illustrated  28-page  book  has  re- 
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Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  47  ] 


THE  day  before  Christmas  Gertrude 
Olmsted  was  worrying  about  presents 
for  her  family. 

Of  course  she  had  a  big  ball  for  all 
three  of  them,  and  three  new  collars. 

"But  what  elseshall  I  get?  "  she  queried. 

Then  she  answered  her  own  question. 
•'Oh.  I  know,  three  special  bones  tied 
with  red  ribbon." 

And  we  remembered  that  Gertrude's 
and  Robert  Z.  Leonard's  family  consists 
of  two  wire  terrier  puppies  and  one 
brindle  Aberdeen. 

T  ORNA  MOON  was  asked  if  she 
-'--'knew  "Mrs.  So  and  So." 

Her  reply  was :  "I  am  not  the  sort 
of  person  who  knows  people.  I  am 
the  sort  of  person  whom  people  know." 

The  gal  has  a  sense  of  humor. 

THE  prize  for  the  height  of  bad  taste 
is  hereby  awarded  to  Al  Jolson.  Jolson 
was  smart-cracking  over  the  radio  in  'a 
widely  advertised  hour.  And  right  in  the 
middle  of  his  talk,  Al  let  slip  the  follow- 
ing: 

"I  like  Clara  Bow.  Clara  and  I  were 
engaged.  But  I  broke  it  off  because  she 
slept  cross-wise  in  bed." 

This  was  just  a  gratuitous  and  un- 
necessary crack  at  Clara,  at  Hollywood 
and  at  the  movies.  It  does  not  sound  well 
coming  from  a  man  who,  in  spite  of  his 
stage  reputation,  doesn't  come  within 
shouting  distance  of  Clara  Bow  as  a 
movie  star. 

WITH  a  tale  of  woe  that  would  make 
you    break    down    and    sob,    Roy 
D'Arcy  ha?  gone  before  a  Los  Angeles 


Picture  of  the  canine  star,  Flash, 

all  dressed  up  to  play  the  role  of 

Old  Big  Chief  Chase-the-Cat 

judge  and  asked  to  be  freed  from  his  wife, 
Laura  Rhinock  Duffy  D'Arcy.    Roy  says 


the  Missus  was  cruel  and  claims  that  she 
talked  like  a  film  critic.  She  once  told 
Roy  that  he  was  nothing  but  a  "ham 
actor. " 

Mrs.  D'Arcy  is  the  daughter  of  the  late 
Joseph  Rhinock  of  Kentucky,  a  million- 
aire showman. 

TX/HY  producers  have  melan- 
choha.  It  was  during  a  matinee 
of  Lillian  Gish's  picture,  "The  Ene- 
my," the  story  of  which  is  laid  in 
Vienna.  The  scene  showed  soldiers 
leaving  for  the  front. 

"Who  are  those  soldiers?"  asked 
one  spectator  of  another. 

"Those  are  Austrians." 

"You  mean  Australians." 

"No,  I  mean  Austrians." 

"Which  side  did  they  fight  on?" 

METRO  -  GOLDWYN  -  MAYER  is 
worried.  They  ha\e  a  lion  in 
"Laugh,  Clown,  Laugh"  that's  thirty- 
eight  years  old,  sway-back  and  toothless. 
"  'Fraid  the  public'll  think  it's  Lon 
Chaney  in  the  lion's  skin  as  well  as  in  the 
lead  of  the  pictures,"  one  of  their  wise 
boys  told  me. 

A  N  overlord  was  giving  instruc- 
■'^tions  to  a  scenario  writer. 

"Now,  in  this  story,"  he  said, 
"you  must  plant  something  that  will 
bring  out  Adolphe  Menjou's  fas- 
tituity." 

JOHN  BATTEN,  an  English  stage 
actor,  had  been  in  Hollywood  five 
months  trying  to  crash  into  pictures  with- 
out success,         [  CONTINUED  ON  PAGE  82  ] 


Introducinji  a  new  occupation,  that  of  millinery  architect.  She  sketches,  plans  and  constructs  a  hat  to  suit 
the  personality  of  the  individual  customer.  The  hats  are  built  on  your  head  in  a  few  minutes.  The  fit  is 
perfect  and  the  lines  are  designed  to  suit  the  requiren-trts  of  your  face.    And  Ruth  Taylor  is  delighted  with 

the  result 


78 


Camel 

The  most  popular  cigarette 
in  the  United  States 

Quality  put  it  there— quality 
keeps  it  there.  Camel  smokers 
are  not  concerned  and  need  not 
be  concerned  with  anything 
but  the  pleasure  of  smoking. 


1/  all  cigarettes  were  as  good 
as  Camel  yoii  ivouldn't  hear 
anything  about  special  treat' 
ments  to  make  cigarettes  good 
for  the  throat.  Nothing  takes 
the  place  of  choice  tobaccos. 


©  1927.  R.  J.  Reynolds  Tobacco 
Company,  Winston-Salem,  N.  C. 


The  Business  Girl  Knows 

The  Dollars-and-Cents  Value  of 
"That  Schoolgirl  Complexion" 


THE  universal  rule  for  daily 

skin  cleansing  with  soap  and 

water   is    founded    on    one 

d 

important  factor:   A  true 

i 

complexion  soap  is  meant. 
Thus    millions    use 

Palmolive,  a  soap  made  for 

ONE   purpose  ONLY;   to 

safeguard    and    protect    the 

skin.   Remember  this  when 

^i 

purchasmg  soap   for   facial 

use. 

-9  k 

AS  beauty  is  rated  a  dollars-and-cents 
I.  asset  by  women  of  the  stage  and 
screen,  so  too  it  is  'ated  today  by  women 
in  the  business  world.  Note  there  the 
lovely  complexions  that  you  see. 

The  rule  (or  gaining  a  good  complexion 
is  the  same  as  for  keeping  one — soap  and 
water,  as  advised  by  virtually  every  lead- 
ing authority  on  skin  care.  This  to  keep 
the  skin  and  pores  clean  and  free  of 
beauty-impairing  accumulations. 

The  one  secret  is  in  the  kind  of  soap 
one  uses.  Only  a  true  complexion  soap 
can  be  wisely  employed  on  the  skin. 
Other  soaps  may  be  too  harsh. 

The  rule  for 
"That  Schoolgirl  Complexion" 


Thus  millions  use  Palmolive,  in 
this  way — a  soap  made  for  ONE 
purpose  only,  to  safeguard  the  skin. 
A  good  complexion  is  worth  too 
much  for  experiment. 


Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thoroughly, 
first  with  warm  water,  then  with  cold.  If 
your  skin  is  inclined  to  be  dry,  apply  a 
touch  of  good  cold  cream — that  is  all. 

Do  this  regularly,  and  particularly  in 
the  evening.  Use  powder  and  rouge  if 
you  wish.  But  never  leave  them  on  over 
night.  They  clog  the  pores,  often  enlarge 
them.  Blackheads  and  disfigurements 
often  follow.  They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the 
treatment  given  above.  Do  not  think  any 
green  soap,  or  one  represented  as  of  olive 
and  palm  oils,  is  the  same  as  Palmolive. 

It  costs  but  10c  the  cake!  So  little  that 
millions  let  it  do  for  their  bodies  what 
it  does  for  their  faces.  Obtain  a  cake,  then 
note  the  difference  one  week  makes.  The 
Palmolive- Peet   Co.,  Chicago,  Illinois. 


PALMOLIVE  RADIO  HOUR  -  Broadens 
10  to  1 1  p.  m.,  eastern  time ;  9  to  10  p.  m., 
WEAF  and  28  stations  associated  with  Nation 


ery  Friday  night  from 
roadcasting  Company, 


lOc 


Palmolive  Soap  is  untouched  hy  human  hands  until 
you  break  the  wrapper—  it  is  never  sold  unwrapped 


KEEP    THAT     SCHOOLGIRL    COMPLEXION 


% 


ecipes  to  Please 

MEN 


NO,  I  am  not  going  to  quote  the  old  saying  that 
"the  way  to  a  man's  heart  is  through  his  stom- 
ach." 

But  I  am  going  to  remind  housewives  of  an  import- 
ant point  in  home-making:  always  plan  the  principal 
meal  at  night  to  please  the  man  of  the  family. 

Men  look  forward  to  dinner.  It  is,  or  should  be,  the 
pleasantest  hour  of  their  whole  day.  Consequently,  the 
cook  should  make  a  special  effort  to  cater  to  the  mascu- 
line taste. 

The  meal  need  not  be  elaborate,  but  it  should  be 
filling. 

It  should  be  without  frills,  but  it  should  be  served 
promptly  and  piping  hot. 

Aim  for  variety. 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  100  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-fi\'e  cents. 


Don't  allow  dinner  to  fall  into  a  routine  by  serving 
the  same  old  combination  of  dishes. 

The  men  stars  of  the  screen  have  contributed  to 
Photoplay's  Cook  Book  a  collection  of  recipes  that 
will  help  you  make  some  agreeable  changes  in  your  din- 
ner menus. 

For  instance,  most  men  like  beefsteak.  And  yet  the 
housewife  is  sometimes  ashamed  to  send  beefsteak  to 
the  table  so  often. 

In  Photoplay's  Cook  Book,  you  will  find  a  new 
way  of  serving  steak. 

This  recipe  was  contributed  by  Thomas  Meighan. 
It  is  broiled  fillet  of  beef  with  horse-radish  sauce. 


1  tenderloin  steak 
4  tablespoons  cream 
1  tablespoon  vinegar 


3  tablespoons  grated  horse- 
radish 

salt,  pepper,  butter  and 
ca\enne. 


Put  slices  of  tenderloin  steak,  cut  three-fourths'  inch 
thick,  into  a  hot  blazer  which  has  been  rubbed  over 
with  a  piece  of  beef  fat.  Sear  one  side,  turn  and  sear 
other  side. 

Cook  four  minutes,  turning  frequentl\\ 

Spread  with  soft  butter,  and  sprinkle  with  salt 
and  pepper. 

To  make  the  sauce:  Beat  four  tablespoons  of  heavy 
cream  until  stiff,  add  three  tablespoons  grated  horse- 
radish root,  mixed  with  one  tablespoon  vinegar,  one- 
fourth  teaspoon  salt,  and  a  few  grains  cayenne. 

If  you  will  fill  out  the  little  coupon  and  send  a 
quarter,  you  will  receive  Photoplay's  Cook  Book,  with 
one  hundred  of  the  best  recipes  you  e\er  tasted. 

Carolyn  \ax  Wyck. 

81 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  78  ^ 


when  he  played  a  part  at  a  Writers'  club 
exhibition.  Cecil  De  Mille  saw  him  and 
signed  him  at  once  for  a  part  in  "The 
Godless  Girl,"  C.  B.'s  next  personally 
directed   picture. 

Now  won't  the  Writers'  club  be  busy! 

ESTELLE  TAYLOR  is  back  on  the 
Fox  lot  for  the  first  time  in  fi\e  j-ears, 
to  play  opposite  George  O'Brien  in 
"Honor  Bound."  Estelle  made  her 
first  big  hit,  j'ou  will  remember,  in 
"Monte  Cristc,"  "Blind  Wi\es"  and  "A 
Fool  There  Was,"  under  the  Fox  banner. 

FOR  several  days,  a  girl  has  been  at- 
tempting to  talk  with  Walter  Hiers. 
Like  most  screen  stars,  W'alter  hurries  to 
and  from  the  studio.  So  the  girl  had  to 
wait  her  time.    One  day  she  nabbed  him. 

She  wanted  to  sell  Walter  a  fat  reducer! 

If  there  is  one  thing  Hicrs  does  not 
want  to  do,  that  thing  is  to  reduce.  Upon 
his  weight  depends  his  screen  success. 
The  loss  of  a  pound  causes  a  small  riot 
in  the  Hiers'  household. 

CA^HLLA  HORN,  the  youthful  Ger- 
man actress,  now  playing  opposite 
John  Barrymore  in  the  "Tempest," 
arrived  in  motion  pictures  via  the  pajama 
route,  so  to  speak. 

At  least  Camilla  says  her  success  is  due 
to  the  fact  that  she  was  taught  to  be  a 
good  hausfrau,  to  cook  and  mend  and 
sew.  When  less  than  sixteen,  with  four 
pairs  of  men's  pajamas  under  her  arm 
(every  stitch  made  by  herself),  she 
marched  into  Berlin  and  sold  these  to  the 
biggest  haberdashery  there.  Other  orders 
followed.  That's  how  she  got  to  Berlin. 
And  the  UFA  motion  picture  company 
is  in  Berlin.    We  know  the  rest. 


RONALD  COLMAN  and  a  camera- 
man arrived  at  the  Sam  Goldwyn  set 
so  early  one  morning  that  they  found  the 
front  gate  closed.  They  went  down  to  the 
side  entrance,  used  by  plumbers,  carpen- 
ters and  the  most  lowly  assistants. 

The  gateman  recognized  the  camera- 
man and  let  him  pass,  but  balked  at  let- 
ting I\Ir.  Colman  enter. 

"Hey,"  he  called  back  the  camerman, 
"Who  is  this  guy?" 

"Why,  that's  Mr.  Colman." 

"Colman — Colman.  What  depart- 
ment's he  in,  anyway?" 

THEY  were  photographing  bed  room 
scenes  in  "Lady  Raffles"  and  Lilyan 
Tashman  was  in  bed,  supposedly  sound 
asleep.  While  the  lights  were  being 
arranged,  she  closed  her  eyes,  for  the  Kleig 
rays  are  strong.  Then  the  cameras  were  se  t. 

"All  ready.  Miss  Tashman,"  spoke  the 
director,  "But  wait!  That's  no  way  to 
simulate  sleep.     It  isn't  natural." 

No  reply  or  change  from  Lilyan. 

"I  said  to  change  your  position," 
repeated  the  director,  louder  this  time. 
"You  don't  look  as  though  you  were 
sleeping  at  all." 

Still  no  reply  from  Miss  Tashman. 

Whereupon  the  director  strode  to  the 
bed  and  shook  Lilyan.  She  opened  her 
eyes  suddenly,  seemed  surprised,  and  then 
laughed.  Miss  Tashman  had  been  sound 
asleep!     There's  temperament  for  you. 

THE  Academy  of  Music,  down  on 
Fourteenth  Street  in  New  York,  is 
doing  a  rushing  business  with  a  series  of 
personal  appearances.  Francis  X.  Bush- 
man, Priscilla  Dean,  Anita  Stewart  and 
others  are  making  brief  stage  appearances 
at  several  thousand  per  week. 


Your  votes  won   this   tribute  for  Herbert   Brenon.     Paramount- 
Famous-Lasky  presented  this  diploma  of  honor  to  the  director  of 
"Beau   Geste,"   which  picture  was  awarded  the  Photoplay  Gold 
Medal  for  being  the  best  picture  presented  in  1926 

82 


A  couple  of  comedy  terriers. 
Johnny  Hines  found  this  pup  in 
New  York  and  took  him  to  Holly- 
wood to  play  in  "Chinatown 
Charlie."  The  little  canine  comic 
is  called  "Dixie" 


Incidentally,  Anita  Stewart  is  going  to 
make  her  debut  as  a  Night  Club  hostess  at 
the  Little  Club,  originally  managed  by 
Mrs.  Park  Benjamin. 

REMEMBER  when  Billie  Burke  and 
Madge  Evans  were  both  mo\ie  stars 
— Billie  head  luminary  with  Thomas 
Ince's  organization  and  Madge  star  child 
of  the  old  World  program? 

Now  they  are  playing  together  in  a 
New  York  stage  production.  They  enact 
mother  and  daughter  in  a  sparkling 
comedy  called   "The  Marquise." 

Madge  has  been  studying  industriously 
the  last  few  years.  Her  speaking  voice 
is  charming  and  in  "The  Marquise," 
wearing  a  red  wis,  she  looks  remarkably 
like  Miss  Burke. 

IRENE  RICH  is  about  the  most 
domestic  star  in  pictures.  Take  Irene's 
recent  flying  visit  to  New  York  as  an 
example.  Ensconced  at  the  aristocratic 
Plaza  hotel,  waited  upon  by  press  agents 
and  reporters,  Irene  couldn't  keep  her 
con\-crsation  away  from  her  two  daugh- 
ters and  her  new  husband.  Ask  her  about 
future  pictures  and  Irene  replies  with 
some  remark  about  her  daughter  in 
college.  She  hardly  left  her  hotel  suite 
because  of  fearing  to  miss  telephone  calls 
from  her  husband  on  the  Coast. 

Only  one  thing  could  I  learn  from  Irene 
regarding  her  future.  She  may  go  into 
vaude\ille.  She  looks  unbelievably  young 
and  pretty.  She  has  nothing  to  fear 
from  the  camera.  But  having  made  one 
Vitaphone  picture  Irene  disco\ered  her 
voice  better  than  she  believed  it  to  be. 
Hence  the  temptation  of  the  two-a-day 
offers. 

[  CONTINUED  ON  PAGE  84  ] 


Photoplay  Magazine — Advertising  Section 


Keep  this  Priceless  Record  of  their 
KJiildhood  \jays 


.  in  a  Wonderful  Movie  that  you  make  yourself 


trow  fast  they  grow !  Never  the 
-*•  -*-  same  from  one  day  to  another. 
Ahvays  changing  .  .  .  from  babyhood  to 
childhood,  to  adolescence  .  .  .  and  then 
they're  gone  forever.  It's  the  one  prob- 
lem every  mother  has  to  face. 

Don't  let  another  day  slip  by  without 
making  this  priceless  record  of  your 
children.  Keep  them  forever  just  as 
they  are  today  ...  as  they  never  will  be 
again  ...  in  a  wonderful  movie  that  you 
make  yourself. 

You  photograph  them  in  action!  Run- 
ning .  .  .  romping  .  .  .  laughing  .  .  .  living 
in  their  happy,  carefree  way.  Today  you 
can  capture  it  all  on  a  thin  strip  of  film, 
to  flash  into  light  and  live  again  in  the 
quiet  of  your  darkened  room. 

Every  little  motion  is  there.  Every 
gesture  .  .  .  every  smile  .  .  .  every  flash  of 
personality  .  .  .  you  get  each  expression, 
to  enjoy  over  and  over  again  in  a  movie 
on  your  own  silver  screen. 

Just  think  of  what  this  priceless  film 
will  mean  to  you  ...  in  three,  in  five,  in 
ten  years'  time. 


HomeAIovie-Making  Simplified 

The  hard  work  is  done.  The 
months  and  years  of  research 
have  passed.  Now,  thanks  to  the 
effort  of  Eastman  Scientists,  Home 
Movies  are  as  easy  to  make  as 
the  ordinary  snap-shot. 

The  camera  is  simplicity  itself. 


No  need  to  focus.  No  grinding 
crank.  Just  sight  it  either 
from  waist  height  or  eye  level. 
Then  press  the  button.  A 
shutter  whirls  inside  and  the 
film  slides  quickly  behind  the 
lens.  Instantly  every  action 
within  the  scene  before  you,  every  chang- 
ing sequence  of  light  and  shadow,  every 
expression  of  individuality,  is  registered 
for  all  time  on  a  thin  strip  of  film. 

Easy  to  shozv  in  your  ozvn  home 
Now  comes  the  greatest  thrill  of  all. 
When  the  films  are  taken,  your  work  is 
done.  We  develop  them  for  you  at  no 
extra  cost,  and  return  them  ready  to 
run  on  your  own  silver  screen. 

You  simply  place  them  in  a  Kodascope 
Projector  ...  a  remarkably  ingenious 
device  for  throwing  the  moving  pictures 
you  have  made  on  the  portable  screen 
that  comes  with  your  Cine- Kodak  outfit. 

Just  thread  this  projector  and  turn 
the  switch.  Then  instantly  .  .  .  almost 
magically  .   .   .   your  screen  leaps  into 


action.  Home  Movies  have  been 
simplified  at  last. 

Official  United  States  Govern- 
ment movies  of  the  World  War 
are  also  available.  War  Cine- 
graphs — 200  feet  per  reel — 315 
each.  Special  authentic  war  pic- 
ture, "America  Goes  Over" — 
2,000  feet  (an  hour  and  a  quarter  show- 
ing), 3150.  In  addition,  feature  films  with 
famous  stars  may  be  rented  from  a 
Kodascope  Library. 

To  supplement  your  movie  program, 
Kodak  Cinegraphs,  100-  and  200-foot 
reels  covering  a  variety  of  subjects  .  .  . 
comedy,  drama,  cartoons,  travel  .  .  .  are 
available  at  your  dealer's.  Price  37.50 
per  100  feet,  the  reel  becoming  a  per- 
manent part  of  your  film  library. 

Big  production  brings  lozu  prices 
Today,  because  of  the  vast  production 
facilitiesofthe  Eastman  Kodak  Company, 
a  completeoutfit.  Cine- Kodak,  Kodascope 
Projector  and  Screen,  may  be  had  for  as 
little  as  31W.  Cine-Kodak  weighs  only  5 
lbs.  Loads  in  daylight  with  amateur 
standard  (16  m/m)  Cine-Kodak  safety 
film,  in  familiar  j^ellow  box. 

See  the  Cine-Kodak  display  at 
your  nearest  Kodak  dealer's.  Also 
clip  coupon  below  for  booklet. 


EASTMAN  KODAK  CO.,  Dept.  PP-3 
Rochester,  N.  Y. 

Please  send  me,  FREE  and  without  obliga- 
tion, the  booklet  telling  me  how  1  can  easily 


please  mention  PHOTOPLAY  MAG.\Z1XE. 


Gossip  of  All  the  Studios 


ROSETTA  DUXCAN  can  again  de- 
clare, "  My  nose  knows,  "  for  dynamic 
Rosetta,  of  the  famous  Dimcan  Sisters, 
lately  touring  the  country  in  "Topsy  and 
Eva, "  has  had  her  sense  of  smell  restored 
by  an  operation.  For  four  years  Rosetta 
couldn't  tell  a  piece  of  pork  from  an 
orchid  (with  her  eyes  siuit)  but  now  she 
can  enjoy  Frenche  perfume  and  cheese, 
with  equal  facility. 

ANON-PROFESSIONAL  visitor  was 
escorted  onto  "The  Patriot"  set, 
Emil  Jannings'  latest.  Introduced  to 
Lewis  Stone,  he  became  efTusi\e. 

"Oh,  Mr.  Stone,  you  are  my  fa\-orite 
actor.  Your  work  in  your  last  picture 
was  beyond  description.  I  never  saw- 
such  acting.     It  was — " 

"Yes?  What  picture  was  that?"  Mr. 
Stone  politely  interrupted. 

"The  pictur<^— ah,  oh, — Why,  the 
name  has  just  slipped  away  for  the 
moment.  But  your  work  was  superb,  I 
remember." 

Mr.  Stone's  eyes  widened  slightly. 
"What  type  of  picture'  was  it?"  he 
queried. 

"Oh,  ah, — the  usual  thing  you  know. 
It  was  your  acting  that  made  the 
picture — " 

"And  who  else  played  in  it?"  Mr. 
Stone  was  still  politely  curious. 

"Why, — ah,    now   those    names — " 

"Now,  I  know  you're  my  favorite 
actor,"  Mr.  Stone  concluded  the  con- 
versation. 

AS  most  of  you  know,  it  has  been  quite 
the  thing  to  have  an  autograph  book. 
Every  fan  in  the  Hollywood  district,  be- 


[  CONTINUED  FROM  PAGE  82  ] 

tweeh  the  ages  of  eight  and  twenty,  has 
one.  One  of  the  best  places  to  collect 
signatures  is  at  the  theater  entrance, 
when  a  preview  is  being  held.  The  "fans  " 
line  up  on  the  sidewalk  and  there  is  no 
escaping  them. 

Marion  Nixon  frankly  admits  that  she 
makes  no  effort  to  get  away  but  signs 
them  all  gladly,  for  Marion  keeps  a  book 
in  which  she  gets  the  autograph  of  every 
member  of  her  company,  each  time  she 
starts  on  a  new  picture.  So  you  see,  we 
are  all  alike  underneath. 

A  PITIFUL  Hollywood  case  is  that 
of  a  man  who  works  regularly  in 
pictures,  but  can  never  see  himself  on 
the  screen.  He  is  blind!  James  Cruze 
uses  him  in  e\-ery  picture  it  is  possible  to 
do  so.  To  me  it  seemed  so  pathetic,  but 
the  man  reminded  me  "Not  half  so 
pathetic  as  if  I  had  no  chance  to  work. " 
"  I  get  the  next  best  thrill  to  seeing  my- 
self,"  he  told  Nena  Quartaro  and  Gaston 
Glass,  when  they  were  all  working  in 
"The  Red  Mark."  "When  my  pictures 
arrive,  I  go  with  a  friend.  He  tells  me 
when  my  scenes  come,  and  I  enjoy  the 
thrill  of  knowing  I  am  there  and  others 
are  seeing  me." 

"  A  RIDE  in  the  Country"  often 
■i\  means  "Walking  Back."  Anyway, 
it  did  in  the  case  of  the  George  K.  Turner 
story  that  C.  B.  De  Mille  had  planned  for 
Vera  Reynolds.  In  other  words,  the  title 
was  changed.  But  "Walking  Back" 
must  have  been  pretty  light,  since  we 
understand  both  William  Howard  and 
Rupert  Julian  turned  down  the  job  of 
directing  it.    Thereupon,  C.  B.  promptly 


said  to  Vera:  "If  it  isn't  good  enough  for 
those  directors  it  isn't  good  enough  for 
you."  So,  perhaps  there  won't  beany 
need  of  "Walking  Back." 

IMAGINE  my  embarrassment   when 
they    all    came    with    presents!"    ex- 
claimed Dorothy  Mackaill. 

Eddie  Cline,  the  director,  was  ha\-ing  a 
birthday  party  out  at  First  National. 
Dorothy  was  jealous  and  in  a  spirit  of 
fun,  blithely  announced  it  was  her  birth- 
day, too.  Congratulations  she  enjoyed. 
But  later  when  flowers,  perfume,  and  all 
the  things  that  delight  the  heart  of  a 
woman  began  to  arrive,  poor  Dorothy 
was  frightfully  embarrassed.  Then  she 
didn't  have  the  ner\-e  to  tell  she  had  been 
teasing.  Now,  when  her  real  birthday 
arrives,  she  will  have  to  keep  mum. 

PHOTOPLAY  ran  a  picture  of  Joan 
Crawford  under  the  mistletoe. 

Since  it  came  out,  Joan's  secretary  has 
been  running  around  in  circles  trying  to 
answer  all  the  letters. 

College  boys  all  over  the  country  wrote 
Joan  long  pleading  letters,  that  they 
might  be  her  companion  on  Christmas. 
Four  boys  from  the  University  of  Pitts- 
burgh signed  one  letter  together  re- 
minding her  that  they  would  play  foot- 
ball here  on  New  Year's,  but  would  have 
plenty  of  time  after  the  game  for  playing. 
While  the  Penn  boys  reminded  her  that 
they  would  be  in  Berkeley  for  a  game,  but 
returning  home  via  Los  Angeles.  Joan 
refuses  to  tell  how  many  she  actually 
received  but  she  gives  the  magazine 
picture  the  full  credit! 

[  CONTINUED  ON  PAGE  96  ] 


Selecting  Idea  Contest  Winners 


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Because  of  the  careful  attention 
being  given  to  the  manuscripts  in 
PHOTOPLAY  Idea  Contest  by  the 
officials  of  the  Paramount- Famous- 
Lasky  Corporation,  PHOTOPLAY 
is  not  able  to  announce  the  win- 
ners in  this  issue. 

Selecting  stories  for  film  produc- 
tion is  an  important  and  difficult 
task.  This  telegram  from  Mr. 
Lasky,  vice-president  of  the  Cor- 
poration, shows  that  your  ideas  are 
receiving  the  most  careful  consid- 
eration of  the  chiefs  of  the  com- 
pany. 

This  contest,  of  great  importance 
both  to  readers  of  PHOTOPLAY 
and  to  the  Paramount-Famous- 
Lasky  Corporation,  is  being  judged 
as  fairly  and  as  carefully  as  is 
humanly  possible. 

PHOTOPLAY  ASKS  YOU  TO 
WAIT  FOR  ITS  APRIL  ISSUE  FOR 
A  COMPLETE  LIST  OF  WINNERS. 


Photoplay  Magazine — Advertising  Section 


^5 


ur 


Irremendous  Allure  in 

_.    lovely  smooth  skin^^ 


says 

John  M. 
Stahl 


Producer  for  Metro 
Goldivyn-Mayer 


"Few people  can  resist  smooth  exqui- 
site skin.    'Studio  Skin,'  we  call  it 
—  that  skin  of  rare,  lovely  smooth- 
ness which  defies  the  cruel,  blazing 
lights  of  the  close-up.  Such  a  skin 
can't  be  faked  even  with  the  clever- 
est make-up.  It  must  be  genuine. 
This  perfection  of  skin  is  one  of 
the  greatest  holds  a  star  has  on 
her  public." 

FIERCE  "Klieg"   lights    blaz- 
ing —  drenching    the    star's 
face  with  light,  the  camera  so 
close!   A    screen    star's  skin   must  be 
exquisitely    smooth,   flawless — "studio 
skin"    or    the    cruel  eye  of  the  camera 
spells  ruin. 

Every  star  in  Hollywood  knows  this— youth- 
ful velvety  skin  means  more  to  them  even  than 
it  does  to  other  women— it  means  their  whole 
life,  their  career. 

Nine  out  of  every  ten  stars  whose  flawless 
loveliness  captures  the  hearts  of  millions  use 
Lux  Toilet  Soap.  White,  delicious,  it  cares  for 
their  skin  the  true  French  way.  Lux  Toilet 
Soap  is  made  by  the  very  method  France  de- 
veloped and  uses  for  her  finest  toilet  soaps. 

All  the  great  film  companies,  too,  have  made 
Lux  Toilet  Soap  the  "official"  soap  they  pro- 
vide for  their  studio  dressing  rooms. 

You,  too,  will  find  that  Lux  Toilet  Soap  is 
wonderful  for  a  woman's  greatest  charm— her 
softly  smooth  skin  —  Lever  Bros.  Co.,  Cam- 
bridge, Massachusetts. 


Graceful  silver  swan  faucets  and  the  glitteringcrystal  chandelier  arehrilliant 
notes  in  a  black  and  white  bathroom  conceived  so  appropriately  as  a  setting 
for  May  McAvoy's  delicate  beauty.  May  McAvoy  is  a  W^arner  Bros.  star. 


J 


\ 


"o^  SMOOTH  SYiiN— 'Studio  skin' — is  one  of  the 
most  important  assets  a  screen  star  has — like  every 
•woman  and  even  more  than  most  women,  I  have  to 
guard  my  skin  —  /  always  use  Lux  Toilet  Soap  — 
lovely  soap,  /'/  keeps  my  skin  excjuisitely  smooth." 


LUX  "Toilet  SOAP 


10( 


The  dollar  •  a  •  cake 

luxury  of  French 

soap  •  •  now 


please  mention  PHOTOPLAY   MAOAZI 


Making  a  Million 


[  CONTINUED  FROM  PAGE  65  ] 


richest  young  bucks  in  the  tribe.  Besides, 
the  engineer  hadn't  followed  Injun  tradi- 
tion— he  had  brought  with  him  no  ponies 
nor  cattle,  nor  sheep,  which  facts,  from  the 
Injun  viewpoint,  marked  him  as  not  much 
good.  The  head  tribesman  or  chief  there- 
upon told  Mrs.  Engineer  that  she'd  have 
to  take  her  squawman  an'  get  ofT  the 
reser\-ation  an'  live  elsewhere. 

The  couple  then  moves  into  a  little 
neighborin'  town  where  they  discover  the 
white  folks  had  put  the  Injun  sign  on  both 
of  'em  an'  that  no  one  would  have  any- 
thin'  to  do  with  a  squawman  or  bis  wife, 
an'  particularly  since  both  of  'em  had 
been  throwed  out  of  their  tribe. 

So  it  was.  turned  down  by  the  Injuns 
an'  ignored  by  the  whites,  the  pretty 
squaw,  who  was  to  be  the  leadin'  woman 
of  our  story,  had  her  troubles  from  the 
start  an'  had  to  suffer  right  down  to  the 
last  300  feet  of  the  picture.  I  wanted  Dad 
to  let  up  on  her  about  the  middle  of  the 
stor^'  as  I'm  naturally  soft  hearted,  but 
Dad  said  "no."  Why,  when  we  got  her 
starvin'  in  the  snow,  I  pleaded  all  one 
evenin'  with  Dad  to  bring  her  into  town 
an'  give  her  one  square  meal  an'  send  her 
back,  but  he  wouldn't  do  even  that.  I  got 
where  I  felt  so  sorry  for  this  young  an' 
good  lookin'  Osage  squaw  who  didn't 
exist,  I  couldn't  eat  any  food  myself. 

Well,  to  go  on,  this  young  feller  an'  the 
squaw   take  up  some   land  out  on   the 


prairie,  build  a  sod  house  an'  start  home- 
steadin'.  I  don't  know  how  much  the 
public  knows  about  homesteadin',  butit's 
thisaway.  Homesteadin'  is  a  game  where 
the  government  bets  you  one  hundred  an' 
si.xty  acres  of  land  against  S31.65,  the 
same  befn'  the  land  office  filin'  fees,  that 
3'ou  can't  live  on  the  place  for  five  years — 
an'  the  government  usually  wins. 

WELL,  our  young  folks  is  a  home- 
steadin'. They  romp  the  summer 
through,  breakin'  a  little  land,  raise  a 
little  corn  an'  plan  to  buy  some  livestock 
next  year.  Bein'  husky  an'  a  good  shot, 
the  young  engineer  figures  with  deer  an' 
bear  a  plenty  an'  a  few  buffalo  roamin' 
around,  he  will  be  able  to  keep  his  family 
in  meat  durin'  the  winter.  But  the  winter 
proves  tough,  the  snow  deep  an'  the  ice 
thick.  In  fact,  me  an'  Dad  made  it  the 
worst  winter  ever  known  in  Oklahoma.  I 
wanted  to  put  a  coupla  stoves  in  the  sod 
house,  a  feelin'  sorry  for  the  nice  young 
squaw,  but  old  Dad  said  the  cookstove 
was  enough,  an'  she'd  have  to  go  on  a 
sufferin'  an'  a  freezin'  without  my  help. 

Dad  burned  up  all  their  wood;  it  got 
scarcer  an'  scarcer  until  they  got  to 
burnin'  corn  to  keep  warm.  So  Dad  picks 
out  the  most  terrible  day  of  that  awful 
winter  an'  sends  the  young  engineer  out 
a  huntin'  for  meat — everythin'  else  is 
eaten  up  an'  there's  a  baby  now,  an'  it's  a 


cryin'  for  meat.  The  squawman  gets  out 
in  front  of  the  sod  house  in  the  blindin' 
snow  an'  kisses  the  nice  lookin'  squaw  an' 
baby  good  by,  an'  bids  'em  be  brave  until 
he  gets  back  with  the  meat.  Incidental, 
in  creatin'  this  young  squaw,  even  if  he 
did  let  her  do  a  heap  of  sufterin'.  Dad  let 
her  keep  her  good  looks;  in  fact,  she  kept 
getlin'  prettier  each  day,  which  was  all 
right  with  me  as  long  as  Miss  Stedman 
was  to  play  the  part. 

While  this  squaw  an'  the  baby'shiver 
an'  suffer  an'  burn  up  the  last  bushel  of 
corn  they've  got,  the  hero  braves  the 
elements  an'  goes  over  the  bleak  an'  snow 
co\-ered  prairie  a  lookin'  for  deer.  I 
argued  with  Dad  that  even  a  squawman 
would  have  more  sense  than  try  to  find 
deer  on  the  prairie,  as  everyone  knew  a 
deer  would  seek  shelter,  in  the  timber  an' 
along  the  creek  bottoms,  but  Dad  stood 
pat — this  hunter  must  look  for  'em  in  the 
deep  drifts. 

But  he  don't  find  'em.  Dad  wanted  to 
have  a  bear  come  along,  but  I  insisted  on 
ha\in'  my  own  way  about  that.  Bears, 
says  I,  at  this  time  of  year — it  bein'  the 
dead  of  winter — have  all  gone  to  bed  with 
their  alarm  clocks  set  for  next  spring  an' 
there  ain't  a  bear  in  all  Oklahoma  foolish 
enough  to  get  out  of  bed  an'  go  out  in  a 
storm  like  we  got.  In  fact,  argues  me, 
there  ain't  no  one  or  nothin',  that  I  know 

[  CONTINUED  ON  PAGE  101  ] 


^hjiy  Most  Faithful  Fan 


Grandma  Alff  of  Cherokee, 

Iowa,     hasn't     missed     a 

movie  in  eight  years 

NK'.HT  after  night  in  the  same  seat 
in  the  mo\ie  theater  of  Cherokee, 
Iowa,  there  sits  a  little  white-haired 
old  lady,  gazing  raptly  at  the  screen. 

She  is  .Mrs.  Wilhemine  Alff  of  Chero- 
kee, Iowa,  probably  the  world's  most 
faithful  movie  fan. 

Certainly  she  hasn't  missed  a  night  at 
the  movies  in  the  last  eight  years.     In 


"There  goes  Grandma  Alff. " 
they  say  and  know  it's  time  for 
the  first  show. 

Two  thousand  nine  hundred 
and  twenty-one  nights  in  suc- 
cession Grandma  has  gone  to  the 
mo\ies,  unaware  that  such  loy- 
alty is  making  her  a  celebrity. 

It's  all  quite  simple  to  Grand- 
ma. The  seat  o\er  by  the  regis- 
ter is  always  reser^■ed  for  her  and 
until  the  organist  sees  her  there,  her 
white  hair  gleaming  beneath  her  knitted 
cap,  her  work-worn  hands  folded  on  her 
lap,  he  won't  begin  the  o\"erture. 

Until  her  seventy-second  birthday 
Grandma  was  much  too  busy  for  happi- 
ness. Born  in  Germany  she  was  trained 
like  all  proper  little  German  girls  in  her 
duty  to  church,  kitchen  and  children. 

'S'ct  the  spark  of  ad\enture  was  in  her. 
She  was  thirty  when  her  husband  pro- 
posed their  going  to  America  but  she  did 
not  demur.  Her  babies  were  coming  reg- 
ularly. They  continued  to  arri\e  on 
the  Iowa  farm  until  there  were  twehe 
of  them,  but  Grandma  liked  that.  She 
accepted  life  as  serious  and  her  lot  was 
no  harder  than  other  farmers'  wi\'es. 

As  the  children  grew  up  and  left  the 
farm,  they  whispered  of  cities  outside  the 
corn  belt.  When  Mr.  Alff  died,  Grandma 
wasn't    through    with    life.      She    deter- 


Cherokee  they  set  their  clocks  by  her.     mined  to  go  to  the  city  herself 
86 


She  sold  the  farm  and  came  to  Chero- 
kee with  its  pa\ed  streets,  Tin  Lizzies, 
bright  lights  and  its  movie  theater. 
Grandma  bought  a  house,  a  modern 
house  with  brass  plumbing,  hardwood 
floors,  a  tiled  kitchen.  And  then  she 
made  her  first  trip  to  the  movies  and  life 
was  never  the  same  again. 

NOT  that  she  changed.  Grandma  takes 
her  mo\-ies  as  she  did  her  duty — 
straight.  Neither  are  slacked.  She  cleans 
house  mornings,  knits  hooked  rugs  after- 
noons. That  is,  she  does  until  four-thirty. 
After  that  she  can't  keep  her  eyes  on  the 
rugs.  They're  on  the  clock.  The  mo\  ie 
theater  opens  right  after  supper  and 
Grandma  doesn't  want  to  miss  anything. 
-So  she  begins  to  bustle  around  in  a  right 
fri\-olous  manner  when  twilight  falls,  get- 
ting supper,  getting  dressed. 

Eight  years  of  it.  Spring  nights  with 
their  sweetness,  hot  midwestern  summer 
nights  with  their  fierce  thunder  storms, 
autumn  nights,  when  lea^■es  crackle  softly 
in  gutters,  white  winter  nights  with 
creaking  snow  underfoot.  None  of  them 
deter  Grandma.  At  the  mo^■ies,  like  her 
fellow  fans  throughout  the  world,  she 
touches  youth,  romance,  adxenture,  love. 
Mere  weather  can  not  hold  her  back. 

' '  There  goes  Grandma  Alff, "  they  say  in 
Cherokee  and  the  whole  town  knows  it's 
time  for  the  first  show. 


Photoplay  Magazine — Advertising  Section 


87 


Mi^  Host  Vredom  beauty  Secret 


A  GLORIOUS  warm  tub!  That  doesn't 
oyi.  sound  like  much  of  a  beauty  se- 
cret, does  it?  You'll  probably  say,  "Why, 
of  course,  everybody  knows  about  that 
— about  Cleanliness  being  next  to  God- 
liness— and  all  that". 

But  the  sort  of  tub  I  mean  is  a  heavenly 
holiday  for  the  nerves  that  recreates  one 
— spirits  away  the  droop  of  %vcariness 
and  gives  back  the  fresh  vivid  loveliness 
of  a  springtime  morning.  It  relaxes  every 
tired  muscle,  loosens  up  all  the  tight 
kinks  in  one's  worried  mind  and  sends 
one  out,  renewed  and  refreshed,  with 
sparkling  eyes  and  tons  of  energy. 

When  I  come  in  off  the  set,  exhausted 
and  nervous  after  trying  scenes,  I  go  ar 
once  to  my  bathroom,  fill  the  tub  with 
hoc  water,  drop  in  a  handful  of  bath 
crystals,  scented  with  mv  favorite  per- 
fume, and  lie  in  the  tub  until  I  am  thor- 
oughly refreshed. 

I  follow  this  with  a  cold  shower,  and 
then  with  a  brisk  rub  of  toilet  water, 
top  it  with  dusting  powder  and  I  am  a 
rejuvenated  person. 

In  the  morning  before  going  out  on  the 
set,  I  always  take  a  cold  plunge. 

Before  going  to  bed,  I  take  just  a  hot 
tub.  At  least  once  a  week  I  have  a  mas- 
sage with  cold  cream,  preceded  by  a 
warm,  cleansing  bath. 


BILLIE  DOVE—fjsciidting,   firit 

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Photoplay  Magazine — Advertising  Section 


Complexion 

IpOOT  ?.  .Get  at 

the  cause  this  way 

V^HEN  a  woman  discovers  that  her  conjr 
plexion  has  become  broken  out  and  un- 
lovely, what  is  her  first  reaction? 

Almost  invariably  she  applies  to  her  skin  an 
external  preparation  of  some  sort — she  tries 
to  cover  up  the  blemishes. 

This  local  treatment  may  be  helpful — but  it 
is  at  best  only  a  half-measure.  For  a  poor  com- 
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cians send  their  patients  to  "take  the  cure." 

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bubbles  up  into  a  sparkling,  refreshing  drink. 
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See  Hollywood  and  Die 


[  CONTINUED  FROM  PAGE  34  ] 


Sal  J.  ^ 
Hepatica 


moved  to  issue  council  but  if  you've  ever 
tried  to  dissuade  a  moth  from  circling 
round  a  flame  you  know  the  only  way  to 
do  it  is  with  a  fly  swatter. 

Youth  enters  pictures  arrogantly  with 
the  idea  that  he's  lending  his  charms  to 
the  camera  in  exchange  for  a  fortune, 
whereas,  in  reality,  he  is  selling  outright. 

It's  very  much  like  the  devil's  bargain 
of  which  Herr  Goethe  wrote  iri  "Faust." 

IF  you've  ever  sat  in  a  room  lined  with 
mirrors  you  know  how  self-conscious  you 
can  become,  yet  so  fascinated  are  you  by 
what  you  see  that  though  you  heroically 
a\ert  ycur  eyes  they're  bound  to  steal 
back  as  though  hypnotized. 

The  man  in  pictures  not  only  sees  him- 
self constantly  but  hears,  day  in  and  day 
out,  a  discussion  of  himself.  Everyone 
talks  to  him  about  him. 

His  own  image  is  constantly  before 
him.  As  his  popularity  grows  the  vicious 
circle  tightens;  if  he  makes  an  attempt  to 
escape  he  is  quickly  driAen  back  into  him- 
self; e^•entually  the  will  to  escape  is  de- 
stroyed and  he  is  held  fast,  hopelessly  and 
forever  his  own  prisoner. 

The  first  requisite  of  good  acting,  as 
any  director  will  tell  you,  is  freedom  from 
self-consciousness.  The  young  actor 
scores  in  his  first  pictures  because  he  gives 
himself  honestly  and  spontaneously  to  the 
screen. 

Gradually,  as  he  is  made  conscious  of 
his  charms,  he  begins  to  act  them.  It  is 
as  though  the  kleig  lights  had  sucked  out 
the  real  of  him  for  the  screen;  the  shadow 
is  he  and  he  the  shadow.  Eventually  the 
artifice  is  apparent  and  the  crowd  turns 
away,  as  it  always  does  from  an  imitation. 

A  YOUNG  aspirant  to  movie  glory 
asked  me  piteously  the  other  day  if 
there  was  no  way  of  escape.  "Can't 
people  remain  themsehes,  keep  their 
ideals,  and  yet  be  successful  in  pictures?" 
They  might  if  they  went  on  li\-ing  as 
lliey  had  before,  keeping  the  same 
friends  and  the  same  environment.  But 
he  who  enters  Hollywood  lea\'es  self — the 
real  self — behind.  It  is  the  land  of  Let's 
Pretend,  and  the  hardest  acting  is  done  ofT 
screen. 

A  gingham  doll  who  is  charming  be- 
cause she  is  gingham  takes  on  satin  airs 
and  a  drawing-room  manner  because  she 
feels  she  should  improve  herself;  a  simple, 
nai\e  Merton  of  Christian  ideals,  lovable 
because  he's  just  that,  takes  on  a  silk  hat 
and  a  flock  of  cocktails  in  order  to  be 
sophisticated. 

A  gay,  roistering  vagabond,  reckless  and 
hell-raising,  is  beguiled  or  beaten  into  a 
circumspect  gentleman  of  the  manor; 
the  wide-eyed  child  of  spirituelle  decides 
that  what  she  needs  is  sex-attraction  and 
bursts  into  the  black  bottom  at  every 
party. 

None  in  Hollywood  is  content  to  re- 
main himself.  He  would  improve.  And 
none  is  content  to  confine  his  acting  to  the 
studio,  he  must  needs  rush  out  to  parties, 
first-nights  and  other  spot-lighted  affairs 
in  order  to  show  people  how  really  supe- 


rior he  is  to  his  screen  person.  The  efTect  is 
blinding  disappointment  on  the  part  of 
the  observers. 

A  young  girl  of  pure  whimsicality  came 
recently  into  favor.  She  reminded  me 
irresistibly  of  Maude  Adams.  Then  I  re- 
called how  Miss  Adams  lived,  either  by 
personal  inclination  or  by  council  of  the 
shrewd  Charles  Frohman,  a  life  apart,  in 
perfect  harmony  with  the  person  she 
appeared  on  the  stage. 

Her  likeness  of  the  cinema,  in  bold 
contrast,  goes  night  after  night  to  see  her 
own  picture,  is  advised  into  getting  an 
English  maid  for  an  English  accent,  and 
is  preparing  elaborately  for  the  social 
position  which  her  success  has  given  her. 

A  DIRECTOR  will  behold  her  in  her 
new  guise  and  decide  that  she  has 
never  been  put  on  the  screen  to  true  ad- 
vantage. 

He'll  show  her  in  a  totally  different 
light,  a  sophisticated,  polished  society 
woman,  perhaps,  or  a  hip-shaking  little 
flapper  with  "It."  A  few  such  dis- 
appointing attempts,  and  the  child  will 
try  to  give  an  imitation  of  what  she  was 
in  the  picture  that  made  her  famous. 

Charles  Ray,  in  his  confession  of  his 
"dressing-up"  blunder  in  Photoplay, 
told  the  story  of  what  happens  to  them, 
but  none  will  be  able  to  profit  by  his  ex- 
perience. 

"Sister"  McPherson,  a  guest  at  a 
\Yampas'  dinner,  said,  by  way  of  rending 
the  Darwinian  theory,  that  an  ape  ne^■er 
became  man  but  men  often  became  apes. 

Because  Hollywood  pictures  are  so 
filled  with  ape-men  we  turn  to  pictures 
like  "Chang"  where  an  ape's  an  ape  and 
isn't  ashamed  of  being  one,  or  to  a 
picture  like  "Stark  Love"  where  men  are 
men  and  are  content  so  to  be — at  least 
for  one  picture! 

Of  course,  there  are  exceptions.  Life  is 
too  sweet  to  me,  e\'en  in  Hollywood,  not 
to  offer  an  out  for  myself,  and  since  c\  ery 
player  considers  himself  an  exception 
none  will  feel  piqued. 

THERE  are  interesting  characters  in 
Hollywood  who  have  not  been  so  self- 
captivated  as  to  bore  themselves  and 
e\eryone  else.  Of  the  number,  I  regret 
to  say,  the  overwhelming  majority  is 
feminine.  H.  G.  \\'ells  has  explained  this 
circumstance  for  me  better  than  I  can 
explain  it  by  paraphrase.     He  says: 

"A  great  actress  is  not  the  feminine 
equivalent  of  a  great  actor;  being  a  great 
actress  is  not  the  same  thing  as  acting;  it 
is  a  thing  peculiar  to  womankind.  It  is 
the  sedulous  de\clopment  of  aper.sonaliiy 
to  superb  proportions.  The  actress  can 
lie  and  think  of  that  effect  she  creates, 
that  legend  which  grows,  as  I  lie  and 
think  of  the  great  re\olution  that  began 
before  I  was  born,  that  will  continue  after 
my  death,  to  which  I  have  gi\"en  myself.  " 

Few  are  the  great,  but  great  are  the  few 
in  Hollywood  who  can  be  objecti\"e 
toward  themselves.  And  they  are  chiefly 
women  who  outwit  the  de\il  at  his  bar- 
gain.    Narcissus  was  a  man. 


Every  advertisement  In 


■UOTOl'I.AY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine— Advertising  Section 


89 


It  took  2  years  to  perfect 
the  Improved  Kotex— ^<9zg/  ready 


24  months  of  experiment  in  our  lab- 
oratories and  the  cooperation  of  27 
women  doctors  and  83  nurses  were 
required  that  we  might  offer  you 
the  two  exclusive  new  features 


Two  years  of  experiment, 
of  suggestion  andrevision ; 
hundreds  of  tests;  and  now  —  Improved 
Kotex,   the   most  radical   development 
in  intimate  feminine  hygiene  since  the 
invention  of  Kotex  itself. 

The  new  form-fitting  shape 

You  will  find  the  new  pad  scientifi- 
cally rounded  and  tapered  at  the  corners, 
by  a  special  and  exclusive  process,  de- 
veloped in  the  Kotex  laboratories.  It 
now  fits  snugly,  securely  and  in  con- 
formity to  the  demands  of  fashion. 

Any    gown,    however    close-fitting, 
however  delicate  of  fabric,  may  be  worn  with- 
out self-consciousness.  The  Improved  Kotex, 
exclusive  in  design,   unique   in   cut,   does  not 
mar  slim,  smooth  Unes. 

Fastidious  women  are  assured  a  degree  of 
composure  and  peace-of-mind  never  before 
possible. 

Fluffier  than  ever  .  .  .  to  end  chafing 

Exclusive  methods  have  been  worked  out  in 
our  laboratories  to  make  the  absorbent  filler 


X  Kotex  is  now  form-fitting,  non-de- 
tectable. Corners  are  scientifically 
rounded  and  tapered  to  fit.  Any  gown, 
however  clinging  and  filmy,  may  be  worn 
without  self-consciousness,  without  alter- 
ing the  smooth,  modish  silhouette. 

^  A  way  has  been  found  to  make  the 
soft  filler  even  more  downy  .  .  .  the 
gauze  wrapping  softer  .  .  .  unpleasant 
chafing  and  binding  are  ended. 


even  softer.  The  result  means  gentler,  more 
delicate  protection  to  sensitive  skin,  and  an 
end  to  the  discomforts  of  chafing,  binding  and 
similar  irritation. 

Yet  the  remarkably  absorbent  powers  of 
Kotex  remain;  the  same  protective  area  is 
there.  Cellucotton  wadding  which  fills  Kotex 
and  which  is  exclusive  to  Kotex  has  all  the 
advantages  of  any  waterproofed  absorbent, 
plus  its  own  unique  qualities.  It  is  5  times 
more  absorbent  than  cotton.    It  discards  like 


'  'Asi  for  tliem  by  name 


Sufiflied  also  through  vending 

cabinets  in  rest-rooms  by  IVest 

Disinfecting  Co. 


KOTe  X 

PROTECTS -DEODORIZES 

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tissue — you  simply  follow  directions  in 
each  box;  it  deodorizes  thoroughly  while 
being  worn. 

27  women  doctors,  83  nurses 
cooperated  enthusiastically 

During  the  past  two  years  27  women 
doctors,  83  nurses  in  leading  hospitals, 
in  City  Health  Departments,  in  Welfare 
Departments,  were  consulted.  Six  spe- 
cialists in  feminine  hygiene  suggested 
and  approved  ideas. 

Each  detail  was  supervised  by  scien- 
tists who  know  your  problems  not  only 
professionally  but  also  from  a  woman's 
point  of  view.  Their  enthuaiastic  ap- 
proval is  the  most  important  endorse- 
ment of  the  Improved  Kotex. 

Nothing  else  is  like  Kotex 

You  buy  Kotex  by  name,  without  embarrass- 
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Remember,  nothing  else  is  remotely  like  the 
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learn  our  latest  and  greatest  contribution  to 
woman's  hygienic  comfort.  Kotex  Company, 
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90 


Photoplay  Magazine — Advertising  Section 


A  Complexion  That 
Will  Not  Rub   Off 

^  Y    ^ACE  Powder  complexions  often 
(jLJ      prove  embarrassing.  They  con- 
/^      stantly  rub  off,  soil  clothing, 
/  and    leave    your    skin    in    a 

*^  streaked,    spotted    condition. 

"Touching  Up"  must  be  continually  re- 
sorted to  if  you  hope  to  maintain  even  a 
resemblance  of  their  original  appearance. 


Manv  women  ha\e  found  a  better  and 
more  staple  method  of  bcdutif\mg  They 
give  TO  meir  sKm  and  complexion  a  radiant, 
bewitching,  appearance  that  will  not  rub 
off.  streak,  spot,  or  show  signs  of  perspira- 
tion. An  alluring  pearly  appearance,  so 
subtle,  the  use  of  a  toilet  preparation  can- 
not be  detected  and  still  with  an  effect  that 
is  far  more  beautiful  than  you  could  secure 
in  any  other  way. 

Gouraud's  Oriental  Cream  opens  a  new 
pathway  to  beauty.  It  exerts  an  antiseptic 
and  astringent  action  that  will  prove  bene- 
ficial in  correcting  blemishes,  wrinkles, 
flabbiness,  excess  oiliness,  freckles,  redness 
and  muddy  complexions.  Where  perman- 
ent blemishes  mar  your  appearance,  you 
will  find  they  are  effectively  concealed. 
Commence  its  use  today  and  know  the  joy 
of  a  new,  lasting  beauty  that  will  always 
reflect  an  enchanting  touch  of  youthful 
freshness.  Made  in  white,  flesh  and  rachel. 

GOURAUD'S 

ORIENTAL 
CREAM  ^ 

"Beauty's   Master    Touch" 

Send  lOc.  for  Trial  sue 


Check  shade  desired  : 

Name. 

Street 

City- 


White  U    Flesh  n    Rachel  n 


Are  We  Morons? 


[  CONTINUED  FROM  PAGE  51 


Of  the  first  thousand  men  whom  we  ex- 
amined we  found  only  21  whom  we  con- 
sidered subjects  for  further  intensive, 
indi^•idual  testing. 

And  finally,  after  such  detailed  testing, 
we  found  only  nine  who  were  so  defective 
mentally  that  it  seemed  best  to  discharge 
them  from  the  service. 

Se\'eral  thousand  cases  were  examined 
as  the  months  of  the  war  went  by.  Gen- 
erall)'  speaking,  the  same  percentage  of 
morons  to  normals  held  throughout. 

IT  may  interest  you   to  know  what  a 
normal  child  of  twehe  is  supposed  to 
be  able  to  do  according  to  mental  tests. 

Following  are  four  questions  taken  from 
the  famous  Binet-Simon  test  at  the 
tweheyear  level. 

(1)  Repeat  the  number  2964375. 
Also  the  number  9285164. 

Also  the  number  1395847. 

(2)  Define  Charity. 
Define  Justice. 
Define  Goodness. 

•  (3)  Repeat  these  two  sentences:  "I 
saw  in  the  street  a  pretty  little  dog.  He 
had  curly  brown  hair,  short  legs-  and  a 
long  tail." 

(4)  Problem  A.  A  man  who  was  walk- 
ing in  the  woods  suddenly  stopped  much 
frightened  and  he  ran  to  the  nearest  police 
S'tation  and  reported  that  he  had  seen 
hanging  from  the  limb  of  a  tree  a — what? 

Problem  B.  ]\Iy  neighbor  has  been 
having  strange  ^•isitors.  He  has  received, 
one  after  the  other,  a  doctor,  a  lawyer  and 
a  clergyman.  What  is  going  on  at  the 
house  of  my  neighbor? 

One  day  I  tried  these  questions  out  on  a 
few  people  who  happened  to  be  visiting 
at  my  home.  One  was  a  concert  pianist, 
another  a  motion  picture  actress,  the 
third  a  playwright,  and  two  others  were 
physicians. 

Not  one  of  these  recei\-ed  an  absolutely 
perfect  score!  All  my  friends  were  morons! 

On  the  face  value  of  the  tests  they  were, 
at  any  rate. 

BUT  the  test  scores  were  not  accurate. 
Why?  Because  the  individual  emotional 
and  intellectual  reaction  equation  had  not 
been  taken  into  account — the  novelty  of 
the  procedure,  self-consciousness,  em- 
barrassment, etc. 

Therein  lies  the  trouble  with  all  tests. 

Tests  have  value — tremendous  value 
sometimes — but  they  must  be  carried  out 
individually  and  must  be  interpreted. 

To  determine  whether  an  individual  is  a 
moron  or  not  it  is  equally  as  important  to 
note  how  he  goes  about  the  test  as  what 
he  does  with  it. 

When  all  is  said  and  done  the  real  use  of 
tests  is  to  objectify  and  measure  the 
degree  of  intellect — not  emotion — which 
an  individual  is  able  to  command  at  the 
time  of  examination. 

And  that  is  all! 

After  careful  study  of  the  situation,  my 
pronouncement  from  a  psychiatrist's 
viewpoint  to  Mr.  Quirk's  question  is  un- 
reservedly that  the  American  public  is  not 
a  "  bunch  of  morons." 


E^^en  persons  whose  intellect  is  far 
abo\e  the  a\-erage  like  the  movies  and 
attend  them  regularly. 

But  these  people — sensible  people — do 
not  take  the  mo\ies  too  seriously. 

They  don't  attend  pictures  to  be 
edified. 

They  don't  want  to  be  instructed. 

They  don't  seek  uplift. 

No,  people  crowd  the  picture  houses 
because  they  want  to  be  entertained! 

I,  mj'self,  make  it  a  point  to  attend  a 
neighborhood  picture  house  as  often  as  I 
can. 

I  haAc  seen  show-s  that  bored  me.  Some 
haA-e  almost  put  me  to  sleep.  On  se\  cral 
occasions  I  \\a.\e  left  before  the  reel  was 
run. 

But  I  ne^•er  found  any  production  so 
bad  that  I  felt  like  going  around  the  cor- 
ner and  blowing  my  brains  out. 

I  CANNOT  recall  ever  having  sworn 
ne\er  to  darken  the  door  of  a  movie 
palace  again. 

I  ha\e  been  disappointed,  j'es.  Often 
the  theme  did  not  interest  me.  Fre- 
quently the  plot  has  been  hackneyed  and 
its  development  halting.  Sometimes  the 
story  has  been  so  thin  as  to  be  positi\-ely 
threadbare.  Often  the  emotional  value  of 
the  picture  dangerously  approached  the 
zero  point. 

Nev-ertheless,  despite  my  own  personal 
and  individual  reaction^,  I  have  not  failed 
to  notice  that  others  were  entertained. 

The  next  time  you  run  across  a  movie 
that,  in  j'our  own  opinion,  falls  down 
badly,  study  the  faces  of  the  rest  of  the 
audience. 

Do  all  oi  them  look  as  fed  up  as  vou 
are? 

Do  none  of  them  respond? 

I  have  made  this  experiment  on  several 
occasions  and  I  want  to  state  emphati- 
cally that  I  have  yet  to  witness  a  perform- 
ance that  did  not  seem  to  "get"  most  of 
the  people  who  attended  it. 

Others  have  laughed  when  I  was  as 
sober  as  a  graven  image.  I  have  seen 
glistening,  moist  eyes  when  mine  were 
bone-dry.  Pleasure,  animation,  excite- 
ment, sympathy,  amusement,  enthralled 
interest — the  entire  gamut  of  emotions 
have  been  experienced  by  my  movie 
neighbors  while  I  remained  as  unmoved 
as  a  stone. 

Should  I  therefore  call  these  folks  "a 
bunch  of  morons"? 

Have  I  really  the  right  to  sit  on  a 
pedestal  and  throw  mud? 


IF  the  m 
it  not  a  1 


majority  is  having  a  good  time  is 
.  piece  of  impertinence  on  my  part, 
or  on  the  part  of  anyone  who  thereby  dons 
the  cloak  of  the  high-brow,  to  mock,  dis- 
parage and  belittle  the  intellectual  equip- 
ment of  the  majority? 

When  you  come  right  down  to  brass 
tacks  the  truth  of  the  matter  is  that  any-  ■ 
body  who  does  not  agree  with  you  is  a  j 
moron!  jj 

The  millions  of  movie  fans  that  Mr;  '% 
Quirk  is  interested  in  come  no  closer  to  ;I 
being  morons  than  that ! 


Every  aiiverllscraent  In  I'llOTOPLAT  MAGAZINE 


i 


What  do  the  neighbors 
think  of  her  children? 


To  every  mother  her  own  are 
the  ideal  children.  But  what  do 
the  neighbors  think?  Do  they 
smile  at  happy,  grimy  faces  ac- 
quired in  wholesome  play?  For 
people  have  a  way  of  associating 
unclean  clothes  and  faces  with 
other  questionable  characteristics. 


Fortunately,  however,  there's 
soap  and  water. 

"Bright,  shining  faces"  and 
freshly  laundered  clothes  seem 
to  make  children  welcome  any- 
where .  .  .  and,  in  addition,  to 
speak  volumes  concerning  their 
parents'  personal  habits  as  well. 


There's    CHARACTER  -\^    SOAP    &    WATER 

PUBLISHED  BY  THE  ASSOCIATION  OF  AMERICAN  SOAP  AND  GLYCERINE  PRODUCERS.  INC.,  TO  AID  THE  WORK  OF  CLEANLINESS  INSTITUTE 


When  you  ivr 


niOTOPLAY    M.\GAZIXE. 


Photoplay  Magazine — Advertising  Section 


''J^adge  'Bellamy'' 

MmadeK. 

Va  n  i  t  y 

HIS  latest  creation  in  the 
famous  line  of  Meeker 
Made  handbags,  purses 
and  vanities  is  as  attractive  and 
charming  as  its  well  known  and 
popular  namesake. 
Madge  Bellamy,  star  in  the 
latest  William  Fox  production 
"Silk  Legs"  was  the  first  to 
carry  this  smart,  leather  hand- 
bag. It  will  be  known  as  the 
"Madge  Bellamy."  It  will  be 
popular  the  country  over,  be- 
cause it  IS  new — and  as  useful  as 
it  is  contra-ordinary.  Displayed 
by  better  dealers  everywhere. 
Fashioned  from  imported,  genuine 
steerhids — appropriate  with  any  cos- 
tume and  colour — modish.  Hand- 
tooled,  hand-tinted  and  hand-laced. 
Morocco  Goat  lining.  Coin  pocket — 
comb  pocket  and  comb — compact  or 
puff  pocket — detachable  mirror — two 
card,  bill  or  /nemo  pockets  —  and 
pencil. 


Companionate  Stardom 


[  CONTINUED  FKO.M  P.\GE  49 


expect  domesticity.  Imagine  my  surprise 
and  delight  when  Vilma  came  to  me  at  the 
end  of  our  first  month  at  home  and  told 
me  exactly  how  much  it  \vas  costing  to 
rim  our  home!" 

"How  much  does  it  cost?" 

Vilma  laughed  and  Rod  hesitated.  "It 
won't  sound  possible.  People  won't  be- 
lie\-e  it.  V\e  added  it  on  the  adding 
machine  and  worked  it  out  on  the  comp- 
tometer, and  aside  from  the  salaries  we 
pay  the  six  servants,  Vilma  averages 
exactly  $11.58  a  day  for  household  ex- 
penses." 

"\'et  consomme,  thick  lamb  chops,  celery 
and  endiAe  salad,  fruit  whip  and  cake  had 
been  included  in  our  dinner. 

"Rod  forgot  that  I  was  raised  in  Eu- 
rope and  knew  how  to  keep  house  before 
I  knew  anything  about  acting.  I  am 
really  domestic."  So  domestic,  indeed, 
that  she  has  her  Viennese  cook  prepare 
their  luncheons  and  their  assistant  chauf- 
feur bring  them  to  the  studio,  hot,  in  con- 
tainers; not  only  because  the  food  is 
better,  but,  because  it  is  just  a  little 
cheaper. 

They  have  pooled  their  money.    All  is 


community  property,  except  a  small 
separate  account  for  petty  expenditures. 
Even  here  they  have  a  friendly  contest  to 
see  who  will  sa\-e  the  most  money. 

In  five  years,  perhaps,  they  will  be  able 
to  retire  and  traAcl.  There  is  a  rumor 
they  will  make  one  picture  together, 
which  they  expect  would  add  much  to 
their  fortune  building  ambitions.  If  this 
co-feature  goes  through,  they  admit  it  will 
be  the  fulfillment  of  one  of  their  greatest 
joint  aspirations. 

The  other  fulfillment  will  be  their 
children.  Oh,  yes,  Vilma  and  Rod  both 
hope  for  children. 

The  only  subject  that  brought  a  cloud 
to  Vilma's  eyes  was  that  of  location  trips 
and  possible  separation.  "I  suppose  I'd 
just  have  to  stay  at  home  and  stand  it," 
she  said. 

They  haven't  quarreled  j-et,  not  in 
earnest.  They  don't  always  agree  on  all 
matters,  but  each  one  has  promised  the 
other  to  remember  the  words  of  their 
la-i\^'er  on  the  day  of  their  wedding: 

"I  suppose  3'ou've  had  lots  of  advice, 
but  I'm  going  to  add  my  word.  It  is, 
simply,  ne\-er  get  angry  together." 


Why  Lenore  Coffee  would  rather  work  at  home  than  at  the  studio. 
One  of  Cecil  B.  De  Mille's  best  scenario  writers,  Miss  Coffee  finds 
that  motherhood  is  the  best  incentive  for  a  career 

rllscment  in  I'llOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


93 


No  Wonder 

Princess  Pat 

preparations 

give  far  greater 

BEAUTY 

Says  Mary  Philbin 


Famous  Universal  Film  Star 


reason  Princess  Pat  beauty 
aids  are  so  marvelous,  is  be- 
cause their  presiding  genius 
is  a  woman."  She  is  versed 
in  exactly  what  women 
want,  is  a  brilliant  chemist. 
a  laboratory  expert,  and,  I 
am  sure,  the  greatest  ideal- 
ist in  her  profession  of  any 
woman  living.  And,  let  me 
remark,  looks  at  least 
twenty-five  years  younger  than  she  actually  is.  I 
never  have  seen  a  more  beautiful,  finely  textured  skin, 
nor  more  perfect  grooming. 

"I  had  wanted  to  discover  in  person  the  truth  about 
all  Princess  Pat  beauty  aids.  I  had  read  about  them. 
heard  other  women  enthuse  about  them.  But  I  have 
a  peculiar  inquisitiveness  which  I  always  want  to 
satisfy.  So  I  arranged  a  brief  appointment — and 
actually  spent  three  days  in  the  laboratory  and  fac- 
tory where  Princess  Pat  beauty  aids  are  conceived 
and  prepared. 

"What  I  learned  made  me  a  Princess  Pat  enthusiast 
for  life:  and  I  have  made  hundreds  of  converts  to 
these  scientific  beauty  preparations.  And,  if  I  may, 
I'll  tell  you  some  of  the  things  I  discovered." 

HoiD  I  Begin  My  Day  jor  Beauty's  Sake 

"Each  mornino;  I  apply  a  tiny  bit  of  Skin  Food  Cream. 
Nothing  startling  in  that.  But  wait.  I  do  not  remove 
the  Skin  Food  Cream — not  yet.  Instead  I  apply  a 
fairly  generous  amount  of  Ice  Astringent.  Now  Skin 
Food  Cream  is  to  give  back  to  the  skin  oils  of  which 
exposure  robs  it.  Ice  Astringent  is  to  close  the  pores. 
keep  them  always  fine,  and  protected  against  dust 
and  dirt.  Well,  then,  I  gently 
massage  the  Ice  Astringent 
OK  lop  of  the  Skin  Food  Cream. 
An  absolutely  new  idea,  you 
see.  And  this  is  what  hap- 
pens. The  Ice  Astringent — 
cool  and  refreshing  as  its 
name  implies — actually  melts 
and  feels  cold  like  ice.  As  a 
result  the  skin  is  left  beauti- 
fully soft  and  pliant,  nour- 
ished for  the  entire  day.  while 
at  the  same  time  the  pores  are 
closed  by  the  Ice  Astringent. 

Isn't  that  marvelous?  You  simply  cannot  imagine 
the  splendid  effect;  you  have  to  try  it  to  find  out 
the  delight  in  store  for  you." 

My  Use  of  Poivder  and  Rouge 

"My  personal  visit  to  Princess  Pat  Ltd..  disclosed 
two  lovely  things.  I  learned  that  many  skin  spe- 
cialists have  concluded  that  starch,  the  base  of  all 
usual  powder  is  not  beneficial  to  the  skin.  So  the  very 
wonderful  woman  who  is  the  company's  idealist, 
decided  more  than  five  years  ago   that   no  starch 


should  be  used  in  Princess 
Pat  preparations.  Months 
of  experiment  in  her  lab- 
oratory disclosed  a  way  to 
do  the  seemingly  impossi- 
ble, to  substitute  precious 
almond,  of  known  virtue. 

and  do  away  with  starch.  Today  not  a  speck  of 
starch  is  used  in  Princess  Pat  Powder  or  Rouge. 
Besides  the  Almond  Base  in  the  powder,  other  im- 
ported ingredients  of  rare  delicacy  and  great  price 
are  used.  And  I  marveled  at  the  wonderful  machinery 
which  makes  the  powder  inimitably  soft.  And  as  for 
staying  on.  Well  there  simply  isn't  any  comparison. 
I  have  used  about  every  _ 
known  powder,  including  the 
most  expensive  French  Pow- 
ders— none  of  them  e\  en  ap- 
proach Princess  Pat  in  clinging 
quality.  Another  thing  Prin- 
cess Pat  has  a  quality  that 
seems  mysterious  to  me — it 
gives  the  most  wonderful 
beauty  of  all — a  smooth  silken 
skin,  but  never  a  hint  of  pow- 
dery appearance.  When  j  ou 
use  it,  your  skin  assumes  ab- 
solute perfection,  but  >ou 
simply  cannot  detect  thepo\\der  I  \\^s  told  the  sc  en- 
tific  reason;  but  must  confess  I  \e  forgotten  it  All 
I  was  interested  in  was  the  re'sult.  But  I  an  remem- 
ber, and  can  tell  you  from  experience,  that  continued 
use  of  Princess  Pat  Powder  works  wondrous  beneht 
to  the  skin,  because  of  the  constant  contact  ot  its 
almond  base.  It  is  simply  marvelous  in  preventing 
blackheads,  in  giving  the  skin  a  texture  which  simply 
defies  coarse  pores,  even  under  the  most  trying  con- 
ditions of  exposure — none  more  trying,  certainly, 
than  my  own  work,  sometimes  under  the  burning 
Kleigs,  sometimes  in  the  open  with  dust  flying  or 
extreme  temperatures  to  meet. 

".And  Princess  Pat  Rouge.  Never  was  anything  so 
wonderful.  I  remember  the  explanation  of  that 
clearly,  because  it  was  *  obvious.  The  skin,  you  see, 
has  no  real  color.  If  you  doubt,  just  try  to  say  what 
color  vour  skin  is.  No,  the  skin  is  really  a  transparent 
membrane  with  some  neutral  tints.  When  you  have 
a  natural  color,  it  is  the  blood  showing  through  your 
n»utral  skin.  Now  if  you  use  the  usual  rouge,  this  is 
not  taken  into  account.  You  apply  a  fixed  unyielding 
color — and  then  wonder  why  it  never  looks  natural. 

"But  with  Princess  Pat.  these  facts  have  been  taken 
into  account.  Special  transparent  colors  ha\'e  been 
used.  They  intensify  (instead  of  blot  out)  the  neutral 
skin  tones.  There  are  ingredients  that  actually  warm 
to  life  when  this  rouge  is  placed  upon  the  skin.  Thus 
you  secure  exactly  the  color  nature  gives  when  she  has 
been  generous  to  some  rare  women  with  a  naturally 
beautiful  complexion.  And  here's  something  else;  you 
can  apply  Princess  Pat  rouge  just  as  heavily  as  you 
please— and  it  will  look  natural;  or  you  can  just  use 
the  tiniest  bit  with  a  perfectly  natural  effect.  Thus 
each  one's  liking — for  much  color  or  little — is  per- 
fectly served. 


Mary  Philbin  enjoys  the  smart,  convenient  "Tap-It"  Princess  Pat's  dainty. 


Hiproof  powder  and  lip  rouge  container. 


The  Most  Valuable  Adv 


:  I  Can  Give  You 


"I  haven't  space  to  tell  you  all  that  Princess  Pat 
beauty  aids  accomplish — how  they  speedily  correct 
eruptions  and  blemishes  of  all  kinds,  how  they  erad- 
icate wrinkles  (with  marvelous  quickness)  how  special 
methods  of  application  give  exceptionally  beautiful 
make-up  to  harmonize  with  your  mood  and  gown,  how 
one  special  shade  of  rouge  (Princess  Pat  Nite)  is 
scientifically  prepared  to  respond  gloriously  to  every 
kind  of  artificial  light  (almost  impossible  with  day- 
light rouges).    I  can't  go  into  all  these  details. 

"But  here  is  what  I  advise  every  woman  to  do  if  she 
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94 


Photoplay  Magazine— Advertising  Section 


For  Your  Entertainment — 

The  Following  Pathe-De  Mille 
Studio  Productions 


Phyllis    Haver    in 
"Chicago" 


teatrice  Jajj- 

in 

Tlie  Blue  Danube" 


^Villiam  Boyd  in  "Skyscraper" 
and  "The  Aight  Flyer" 


Jactiuellne    Logan     in    "The 

Leopard  Lady"  and   "Midnight 

MadnCMs" 


"CHICAGO" 

Phyllis  Haver  and  Victor  \'arconi.  A  giddy  wife  who  tries  to  fool  her  husband, 
does  fool  a  jury,  but  doesn't  get  away  with  it  after  all.  From  the  stage  success 
by  Maurine  Watkins.    Directed  by  Frank  Urson.    Easily  the  sensation  of  1928. 

'THE  BLUE  DANUBE" 

Leatrice  Joy;  with  Joseph  Schildkraut  and  Nils  Asther.  All  the  romance 
that's  in  the  famous  waltz.  Austria,  land  of  lovely  ladies,  where  romance  is  a 
delight  and  an  art.  .  .  Paul  Sloane,  Director.    Ralph  Block,  Associate  Producer. 

"STAND  AND  DELIVER" 

Rod  La  Rocque;  picturesque,  keen,  sparkling.  He  fought — he  had  to.  He  hated, 
for  it  was  natural.  He  loved,  for  what  an  alluring  girl  she  was!  A  Donald 
Crisp  Production,  Ralph   Block,  Associate  Producer. 

"SKYSCRAPER" 

William  Boyd ,  fresh  from  his  success  in  "Dress  Parade"  is  a  riot  as  a 
roughneck  riveter.  Laughs  and  love  in  a  delectable  drama.  Howard  Higgin, 
Director.      Ralph   Block,   Associate   Producer 

"HOLD  'EM,  YALE" 

Rod  La  Rocque;  a  drama  of  youth,  joyous,  likeable,  unrestained.  E.  H.  Griffith, 
Director.     Hector  Turnbull,  Associate  Producer. 

THE  NIGHT  FLYER" 

William  Boyd;  a  railroad  drama  that's  an  entertainment  special  straight 
through  to  the  trans-continental  popularity  terminal.  What  a  succession  of 
successes  for  this  engaging  young  star!  Walter  Lang,  Director,  James  Cruze, 
Supervisor. 

'MIDNIGHT  MADNESS" 

Jacqueline  Logan,  with  Clive  Brook  and  Walter  McGrail.  Its  very  title  reeks 
of  strange  people,  mystery,  suspense!  Harmon  Weight,  Director.  Hector 
Turnbull,    Associate   Producer. 

THE  LEOPARD  LADY" 

Jacqueline  Logan,  Alan  Hale  and   Robert  Armstrong.     Mystery  melodrama.  .  . 
Suspense.      From   Edw.  Childs   Carpenter's  stage   success. 


Thrills.  .  .  Chills 
Rupert  Julian,  Director. 


Bertram   Millhauser.  Associate  Producer. 


Patlie 

Exchange ,   Inc . 


QUESTIONS  £#  ANSWERS 


Read  This  Before 
Asking  ^estions 

You  do  not  have  to  bi 
reader  of  Photoplav 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address;  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  the  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  than  other  ques- 
tions. For  tliis  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


Cleo  H.,  Daytox,  O. — Let's  get  this 
straight:  Mr.  Davies,  the  paint  salesman 
whom  you  met,  may  be  the  father  of  a 
Marion  Davies  but  not  the  father  of  Ihe 
Marion  Davies.  Marion's  father  is  Judge 
Douras,  a  magistrate  of  the  City  of  New 
York,  and  so  quite  a  person  himself.  More- 
over, Marion  has  no  sister  named  Margaret 
but  her  sisters  are  Reine,  Rosemary  and 
Ethel.  Also  Thomas  Meighan  has  no 
children.  All  of  this  only  goes  to  prove  that 
you  can^t  believe  much  of  the  gossip  you 
hear.  When  in  doubt,  put  your  problems  up 
to  this  old  Fount  of  Wisdom. 

G.  L.  M.,  Atlanta,  Ga.— The  Edison 
Company  was  one  of  the  pioneers  in  the  pro- 
ducing field.  Thomas  A.  Edison  had  an 
interest  in  it.  It  was  part  of  the  General 
Film  Company  and  man}-  of  the  stars  and 
directors  started  at  its  studio  in  New  York. 
If  you  want  a  complete  history  of  Mr.  Edi- 
son's contributions  to  the  movies,  I  refer 
you  to  Terry  Ramsaye's  history,  "A  Million 
and  One  Nights." 

L.  M.  R.,  PoRTCHESTER,  N.  Y. — For  the 
benefit  of  you  and  all  other  admirers  of 
"Seventh  Heaven,"  I'll  broadcast  that  Jan- 
et Gaynor  and  Charles  Farrell  may  be 
reached  at  the  William  Fox  Studios,  Holly- 
wood, Calif. 

Louise  B.,  Watertowx,  N.  Y. — You 
win.  The  picture  vou  inclose  is  ]\Iollv 
O'Day. 

Margie  I.,  Los  Angeles,  C.\lif. — 
Yes,  it's  tough  that  you  Angelenos  ha^•e  to 
write  to  New  York  to  find  out  about  your 
movie  neighbors.  Gilbert  Roland  was  born 
in  Chihuahua,  Mexico,  but  his  present  ad- 
dress is  the  United  Artists  Studio,  7200 
Santa  Monica  Blvd.,  Hollywood.  And  I'll 
confirm  your  impression  that  he  isn't  mar- 
ried. 

Marcella  Shatravsky,  China. — No, 
charming  stranger,  I  cannot  tell  you  my 
name.  It  is  against  the  rules  and,  anyway, 
I  am  too  bashful.  But  I  can  tell  you  that 
both  Ramon  Novarro  and  Williani  Haines 
may  be  addressed  at  the  Metro-Goldwyn- 
Mayer  Studios,  Hollywood,  Calif.  Come 
again ! 

M.  N.  Z.,  Cleveland,  O. — ?iIarion  Nixon 
has  chestnut  brown  hair  but  she  sometimes 
wears  a  blonde  wig  in  pictures.  Blonde  or 
brunette,  she  always  looks  good  to  these  old 
eyes. 

Miss  Schaber,  Jersey  City,  N.  J. — I 
rush  to  impart  the  information  that  Na- 
talie Kingston  was  the  girl  you  liked  in 
"Lost  at  the  Front." 


M.  L.  R.,  Madison,  Wis.— William  Bo\d 
has  light  brown  hair  and  blue  eyes  and  is 
married  to  Elinor  Fair.  He's  six  feet  tall. 
Write  to  him  at  the  De  Mille  Studios,  Cul- 
ver City,  Calif. 

B.  G.,  Haverhill,  Mass. — Eve  Southern 
is  not  a  Scandinavian.  Just  a  native  Amer- 
ican, born  in  Texas. 


HTHE  most  persistent  ques- 
tion of  the  month  con- 
cerned young  "Buddy"  Rog- 
ers. His  real  name  is  Charles, 
he  is  twenty-two  years  old 
and  his  address  is  the  Para- 
mount-Famous-Lasky  Stu- 
dios, Hollywood,  Calif. 

Here  are  the  answers  to  the 
six  other  most  persistent 
questions : 

Barry  Norton  played 
Mother's  Boy  in  "What  Price 
Glory."  His  real  name  is 
Alfred  de  Biraben. 

Billie  Dove  is  twenty-four 
years  old.  Her  real  name  is 
Lillian  Bohny  Willat  and  she 
was  born  in  New  York  City. 
She  is  married  to  Irving  Wil- 
lat, a  director. 

Clive  Brook  is  thirty-six 
years  old  and  was  born  in 
London,  England.  For  more 
details  see  his  story  in  this 
issue. 

Bebe  Daniels  may  be  ad- 
dressed at  the  Paramount- 
Famous-Lasky  Studios,  Hol- 
lywood, Calif. 

Phyllis  Haver  is  not  mar- 
ried. 

Dolores  Costello  was  born 
in  Pittsburgh,  Pa.  She  isn't 
married. 

And,  lest  you  forget,  in 
writing  to  the  stars  for  photo- 
graphs, send  twenty-five  cents 
to  cover  the  cost  of  the  pic- 
ture and  postage.  The  stars 
are  glad  to  mail  you  their 
pictures,  but  the  cost  of  it  is 
prohibitive  unless  your  quar- 
ters are  remitted. 


Charmaine,  Bordentown,  N.  J. — Try- 
ing to  vamp  an  old  man,  are  you?  Well, 
keep  on  enjoying  Life  with  a  capital  "L." 
And  best  regards  to  my  rival.  'To  answer 
your  questions:  Evelyn  Brent  played  in 
"  L'nderworld "  and  she  was  born  in  1899. 
Charles  Farrell  was  the  boy  in  "Seventh 
Heaven."  Come  again,  even  if  the  ques- 
tions are  only  an  excuse. 

Edna  S.,  Burbank,  Calif. — Richard  Ar- 
len  started  in  pictures  in  February,  1925. 
He  played  small  parts  at  first,  but  now  the 
young  fellow  seems  to  be  coming  into  his 
own.    He  is  twenty-eight  years  old. 

Grace  W.,  Chicago,  III. — You  were  a 
lucky  "fan  "  to  get  such  a  good,  face-to-face 
close-up  of  your  favorite.  Rod  La  Rocque's 
next  picture  is  "Stand  and  Deliver."  Phyl- 
lis Haver  is  starring  in  "Chicago."  Tell 
your  friend  to  write  to  Virginia  Lee  Corbin 
at  the  First  National  Studios,  Burbank, 
Calif.. 

Flo  S.,  Chattanooga,  Tenn. — When 
you  take.that  trip  to  Spain,  you  won't  have  to 
"hobo."  There  are  very  nice,  inexpensive 
students'  tours.  Ramon  Novarro  was  born 
in  Durango,  Mexico,  but  he  is  of  Spanish 
ancestry.  And  Dolores  Del  Rio  was  edu- 
cated in  Spain,  although  she  comes  from 
Mexico  City.  Stick  to  your  ambitions;  they 
are  very  fascinating. 

M.  S.,  Los  Angeles,  Calif. — Sally 
O'Neil  is  five  feet,  one  and  one  half  inches 
tall  and  weighs  104  pounds.  She  has  dark 
blue  eyes  and  black  hair.  As  for  being  tem- 
peramental, well  you  know  the  Irish.  They 
are,  but  they  make  you  like  it. 

H.  B.,  Delaware,  O. — You  typewrite 
like  an  expert.  Norma  Talmadge  was  born 
in  Niagara  Falls,  N.  Y.,  but  she  lived  most 
of  her  earlv  life  in  Brooklvn.  Rov  D'Arcy 
was  born  on  February  10,  1894.  James  Hall 
was  born  on  October  22,  1900.  Gloria 
Swanson  has  brown  hair  and  Billie  Dove  has 
brown  eyes. 

A.  M.,  Canton,  O.— John  Gilbert  is  an 
American  and  not  of  Syrian  descent,  that  I 
know  of.  Neither  have  the  Gish  sisters  any 
Syrian  ancestry.  In  fact,  I  don't  know  of 
any  Syrians  who  are  in  the  movies. 

H.  W.  E.,  Lansing,  Mich. — Anna  Q. 
Nilsson  is  about  thirty  years  old.  She  was 
born  in  Ystad,  Sweden,  but  she  has  been 
in  this  country  so  long  that  she  really  is  an 
American.  Anna  Q.  is  divorced  but  she  is 
going  to  be  married  again  to  Ernest  Krause, 
a  non-professional.  Lon  Chaney  is  married 
and  that  is  his  real  name.  Lon's  newest 
thrillers  are  "London  After  Midnight"  and 
"The  Big  City." 

[  continued  on  page  109  ] 

95 


96 


Photoplay  Magazine — Advertising  Section 


^S^ 


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>xvio> 


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Accept  it  with  our  compliments — this 
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It  shows  you  exactly  what  each  dollar 
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Gossip  of  All  the  Studios 


[  CONTINUED  FROM  P.-\GE  84  ] 


GOODY,  goody!  Lew  Cody  is  going 
to  take  orders  from  a  woman. 
Dorothy  Arzner  has  been  borrowed  from 
Paramount  to  direct  Lew  in  a  new  comedy 

DIXXER  at  the  Ambassador  with 
Blanche  Sweet  and  Micky  Neilan 
and  some  friends. 

The  waiter  timidly  inquired  of  Blanche, 
"Aren't  you  Mrs.  Alexander's  little  girl, 
Blanche?" 

Blanche  smiled  with  pleasure  and 
responded  in  the  affirmative. 

"I  used  to  wait  on  you  in  Chicago." 
the  waiter  continued.  In  a  few  moments, 
he  remarked,  "Sa}-,  Miss  Sweet,  I  ser\  ed 
you  once  at  the  Ritz  in  New  York," 
The  actress  was  more  or  less  flattered. 
The  waiter  became  more  familiar:  "Say, 
Blanche,  don't  you  remember  the  night 
I  saw  you  out  at  the  Planatation?" 

Then  followed  more  and  more  famil- 
iarity, until  Miss  Sweet  became  fuiious 
and  complained  to  her  husband.  Then 
the  truth  was  disclosed.  As  a  joke, 
Micky  had  hired  an  actor  friend  to  play 
waiter  at  their  table  and  thus  embarrass 
Miss  Sweet. 

LARS  HANSEN  has  written  his 
Hollywood  friends  a  letter  saying  that 
since  he  returned  to  Europe  he  has  dis- 
co\'ered  that  Hollywood  is  the  most 
famous  city  in  the  world.  He  has  been 
so  pestered  wich  questions,  that  he  has 
gotten  out  a  mimeographed  set  of 
answers,  because  he  says  most  people 
ask  the  same  questions! 


UXTQL'E  among  the  ^■arious  Christ- 
mas gifts  exchanged   by  the  studio 
contingent  was  that  of  Milton  Sills. 

Harold  Llojd  and  Milton  Sills  have 
estates,  where  thej'  are  growing,  or  expect 
to  grow,  e\-cry  rare  plant  and  flower 
that  can  Vive  in  California.  Milton  is 
already  a  recognized  horticulturist  and 
Harold  is  studxing,  so  it  was  quite 
appropriate  that  Milton  should  give 
Harold  a  copy  of  Bailey's  Encyclopedia 
of  Horticulture  (se\erai  volumes)  bear- 
ing the  inscription:  "From  One  Horti- 
culturist To  Another  Horticulturist." 

A  YEAR  ago  Betty  Bronson's  mother 
was  worried  for  fear  Betty  might  not 
be  like  other  girls.  She  just  didn't  care 
to  go  anywhere.  Now  Mrs.  Bronson  be- 
wails the  fact  that  Betty  nexer  stays 
home.  \Mth  luncheons,  teas  and  dances, 
the  girl  is  growing  up  faster  than  her 
mother  had  wished.  You  just  can't  please 
these  modern  mothers. 

WHEN  Nils  Asther  is  between  pic- 
tures he  hies  himself  to  Arrowhead, 
where  the  knee-high  snow  drifts  make  him 
think  he  is  back  in  Sweden.  He  makes 
good  use  of  his  skis  while  he  is  there  for 
Nils  remembers  that  he  skied  himself 
into  pictures,  ha\ing  been  seen  by  Stiller, 
the  Swedish  director,  when  he  was  com- 
peting for  the  skiing  championship  in 
Stockholm. 

The  director  later  called  for  Nils  when 
he  needed  a  double  for  his  star  in  a  skiing 
sequence. 


If  that  lad  you  are  in  love  with  just  does  not  seem  to  be  making  the 
grade,  buy  him  a  copy  of  OPPORTUNITY  MAGAZINE  and  make 
a  salesman  out  of  him.  That's  what  Gertrude  Olmsted  does  for 
Richard  Dix  in  the  picture  he  is  now  making.  Phillip  Strange,  the 
third  side  of  the  triangle,  doesn't  think  he  has  a  chance  to  make 
good,  but  see  what  OPPORTUNITY  MAGAZINE  and  Gertrude  do 
for  Richard  in  "Sporting  Goods"  when  it  comes  to  your  theater 

semcnt    In   IMIOTOPI..\Y  M.VG.VZINE  is  Euarautced. 


Photoplay  Magazine — Advertising  Section 


97 


oN^25c 


^O^  DE,SSKR.T^ 


^^<^^^    ^tlt? 


:\r-'»".>f,%  'x,  >  ^^*y  »»^\  ,><  *«  '■"'" ""  ""'''  "*  '-^^ 


SECOND  \ 

EDITION 

NOW  READY     1 


.^.^Ic-^'- 


FAVORITE  RECIPES 
OF  FAMOUS  FILM  STARS 

PHOTOPLAY'S  Cook  Book 

Edited  by  Carolyn  Van  Wyck 


PHOTOPLAY  readers  do  enjoy  good  things  to 
eat.  We  are  convinced  of  that,  as  the  entire  first 
edition  of  our  new  Cook  Book  was  completely  sold 
out  only  a  few  months  after  the  appearance  of  the 
first  announcement.  The  second  edition  is  now 
ready  for  distribution,  so  you  will  not  be  disap- 
pointed. 

PHOTOPLAY'S  Cook  Book,  of  course,  is  in  no  sense  a 
book  on  HOW  TO  COOK.  It  is  merely  a  guide  of  WHAT 
TO  COOK.  The  recipes  are  not  beyond  the  skill  of  the 
average  housewife.  In  fact,  very  few  of  them  call  for  any 
delicacies  that  are  not  in  stock  in  every  kitchen. 

You  will  not  find  any  charts  or  calories,  proteins  or  vita- 
mins in  this  book,  but  you  will  find  among  its  recipes  some 
very  delicious  vegetable  and  fruit  salads  that  should  be  on 
the  menu  of  every  woman  who  values  her  health,  her  com- 
plexion  and   her   figure. 

Menus  for  All  Occasions 

The  many  "party"  recipes,  the  many  dishes 
that  are  appropriate  for  luncheons,  teas  or  suppers 
will  make  this  little  book  priceless  to  the  hostess. 
The  foreign  recipes  furnished  by  prominent  French, 


German,  Swedish  and  Hungarian  Stars  will  add 
a  welcome  variety  to  your  menus.  Also  included 
in  this  amazing  little  book  are  22  favorite  recipes 
for  desserts  and  candies,  for  which  you  would 
gladly  pay  double  its  price.  Tasty  desserts  and 
delicious  candies,  just  the  thing  to  serve  after  an 
evening  of  Bridge  or  after  the  theater. 

Write  your  name  and  address  plainly  in  the  space  provided 
in  the  coupon,  and  enclose  only  25  cents  (stamps  or  currency), 
and  you  will  receive  your  copy  of  this  wonderful  little  Cook 
Book  bv  return  mail. 


Photopl.w  Publishing  Co., 
750  N.  Michigan  Ave., 
Chicago,  111. 

Gentlemen: 

Enclosed  please  find  25  cents   (""g^a^^p^)   for  which  kindly 

send  me  Photoplay's  Cook  Book  containing  100  favorite 
recipes  of  the  film  stars. 


Address . 
City.... 


advertisers  please  mention  PHOTOPLAY  M.4G.\ZIXE. 


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Fits  Like  a  Glove 
Over  Shoe  and  Ankle 

Washable  Inside  and  Out 

SHUGLOV  is  the  new  thing  in  foot- 
gear proteaion.  There  is  nothing 
else  like  it — nothing  with  similar  ad- 
vantages. 

Shuglov  is  fashioned  of  strong, 
featherweight  rubber.  It  is  form-fitting 
— worn  with  any  style  of  shoe.  It  is 
washable,  inside  and  out.  It  snaps  on  or 
off  in  a  jiffy.  No  pulling.  No  tugging. 

Shuglov  has  none  of  the  bulk  and 
weight  of  old  methods.  Utmost  pro- 
tection is  assured  without  them. 

And,  most  important,  Shuglov  comes 
to  you  in  four  harmonizing  colors, 
Nude,  Gray,  Black  and  Brown,  with 
two  types  of  hee's.  The  Universal  is  for 
military,  military  high  and  spiked  heel. 
The  Cuban  is  for  the  lower  and  flatter 
heels.  The  trim  decorative  top  is  worn 
up  or  down  with  equal  smartness. 

All  smart  shops  are  showing  Shu- 
glovs.  Women  who  diaate  the  vogue 
are  wearing  them. 


For  the  first  time  a  distina  style  note  in 
footgear  protection.  AH  the  charm  of  a  pair 
of  lovely  shoes  — yet,  utmost  warmth  and 
comfort. 

*  Pronounced  Shoe-Glove 

THE  MILLER   RUBBER  COMPANY 

of  N.  Y. 

AKRON,   OHIO 


Are  the  Stars  Doomed? 


[  CONTIN'UED  FROM  PACE  76  ] 


producers  are  not  inclined  to  kill  off 
established  favorites  out  of  sheer  personal 
malice  or  the  satisfaction  of  sadistic  im- 
pulses. 

BUT  when  the  financial  statement  sheet 
fails  to  balance  on  the  right  side,  then 
the  star  must  either  take  a  reduction  in 
salary  and  a  demotion  in  rank  or  get  into 
the  tumbril  and  ride  to  the  guillo- 
tine. 

The  grim  spectre  of  the  headsman 
stalks  through  many  an  almost  genuine 
Louis  XIV  boudoir  today. 

As  I  write,  I  have  before  me  a  list  of 
thirty  former  stars,  not  merely  featured 
players,  stars,  who  are  on  their  uppers  in 
Hollywood  today. 

I  have  another  list  of  once  famous  lead- 
ing men  and  women  who  are  on  call  as 
e.xtras  at  the  studios. 

It  would  be  sheer  brutality  to  publish 
them,  but  as  I  read  over  some  of  these 
names,  famous  beauties,  matinee  idols, 
great  actors,  many  of  them  I  have  known 
in  the  zenith  of  their  popularity,  a  feeling 
of  sadness  comes  over  me.  They  were 
just  as  beautiful  and  handsome  and  just 
as  clever  as  most  of  those  who  are  basking 
in  the  sunlight  of  popularity  and  oppor- 
tunity today.  That's  a  side  of  Hollywood 
you  never  hear  about,  the  shady  side  of 
the  street. 

Last  time  I  was  in  Holl^'wood,  a 
dramatic  star  whom  I  had  known  at  the 
height  of  his  fame  Vvas  working  as  three- 
dollar  a  day  atmosphere  in  a  cheap  two- 
reel  comedy,  and  glad  to  get  such  work  a 
few  days  a  week. 

A  former  screen  actress  of  dazzling 
beauty  is  waiting  on  table  in  an  Illinois 
small  town  hotel. 

But  enough  of  that.  It's  too  depressing 
to  write  about. 

WHAT,  then,  is  the  answer  to  our 
question?  Is  the  star  system 
doomed?  A  loud  and  decisive  NO  is  the 
answer. 

It  all  began  when  the  public  demanded 
the  names  of  the  unidentified  favorites  in 
the  old  Biograph  days. 

The  personality  hidden  by  the  oro- 
ducers  under  the  name  of  the  'Biograph 
Blonde"  was  brought  into  the  open  as 
Alary  Pickford.  That  was  the  start  of  the 
star  system. 

The  fact  of  the  matter  is  that  pro- 
ducers know  now  that  they  must  build 
personalities. 

They  must  take  comparatively  un- 
known people  and  develop  them  up  with 
pictures  and  exploitation. 

They  have  found  that  is  better  business 
than  outbidding  each  other  for  established 
stars  to  whom  they  must  pay  salaries  so 
large  that  they  cannot  make  money  for 
the  companies.  They  ha\-e  foi-nd  that 
big  salaries  often  expand  temperaments, 
and  temperament  is  a  very  definite  item 
of  studio  expense. 

There  ha\e  been  cases  of  downright 
injustice  to  players  as  well  as  to  directors 
and  writers.  There  are  men  occupying 
powerful  executive  positions  who  are  so 


unfitted  to  guide  and  "nspire  creative 
workers  that  they  too  are  on  the  way  to 
the  guillotine. 

The  doorsteps  of  many  of  them  are 
chalked. 

There  is  one  studio  in  Hollywood  in 
which  the  salaries  of  three  executives  con- 
stitutes an  item  of  over  thirty  thousand 
dollars  on  every  picture  before  the  story 
is  selected. 

There  is  one  studio  so  overrun  and 
demoralized  by  relatives  of  the  powers 
that  be  that  it  is  difScult  to  retain  a 
competent  manager. 

By  this  time  the  bankers  know  that 
motion  pictures  must  be  a  profitable  busi- 
ness to  stand  the  abuses  it  has  been  sub- 
jected to. 

The  capable  members  of  the  younger 
set  must  realize  that  they  cannot  hope  to 
achieve  the  salaries  of  yesterday. 

TAKE  the  case  of  sweet  little  Janet 
Gaynor.  She  worked  in  the  Fox 
studios  for  months  and  nobody  took  any 
particular  notice.  Then  Winfield  Sheehan, 
new  head  of  the  Fox  production  forces, 
selected  her  against  the  advice  and  over 
the  protests  of  his  whole  organization,  to 
play  the  part  of  Diane  in  '"Seventh 
Heaven."  Frank  Borzage  made  of  it  an 
almost  flawless  picture.  Gaynor  was 
made  overnight. 

Then  what  happened?  She  was  advised 
by  friends  and  attorneys  that  she  ought 
to  demand  a  huge  salary  from  the  Fox 
company,  in  spite  Of  the  fact  that  she  was 
under  contract  at  §400  a  week  with 
increases  from  year  to  year. 

Sheehan  voluntarily  raised  her  salary 
to  SIOOO  a  week,  an  increase  of  $31,000 
for  the  first  year,  with  steady  increases 
which  would  give  her  $2000  a  week  the 
fourth  year. 

Sheehan  would  go  no  further  and  little 
Janet  finally  saw  the  light.  The  Fox 
Company  risked  a  million  dollars  on 
Sheehan's  judgment  to  make  her  a  star, 
and  have  no  assurance  that  she  will  ever 
do  such  good  work  again.  Yet  her 
attorne}-s  would  remo\-e  all  chance  of  the 
company  ever  making  a  cent  of  profit  on 
their  investment. 

Sally  O'Neil  was  boosted  from  an  e.xtra 
into  the  big-money  class  by  Metro- 
Goldwyn-Mayer. 

She  was  getting  $750  a  week.  At  the 
end  of  her  contract  she  was  offered  $1000. 
She  insisted  en  $1500  and  they  let  her  go. 

OLIVE  BORDEN,  who  was  discovered 
by  Tom  Mix  and  given  a  part  in  one 
of  his  pictures  a  few  years  ago,  climbed  up 
to  $1500  a  week. 

She  had  been  an  extra  girl  and  her 
mother  ran  a  candy  store. 

Her  contract  provided  that  on  its  com- 
clusion  the  companv  might  renew  it  for 
$2250. 

Olive  didn't  prove  a  box  office  sensa- 
tion, and  she  was  offered  $2000  for  forty 
weeks. 

The  case  of  Lillian  Gish  is  significant. 
She  was  getting  about  $8000  a  week  from 
Metro-Goldwyn-Mayer.       Her   pictures 


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Photoplay  Magazine — Advertising  Section 


99 


did   not  bring  in  a  return  sufficient  to 
justify  a  renewal  of  her  contract. 

Today  Lillian  Gish  doesn't  know  where 
she's  going,  but  she  is  on  her  way  to 
United  Artists.  Joe  Schenck  has  offered 
her  shelter  under  that  program,  but 
nothing  more — no  huge  salary.  Miss 
Gish  must  disco\er  her  own  stories, 
select  her  own  casts,  prD\ide  her  own 
director,  risk  her  own  money.  The  star 
is  not  enthralled  by  this  idea,  as  Gloria 
Swanson  was. 

THE  only  director  she  wants  —  the 
Swedish  Seastrom — is  under  contract 
to  Metro-Goldwyn-Mayer.  Lillian  has 
already  used  up  all  her  story  ideas.  "The 
U'hite  Sister  "  was  made  at  her  suggestion. 
So,  too,  were  "Romola,"  "The  Scarlet 
Letter"  and  "LaBoheme."  Remember- 
ing their  box  office  results,  Lillian  is  quite 
justified  in  the  suspicion  that  she  is  not 
a  good  story  picker. 

However,  Metro  -  Goldwyn  -  Mayer 
alone  was  responsible  for  that  prize  flop, 
"Annie  Laurie." 

There  are  many  critics  who  regard  Miss 
Gish  as  our  greatest  artist.  Certainly  she 
has  a  loyal  and  large  following. 

She  has  been  acting  since  she  was  six 
years  old. 

Vet  here,  midway  in  her  career,  she  is 
forced  into  the  role  of  producer  if  she  is 
to  continue  to  draw  a  huge  salary. 

The  answer  to  the  headline  question  at 
the  beginning  of  this  tale  of  woe  is  that 
stars  (outstanding  personalities)  will  go 
on  as  long  as  the  motion  picture  continues 
in  its  present  form. 

*     *     *     * 

Great  pictures  can  be  made  without 
stars,  but  stars  cannot  be  made  without 
great  pictures. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  55  ] 

13  WASHINGTON  SQUARE— Universal 

HTHIS  is  a  story  dealing  with  the  efforts  of 
■*-  a  mother  to  keep  her  son  and  his  sweet- 
heart apart.  Alice  Joyce,  the  mother,  lends 
to  her  delineation  the  aristocratic  poise  that 
gives  her  work  such  charm.  Jean  Hersholt's 
part  does  not  demand  acting  at  all  com- 
mensurate with  his  ability.  Helen  Jerome 
Eddy  and  George  Lewis  register  when  given 
an  opportunity,  but  honors  go  to  ZaSu 
Pitts.  The  picture  is  mediocre  but  it  con- 
tains both  mystery  and  comedy. 

TENDERLOIN— Warners 

NDER WORLD  stories  are  shown  on 
•all  sides  of  us  and  we  are  becoming 
familiar  with  the  tenderloin  districts  of  our 
cities.  This  particular  story  deals  with  a 
band  of  crooks,  who  plan  a  bank  robbery, 
are  double  crossed  by  another  crook,  and 
the  blame  thrown  on  an  innocent  girl, 
thereby  causing  much  anguish.  Dolores 
Costello   does    fairly   good  dramatic  work. 

UNDER  THE  BLACK  FLAG—M.-G.-M. 

T>  ALPH  FORBES,  Marceline  Day,  and 
-•-^Flash,  "the  wonder  dog,"  are  the  fea- 
tured players  in  this  drama.  The  German 
boys  are  shown  training  and  doing  some 
fighting  on  the  Russian  front  but  this  is 
largely  to  show  the  part  the  dogs  played  in 
the  war.  Forbes,  "too  good  an  artist  to  be 
a  soldier,"  could  never  kill  until  the  enemy 
killed    his   dog.      Then    he    fought   with    a 


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zTiere  s 
jor    ilw      CsKadged    (zJSob 

The  "windblown"  or  ragged  bob  is  charm- 
ing when  it  is  becomingly  worn,  but  a 
studied  eflFect  must  be  retained  by  skillful 
combing  or  else  chaos!  A  carefullyselected 
set  of  Ace  hard  rubber  Combs  with 
smoothly  pohshed,  rounded  teeth  is  the 
prescription.  A  large  (9  inch)  Ace  Dressing 
Comb,  for  a  thorough  job  in  the  morning, 
is  stimulating  and  "peppy."  The  little  Ace 
Pocket  Comb  does  the  trick  many  times 
a  day  when  the  "rags"  must  be  nicely 
adjusted. Then  the  Ace  Dry  Shampoo  Comb 
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restore  the  sheen.  Such  a  set  of  Ace  Combs 
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vengeance.  Forbes  gets  a  thorough  grip  on 
his  part,  and  William  P'airbanks  has  a  role 
which  he  handles  creditably,  but  it  is  the 
dog's  picture. 

THE  CRIMSON  CITY— Warners 

nPHE  Crimson  City  is  Singapore.  Myrna 
-*-  Loy,  as  JVaw  Toy,  a  captive  in  the  "House 
of  a  Thousand  Daggers,"  gives  a  most 
intelligent  interpretation.  John  Miljan,  an 
American,  hides  in  China  because  he  cannot 
prove  his  innocence  when  convicted  of  a 
crime  he  did  not  commit.  He  is  without 
friends  or  funds,  but  is  kind  to  Na7i  and  she, 
in  return,  saves  his  life  and  honor.  Action — 
and  the  piquant  Myrna  Loy. 

CHICAGO   AFTER   MIDNIGHT— FBO 

WLL  BOYD  (played  by  Ralph  Ince)  is 
framed  by  a  rival  crook.  Hardy  (James 
Mason),  and  sent  to  prison  for  fifteen  years. 
When  he  regains  his  freedom,  he  has  lost  his 
wife  and  little  girl,  and  his  only  desire  is  to 
even  up  with  Hardy.  The  story  of  how  he 
does  this  is  vigorously  directed  and  acted 
by  Ralph  Ince.  Jola  Mendez,  as  the 
daughter,  does  rather  good  work. 

COMRADES— First  Division 

'T~'WO  boys  are  inseparable  comrades.  One 
■•-is  a  coward,  the  other  courageous. 
Comes  the  world  war!  The  brave  lad  goes 
in  place  of  the  weak  one,  assuming  his  name. 
His  fiancee  misinterprets  and  believes  him  to 
be  the  coward.  Helene  Costello  is  charming, 
first  as  the  girl  left  at  home  and  later  as  an 
ambulance  driver  behind  the  trenches. 
Gareth  Hughes  and  Donald  Keith  make 
lovable  boys.      Pleasing  entertainment. 

THE  LAW  OF  THE  RANGE— M.-G.-M. 

TF  Tim  McCoy  has  ambitions  to  become  a 
-l-Bill  Hart,  he  makes  a  good  start  in  this 
picture.  \Mth  the  help  of  his  white  horse, 
the  "Boy  Bandit,"  empty  guns  and  a 
mammoth  prairie  fire,  he  gives  us  a  picture 
which  is  not  only  a  thriller  but  holds  un- 
usual heart  interest.  Joan  Crawford  as  the 
sweet  old-fashioned  girl  fires  the  protective 
instincts  of  both  bandits  and  rangers;  Rex 
Lease  is  the  youthful  robber;  and  Bodil 
Rosing  plaj's  the  yearning  mother. 

THE  CHEER  LEADER— Gotham 

ALTHOUGH  we  have  never  seen  a 
cheer  leader  taken  from  his  post  and 
rushed  into  a  football  game  in  the  last  three 
minutes  to  win  for  his  team,  it  does  make  a 
new  twist  to  an  otherwise  conventional 
college  story.  Gertrude  Olmsted  makes  a 
delectable  co-ed.  Rivalry  for  the  girl  and 
rivalry  for  prominence  on  the  team  furnish 
the  usual  college  complications.  Good, 
light  entertainment. 

THE  BRANDED  SOMBRERO— Fox 

BUCK  JONES,  whose  popularity  never 
fails  him,  in  another  conventional  role, 
of  the  self-sacrificing  hero,  who  protects  his 
younger  half-brother  from  bad  company. 
There's  a  fight  thrown  into  the  proceedings 
for  good  measure. 

THE  LADY  OF  VICTORIES— M.-G.-M. 

HISTORY  and  romance  are  combined  in 
this  Technicolor  two-reeler.  And  what 
more  dramatic  subject  could  be  found? — 
Napoleon  and  Josephine.  This  is  the  story 
of  the  great  romance  of  the  Emperor  of 
France  and  Josephine,  the  Cinderella  of  the 
tropica!  isle  of  Martinique;  the  tragedy  of 
their  Imperial  divorce;  Napoleon's  defeat 
at  Waterloo  and  his  exile.  The  battle  scenes 
and  picturesque  court  backgrounds  are 
effectively    presented.      Agnes    Ayres    and 


Otto  Matieson  are  in  the  cast.  See  this — 
a  splendid  production  in  every  way. 

THE  FORTUNE  HUNTER— Warners 

TLJERE'S  one  reason  why  people  walk  out 
-*-  -'•on  pictures.  This  is  the  poorest  comed>- 
Syd  Chaplin  ever  appeared  in.  S>d  is 
annoying  throughout  the  picture  —  Roy 
D'Arcy  now  has  a  rival  for  dental  honors. 

HUSBANDS  FOR  RENT— Warners 

A  BEDROOM  farce.  Cheap  or  sophisti- 
■**■  cated,  it  all  depends  on  your  viewpoint. 
Cheap  is  ours.  Owen  Moore  and  Kathryn 
Perry  are  a  married  couple  who  just  can't 
understand  each  other  until — anyway  it  is 
not  a  family  picture  and,  furthermore, 
grownups  are  not  so  dumb  as  to  believe  in 
Santa  Claus. 


ON  YOUR  TOES— Universal 

•T^HE  poorest  Reginald  Denny  feature  we 
•^  have  seen  in  some  time.  Grandma 
raises  Reggie  to  be  a  dancing  teacher.  His 
father  was  the  undefeated  heavyweight 
champ  though  Reggie  was  not  aware  of  the 
fact.  Eventually  he  lands  into  the  squared 
circle  and  of  course  becomes  the  champ. 
The  fight  sequence  is  the  best  part  of  the 
picture.    The  kids  will  be  amused  with  this. 

SILK  LEGS— Fox 

LESSONS  in  salesology,  a  la  Madge 
Bellamy.  Madge  is  a  silk  hose  saleslady 
and  is  out  to  do  her  competitor  who  happens 
to  be  the  boy-friend.  After  Madge  cleans 
up  on  all  the  orders  both  companies  con- 
solidate and  naturally  the  boy-friend  be- 
comes the  boss.  Amusing  if  you  don't  take 
your  movies  too  seriously. 

LEAVE  'EM  LAUGHING— 
Hal  Roach-M.-G.-M. 

ANOTHER  rib-tickler  furnished  by  the 
famous  pair — Stan  Laurel  and  Oliver 
Hardy.  It's  all  about  two  pals  who  become 
hysterical  from  laughing  gas  while  pal 
number  one  is  having  a  tooth  extracted. 
When  they  start  home  in  their  Henr\  i- 
where  the  fun  begins.  A  two-reeler — Imt 
better  than  most  feature  length  productions. 

SHEPHERD  OF  THE  HILLS— 
First  National 

HAROLD  BELL  WRIGHT'S  famous 
novel  is  faithfully  picturized  against 
gorgeous  outdoor  backgrounds.  The  types 
from  the  Shepherd  of  Alec  Francis  to  the 
Sammy  Lane  of  Molly  O'Day  are  played 
sincerely,  yet  the  total  result  is  somewhat 
slow.  A  stranger  from  "outside"  comes  to 
an  Ozark  mountain  community,  stays  to 
right  the  wrong  his  son  ha=.  committed  there 
years  before,  thwarts  the  villains  and  brings 
happiness  and  prosperity  to  all.  Recom- 
mended to  placid  parents  and  children. 

BY  WHOSE  HAND?— Columbia 

DON'T  bother  to  find  out.  It  isn't 
worth  5'our  time.  The  only  real 
mystery  of  this  melodramatic  farce  is  why 
such  a  venerable  muddle  of  missing  jewels, 
very  secret  service  operators,  bewildered 
butlers  and  crooks  in  smart  clothii'g  was 
ever  filmed.  Director  W'alter  Lang  and  the 
cast  headed  by  Ricardo  Cortez,  Eugenia 
Gilbert  and  Lillian  Leighton  did  their  best, 
but  the  result  is  very,  very  gaga. 


HER  SUMMER  HERO— FBO 

THERE'S  not  a  tear  nor  a  smile  in  this — 
in  fact  it  is  the  poorest  picture  of  the 
month.  An  improbable  story  and  ditto 
the'cast. 


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Making  a  Million 


[  CONTINUED  FROM  PAGE  86  ] 

of,  foolish  enough  to  go  out  in  this  storm 
except  a  movin'  picture  hero. 

Besides  an'  what's  more,  I  kept  on  now 
that  I'd  got  started,  I  may  as  well  tell  you 
that  this  squaw  being  a  Injun  would  ha\'e 
pounded  up  the  corn,  made  it  into  cakes, 
cooked  'em  over  a  corn-cob  an'  corn  husk 
fire,  fed  herself  an'  the  meat  hungerin' 
baby  an'  gone  back  to  bed,  keepin'  warm 
with  what  quilts,  comforters  an'  blankets 
they  happened  to  ha^■e.  But  Dad  stood 
pat,  made  the  poor  girl  burn  up  the  corn 
for  heat,  go  hungry  an'  keep  on  sufferin'. 
He  even  let  that  poor  little  half-breed 
Osage  baby  cry  through  the  long  nights, 
a  moanin'  for  meat. 

OUT  in  the  drifts,  our  hero  is  a  huntin'. 
Sudden,  he  sees  buffalo  sign.  He 
tracks  'em.  I  tried  to  tell  Dad  the  horse 
the  man  was  ridin'  would  a  smelled  the  buf- 
falos  three  miles  away,  but  Dad  wouldn't 
listen.  The  hero,  seein'  meat  in  sight  for 
his  steak-demandin'  baby,  tightens  his 
belt,  digs  in  his  spurs  an'  goes  ahead.  The 
buffalo  trail  crosses  the  Salt  Fork  of  the 
Canadian  river,  now  frozen  over — he  tries 
to  cross — the  ice  busts — in  they  go.  How, 
says  I,  interruptin'  again,  could  the  ice 
bust  when  it's  this  cold  an'  the  snow's  this 
deep,  but  Dad  replies  that  the  play  has 
got  to  go  as  it  lay,  so  into  the  icy  water 
goes  the  hero  an'  the  horse.  They 
scramble  for  the  bank,  but  the  horse  gets 
out  first  an'  to  save  himself,  throws  his 
cartridge  belt  into  the  river,  it  containin' 
the  last  shell  he's  got  an'  none  nearer  than 
Ponca  City,  sixty  miles  away  an'  tough 
roads. 

The  hero  crawls  up  the  bank  an'  shadin' 
his  eyes  with  his  hands  for  the  closeup, 
looks  back  to  where  the  sufferin'  squaw 
an'  meat  insistin'  baby  are  a  freezin'  an' 
sufferin'.  He  grits  his  teeth  an'  swears 
he'll  have  that  meat  for  the  baby  or  he'll 
never  go  back.  He  has  nothin'  to  aid  him 
now  but  his  hands  and  an'  abidin'  faith 
in  the  Presbyterian  church. 

Then  it  was  that  the  old  bull  buffalo, 
who  really  should  have  been  somewhere 
else  a  mindin'  his  business,  was  to  come  in 
from  behind  the  snow  drift.  Naturally, 
he  was  a  foolish  buffalo,  or  he'd  stayed 
behind  the  drift  where  he'd  be  out  of  the 
wind  an'  storm.  The  buffalo  sees  the 
hero  an'  charges  him  an'  it  looks  like  the 
undertakin'  shop  for  the  j-oung  mt.n,  and 
then  the  horse  comes  back,  ha\"in'  more 
sense  than  the  buffalo,  decidin'  it's  time  to 
get  out  of  there  an'  find  shelter.  The  hero 
leaps  into  the  saddle  an'  would  ha\'e 
started  for  home  but  in  his  ears  comes  the 
piteous  wail  of  a  half-breed  Osage  baby 
cryin'  for  meat.    Meat  he  had  to  have. 

I  told  Dad  if  the  hero  knew  as  much 
about  buffalo  meat  as  I  did,  he'd  a  gone 
on  home  an'  passed  up  the  bull.  There 
ain't  ever  been  a  steam  meat  chopper 
made  yet  that  a  hunk  of  buffalo  meat 
wouldn't  stall.  Anyway,  the  hero  spurs 
up  the  cow-pony,  rides  straight  for  the 
buffalo,  leaps  from  his  saddle  an'  with  his 
bare  hands  bulldogs  him.  The  struggle 
is  fierce — it's  a  struggle  to  the  death.  The 
hero  would  a  lost,  but  above  the  din  of  the 


Jina  Basquette 


says 


Thus  another  of  America's  noted 
film  stars  adds  her  word  of  tribute 
to  this  famous  train.  Leaders  in 
every  walk  of  life  have  come  to 
welcome  the  transcontinental  journ- 
ey on  "  Golden  State  Limited  "  as  an 
entirely  delightful  travel  experi- 
ence. They  find  on  this  train  the 
ultra  refinements  and  deft,  court- 
eous service  to  which  they  are  accus- 
tomed in  their  daily  life. 

Direct  between  Chicago  and  Cali- 
fornia via  Kansas  City  and  El  Paso. 
63  hours  enroute — none  faster  nor 
finer. 


— 

3^"^?^?^'^'^^ 

«^.,r. 

D..r  ►r.  »c01,mi,: 

I 

.ho„ld  UK,  to  t,U  you 

ho.  I  h.v,  .njoyed 

tho  coorteal.s  .ho.n  ma 

on  your  "Oolden  St 

.ta  LLnltad."  I 

la  auct> 

comfortoble  and 

nterastlns  ny 

o  traval 

,  helpful  aervl 

a  of 

our  r.presencactv 

a  aboard  tha  tr 

In  makas 

journ.;  .cross  t 

a  continent  no. 

daja  an- 

Irely  «ffortle»s. 

and  m  fact,  a  dallghtful 

.p«rl.n=,. 

4^ 

^  Sa^-^-f-^^^^t^ 

Golden  State 


Pacific 


Island 


F.  S.  McGINNIS,  Passenger  Traffic  Mgr.,  Southern  Pacific  Company 

San  Francisco,  California 

L.  M.  ALLEN,  Vice-Pres.  and  Pass.  Traffic  Mgr.,  Rock  Island  Lines 

Chicago,  Illinois 

Hollywood  Ticket  Office  Los  Angeles  Ticket  Office 

6-68  Hollywood  Blvd.  21::  West  Seventh 


adverUsers  please  menUon  PHOTOPLAY  MAGAZINE. 


-Advertising  Section 


r'  u&rCvujrinx 

"  NE^-  YORK 

ANTICIPATING  the  FASHION 

New  Yorkers  have  depended  on 
Cousins'  fashionable  57th  Street 
shop  for  many  years  for  what  will 
be  worn  — 

The  newest  leathers,  the  modish 
trimmings  and  the  exquisite  de- 
signs that  distinguish  these  famous 
shoes  are  now  available  to  you 
through  our  postal  shopping  senice 
wherever  you  live  —  and  always 
months  in  advance  of  the  mode. 

We  will  submit  these  models  on 
approval  if  you   like.    Satis- 
faction is  assured. 


Photopl.w  Mag.\zine- 

storm  he  can  hear  the  sobbin'  of  his  Osage 
wife  an'  Osage  kid  an'  it  spurs  him  on. 
He  makes  a  mighty  effort;  his  muscles 
strain;  thej^  stand  like  whip  cords  from 
his  arms  an'  shoulders;  his  chest  hea\es — • 
Dad  insisted  on  the  hea\in'.  Another 
tussle — the  strong  right  arm  of  the  hero 
is  triumphant — the  big  buffalo  bull  is 
tlirowed  an'  dies  with  the  count  of  ten  a 
ringin'inhisears. 


AN',  ladies  an'  gents,  I  was  the  bird 
slated  for  the  buffalo  battle.  My 
part  of  the  job  was  to  subdue  the  mighty 
monarch  of  the  frozen  prairies,  "an'  ," 
sa>-s  I,  when  we  had  got  to  this  point, 
"for  what?" 

"For  what?"  says  Mr.  Turner,  "for 
$250. 

"You  claim,"  he  went  on,  "that  you 
got  to  raise  a  million  dollars.  Well  this 
will  be  your  first  legitimate  start  an'  $250 
is  a  heap  of  money,  especially  out  here  in 
Oklahoma  an'  for  ten  minutes' work. " 
Me  an'  Dad  argued.  I  wanted  Si, 000, 
but  he  laughed  an'  I  finally  agreed  on 
S500.  The  fact  he  promised  me  a  part  in 
the  picture  for  which  I'd  get  paid  extra 
an'  the  further  fact  Miss  Stedman  was 
also  in  the  film,  probably  influenced  the 
compromise. 

Miss  Stedman  was  delighted  when  she 
heard  about  our  fine  story.  "  I  suppose,  " 
says  she,  "that  you'll  put  wires  on  the 
buffalo — you  won't  do  this  with  your 
hands,  will  you?"  "Ma'am,"  I  told  her, 
"there'll  be  no  wires  on  this  here  buffalo 
an'  the  dispute  is  strictly  between  Mr. 
Mix  and  the  buffalo,  an'  no  one  else  will 
be  allowed  to  butt  in. " 


THE  story  bein'  finished,  we  next  had 
to  find  a  location  for  the  prairie  scene. 
I  worried  at  first  about  the  snow,  this  bein' 
summertime,  but  Dad  said  he  would 
attend  to  that.  I  knew  Mike  Cunyan  had 
a  little  ranch OA-eron  theSalt  Fork  he'd  let 
us  use,  pro\idin'  we  ga\e  the  tenant 
somethin'.  Everything  bein'  fi.xed,  they 
ship  the  buffalo  in — two  of  'em. 

W  hile  alwaj's  certain  in  my  own  mind 
that  I  could  bulldog  a  buffalo,  I  didn't 
put  in  any  loud  protests  when  the  picture 
folks  apologized  an'  explained  the  two 
buffalo  bulls  were  aged — that  they'd  been 
able  to  buy  'em  cheap  on  that  account. 
When  it  come  to  lookin'  this  pair  of  bulls 
o\er,  an'  decidin'  which  one  I'd  use,  I  sure 
took  my  time.  I  bought  a  coupla  bales 
of  good  alfalfa  hay  an'  I  certainly  was 
good  to  them  two  old  buffalos.  I  give 
'em  more  hay  an'  grain  than  they  ever 
knew  was  harvested,  an'  all  this  tryia' 
to  find  out  which  one  had  the  kind  an' 
friendly  disposition. 

An'  this  is  just  as  good  a  place  as  any 
to  say  that  as  a  buft'alo  psycho-analyst,  I 
wasn't  so  good.  Age  may  slow  a  man  up 
— -added  years  may  take  the  elasticity  of 
youth  from  him  an'  dim  his  eyesight,  but 
none  of  those  things  aft'ect  a  buffalo  that- 
away.  The  older  a  buft'alo  gets,  the 
tougher  he  grows;  years  increase  his 
speed  an'  makes  him  more  an'  more  un- 
sociable; I  don't  blame  the  rest  of  the 
buffalos  from  keepin'  away  from  him. 
Not  knowin'  then  as  much  as  I  know  now, 
I  still  thought  I  could  throw  either  of 
those  old  bulls.  Reckonin'  from  horse  an' 
cattle  .sign,  I  figured  the  oldest  bull  was 
about  thirty.     Long  about  then,   I  was 

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thirty  mj-self,  but  the  buffalo  was  better 
at  thirty  than  I  e\er  hope  to  be. 

OVER  at  Cunyan's  place  me  an'  other 
cowhands  looked  on  with  much  in- 
terest while  the  property  men  spread 
about  ten  barrels  of  salt  mixed  vv-ith  mica 
o\-er  a  two-acre  pasture  lot,  to  make  the 
winter  snow.  They  produced  a  tougher 
winter  day  than  Oklahoma  ever  saw. 
They  made  some  snow  drifts  that  Okla- 
homa's best  January  wind  couldn't  im- 
prove upon.    That  was  the  set. 

I've  always  had  a  lot  of  respect  for 
horse  sense.  At  that  time  I  was  ownin' 
an'  ridin'  a  horse  named  Old  Blue — I 
used  him  in  the  pictures  until  Tony  grew 
up — an'  when  I  took  Blue  over  to  this 
buffalo  pen,  he  didn't  like  either  of  'em, 
particularly  the  oldest,  which  I  had 
selected  for  the  scene.  To  this  day,  I've 
always  trusted  the  horse  sense  of  Tony — 
when  he  an'  I  don't  agree,  I  change  my 
mind  an'  string  along  with  him. 

Finally,  the  great  day  for  the  buft'alo 
scene  came.  Turner  had  already  shot 
the  scenes  with  the  hero,  the  squaw  an' 
kid  around  the  sod  house.  Miss  Sted- 
man was  there  a  waitin'  to  see  me  do  my 
stuff.  I  figured  that  after  she'd  seen  me 
throw  the  buffalo,  there'd  be  nothin'  to  it 
an'  that  thereafter  instead  of  spendin'  the 
evenin's  walkin'  around  with  the  good 
lookin'  leadin'  man,  she'd  go  horseback 
ridin'  with  me.  I  didn't  know  at  that 
time,  but  learned  it  years  later,  that  Dad 
Turner  had  told  her  to  keep  me  pepped 
up,  so  I'd  go  ahead  with  the  scene.  It 
also  was  a  good  thing  that  I  didn't  know 
then  that  the  part  he  promised  me  in  the 
picture  was  that  of  an  old  Injun  chief 
who  appeared  an'  done  nothin'  in  the 
pow-wow  of  the  tribe  when  they  throwed 
the  good  lookin'  young  squaw  out,  an' 
Miss  Stedman  wasn't  e\'en  in  the  scene. 
An^'way,  she  had  me  steamed  up  to  a 
point  where  I  was  willin'  to  fight  one 
buffalo  or  a  carload,  so  long  as  she  was 
watchin'  me. 

MEANTIME,  I  had  made  all  kind  of 
secret  preparation.  Night  after  night, 
I  had  fed  my  old  buft'alo  baled  hay  an' 
grain  and  talked  kind  an' soothin' words  to 
him.  I  didn't  see  how  anjthin'  could  go 
wrong  unless  the  buffalos  died  before  we 
got  to  the  scene.  I  discovered  that  the 
salt  an'  mica,  used  for  the  snow,  made  the 
ground  slippery,  which  won't  do  when 
you're  a  bulldoggin',  so  I  got  me  the  iron 
ridges  from  the  palms  of  a  coupla  pair  of 
corn  huskin'  glo\-cs  an'  put  'em  on  my 
boots  along  with  the  cleats  that  I'd  taken 
from  a  pair  of  old  baseball  shoes  that  I 
owned.     I  figured  that  I  couldn't  slip. 

A  bunch  of  cowhands  had  dri^■en  the 
old  buft'alo  into  a  little  pen  just  behind 
the  big  snow  drift  an'  give  him  some  hay 
on  my  suggestion.  About  this  time  Mike 
Cunyan  dro\e  up  in  a  buckboard.  Mike 
had  li\-ed  in  Oklahoma  since  it  was  fir^t 
settled  an'  knew  a  heap  about  buftalcs; 
an'  was  a  good  friend  of  mine.  He  firsi 
walked  over  an'  looked  at  the  buft'alo 
an'  next  came  over  to  me. 

"Tom,"  says  he,  "are  you  sure  a 
aimin'  to  bulldog  this  buft'alo?" 

"Why  not?"  I  told  him,  "  I  can  bulldog 
any  old  buft'alo." 

"Well,"  he  said  kind  of  slowly,  after 
thinkin'  a  minute,  "a  few  weeks  ago  you 


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left  a  good  saddle,  a  Winchester  an'  a 
slicker  over  at  my  house  in  Ponca;  what 
do  you  want  us  to  do  with  'em?" 

"Do  with  'em?"  says  me,  "why  keep 
'em  an'  I'll  come  an'  get  'em. "  Somehow, 
I  didn't  like  the  way  Mike  looked  as  he 
walked  away. 

I  GOT  on  Old  Blue  an'  rode  in  where 
Dad  Turner  told  me  the  scene  was  to  be 
shot. 

He  cautioned  me  to  keep  in  the  snow 
an'  that  if  the  buffalo  got  out  of  the 
scene,  to  coax  him  back  in  again. 

I  wa\ed  to  Miss  Stedman,  an'  yelled  so 
the  perfumed  leadin'  man  could  hear  me, 
that  she'd  probably  never  see  another 
bulldoggin'  of  a  buffalo,  unless  she  saw  me 
do  it  again,  an'  that  probably  would  be  a 
long  time  from  now. 

I  told  'em  to  turn  the  old  buffalo  loose. 

He  sure  came  around  the  corner  pretty 
an'  me  an'  Old  Blue  started  right  for  him, 
but  the  horse  required  considerable  spur- 
rin'  to  keep  him  headed  in  the  right 
direction,  but  he  was  game  an'  in  he 
went. 

I  had  figured  out  just  where  I  was 
to  leave  the  saddle,  grab  the  buffalo  by 
the  horns  an'  twdst  him  on  the  ground. 

But  Mr.  Buffalo  got  in  front  of  the  drift 
and  stopped,  watchin'  us  out  of  his  funny 
little  eyes.  Then  he  whirled  an'  charged 
in  our  direction.  Me  an'  Blue  hadn't 
figured  on  that  an'  before  I  knew  what 
had  happened,  the  bull  tossed  Blue  up  in 
the  air,  which  naturally  threw  me  to  the 
ground  an'  left  me  afoot  an'  the  buffalo 
started  after  me.  It  was  probabl}'  sixty 
yat-ds  to  the  end  of  the  enclosure  which 
had  been  fenced  in  by  a  nine-high  barbed 
wire  fence.  To  this  day  I  stOl  think  an' 
some  of  my  friends  still  think  that  I  done 
the  best  sixty  yards  ever  hoofed  by  livin' 
man,  with  or  without  spurs. 

I  also  climbed  that  nine-high  wire  fence 
without  stickin'  myself  or  tearin'  m\- 
clothes. 

Dad  Turner  said  he  ne\er  supposed  be- 
fore that  anything  but  a  railway  train 
could  move  that  fast. 

I  CAME  around  an'  Miss  Stedman  was 
laughin'  to  beat  nine  bands.  I  explained 
to  her  an'  Dad  an'  the  rest  of  'em  that  I 
had  just  been  testin'  the  buffalo  out  to  sec 
how  good  he  was  an'  to  get  him  riled  an' 
het  up  so  he'd  make  the  scene  good. 

"Now,"  says  I,  "I'm  goin'  back  an' 
throw  this  buffalo  bull.  The  only  thing 
I  hope  is  that  I  don't  do  it  too  cruel  or  too 
rough  or  break  its  neck." 

Miss  Stedman  wished  me  luck  an' 
begged  me  not  to  be  too  hard  on  the 
buffalo.     I  promised. 

I  think  that  when  Old  Blue  an'  me  rode 
in  again  an'  started  right  for  the  buffalo, 
it  sort  of  surprised  him,  for  he  stood  there 
doin'  nothin'  but  pawin'  the  mo\in' 
picture  snow. 

Jusv  as  we  rode  past,  with  the  horse  on 
a  good  run,  I  jumped  an'  grabbed  the 
buffalo  by  the  horns.  A  buffalo's  horns 
are  shorter  than  a  steer's  but  I'd  counted 
on  that. 

I  didn't  know  it  then,  but  I  know  now 
that  a  buffalo  has  got  ten  times  more 
strength  in  his  short  thick  neck,  than 
the  best  long  horn  that  Texas  ever  pro- 
duced, dreamed  of  ha\in'. 

Anyway,  I  had  the  buffalo  by  the  horns 


"...  the  audience  would  have  a  fit!  " 

Make  it  nobody^s  business! 

ACTOR:  "Just  listen  to  the  coughs  in  the  audience  —  inter- 
rupting every  line  of  the  play.  Suppose  I  should 
constantly  cough  between  words  —  the  audience 
would  have  a  fit." 

STAGE  MANAGER:  "Well,  it's  part  of  the  game,  I  guess— 
what  are  you  going  to  do  about  it?" 

ACTOR :  "Can't  do  a  thing  except  rely  on  Life  Saver  Menthol 
Cough  Drops  to  prevent  my  own  coughing  and 
hope  to  high  heaven  the  public  gets  next  to  the 
fact  that  they  certainly  do  soothe  the  throat  and 
relieve  coughs." 

— ^^^—  MORAL— 

When  you  cough  at  home  that^s  your  business  — 
in  the  theatre  it's  everybody's  business.  Make  it 
nobody's  business  with  a  packet  of  Life  Saver 
Menthol  Cough  Drops  always  in  your  pocket  or 
purse. 


A  real  life  saver 
for  coughs 
and  colds 


PHOTOPI-.\T   M.\G.^ZINE. 


104 


U 


nlock 

the  hidden 
beauty  in 
your  skin 


yust  beneath 
your  skin  — 
yeSj,  ho'wever 
imperfect  it 
may  be — is 
a  hidden  per- 
fection only 
"waiting  to  be 
released 

JDELOW  those 
unsightly  blem- 
ishes, deep  down 
where  patchwork 
remedies  fail  even 
to  reach,  natural  forces  in  your  skin 
are  fighting  day  and  night  to  counter- 
act the  harsh  conditions  of  daily  life. 
Unaided,  these  forces  fight  a  losing  battle, 
and  imperfections  appear.  A  little  help  on 
your  part,  and  the  balance  swings  toward  the 
dear,  clean  complexion  you  have  perhaps  al- 
ways envied  in  others. 

Easy  method  of  daily  care 

To  cleanse  the  pores,  to  restore  the  pulsing 
of  the  tiny  capillaries  in  the  lower  layers  of 
the  skm,  to  carry  off  infection,  and  then  to 
stop  new  infection  before  it  starts — thousands 
ot  women  have  learned  the  daily  use  of 
Resinol  Soap.  Often  in  a  few  days,  black- 
heads, blemishes,  and  even  infections  that  ap- 
pear to  be  more  or  less  serious,  will  yield  to 
this  gentle  treatment. 

Also  as  a  general  toilet  soap — for  baby's 
tender  skin,  for  shampooing,  for  the  bathl 
Note  Its  clean,  tonic  odor. 

Ointment  for  serious  affections 

The  soothing,  healing  properties  of  Resinol 
Ointment  have  for  years  been  successful  in 
relieving  even  stubborn  skin  affections. 
Rashes  and  eczema — often  itching,  unpleas- 
sant  and  embarrassing  —  will  in  many  cases 
vanish  promptly.  Thousands  have  wondered 
at  the  QUICKNESS  of  its  action.  Resinol 
isabsoluiely  harmless.  It  will  not  irritate  even 
the  delicate  texture  of  an  infant's  skin. 
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an'  it  didn't  take  more'n  a  second  for  me 
to  find  out  that  it  was  already  a  question 
as  to  whether  I  had  him  or  he  had  me, 
with  odds  in  fa\-or  of  the  buffalo. 

I  could  tell  he  was  holdin'  somethin' 
back — wasn't  doin'  his  best.  By  this 
time  he  had  me  pretty  well  on  the  de- 
fensive an'  I  was  a  heap  more  concerned 
about  how  I  was  goin'  to  get  out  of  there 
than  I  was  about  what  the  picture  folks 
wanted. 

In  fact,  my  interest  in  the  picture  busi- 
ness was  slippin'  fast.  I  remember  I  did 
hate  to  ha\"e  Miss  Stedman  an'  the  good 
lookin'  leadin'  man,  who  used  perfume 
an'  oil  on  his  hair,  see  me  get  the  worst  of  it. 

More  than  anything  on  earth,  at  that 
moment,  I  craved  liberty — the  broad 
prairie,  a  good  horse  an'  not  a  fence  or 
house  in  sight. 


IN  the  middle  of  the  drift  me  an'  the  bull 
tussled.  Dad  Turner  shouted  en- 
couragin'ly.  "  Don't  throw  him  too 
quick,"  he  yelled,  "hold  him  thataway 
for  a  few  minutes  until  we  can  get  the 
footage  on  him." 

Dad  didn't  know  it,  but  he  should  have 
done  his  talkin'  to  the  buffalo,  because  it 
was  him  that  was  runnin'  things  an'  not 
mc. 

The  old  bull  braced  himself,  forced  me 
to  my  knees  an'  then  commenced  to  slowly 
bend  me  backwards.  I  dug  my  iron 
cleats  into  the  salt  covered  ground  and 
pushed  the  other  way — but  the  buffalo 
was  gainin'  an'  both  of  us  knew  it.  Slowly, 
I  was  losin'. 

I  knew  the  buffalo  had  me  an'  I  knew 
as  well  that  with  his  sharp  horns,  once  he 
got  me  on  my  back,  I  wasn't  goin'  to  last 
long.  Further  and  further,  the  buffalo 
sho\"ed  me. 

Dad  yelled  encouragin'ly — "you're 
doin'  fine,"  he  shouted,  "keep  it  up." 

I  found  myself  sinkin',  an'  knowin' 
that  would  be  the  end  of  me,  a  lot  of 
things  started  to  run  through  my  mind.  I 
remembered  a  coupla  horse  trades  I 
wished  I'd  never  made  an'  I  thought  of  a 
horse  or  two  that  I'd  like  to  hand  back  to 
their  owner,  who  still  thought  they  were 
strays. 

I  recalled  $10  I  owed  to  a  guy  in 
Colorado  for  a  stack  of  red  checks  lost 
in  a  stud  game  an'  which  I  thought  now 
I'd  like  to  pay  back,  although  I  hadn't 
hurried  much  about  settlin'  durin'  the 
past  few  years. 

FURTHER  an'  nearer  to  the  ground  the 
buffalo  slowly  sho\'ed  me.  I  knew  it 
wouldn't  be  long  now.  I  felt  the  buffalo's 
neck  muscles  tighten.  I  knew  he  was 
about  to  make  his  final  effort — an  effort 
I  knew  I  was  powerless  to  stop — an 
effort  that  I  knew  would  end  the  scene. 
I  made  one  final  attempt  myself  to  twist 
the  bull's  neck  back  or  on  one  side,  but 
my  strength  made  no  more  impression 
upon  that  bull  than  a  child's  would  have 
done. 

I  closed  my  eyes  decidin'  to  make  the 
best  of  a  bad  buffalo  deal,  an'  I  felt  the 
old  bull  try  to  brace  his  front  feet  for  the 
final  sho\e  an'  finish  things,  but  the  old 
boy's  hoofs  were  smooth  with  thirty  years 
of  ad\enturesome  buffalo  life — I  felt  the 
lightenin'  again  of  muscle  and  sinew, 
an'  then,  as  he  shoved  his  feet  deep  into 
the  glazed  salt  an'  mica,  he  slipped. 


I  felt  him  goin'  down  an'  guessed  what 
had  happened.  I  dug  the  old  baseball 
cleats  deep  into  the  prairie  sod  an'  gave 
the  best  an'  mightiest  heave  I  ever 
throwed  in  my  life,  before  or  since.  I  gave 
a  twist — the  old  bulldoggin'  twist — an'  the 
old  bull,  still  strugglin'  for  a  firm  foot- 
hold, went  down,  fightin'  to  the  last.  I 
landed  him  on  his  back  an'  then — I  left. 
I  still  claim  my  e.xit  was  made  in  better 
time  than  any  big  leaguer  has  ever  stole 
second  from  first.  Anyway,  they  had  the 
picture. 

DAD  TURNER,  Tom,  and  e^•eryone 
complimented  the  scene,  an'  Aliss 
Stedman  said  she  thought  it  just  won- 
derful, which  pleased  me  fine. 

The  leadin'  man  didn't  say  anythin', 
which  also  pleased  me. 

"How  did  you  ever  do  it?"  she  asked. 
Assumin'  a  modest  demeanor,  I  replied 
that  it  was  easy,  "nothin'  for  me,  in 
fact."  But  I  told  no  one  about  the  old 
bull's  front  feet  a  slippin'  an'  no  one  saw 
it  e.xcept  Mike  Cunyan.  "It's  a  mighty 
good  thing  for  you,  Tom,"  he  told  me 
later,  "that  the  old  boy's  hoofs  were 
slippery  and  he  couldn't  get  a  hold  on  the 
ground,  otherwise  my  boy.  Bob,  would  a 
had  a  good  saddle,  a  Winchester  an'  a 
slicker." 

I  mentioned  to  Mike  there  was  no  need 
of  tellin'  anyone  else  about  it. 

The  picture  folks  were  pleased  and  gave 
me  my  check  for  $500.  I  rode  over  to 
Ponca  and  at  Burke's  drug  store  bought 
a  beautiful  white  mirror,  comb  an'  brush 
in  a  lo\-ely  red  plush  box  an'  presented  it 
to  Miss  Stedman  an'  she  seemed  pleased 
with  it. 

The  next  day,  the  picture  company's 
Eastern  manager — from  the  old  Seelig 
Polyscope  Company — who'd  just  come 
out,  called  me  to  one  side  an'  said: 

"Tom,  we  got  a  great  picture  in  mind — 
it's  called  'Quo  Vadis,'  an'  in  it  you  are  to 
play  Ursus,  the  hero  who  rescues  the 
hapless  maiden  from  the  horns  of  a  wild 
bull." 

"TS  the  hapless  maiden  a  goin'  to  be 
-LMiss  Stedman?"  I  wanted  to  know. 

"Sure,"  he  said,  "none  other." 

"Then  I'm  hired,"  I  put  in,  at  the 
same  time  I  asked  him  to  write  down  the 
name  of  the  piece,  so  I  could  show  it  to 
the  rest  of  the  cowboys. 

"Surely  you  fellows  know  about  'Quo 
Vadis,'  don't  you?"  says  he. 

"No, "says  I, "we  don't."  \\'hen  I  was 
sheriff'in'  I  once  arrested  a  cattle  rustler, 
whose  lawyer  got  the  case  so  mixed  up 
that  it  became  quo  warranto  an'  I'd 
heard  of  fellers  gettin'  statue  quo  an'  I 
knew  what  quo  aninio  meant  in  Mexican, 
but  the  quo  he  was  talkin'  about  was  a 
new  one  on  us. 

"^'oung  man,"  said  the  manager, 
"you've  got  a  great  future,  you're  a  goin' 
to  play  the  outstandingest  role  of  the 
year — you  an'  the  bull.  You  will  be- 
come famous  overnight. " 

"That's  great,"  I  put  in,  "but  how 
much  money  will  there  be  in  it?" 

"Money?"  says  the  Eastern  gent, 
"money?  Why,  my  boy,  there's  millions 
in  sight  for  you — millions." 

"  I\lillions, "  thought  I,  "he  says 
millions,  an'  I  only  need  one  of  'em." 

[  TO  BE  CONTINUED  ] 


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Photoplay  Magazine— Advertising  Section 


Lasky's  Brook 


05 


[  CONTINUED  FROM  PAGE  29  ] 

for  it.  He  came  in  quietly  enough.  But 
ordinarily  the  twelve  Apostles  could  have 
walked  through  that  room  in  a  body 
without  receiving  a  single  glance. 

Madame  Glyn  named  the  quality  IT. 
Barrie  called  it  "that  damned  charm." 
Whatever  it  is  it  was  as  tangibly  present 
at  our  luncheon  table  as  the  sugar  bowl 
and  the  ketchup  bottle.  It  made  me 
want  to  break  forth  into  the  mountain 
tops  at  dawn,  English  hearts  at  home 
under  an  English  heaven  style  of  writing. 
(Stand  by.     I  won't.) 

"I'm  most  awfully  sorry  but  they've 
given  me  only  hfteen  minutes  for  lunch," 
announced  Clive,  ordering  tea  and 
muffins,  with  cream,  not  lemon.  "I've 
been  looking  forward  to  talking  to  you, 
knowing  you've  come  out  from  the  East. 
The  New  York  mind  is  so  much  closer 
to  my  London  mind  than  the  ones  here 
in  the  West.  There's  writing,  too.  I 
used  to  do  a  bit  of  it.  I'd  like  to  talk 
on  that.  But  fifteen  minutes!  I'm  most 
awfully  sorry." 

I  NOTED  his  long-lashed,  quizzical  grey 
eyes,  the  cleft  in  his  chin,  his  very  lean 
English  figure. 

"What  happened  to  you,"  I  demanded, 
"what  made  you  a  sudden  vogue?" 

A  mocking  glance  from  across  the 
table,  the  same  kind  of  glance  Rolls  \ 
Royce  in  "Underworld"  flung  at  the 
enamoured  Feathers.  "I  ceased  to  be  an 
actor  and  became  an  aphrodisiac,"  ex- 
plained Mr.  Brook.  "A  stimulant,  you 
know,  something  taken  to  make  the  heart 
flutter.  Take  'Hula'  for  example. 
Fancy  a  child  like  Hula  falling  in  love 
with  an  antique  personage  like  myself 
who  has  to  struggle  against  the  coming 
of  a  second  chin.  Fancy  myself  falling 
in  love  with  an  unholy  terror  who  ate 
with  her  fingers  and  brought  her  dog  to 
the  table.  Yet  they  injected  me  into 
that  plot.  Miss  Bow  took  one  look  at 
me  and  her  heart  began  to  flutter.  For 
all  the  acting  I  did  they  might  as  well 
have  poured  me  out  of  a  bottle." 

"There  was  'Underworld,'"  I  reminded 
him. 

YES,  there  was  'Underworld,'"  said 
Mr.  Brook,  "and  there  was  'Barbed 
Wire,'  thank  heaven.  Adult  r61es  both 
of  them,  theonlyones  I've  had  in  America. 
Now  I'm  again  being  the  cold  shoulder 
to  an  unrepressed  lady.  I  am  a  kind  of 
English  lure  for  'The  Devil  Dancer.' 
You  can  see  I'm  obviously  miscast." 

The  mocking  glance  again  amid  the 
muffins. 

"You  sound  as  subtly  blase  as  John 
Barrymore,"  I  commented,  "and  you're 
much  more  quietly  clever  than  Jack 
Gilbert.     How  do  you   get  that  way?" 

"You  want  the  biography?"  asked  Mr. 
Brook. 

"I  want  the  biography,"  I  said. 

"I  was  born  in  London  in  1891,  the  son 
of  George  and  Charlotte  Mary  Brook," 
he  said.  "My  mother  was  an  opera 
singer  and  she  wanted  me  to  be  a  barris- 
ter.   I  dutifully  attended  Duhvich  College 


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with  that  end  in  \-iew  until  I  was  fourteen, 
but  I  spent  mj-  leisure  playing  in  amateur 
theatricals  and  studying  the  violin.  Then 
the  family  fortunes  turned  o\-er,  I  left 
school  and  happily  forgot  the  law. 

"A  nine  jears'  lapse.  I  can't  remember 
half  the  things  at  which  I  tried  to  turn 
an  English  penny.  Once  I  was  a  reporter. 
Once  I  taught  horrible  elocution.  Once 
I  achieved  the  post  of  assistant  secretary 
at  the  Colonial  Club  and  all  the  time  I 
was  attending  classes  in  acting  at  tiie 
Polytechnic.    Then  the  war  broke. 

I  JOINED  up  with  the  Artists'  Rifles, 
a  unit  composed  of  professional  and 
unixersity  men,  as  a  private.  That  was 
in  1914  and  when  the  unit  was  dissohed  I 
was  an  officer  with  a  machine  gun  section 
stationed  on  the  East  Coast  of  England 
looking  for  Zeppelins. 

"Shortly  thereafter  I  was  sent  to  the 
front,  went  through  a  number  of  battles, 
particularly  the  battle  of  JNIessines  in 
which  our  army  mined  so  tremendous  a 
portion  of  the  earth  that  the  explosion 
was  heard  in  London.  I  was  one  of  the 
men  literally  buried  a\\\e.  But  they 
got  me  out  and  sent  me  home  on  ten 
daj-s'  lea^e.  I  thought  myself  quite  all 
right  until  one  night  when  I  had  started 
for  the  theater  I  awoke  to  find  myself 
in  a  strange  part  of  London  with  no 
knowledge  of  how  I  got  there. 

"They  kept  me  home  then  to  drill 
troops.  One  midnight  I  stepped  out  on 
the  parade  grounds  and  began  ^-igorously 
drilling  troops  which  were  not  there. 
.After  that  mental  lapse,  presumably, 
they  decided  they  might  as  well  kill  me 
fully  and  I  was  sent  back  to  the  front 
again.  But  both  my  memory  and  I 
returned,  my  memory  good  and  myself  a 
Major. 

FOR  the  first  time  then  I  tried  the 
professional  stage.  Sir  Alfred  Butt 
ga\e  me  the  leading  role  in  'Fair  and 
Warmer.'  That  started  me.  I  played 
several  other  things  after  that  and  it  was 
in  the  theater  that  I  met  my  wife,  Mildred 
Evelyn,  who  was  one  of  the  most  popular 
leading  women  on  the  British  stage.  \\'e 
played  together  in  'Over  Sunday'  and 
'Sacred  and  Profane  Lo\e'  and  married 
in  1920.  I  went  into  films  then,  one  of 
my  first  pictures  being  with  ^-our  own 
Betty  Compton.  But  pictures  in  England 
are  not  good.  We  are  hampered  by  light- 
ing, by  old  favoritisms,  by  the  fact  that 
our  intellectuals  in  England  scorn  the 
cinema  worse  than  the  intellectuals  here 
scorn  it.  So  neither  the  pictures  nor  the 
actors  get  anywhere  unlesstheactor comes 
to  America,  as  I  was  delighted  to  get  the 
chance  to  do.  I  like  it  here  tremendously 
though  I  could  wish  for  a  little  more 
con\ersation  in  California.  That's  my 
whole  history." 

"Cli\e  Brook,"  I  said,  "you're  an 
int:elligent,  cultured,  intensely  human 
being  and  all  this  infinitesimal  small  talk 
of  yours  about  being  an  aphrodisiac 
doesn't  decei\e  me  a  bit.  \'ou're  bored 
with  this  strong,  cold  Englishman  casting 
inflicted  upon  you  and  you'd  like  the 
chance  to  play  some  real  parts.  Why  not 
say  so?" 

His  mocking  glance  returned.  "Listen, 
child."  he  said.  "I  have,  with  the  ex- 
ception   of    my    two    favorite    pictures, 

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the  truth,  about  motion 
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walked  around.  In  the  final  scene  I  ha\e 
arranged  my  profile  so  that  it  wouldn't 
get  in  the  way  of  the  leading  lady's 
profile  and  we  have  faded  out  together. 
But  some  day  I  shall  forget.  Someday  I 
shall  throw  a  shadow  on  the  leading 
lady's  nose  that  won't  photograph  well 
and  then  my  career  will  be  over.  It's  a 
terrible  destiny  for  a  grown  man  and  the 
reason  for  not  raising  your  sons  to  be 
actors." 

An  assistant  director  came  in  to  whisper 
that  Miss  Gray  was  waiting  on  the  set. 
Dutifully  Mr.  Brook  departed. 

But  I'd  like  to  give  Mr.  Lasky  a 
suggestion.  There  was  another  famous 
brook.  It  belonged  to  Alfred  Tennyson 
who  put  it  in  a  poem  and  according  to 
the  legend  it  went  on  forever. 

Xow  there  is  a  great  space  on  the  screen 
for  intelligent,  cultured  gentlemen.  Wom- 
en want  some  star  who  will  suggest  an 
ideal  husband  to  them  and  the  success  of 
.■\dolphe  .Menjou  proves  what  a  gold 
mine  such  appeal  is. 

Cast  this  Brook  in  honest  domestic 
dramas.  Then  he,  too,  may  well 
Tennyson-on  forever. 

I  hope,  Mr.  Lasky,  that  I  do  not  have 
to  speak  of  this  again. 


The  high-flying  camera  or  the  boy 
who  worked  his  way  to  the  top. 
Here  is  a  camera  placed  in  a  peril- 
ous position  to  get  some  trick 
scenes  for  "Monkey  Business,"  a 
new    Dane-Arthur    comedy 


■^Z 


WHY 

DoesABee 
Love  Clover 


Fresh,  fragrant  clover  blossoms,  laden 
with  delicious  sweetness  —  bees  will 
go  miles  to  sip  the  honied  nectar. 

There's  the  same  irresistible  appeal  in  the 
delicious  flavor  of  Blatz  Grape  Gum.  It  has 
captured  the  nation.  Insist  on  the  original 
—  look  for  the  name  Blatz. 

Also,  another  great  realization  awaits  you  — 
a  new  delight  —  Blatz  Mint  Gum,  full  of  the 
real,  old-fashioned  peppermint. 

Sold  everywhere.  Try  them  today  —  there's 
a  world  of  difference  in  the  taste. 


'Everybody 

Loves  It 


MILWAUKEE 

CHEWING  CUM 


PHOTOPLAY   JI.\GAZIXE. 


loS 


Ppiotoplav  Magazine — Advekiising  Section 


The  smart  woman 
achieves  lovely  lips 

She  runs  a  little  stick  of  orange  magic  firmly 
over  her  lips.  Gradually,  they  begin  to  glow — 
not  with  the  orange  color  of  the  lipstick, 
but  blush-rose,  Nature's  own  youthful  bloom! 

Once  more  she  applies  the  lipstick  .  .  .  the 
color  deepens,  becomes  richer,  astonishingly 
lovely!  No  trace  of  grease  or  pigment,  no 
unnatural  coatmg.  Nothing  except  a  lovely 
glow,  so  natural  it  seems  a 
part  of  her  own  lips  .  .  .  and, 
indeed,  it  is — for  it  is  as  per- 
manent as  the  day  is  long. 

On  sale  everywhere.  Look 
for  the  name  TANGEE  on 
carton  and  case. 

PRICES  —  Tangee  Lip 


completc- 

mcnt;     Tangee    Da) 

Cream,    Tangee    Nigh 

Cream  and 

Tangee  5  ^— 

d'e  r  ^Ti  ^MMm£ 

each.'.  25c  ,i», 

higher    in  j?S^ 
Canada. 


THE  POWER  of 
.  .  .  Twenty  Cents 

Twenty  cents  brings  ynu  the  mini- 
ature Tangee  Beauty  Set  —  ail  six 
iicms  and  the  "Art  of  Make-up." 
Address  Dept.  P.P.z.  The  George 
W.  Luft  Co.,  417  Fifth  Avenue. 
New  York  City. 

Address 


Don't  Call  Her  a  Rich  Girl 


[  CONTINUED  FROM  PAGE  63  ] 


who  was,  of  course,  at  this  time  known 
h\-  her  real  name  of  E\elyn  Lederer,  only 
daughter  of  Sam  Lederer  of  Chicago, 
ne\  er  knew  that  he  didn't  receive  it,  until 
this  last  September,  when  she  went  back 
to  spend  four  days  with  her  mother. 

THEN',  one  e\-ening,  when  all  the  girl 
friends  were  gathered  at  her  home 
asking  her  questions  about  "fan"  letters, 
her  mother  slipped  out  to  get  the  "fan" 
letter  which  little  E-\eh-n  had  written 
Charlie  Chaplin.  The  mother  read  them 
the  yellow,  time  worn  pages  which  she  and 
the  father  had  so  carefully  preserved  for 
ten  years. 

"My  Very  Dear  Friend  Charlie 

"We  arri\edhere  in  San  Francisco 
yesterday  safely  I  thought  I  would  write 
to  you  today.  I  Will  write  again  as  soon 
as  I  reach  Chicago  Dear  Charli  I  dont 
want  your  Secretary  to  answer  my  letters 
only  you  \er3'  own  Dear  Self  Please:  I 
don't  want  any  postal  or  five  Sentences 
letter  either  But  I  want  a  good  size  one 
at  least  a  three  paged  Letter  from  you  and 
Believe  Me.  Charlie.  I  will  certainly 
honor  that  Letter  if  I  e^•er  did  honor  a 
letter  Charlie.  Everyone  I  know  well 
enough  to  speak  to  I  tell  them  I  know  you 
Charlie  Chaplin  and  no  fake  either;  And 
)-ou  took  me  to  the  Depot.  If  )ou  only 
knew  Charlie  how  happy  you  made  me  by 
taking  me  to  the  Depot. 

"From  you'r  Great  Little  Admirer, 

"E-\ehn  Lederer. 
"P.  S.     If  Charlie  Chaplin's  Secretary 
reads  this:  Please  Give  it  to  Charlie  to 
read." 


YOU  know,  it  is  almost  with  regret  that 
I  go  on  telling  this  story  of  Sue  Carol. 
And  when  you  read  these  lines  about  this 
youngster  who  at  the  age  of  twenty  is 
making  one  of  the  most  rapid  climbs  e\er 
clironicled  in  pictures,  I  just  want  j'ou  to 
know  how  difficult  it  was  to  get  Sue  to 
talk  about  herself. 

Not  that  she  doesn't  want  publicity. 
For  she  realizes  that  stories  are,  after  all, 
essential  to  her  success  in  pictures;  but 
just  because  she  doesn't  like  to  talk  about 
the  fact  that  she  has  monej';  has  always 
had  money. 

"People  don't  understand,"  she  told 
me.  "They'll  just  think  it's  publicity  or 
they'll  think  I'm  bragging.  Can't  you 
please  write  something  else  about  me?" 

And  when  we  explained  that  any  true 
story  must  carry  the  details  of  exactly 
what  has  happened  in  her  t\\  enty  years  of 
existence,  she  still  held  back  and  decided 
we  just  hadn't  better  tell  any  story. 

When  we  asked  about  her  girlhood 
friendship  with  Janet  Gaynor,  we  met  the 
same  hesitant  resistance.  "But  I  don't 
see  Janet  out  here  any  more,  \^'hen  I  just 
came  out  here  for  fun,  I  used  to  see  Janet. 
But  now  that  I'm  just  a  little  person  in 
|)ictures  and  she's  a  star,  I  don't  call  her 
u[)  any  more.  Oh,  she's  lovely.  Only 
people  might  think  I  was  bringing  up  the 
old  friendship  just  to  ha\e  someone  write 
the  story." 

ry  iulvi-iHscmoril    in   IMIOTdl-UW   M.\G.VZIXE  Is  guarantc 


She  laughed.  "Did  I  e^'er  tell  you  how 
we  fell  out  of  the  hammock  one  night? 
We  were  thirteen  and  we  lived  \  ery  near 
one  another.  We  used  to  dress  just  alike 
and  comb  our  hair  the  same  way.  We 
weren't  allowed  to  ride  on  buses,  but  we 
used  to  sneak  away  and  ride  on  the  top, 
hoping  that  people  would  take  us  for 
sisters. 

"One  time,  after  such  a  ride,  Janet 
stayed  all  night  with  me.  \\'e  wanted  to 
sleep  on  the  porch  but  mother  wouldn't 
let  us.  So  after  e\-eryone  was  in  bed,  we 
slipped  out  onto  the  hammock.  And  it 
broke!  \\'e  didn't  dare  mo^e  for  fear 
someone  would  hear  us.  And  when 
mother  came  out,  there  we  were  on  the 
floor  sleeping,  or  at  least  pretending." 

SUE  is  an  only  child  who,  until  ten  years 
of  age,  was  not  allowed  to  play  with 
other  children  because  she  might  catch 
some  contagious  disease  or  be  injured- 
Then  her  health  broke  and  physicians  or- 
dered lots  of  play  and  fun  with  other 
youngsters,  so  she  was  sent  to  Kemper  Hall 
in  Kenosha,  Wisconsin.  After  three  years, 
she  went  to  National  Park  Seminary.  On 
September  25,  1926,  she  made  her  debut 
at  the  Drake  Hotel  in  Chicago. 

You  know,  I  am  going  to  play  fair  with 
this  youngster  and  not  tell  you  about  her 
marriage  to  Allan  Keefer  which  followed. 
She  speaks  so  highly  of  Allan  and  of  his 
mother  and  father,  that  why  should  any- 
one di\-ulge  that  little  secret  of  personal 
unhappiness  which  might  befall  any 
eighteen  year  .old  youngster  who  hap- 
pened to  marry? 

But  the  year  of  1926  was  an  unfortunate 
one  for  E\elyn  Lederer  Keefer.  For  in 
that  year  she  lost  her  daddy.  And  to  Sue 
her  daddy  and  her  mother  are,  after  all, 
the  only  things  in  life  \\hich  really  have 
mattered.  She  was  on  the  ocean,  four 
days  out,  racing  to  Switzerland  to  meet 
them,  when  she  recei\ed  word  she  was 
too  late.  Although  she  didn't  say  so,  we 
guessed  that  it  was  to  forget  this  year  of 
misunderstanding  and  sadness  that  she 
came  to  California  to  visit  a  friend  in 
February  last  winter.  Then  she  met  Nick 
Stuart.  When  others  had  asked  her  to 
take  a  screen  test,  she  had  laughed  and 
said  she  wasn't  interested.  But  where 
others  had  failed,  Nick  succeeded.  She 
was  awarded  the  lead  in  "Slaves  of 
Beauty." 

THEN  the  telephone  wires  to  Chicago 
began  buzzing.  Mother  said  "No." 
But  Nick  persisted,  until  mother  finally 
said,  "Just  one  picture!" 

The  next  day  the  Fox  lot  was  buzzing. 
Now  Sue  didn't  tell  us  this,  but  we  know 
that  when  she  finished  her  first  da^-  of 
work,  there  were  forty  agents  present, 
trying  to  sign  her  as  their  client.  Sue 
didn't  know  what  agents  were  for  and 
only  laughed  at  their  offers.  The  harder 
she  laughed,  the  harder  they  persisted. 

But  one  persisted  more  than  all  others. 
When  she  refused  to  talk  to  him  on  the 
phone  or  admit  him  to  her  apartment,  he 
literally  kidnapped  her  on  the  lot  and  took 


Photoplay 

her  to  Douglas  MacLean.  Mother  rushed 
to  CaHfornia,  and  Sue  is  now  finishing  her 
seventh  month  in  pictures,  happier  th 
ever  before,  because  she  has  been  kept 
busy.  Under  contract  to  MacLean  for 
four  more  years,  there  have  only  been  ten 
days  when  she  hasn't  been  working.  Six 
of  these  were  spent  on  the  train  and  the 
other  four  in  Chicago. 

I  wish  you  could  visit  her  apartment, 
near  the  Ambassador  Hotel.  A  kindly 
woman,  half  governess  and  half  maid, 
whom  mother  sent  from  Chicago,  rules 
o\er  the  six  rooms.  A  careful  boy  by  the 
name  of  Robert  (who  counts  e\ery  fan 
letter  secretly  before  he  delivers  them  to 
lier)  drives  her  big  car  to  and  from  the 
studio,  morning  and  evening. 

AND  the  only  imp  which  disturbs  her 
contentment  is  the  little  demon 
called  Gossip.  People  say  that  her 
mother  in\-ested  fifty  thousand  dollars  in 
Douglas  MacLean's  pictures  to  get  her 
into  the  movies.  There  seems  little 
reason  to  doubt  that  mother  would  have 
spent  twice  that  amount  to  keep  her  out 
of  pictures. 

And  they  ask  her  how  much  her  income 
is  from  the  estate  of  her  grandfather. 
And  how  much  her  father  left  her.  And 
if  it  is  true  that  she  pays  three  hundred 
fifty  dollars  a  month  for  her  apartment. 
And  what  she  paid  for  her  white  ermine 
coat,  her  fox  coat  and  her  squirrel  coat. 

Because  she  is  Sue,  she  can't  or  won't 
tell  them.  Only  she'd  probably  be  proud 
to  tell  them  she's  just  been  raised  from  one 
hundred  fifty  a  week  to  two  hundred,  in 
pictures.  Not  because  of  the  money,  but 
because  it  means  that  for  the  first  time  she 
is  working  and  making  good  on  the  job. 

And  if  tomorrow,  she  should  lose  all  her 
money,  she  would  remain  what  she  realh- 
is  now,  the  girl  whom  forty  agents  tried  to 
sign — determined,  like  any  girl,  to  make 
a  success  of  her  career. 


M.\G.\ziNE— Advertising  Section 


Questions  ^Answers 


[  CONTINUED  FROM  PAGE  95  ] 

T.  A.,  Troy,  N.  Y.— Not  Helen  of  Troy, 
hy  any  chance?  Photopl.vy  had  a  cover  of 
Rudolph  Valentino  in  July,  1922.  Write  to 
the  Photoplay  PublishingCompany,  750  N. 
Michigan  Avenue,  Chicago,  111.,  for  back 
issues.  Send  twenty-five  cents  for  each  copy 
you  want. 

Nesta  H.arris,  London,  England. — 
Your  letter  touches  my  heart.  I  agree  with 
you,  Louise  Dresser  is  a  fine  actress.  Write 
to  her  in  care  of  the  Cecil  De  Mille  Studios, 
Culver  City,  Calif.  Miss  Dresser  is  married 
and  her  newest  pictures  are  "The  Garden  of 
Eden  "  and  "My  Country."        , 

A.  S.,  Dayton,  O. — Karl  Dane  never  has 
told  me  his  age.  But  he  was  born  on  October 
12.  I'd  guess  about  38.  Hey,  Karl,  how  old 
are  you?  He's  married.  And  weighs  205 
pounds.  He  was  a  carpenter  before  he  be- 
came a  movie  comic. 

Irma  p.,  Atwood,  Colo. — Tom  Mix's 
wife  is  Victoria  Forde.    She  used  to  be  in  the 

movies.  Ronald  Colman  is  still  legally  mar- 
ried to  Thelma  Raye,  an  English  actress,  but 
they  have  been  separated  for  some  time. 
Mary  Pickford  is  thirty-four  and  Lon 
Chaney  is  forty-four. 


109 


/ 


Af^RENCH 

'^^heauty  hath 

JECRET 

Sensational  in 
Immediate  Results 

Your  skin  instantly  feels 
like  rare  velvet 


ke  the 


stepp] 
that  your  skin  has  a  "feel 
down  on  a  pansy  petal. 

This  sounds  almost  too  good  to 
be  true  —  or  if  true,  probably  too 
expensive. 

But  it  is  true  —  the  results  are 
immediate  and  the  cost  is  insignifi- 
cant. You'd  never  believe  that  such 
an  inexpensive  beauty  bath  could 
produce  such  instant,  enriching 
results. 

Merely  dissolve  a  half  package  of 
Linit  in  the  bath — bathe  in  the  usual 
way,  dry  off— and  then  feel  your  skin 
—  soft  and  satiny  smooth! 

This  soft,  satiny  "finish"  comes 
from  a  thin  coating  of  Linit  left  on 
the  skin  which  is  invisible  to  the 
naked  eye. 

Starch  from  corn  is  the  main 
ingredient  of  Linit — harmless  and 
pure  —  and  being  a  vegetable  prod- 
uct, it  contains  no  mineral  proper- 
ties to  irritate  the  skin.  Dermatolo- 
gists and  doctors  regard  its  purity 
so  highly  that  they  generally  recom- 
mend starch  from  corn  to  soothe  the 
tender  skin  of  young  babies. 


If. 


you  cannot  believe  that  a  Linit 
Beauty  Bath  will  be  the  most 
pleasant  you  have  ever  enjoyed 
— we  ask  you  to  make  this  simple  test: 
After  dissolving  a  handful  or  so  of 
Linit  in  a  basin  of  warm  water,  ivash 
your  hands.  The  instant  your  hinds 
come  in  contact  with  the  tcater  you  are 
aware  of  a  smoothness  like  rich  cream 
— and  after  you  dry  your  hands  your 
skin  has  a  "feel"  like  velvet.  You'll  be 
coni;inced— instantly  ! 


Merely  buy  a  package  of  Linit 
from  your  GROCER  and  follow  the 
suggestions  given  here. 


IMPORTANT:  Should  you  experience  any  difficulty  in  procuring  JlINIT  from  your  grocer, 
please  write  Corn  Products  Refining  Company,  Dept.  P,    17  Battery  Place,  New  York  City 


PHOTOPLAY   MAGAZINI 


I  I  o  Photoplay  Magazine — Advertising  Section 

Via  moderti  face 

tvill  tolerate 
••skin-fati^ue'' 


A  coarsened 
skin  texture 
— crowsfeet,  lines. 
hollows  and 
drooping  contour 
of  "Skin-Fatigue" 
are  inevitable  whei 
comes  over-tired. 

The  true  secret 
stimulation — do  you  know  that 
for  about  three  dollars  you  may 
purchase  the  world  -  famous 
Helena  Rubinstein  Valaze  prep- 
arations which  smooth,  soften 
and  rejuvenate  the  skin! 

Begin  now — awaken  your  skin 
to  youthful  beauty  with  these 
first  simple  steps  or  if  neglect 
has  already  left  its  traces  select 
the  special  correctives  your  skin 
requires. 

THREE  STEPS  TO  BEAUTY 
Cleanse — Mold 
Valaze  Pasteurized  Cream— Thoroughly 
cleanses,  soothes,  and  molds  away  that  "tired 
look."  Perfect  for  all  normal  skins,  and  a  unique 
cleansing  cream  which  actively  benefits  oily, 
pimpled  or  acne -blemished  conditions.  An  ex- 
cellent winter  protection,  makes  powder  last- 
ingly adherent.  1.00 
Valaze  Cleansinft  &  Massage  Cream  —  for  dry, 
sensitive  skins,  alternate  it  with  the  Pasteurized 
Cream  every  other  night — ideal  for  quick  re- 
moval of  dust  and  make-up.                      75c,  1.25 

Clear — Animate 

Beautifying  Skinfood— the  skin- 
bleaches  mildly,  creates  exquisite  deji- 


Vala 
cjeari 


Tone — Brace 

\alaze  Skin -Toning  Lotion  —  A 


SPECIAL  CORRECTIVES 

Valaze  Grecian  Anti-Wrinkle  Crearn  —  (Antho- 

out  wrinklesand  crowsfeet,  corrects drj-,  shriveled 
skin  and  scrawny  neck.  1.75 

V  alaze  Pore  Paste  Special  —  instead  of  soap 
— washes   away    blackheads,    refines    pores,    re- 
stores skin  to  normal  delicacy  and  smoothness. 
1.00 

Artistry  in  Cosmetics 

Helena  Rubinsteins  latest  Parisian  Combina- 
tions of  perfect  rouges,  lipsticks,  eyeshadows 
and  powders.  1.00  to  5.50 

Valaze  Vvater  Lily  Lipsticks  —  Two  stunning 
new  shades.  Red  Cardinal:  light.  Red  Ruby: 
medium.  1.25 

Valaze  V\'ater  Lily  Double  Vanities  —  In  square 
jewel-like  enameled  cases.  Jade,  Black  &  Chinese 
Red.  2.50 

'.  alaze  Vvater  Lily  Powder  — Matchless  among 
powders.  1.50 

AT  THE  BETTER  STORES— OR  ORDER 
DIRECT  FROM  DEPT.  P.C. 

Maison  de  Beaute  Valaze 
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r<U  Out  and  Mail  This  Diagnosis  Chan 

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46  Wnt  57th  Street,  New  York,  N.  Y. 

Kiadljrscnd  me.  wirhout  charge,  full  individual 

■ ;tionj  for  daily  care  of  ray  skia. 

Dry  .Skin  (    )  Enlarged  Porei 

Oily  SL  In  ^    ^  Double  Ohm 

Average  Skin  t     )  Puffy  Eyes 

Wrinlclej  f    S  Flabbiness 

Crowsfeet  f    ^  Tan,  Freckia 

Sallowne^^  C     )  Pimples.  Acoe 

Blackhead.  (    )  Hollows 


Name. 


L.  E.  B.,  Denver,  Colo. — Buck  Jones 
was  christened  Charles  Jones  and  he  was 
born  in  X'incennes,  Ind.  Does  that  help  you 
any? 


Dicky  ^^'.,  Ottawa,  Ont. — The  Misses 
Loy,  Lee  and  Sebastian  would  be  very  much 
offended  if  they  knew  that  you  referred  to 
them  as  "extra"  girls.  They  are  principal 
players,  if  3'ou  please,  and  there  is  a  lot  of 
difference — many  hundred  dollars  a  week 
difference,  as  a  matter  of  fact.  Write  to 
Dorothy  Sebastian  and  Gwen  Lee  at  the 
iNIetro  -  Goldwsm  -  Mayer  Studios,  Culver 
Citv,  Calif.  And  address  Myma  Loy  at  the 
Warner  Brothers  Studio,  5842  Sunset  Blvd., 
Hollywood,  Calif. 

J.  L.,  Xev\-  York,  X.  Y. — Photoplay 
Magazine  published  an  interview  with 
Ken  Maynard  in  October,  1926.  Send  a 
quarter  to  the  Photoplay  Publishing  Com- 
pany, 750  N.  Michigan  Avenue,  Chicago, 
111.,  for  a  copy  of  the  issue. 

Ont-y  Dot,  Barrixgton,  N.  J. — Victor 
McLaglen  plaj'ed  Escamillo  in  "Loves  of 
Carmen."  Clara  Bow  receives  her  mail  at 
the  Paramount  -  Famous  -  Lasky  Studios, 
Hollywood,  Calif.  '  (Take  notice,  please, 
all  other  Bow  "fans.")  Her  newest  picture 
is  "Get  Your  Man."  Your  other  questions 
are  answered  elsewhere  in  this  Encyclopedia 
of  Fascinating  Facts. 

M.  E.,  Chicago,  III. — Your  questions 
aren't  the  least  bit  of  trouble.  Sue  Carol's 
real  name  is  Evehn  Lederer  and  George 
O'Brien  is  twenty-seven  years  old.  George's 
newest  pictures  are  "Sharp  Shooters'  and 
"Honor  Bound."  As  for  Danny  O'Shea,  I 
think  his  last  appearances  were  in  "The 
Beauty  Parlor  "  series. 


Girls'  Problems 


[  continued  from  page  16  ] 

her  look  ahead  earnest!}',  for  even  though 
she  marries,  it  will  be  very  pleasant  to  have 
won  a  place  so  real  in  the  business  world, 
she'll  want  to  keep  on  with  it  after  the 
honeymoon.  Yet  don't  let  her  be  afraid  to 
fail.  If  the  first  job  doesn't  suit,  or  the 
second,  don't  let  her  get  discouraged,  but 
keep  on  climbing,  getting  more  competent, 
more  poised,  more  intelligent. 

For  the  thing  that  makes  a  career, 
whether  it  be  acting  before  the  camera  or 
working  in  a  factory,  is  the  ability  to  do 
something  different  in  a  practical  manner. 

W.viting: 

Send  me  a  self-addressed,  stamped  enve- 
lope and  I'll  be  glad  to  mail  you  instructions 
for  clearing  your  skin  of  pimples. 

Alma  Cazaretto: 

What  a  fortunate  girl  you  are.  Alma, 
with  your  thick,  curly  hair!  To  make  your 
hair  lie  smoothly,  brush  it  thoroughly  night 
and  morning.  This  will  restore  the  natural 
oil  and  give  it  a  fine  sheen.  Secure  water 
wave  combs  and  place  them  in  your  hair 
about  once  a  week  for  a  half  hour  to  "set" 
the  pattern  of  your  wave. 

Plaintive: 

If  your  hair  is  naturally  beautiful,  wear  it 
simply — without  either  band  or  elaborate 
headdress.  Lovely  hair  is  at  its  best  un- 
adorned. What  is  that  line  about  "paint- 
ing the  lily"?  _  Several  excellent  shampoos 
are  advertised  in  Photoplay.  You  can  lose 
ten  pounds  easily  if  you  will  take  some  reg- 
ular exercise  and  pay  attention  to  your  diet. 
Omit  white  bread,  potatoes,  pastry,  candy 
and  ice  cream  for  a  month  and  see  what 
happens. 


No  Gray  Today! 

Fear  of  crude  dyes  no  longer  excuses 
gray  hair.  You  don't  have  to  use  them. 
Kolor-Bak  is  a  clean,  colorless  liquid  that 
cannot  harm  the  hair;  and  it  does  bring 
back  the  color.  Not  the  weird  hues  wo- 
men used  to  get  from  old-fashioned  hair 
dyes,  but  the  color  your  hair  ought  to 
be — the  color  it  used  to  be. 

Eolor-Bak  acts  gently — the  change  is 
graduaL  That's  why  your  closest  friend 
can't  detect  it.  Hair  is  left  lustrous ;  only 
the  gray  is  gone.  Blonde,  auburn,  brown, 
black — any  shade  responds  to  this  natu- 
ral process.  The  one  bottle  is  right  for  all. 

Why  experiment  with  anything — even 
on  one  lock  of  hair — when  Kolor-Bak 
always  gets  the  same  perfect  result — on 
a  money-back  guarantee  I  For  sale  at  all 
druggists'  and  leading  department  stores. 
For  Sale  at  all  Drug  and  Department  Stores. 

Banishes  Grory  Hair 


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Many  women  will  undoubtedly  be  glad  to  know 
how  they  may  have  beautiful,  white,  soft,  pretty 
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In  the  morning  you  will  be  agreeably  surprised  at  the 
pleasant  transformation  that  has  been  wrought  by 
even  a  single  application.  Ice-Mint  is  made  from  a 
Japanese  product  that  is  simply  marvelous  for  its 
beautifying  properties  whether  used  on  the  hands  or 
face.  Regardless  of  what  kind  of  work  a  woman  does 
she  should  have  prettj-  hands  as  they  are  really  the 
true  marks  of  refinement.  A  few  applications  of  Ice- 
Mint  will  actually  make  any  woman  proud  of  her 
hands  and  skin.  It  costs  little  and  is  sold  and  recom- 
mended by  good  druggists  ever\'where.  Advertisement 


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Photoplay  Magazine — Advertising  Section 


Love  and  Laughter 


[  CONTINUED  FROM  PAGE  57  ] 

"Yes,  Larry,  I  will  go  through — even 
that." 

The  cigarette  dropped  out  of  his  hand. 
He  watched  it  boring  a  brown  hole  in  the 
rug  before  he  bent  down  to  flick  it  into 
the  fireplace. 

Time !  that  was  the  one  hope  left  to  him. 
Time  had  been  his  ally  before.  A  day,  a 
week,  a  month  at  most,  and  E\'elyn  had 
come  to  him  with  guileless,  amused,  un- 
shadowed eyes,  like  a  child  of  twelve  who 
has  found  momentary  delight  in  a  baby's 
rattle,  saying, 

"/^H,  Larry,  wasn't  it  funny  that  I 
V^sliould  have  liked  that  man?  Why, 
really,  he's — -oh,  well,  anyhow — he's  not 
you.  Thank  heaven,  Larry,  you  aren't 
tlie  jealous  sort." 

But  now — he  wondered.  There  was  a 
different  quality  in  her  tone,  in  her  look. 
For  the  first  time,  he  was  afraid.  Weakly, 
terribly  afraid. 

To  his  lawyer  went  Lawrence  Danvers 
the  following  day.  His  tall  form  seemed 
bent  as  if  pressed  down  by  an  invisible 
weight.  His  face  suddenly  looked  old  and 
Iiaggard. 

"Fred,  I  want  the  facts  about  this  man 
Forbes  Nathan,"  he  said  harshly,  "if  it 
takes  a  whole  detective  bureau  to  get 
them.  I've  seen  him,  and  I  don't  like  his 
face.  He's  too  smooth;  too  silky.  I  may 
have  to  let  Evelyn  go.  But  I'm  damned 
if  I'll  let  her  go  to  anyone  who  is  less 
worthy  of  her  than  I  am." 

Frederick  Simons,  an  old  personal 
friend,  chuckled  a  little. 

"The  long  arm  of  coincidence  is  on  the 
job,  Larry.  Here's  an  evening  paper. 
Read  for  yourself." 

He  thrust  the  lurid  Evening  Star  into 
the  hands  of  Lawrence  Danvers,  who  sat 
silent,  reading  the  latest  scandal  of  the 
day,  which  involved  a  notorious  road- 
house,  a  chorus  girl  of  doubtful  repute — 
and  Forbes  Nathan.  "The  Hea\y 
Lover"  they  dubbed  him,  and  there  was 
much  facetious  comment  upon  the  length 
and  quality  of  his  kisses. 

UTTER  nausea  and  supreme  relief 
spun  round  and  round  in  Lawrence 
Danvers'  mind  like  the  red  and  black  of  a 
roulette  wheel.  He  rose,  after  a  long 
interval,  the  pallor  of  his  face  somewhat 
dissipated,  his  eyes  no  longer  sick  and 
beaten. 

"Thanks,  old  man,"  he  said  quietly. 
"  I  guess  this  finishes  things  nicely." 

Frederick  Simons  put  out  his  hand. 

"If  there's  anything  I  can  do,  Larry — 
anything  at  all — I  hope  you'll  call  on  me." 

"Yes,  thanks.    I'll  remember." 

They  shook  hands  briefly. 

E\'elyn  was  not  there  when  he  returned 
to  the  lu.xurious  remoteness  of  the 
Gramercy  Park  apartment.  In  some- 
thing resembling  a  panic  he  telephoned 
the  theater.  Supposing  the  disillusion- 
ment, the  ugly  revelation  had  over- 
whelmed her? 

The  nonchalant  theater  doorman  who 
answered  his  telephone  call  had  no  in- 
formation to  offer. 

"They  rehearsed  until  six  o'clock,  Mr. 


Although  teeth  are  white 


STILL 


fO^ 


THt 


GUMS 


•  • 


Pyorrhea  strikes 
4  out  of  5 


HI 

L^ 

^s 


^ 


W  ^' 


"1^^ 


^    -' 


^ 


I  . 


> 


-IC^ 


\   fe^^ 


FEW  people  realize  that  Pyor- 
rhea attacks  even  when  teeth 
are  clean  and  snowy  white. 

And  as  a  result,  this  foe  of 
health  takes  heavy  toll  from  4  out 
of  5  after  forty  and  thousands 
younger.     A  needless  sacrifice! 

Take  this  precaution:  See  your 
dentist  every  six  months.  Every 
morning  and  night  use  Forhan's 
for  the  Gums.  As  a  dentifrice 
alone,  you  would  prefer  it. 

Without  the  use  of  harsh  abra- 
sives, it  keeps  teeth  clean  and 
white  and   also   protects   them 


against  acids  which  cause  decay. 

Moreover,  if  used  regularly 
and  in  time,  it  helps  to  firm 
gums  and  keeps  them  sound  and 
healthy.  As  you  may  know,  Pyor- 
rhea seldom  attacks  healthy  gums. 

Get  a  tube  of  Forhan's.  Use 
this  dentifrice  every  day.  Massage 
your  gums  daily  with  Forhan's, 
following  the  directions  in  the 
booklet  that  comes  with  tube. 
Teach  your  children  this  good 
habit.  Two  sizes — 35c  and  60c. 

Formula  of  R.  J.  Forhan,  D.  D.  S. 
Forhan  Company,  New  York 


Forhan's  for  the  gums 

YOUR  TEETH  ARE  ONLY  AS  HEALTHY  AS   YOUR  GUMS 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


am  never 

TROUBLED 
THAT  WAY—' 


So  YOU  SAY,  but  are 
you  sure  .  .  .  Personal 
irreproachableness  is  an 
absolute  necessity  to  the 
cultivated  woman  of  the 
social  world.  The  sureness, 
the  gracious  confidence  of 
being  always  exactly  right 
is  expected  of  her. 

That  humiliating  experi- 
ence of  underarm  odor,  stained 
frocks,  never  casts  its  shadow  on 
her  gayeties. 

For  she  relies  on  Odorono.  And 
rejoices  in  the  freedom  of  an 
underarm  dry  and  sweet  at  all 
times. 

She  enjoys  the  smooth  smart 
fit  of  her  dresses  worn  right  next 
to  her  underarm,  and  the  absence 
of  extra  bulk  to  overheat  and 
cause  additional  odor. 

A  physician  made  Odorono  18 
j^ears  ago  for  his  own  use  while 
operating.  And  further  research 
has  proved  that  it  is  perfectly  safe 
and  healthy  to  check  the  moisture 
in  any  small  area.  Odorono  has 
no  drying  or  other  injurious  effect 
on  the  perspiration  glands. 

There  are  now  two  kinds  of  Odorono. 
The  ruby  colored,  full  strength,  which 
checks  moisture  and  odor  used  once  or 
twice  a  week,  llie  last  thing  at  night. 
And  Odorono  No.  5,  colorless,  milder, 
lasts  only  a  day  or  two,  but  can  be 
used  night  or  morning  and  on  sensi- 
tive skins.  Odorono,  Odorono  No.  5 
and  the  new  Odorono  Cream  Depil- 
atory are  on  sale  at  toilet  goods 
,  counters,  Odorono  —  35c, 
'^C^  60c,  $1.00;  Depila- 


Photoplay  M.\g.\zine — Advertising  Sec: 

Danvers.  Yes,  Nathan  was  here.  I  can't 
say  when  Aliss  Lorraine  left  the  theater,  1 
came  on  duty  just  a  few  minutes  ago. 
Sure,  I'll  have  her  call  the  house  if  she 
comes  back." 

It  was  almost  eleven  when  he  heard  her 
key  turn  in  the  lock.  With  a  quick  mo\'e- 
ment  he  swept  into  the  fireplace  a  pile  of 
cigarette  stubs,  bent,  twisted  things,  with 
the  tips  scarcely  blackened.  He  made  a 
feint  of  putting  aside  a  magazine.  He 
knew,  even  before  she  spoke,  that  she  had 
seen — or  heard — the  story.  There  was  no 
color  in  her  face,  and  her  dark  eyes  were 
stretched  unnaturally  wide. 


tory,  50c. 


Women  of  breeding  use 
over  three  million  bot- 
tU'softhia  medv-ally  ap- 
proved occlusive  every 
year.  Odorono  has  no 
drying  or  other  in- 
iiirious  effect  on  the 
terspiration  elands 


New  10c  Offer:  MuU  cou- 

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Powder  iJeoilorant. 
Huth  Miller.  05  Blair  Ave.. 
Cineinnati.  Ohio 

NnmP 

r;iv                                        c,,,. 

"T  ARRY,"  she  said  scarcely  above  a 
J-Jwhisper,  "have  you  read — this?" 
She  held  out  a  crumpled  copy  of  the 
Evening  Star. 

"Yes,"  he  answered  slowly,  "I  have. 
In  one  way,  E\el3n,  I  am  deeply  sorry. 
In  another,  of  course,  you  will  under- 
stand how  I  can  be  very  glad." 

The  color  flooded  suddenly  into  her 
face. 

"Glad!"  she  cried  sharply.  "What  do 
you  mean?  Do  you  think  that  this  makes 
any  difference  in  my  love  for  him?  The 
difference,  if  any,  is  that  I  love  him  more! 
These  lies,  set  on  him  by  his  enemies  like 
a  pack  of  snarling  dogs — do  you  thins 
they  matter  to  me?  I  tell  you  my  love  is 
big — big!  Nothing  in  the  world  can 
change  it.  If  1  must  go  to  him  through 
the  mud,  I'll  go.  I  am  not  afraid  of 
scorn,  I  am  not  afraid  of  slander.  1  will 
make  the  world  realize  what  love  is!  Yes, 
the  world  that  now  condemns  will  bow  its 
head  in  acknowledgment  of  the  sacred- 
nessof  our  wonderful  lo\e!" 

Lawrence  Dan\-ers  heard  the  tempestu- 
ous slamming  of  her  door.  He  stood 
motionless,  groping  in  a  thick  cloud  of  un- 
reality. He  had  lost.  \\'hat  was  it  she 
had  said,  "I  want  love — love  and 
laughter!"  He  heard  his  own  voice  in  a 
harsh,  jangling  laugh. 

IN  that  next  week  he  recalled  more  than 
once  the  statement  made  by  some 
learned  chatterer,  that  if  time  ceased  to 
nio\-e  we  all  would  go  speedih-  mad,  either 
of  boredom,  ecstasy,  or  horror.  The 
prosaic  realities  of  life  were  all  about  him, 
the  perfectly  served  meals,  the  business 
routine — ^calling  at  the  theater  for  his 
wife  after  rehearsals.  And,  at  the  end, 
there  loomed  the  monstrous  shadow  of  a 
l)light.  His  mind  kept  turning  upon  it 
desperately  like  a  squirrel  upon  a  wheel. 

It  was  a  totally  unrelated  incident  that 
gave  him  a  faint  hope.  Vague  as  a  light 
in  a  fog,  but  as  welcome.  A  woman 
caught  in  a  traffic  jam,  pulled  from  under 
a  truck  cut  and  bleeding.  He  saw  her 
wan,  blood-streaked  face  as  someone 
picked  her  up.  He  heard  her  say  faintly, 
f]uerulously,  "Has  anyone  a  powder 
puff?" 

E\en  through  the  heavy  mist  of  his 
own  misery  he  caught  the  sardonic  humor 
of  the  situation.  A  broken  head  and  a 
powder  puft!  The  eternal  feminine  that 
bra\es  a  burglar  and  screams  at  a  mouse! 

The  first  night  of  "The  Sorrowful 
Lady"  approached.  E\elyn  had  said  to 
him: 

"  Please,  Larry,  don't  come.  It's  going 
to  hurt  you,  and  I  don't  want  to  wound 
you  any  more  than  I  have — than  1  must. 

Bver>-  advert Isemeni    In  PHOTOPLAY  M.\GAZINE  Is  guaranteed. 


I  have  put  Forbes  off  until  after  tonight. 
I  must  think  only  of  my  work.  But  after- 
wards— "  Her  eyes  fell  before  his  steady, 
deliberately  impersonal  glance. 

"Oh,  don't  mind  me,"  he  told  her 
casually.  "  I  wouldn't  think  of  missing  a 
first  night.  And  there's  just  the  possi- 
bility that  you  may  want  me  to  bring  you 
home — afterwards.  You  look  awfully 
fagged,  my  dear,  haven't  the  rehearsals 
been  going  well?" 

She  hesitated  nerA-ously.  "I'm  not  so 
sure"  she  confessed;  "it's  such  a  queer 
kind  of  a  play,  we're  just  a  little  fearful  a$ 
to  how  it  will  go  o\er." 

"The  third  act  love  scene?"  he  asked 
smiling  slightly. 

She  flushed  at  his  tone. 

WE'RE  not  afraid  of  that,"  she 
answered  proudly.  "Forbes  and 
I  are — "  she  stopped,  suddenly  ashamed. 
The  grayness  of  his  face  was  more  than 
she  could  bear. 

Now  he  sat  in  the  orchestra  aisle  seat, 
cold  and  tense.  The  first  and  second  acts 
had  come  and  gone,  to  the  accompani- 
ment of  rather  cautious  applause. 

The  audience  was  very  evidently  re- 
ser\ing  its  final  decision  for  the  third  and 
last  act. 

He  heard  murmurs  of  conversation 
about  him,  criticisms  for  the  type  of  play, 
whispers  of  "Isn't  that  Forbes  Nathan, 
who  is  mixed  up  in  the  roadhouse  scandal? 
The  one  they  called  '  the  Hea\"y  Lo\  cr'  ?" 
And  enthusiastic  tributes  to  the  charm 
and  beauty  of  Evelyn  Lorraine. 

"  Isn't  she  beautiful?  How  old  is  she? 
As  old  as  that?  Well,  anyway,  she's  won- 
derful, only  it's  a  queer  part,  don't  you 
think?  I  don't  know  whether  the  play  is 
supposed  to  be  taken  seriously  or  not. 
These  foreign  plays!    Aren't  they  odd?" 

The  curtain  rose  on  the  third  act,  and 
Evelyn  Lorraine,  as  the  "Sorrowful 
Lady"  for  whom  the  play  was  named, 
swept  into  her  final  tempestuous  scenes 
with  the  man  for  whom,  as  in  real  life,  she 
was  willing  to  sacrifice  her  security,  her 
honor. 

Lawrence  Danvers  felt  the  tension  of 
the  actors  on  the  other  side  of  the  foot- 
lights. All  were  nervous  with  the  excep- 
tion of  Evelyn  Lorraine.    She  was  superb. 

"1  gi\'e  you  my  life,  my  happiness,  my 
sorrow."  Ah,  the  ringing  glory  of  her 
voice  was  like  the  tolling  of  a  death  knell 
in  the  heart  of  the  man  who  sat  there  in 
the  darkness — 

"Take  all  of  me,  do  with  me  as  you 
will!  And  if  you  crush  me,  and  leave  me 
but  a  husk,  the  shell  of  me  will  smile  on 
because  of  the  inner  rapture  that  once  was 
mine.  1  love  you,  I  love  you!  What  else 
matters?  See,  I  am  yours,  now  and  for- 
ever!" 

SHE  waited,  passionately  proud  in  her 
surrender.  He  caught  her  to  him 
fiercely,  and  their  lips  met  in  a  long, 
passionate  kiss. 

For  the  barest  instant,  a  tense  silence. 

And  then — from  somewhere  far  back  in 
the  absorbed  intensity  of  the  darkened 
theater,  there  came  a  loud  derisi\e — 

"SMACK!" 

It  cracked  like  a  bullet  in  the  strained 
attention.  A  gasp,  a  shudder  of  ner\ous 
giggles,  an  explosive  crackle  of  laughter, 
and  the  theater  rocked  with  that  peculiar 


Photoplay  Magazine — Advertising  Section 


113 


merriment  which  is  half  amusement  and 
half  relief  from  taut  nerves. 

"The  Heavy  Lover!  The  Heavy 
Lover!" 

Someone  said  it  half  aloud,  and  the 
laughter  became  hysterical.  There  were 
other  "smacks,"  kissing  sounds  and  loud, 
derisi\-e  sighs. 

Upon  the  stage  Forbes  Nathan  and 
Evelyn  Lorraine  clung  startled  in  the 
frantic,  forgetful  embrace  which  seemed 
now  not  passionate,  but  merely  ridicu- 
lous. 

Lawrence  Danvers  saw  his  wife  wrench 
herself  out  of  her  stage  lover's  arms.  Her 
eyes  were  blazing,  incredulous,  shamed. 
She  passed  her  hand  over  her  eyes,  across 
her  mouth.  Forbes  Nathan  took  a  quick, 
appealing  step  toward  her.  But  she  was 
looking  at  him  as  if  he  had  accosted  her 
insolently  upon  the  street. 

She  flung  up  her  head,  and  spoke  a 
short,  sharp  word  that  the  playwright  had 
never  written — 

"Fool!" 

LAWRENCE  DANVERS  was  waiting 
for  her  at  the  stage  door  that  night. 
She  came  out  quickly,  almost  stumbling 
against  him.  She  looked  at  him  with 
eyes  that  slowly  became  aware  of  his 
existence,  then  filled  with  helpless  tears. 
Her  hands  went  out  to  him  gropingly. 

"Take  me — home,"  she  said  brokenly. 

Lawrence  Danvers  thought  of  many 
things  that  night  when  his  wife  lay  within 
the  protecting  circle  of  his  arms  like  a 
weary,  heart-sick  child.  He  thought  of 
the  feminine  illogicality  of  mind  which 
will  laugh  at  disgrace,  and — be  disgraced 
by  laughter. 

He  thought  of  Frederick  Simons,  who 
had  gi\  en  rich  proof  of  his  friendship  by 
the  saying  of  one  word. 

And  the  thought  that  went  with  him  in- 
to slumber  was  that  Evelyn  Lorraine 
should  ne^'er  know  that  he  himself  had 
gi\  en  her  the  two  things  she  craved  from 
another — love — -and  laughter. 


Laurel,  Miss. 

In  my  family  are  six  brothers  and 
two  sisters.  We  have  always  been 
extremely  fond  of  one  another  and 
very  kind  in  our  family  attitude. 
Within  the  past  year,  one  of  my 
brothers  had  grown  cool  in  his  feel- 
ing toward  the  home  circle.  In  fact, 
he  often  boasted  that  he  cared  more 
for  some  outside  people  than  for  his 
own.    This  pained  us  all  not  a  little. 

A  few  months  ago,  "Beau  Geste" 
came  to  our  little  city.  Of  course, 
everyone  was  carried  away  by  it. 
One  brother,  sister  and  I  went  to  the 
matinee.  I  urged  my  other  brother 
to  go  at  night.  He  attended  and  it 
made  a  wonderful  impression  on 
him.  In  fact,  he  has  been  lovely  to 
all  of  us  and  his  old  family  loyalty 
has  returned.  I  attribute  this 
change  to  the  beautiful  and  inspiring 
influence  of  "Beau  Geste." 


iiiiiiiiiiiiiiiiiijiiiiiiiiiiiiiiiiii 


IIIIIIIIIIIIIIIIIIIIIMIillllllllllllllllllllllllll 


BOIJRJOIS 


PAPas 


TRANCE 


CT/'NOWING  no   tomorrow,  she 

c-'  t/  laughs  at  time's  cunning  and 

nature's  protests.     For  her,  there 

is  ever  the  thrill  and  knowledge 

that    she    possesses    the    subtle, 

irresistible  charm  of  a   perfea 

complexion — and  that  Manon 

Lescaut   will    perpetuate   it. 


MANON 
LESCAIUT 

FACE    P01VDER 


0  V  R  J  O  I  s 


NC.     PAR-IS      A.JtfI)        (tfB>V     VO  P^K 


lllllllllllNlllllllllhllNllllllllMIIIIIIIIIII 


advertisers  please  mention  PHOTOPL.W  MAGAZINE. 


114 


Photoplay  Magazine — Advertising  Section 


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NEDWfl¥BllRN 


« 


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who  itageJ  the  be.t  edition!  of  the  Folliei 
and  over  600  other  Mnsical  Shows  and 
whose  inspirational  direction  contributed 
10  much  to  the  success  of  Marilyn  Kiiller, 
Ann  Pennington, GildaGray,  Fred  and  Adele 
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Among  the  Movie  favorites  who  have  benefited 
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Mackaill,  Jobyna  Ralston,  Dorothy  Sebastian, 
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If  you  want  to  have  a  fascinating  Highly  Paid  Career. 
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[  CONTINUED  FROM  P.\GE  10  ] 


Boys.  Get  Married 

San  Antonio,  Texas. 
The  article  about  Francis  X.  Bushman 
contained  quite  a  silly  bit  of  advice.  I  sin- 
cerely hope  that  none  of  the  young  stars  will 
be  guided  by  it.  Because  Mr.  Ronald  Col- 
man  is  married  is  no  sign  that  his  popularity 
will  wane.  Mr.  Richard  Aden  has  been 
married  for  over  a  year  and  we  still  consider 
him  one  of  the  best  actors  and  very  popular. 
Mr.  William  Boyd  is  married  to  one  of  the 
prettiest  young  ladies  on  the  screen  and  we 
still  dream  of  him. 

Connie  R.  Lo2.\no. 

Good  Movies  First 

Puyallup,  Wash. 
The  brickbat  I  have  for  these  Vitaphone 
and  vaudeville  theaters  is  that,  nine  times 
out  of  ten,  they  show  pictures  that  Photo- 
play warns  us  about.  If  they  can't  give 
good  movies  when  t'^ey  have  the  Vitaphone, 
then  I  suggest  they  leave  the  Vitaphone  out. 
Vivian  Kappner. 

Down  with  the  Bathing  Girl 

Vernal,  Utah. 

Winter  is  here,  and  I  greet  it  with  joy. 
For,  unless  Esquimaux  embrace  an  addi- 
tional phase  of  "civilization,"  Jack  Frost 
will  temporarily  end  a  nuisance. 

Throughout  the  summer,  movie  patrons 
have  been  "regaled  "  with  a  constant  parade 
of  three-fourths  nude  girls  contesting  in  so- 
called  beauty  shows.  It  seems  to  me  that 
editors  of  news  reels  could  readily  find 
events  worthwhile  to  record  with  cameras. 
I  fail  to  see  anything  edifying  in  the  exhibi- 
tion of  the  persons  of  silly  girls  in  a  public 
parade.  John  Bristol. 

Against  Dizzy  Photography 

Hartford,  Conn. 
Here's  a  big  brickbat  for  the  inventor  oi 
the  "following"  camera.  It  is  a  pity  it 
could  not  have  hit  him  on  the  head  and  dis- 
lodged the  idea  before  it  developed.  A  few 
years  ago,  the  makers  sought  to  perfect 
screen  and  machine  to  get  ri(i  of  the  flicker, 
but  now  they  undo  all  this  work,  make  it 
worse  and  impose  this  abomination  on  the 
public.  Watch  it  abused,  without  any  ex- 
cuse, in  "The  Dove."  It  is  hurtful  to  tl  e 
eyes,  and  what  good  is  a  panorama  of  some- 
thing you  can't  half  see  anyhow? 

Connecticut. 

What  the  Boys  Want 

Tilton,  N.  H. 
I  have  charge  of  eighteen  small  bojs  in  a 
private  school  and  I  sure  know  what  a 
blessing  the  movies  are  to  the  child.  Fred 
Thomson  and  Tom  Mix  just  seem  to  hit  the 
spot  with  the  youngsters.  I  take  the  bo>s 
to  the  movies  on  \\ednesday afternQonsand 
I  have  to  know  exactly  what  the  picture  is 
going  to  be  and  who  is  in  itand  what  it  is  all 
about,  even  before  we  see  it.  I  can't  begin 
to  tell  all  this  from  memory,  so  I  rely  on  my 
Photoplay  to  help  me  out,  and  it  never  has 
failed  yet.  Harry  C.  Grove. 

Ouch! 

Corvallis,  Ore. 
I  used  to  drive  fifty  miles  to  see  Colleen 
Moore  in  her  latest  picture,  but  if  the  future 
ones  are  like  "Her  Wild  Oat,"  I'd  rather 
walk  a  mile  for  a  Camel. 

John  A.  McLean. 


Every  advertisement 


IIOTdPLAY  MAGAZINE  l3  guaranteed. 


Photoplay  Magazine — Advertising  Section 


115 


A  Librarian  Speaks 


Pasadena,  Calif. 
I  work  in  a  branch  library  and,  for  two 
years,  I  have  made  a  note  of  every  film  that 
was  taken  from  a  worthwhile  book,  and  of 
the  increase  in  requests  for  that  book,  as  soon 
as  the  film  was  released.  It  seemed  to  me 
that  practically  no  one  ever  read  "The 
Scarlet  Letter,"  but  when  Lillian  Gish 
starred  in  it,  all  the  volumes  immediately 
disappeared.  And  there  were  four  fat  vol- 
umes of  "Resurrection"  that  I  said  "hello" 
to  every  morning,  until  the  picture  came 
out,  when  they  all  temporarily  vanished. 
I  am  afraid  that  you  will  refuse  to  believe 
the  number  of  people  who  had  never  heard' 
of  Barrie  until  "Peter  Pan"  was  produced. 
But  from  "Peter,"  it  was  only  a  step  to  in- 
troduce them  to  "Tommy,"  and  when  "A 
Kiss  for  Cinderella"  appeared,  they  all 
clamored  for  Barrie's  plays. 

Ruth  Gordo.-;. 

Is  Temperament  Justified? 

New  York  City. 
Temperament!  How  few  cases  of  it  there 
really  are,  and  how  many  which  the  pro- 
ducer calls  temperament  are  really  the 
players'  most  effective  way  of  protesting 
against  poor  pictures?  They  have  a  right 
to  good  stories  which  are  really  suitable  to 
them,  and  not  the  rot  which  is  given  most  of 
them  to  play.  Producers  know  this  and  are 
trj'ing  to  take  away,  under  the  flaunting 
banner  of  "cutting  down  expense,"  this  way 
of  protest.  Sidney  Field. 

Doing  Wrong  by  Tolstoi 

Los  Angeles,  Calif. 
I  wonder  why  "Anna  Karenina"  has  been 
changed  to  "Love."  That  title  is  mislead- 
ing. No  doubt  there  are  lots  of  people  who 
know  the  story  of  Anna  and  her  lover, 
n'roiisky,  but  how  many  of  these  people 
want  to  see  such  a  really  spiritual  and  moral 
story  altered  until  it  is  unrecognizable? 
Mrs.  R.  a.  Walton. 

From  the  Youth  of  Main  Street 

Dundee,  Mich. 
As  long  as  youth  is  youth,  there  will  be  a 
desire  for  romance  and  adventure.  This  life 
on  ;\Iain  Street  is  not  adventure  nor  ro- 
mance. We  long  to  sail  the  South  Seas, 
to  dance  on  a  New  York  stage,  to  ride  a 
horse  over  western  plains,  to  travel,  perhaps, 
in  .Arctic  regions,  perhaps  in  tropic  countries. 
Generally  it  is  only  through  the  movies  that 
we  are  able  to  find  these  things  we  seek. 

Fr.\nces  p. 

Thanks   from    a    Business    Man 

San  Francisco,  Calif. 
When  we  hoi-poUoi  see  "Chang"  after  a 
da>-  of  toil  at  some  city  desk,  we  are  lifted 
from  ourselves  and  taken  to  the  great 
hinterland  where  the  impossible  occurs. 
It  stimulates  our  imagination  and  likewise 
deletes  our  profound  egoism,  replacing  it 
with  a  better  knowledge  of  the  size  of  the 
world,  and  the  things  which  are  of  greater 
importance  than  our  job,  or  the  new  public 
library,  or  the  latest  musical  hit. 

GiLSON  WiLLETS. 


Too  Collegiate 

Buffalo,  N.  Y. 
Would  it  not  be  wise  to  suggest  to  the  pro- 
ducers that  the  public  is  not  made  up  en- 
tirely of  eighteen-year-olds?  One  wonders, 
when  play  after  play  borders  very  strongly 
on  the  Haines-Bow  type,  why  some  worth- 
while pictures  are  not  shown  for  us  grown- 
ups. 

Mym.a  R.  Homer. 


WORRY 

shows  in  the  face 


M 


ND  you  can't  massage  it  away 
with  cold  cream. 


First  little  lines,  thenheavier 
wrinkles,  and  tired,  joyless  eyes 
— you  can't  keep  these  out  of 
your  face — if  you  don't  protect 
your  health  and  youthfulness 
in  the  wise,  modern  way. 

Nowadays,  the  truly  modern 
woman  prevents  aging  lines  by 
keeping  well. 

Practise  feminine  hygiene 
regularly — and  correctly — 
with  "Lysol"  Disinfectant.  Do 
not  follow  well-meant  but  false 
advice.  Send  for  the  free  book- 
let offered  below.  It  is  called 
"The  Scientific  Side  of  Health 
and  Youth"  and  was  prepared 
for  women  by  a  woman  physi- 
cian.  Send  the  coupon  now. 

But  in  the  meantime  be  safe, 
be  certain.  Get  a  bottle  of 
"Lysol" Disinfectant  today.  It 
is  the  thoroughly  reliable  anti- 
septic for  this  vital  purpose. 

Complete  directions  come 
with  every  bottle. 

Made  by  Lysol,  Incorporated,  a 
division  of  Lehn  &  Fink  Products 
Company.  Sole  distributors,  Lehn 
&  Fink,  Inc.,  Bloomfield,  N.  J.  In 
Canada,Lysol  (Canada)  Limited.  Dis- 
tributed by  Lehn  &  Fink  (Canada) 
Limited. 


LEHN  &  FINK,  Incorporated,  Sole  Distributors 
Department  128  Bloomfield,  N.  J. 

Please  send  me,  free,  your  booklet,  "The  Scientific  Side  of  Health  and  Youth" 

Name City 

Street State 


yLehn&  Fink.  Inc..  1928 


entioLi    PHOTOPLAY   MAGAZIXE. 


Photoplay  Magazine — Advertising  Section 


Alice  White,  the  beautiful  rtar 
playinguitder  the  First  National 
bainier  has  eyes  no  one  can  for- 
get. They're  so  utterly  beautiful. 


Yon  can  easily  have 
Beautiful  Eyes 

Without  the  slightest  hint  of  ar- 
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enchantment.  It  makes  you  ap- 
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nating. Deftly  it  makes  the  eyes 
seem  larger  and  more  expressive 
—  by  framing  them  in  a  shadowy 
fringe  of  soft,  luxuriant  lashes. 
A  moment  before  your  mirror, 
and  behold!  You  have  captured 
the  elusive  beauty  that  women 
seek.  Just  cover  the  lashes  with 
Winx,  using  the  dainty,  little 
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thelowerlashesdownward.  Winx 
is  steadfast.  It  is  lasting.  It  can- 
not run.  It  is  safe!  It's  waterproof! 
Just  pat  cold  cream  on  the  lashes 
.  .  .  then  gently  remove  it  with 
a  moistened  cloth.  Winx  comes 
off  with  the  cream. 
Be  sure  to  insist  upon  Winx,  the 
originator  of  the  mode  that  is 
sweeping  the  world  of  fashion. 
As  only  Winx  can  give  to  lashes 
the  soft  texture  and  beauty  de- 
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Lavishes  Beauty  without  a  hint  of  Artificiality 

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wherever  the    waterproof  Winx  is   soldi 


My  Life  Story 


CONTINUED  FROM  PAGE  39  ] 


So  I  managed  to  keep  my  chin  up  and 
my  eyes  began  to  blaze  and  for  a  moment 
I  ^e^■erted  back  to  the  little  street  tomboy 
and  wanted  to  sail  into  those  pretty, 
painted,  perfumed  girls. 

Just  then  the  door  opened  and  some 
men. and  a  couple  of  ladies  came  out. 


sure  to  flunk.  What  did  it  matter?  If  I 
failed  in  this,  I'd  go  to  work  somewhere. 

The  day  I  went  to  the  offices — it  had 
in  some  mar\ellous  fashion  narrowed 
down  to  a  statuesque  blonde  beauty  and 
me — I  got  home  about  five  o'clock. 

Mother  was  sitting  motionless  in  the 


They  walked  around  the  room,  looking  dining  room.  Her  face  was  white  and  I 
e\erybodv  over,  very  carefully,  as  though  had  never  seen  her  eyes  look  like  that, 
they  had  been  so  many  statues.    I  tried  to     even  when  she  had  her  worst  spells. 


keep  out  of  sight,  I  didn't  know  who  the 
people  were  and  I  was  too  busy  trying  to 
keep  from  crying  ro  have  an  idea  of  posing 
or  making  an  impression. 

SUDDENLY    one    of    the    men    said, 
"There's  an  interesting  face — that  kid 
with  the  red  tam  and  the  gorgeous  eyes." 
I  looked  around.     I  was  the  only  girl 
with  a  red  tam.    The  blood  came  singing 


She  said,  "Where  have  you  been?" 

Just  that  in  the  most  awful,  cold  tone. 

It  seems  that  one  of  the  teachers  from 
high  school  had  been  there  to  tell  her  how 
much  I  was  absent  and  that  I  would  fail 
if  something  wasn't  done  about  it. 

Well,  I  told  her  where  I  had  been  and 
what  I  was  doing.  I  told  her  it  looked 
as  though  I  had  a  chance  to  win  this  con- 
test and  if  I  did  it  meant  a  job  in  the 
up  and  nearly  suffocated  me.    The  words     pictures   and   a   chance   to   make    good 


kept  ringing  in  my  ears.  "Interesting 
face."  "Gorgeous  eyes."  Me — me — 
little  Clara  Bow. 

They  went  back  in.    Several  girls  went 

in,  came  out.     Pretty  soon  I  was  called. 

A  few  minutes  before  I  thought  of  how  I'd 

tz  those  girls,  if  I  should  happen  to  get  a 


and  I  could  do  lots  of  things  for  her. 

SHE  fainted  dead  away,  not  one  of  her 
choking  fits,  but  just  a  dead  faint.  I 
was  so  scared  I  hardly  knew  what  to  do. 
I  ran  and  tried  to  lift  her  up  and  threw 
water  on  her.     She  didn't  come  to  for  a 


summons.     But  when  they  called  me  I  long  time  and  when  she  did  she  just  sat 

was  too  excited  to  remember  a  detail  like  and  cried  and  cried. 

that.  "You  are  going  straight  to  hell,"  she 

They  talked  to  me.     What  made  me  said.     "  I  would  rather  see  you  dead." 

think  I  could  act?  I  had  never  dreamed    she   would   feel 

,Well,  I  couldn't  exactly  tell  them.     I  like  that.     I  hadn't  told  her  because  I 

don't  know  why  I  can  act — if  I  can.  Only,  didn't  want  to  disappoint  her  and  put  her 


n  the  many  hours  I  had  spent  in  motion 
picture  theaters  I  had  always  watched 
intently  and  I  always  had  a  queer  feeling 
about  actors  and  actresses  on  the  screen. 
Sometimes  what  they  did  seemed  just 
right.  Again,  I  felt  they  were  doing  it 
wrong.  I  knew  I  would  ha\e  done  it 
differently.  I  couldn't  analyze  it,  but  I 
could  always  feel  it.  It  just  threw  me 
right  out  of  the  feeling  of  reality  about  a 


through  the  strain  of  waiting,  she  was  so 
nervous.  Besides,  I  was  ashamed.  I 
knew  she  didn't  think  I  was  pretty  or 
clever,  and  I  thought  she'd  say  I  was  a 
fool. 

Dad  came  in  just  then  and  we  tried  to 
soothe  her,  but  she  just  sat  and  stared  at 
me,  with  those  awful,  burning  eyes,  and 
her  face  so  white  and  still. 

So  I  cried,  too,  and  promised  her  I'd 


picture  when  an  actress  made  a  gesture  or     give  it  up  right  away. 


used  an  expression  that  seemed  wrong  to 

me. 

I  TRIED    to    explain,    and     they     all 
laughed  a  little,  but  kindly,  and  said  I 
should  wait  for  a  test. 

I  think  there  were  about  twelve  girls 
who  had  tests  made  that  day. 

They  all  wanted  to  do  it  first.    I  didn't. 
So   I    ne\er  said  a  word.     I   sat  there, 

though,  through  every  one  of  those  tests     girl,  they  weren't  as  dangerous  as  working 
and  watched  everything  that  was  done,     in  stores  and  offices  and  that  I  had  always 
e\erything  thev  were  told,  every  mistake     been  a  good  girl  and  she  had  no  right  to 
they  made.    They  all  had  to  do  the  same     feel  that  way  about  me. 
'ling — walk    in,    pick    up    a    telephone, 


But  Dad  told  her  she  had  no  right  to 
ask  such  a  promise  of  me.  He  said  he 
knew  I  had  talent.  He  said  I  might  not 
be  pretty,  but  I  was  different,  I  was  a 
type.  He  said  I  had  a  chance  for  a  real 
success,  with  a  big  future  and  tliat  outside 
that  the  best  I  could  hope  for  was  a  jol)  in 
a  store  or  an  office  with  long,  hard  hours 
and  little  pay  and  no  future.  He  said  pic- 
tures weren't  any  more  dang'^rous  for  a 


laugh,  look  worried,  then  terrified.  I  got 
it  finally  so  I  knew  how  I  was  going  to  do 
it  and  just  what  I  was  going  to  think 
about  while  I  was  doing  it. 

Gradually,  little  by  little,  the  tests 
narrowed  down.  I  went  back  and  forth, 
making  new  ones  as  more  and  more 
were  eliminated.  Each  time  I  expected 
to  be  the  next  one  to  go — but  I  didn't.  It 
was  tough  getting  the  carfare  and  I  had 
only  the  one  dress. 

I  had  been  out  of  school  a  lot,  going 
over  to  New  York,  and  the  teachers  had 
been  complaining  and  telling  me  I  was 


FOR  a  long  time  she  didn't  answer,  just 
sitting  there  white  and  still,  her  hands 
hanging  down.  At  last  she  said,  "All 
right." 

Three  days  later  they  sent  for  me  and 
told  me  I  had  won  the  contest  and  would 
have  a  good  part  in  a  picture  and  all  the 
publicity  that  had  been  promised  and 
everything. 

It  was  hard  for  me  to  believe.  I  kept 
thinking  they'd  change  their  minds  and 
every  time  the  postman  stopped  at  our 
door  my  heart  stopped  beating.  They 
told  me  the  judges  had  picked  me  because 


Every  advcitlscine; 


I'UOTOl'L.W   .MAGAZI.N 


Photoplay  Magazine— Advertising  Section 


unique 


I    was    "different  '    and    had 
personality. 

I  went  bacli  to  high  school  and  told 
them.  The  girls  only  laughed  at  me. 
Oh,  how  they  laughed.  They  just  decided 
that  any  beauty  contest  I  could  win  must 
be  a  bum  one.  Every  time  they  looked  at 
me  they  giggled  and  giggled.  So  I  de- 
cided not  to  go  to  school  any  more.  It 
hurt  to  be  laughed  at.  I  thought  maybe 
they  would  be  glad. 

THEN  began  a  terribly  hard  time.  I 
guess  all  contests  are  like  that.  For 
weeks,  nothing  happened.  I  waited  and 
waited.  I  haunted  the  office.  Panic  was 
growing  inside  of  me,  driving  me  crazy. 
After  all  I  had  been  through,  all  my  great 
joy,  was  this  going  to  be  a  failure? 

But  at  last  I  hung  around  so  much 
they  decided  to  get  me  a  job  to  get  rid  of 
me.  Or  maybe  they  really  meant  to  all 
the  time  and  were  just  busy.  Christy 
Cabanne  was  making  a  picture  with  Billie 
Do\e  as  the  star.  They  took  me  over  to 
him  and  explained  the  situation  and  he 
took  one  look  at  me  and  almost  had  a  fit. 

"Don't  tell  me  she  won  a  beauty  con- 
test," he  said. 

It  almost  broke  my  heart. 

Anyway,  he  agreed  to  give  me  a  small 
part. 

But  there  was  another  stumbling 
block.  I  had  to  have  four  dresses  to  play 
the  part  and  I  had  to  furnish  them  my- 
self. I  didn't  have  four  dresses.  I  didn't 
have  one  dress.  Dad  didn't  have  any 
moneA — yes,  he  had  enough  to  buy  about 
half  a  dress.  So  then  I  did  something  I'd 
never  done  before.  I  put  my  pride  in  my 
pocket  and  for  the  first  and  last  and  only 
time  I  went  to  some  of  my  relatives  for 
help. 

I  HAD  an  aunt  in  New  York  who  was 
rich.  They  had  a  beautiful  home  and 
one  of  the  girls  had  made  a  good  marriage 
and  the  son  was  in  Wall  Street  or  some- 
thing. I  had  never  been  in  their  house, 
but  I  went.  I  told  my  auat  the  whole 
story.  I  didn't  need  much  and  I  would 
pay  it  back  out  of  the  first  salary  I  got. 
It  was  my  big  chance  and  it  looked  like 
I  was  going  to  lose  it  because  I  didn't  have 
four  dresses. 

She  put  me  out  of  the  house. 

While  I  was  walking  away,  just  sunk,  I 
heard  footsteps  behind  me  and  somebody 
called  my  name.  It  was  her  son,  my 
cousin.  He  didn't  know  me  at  all,  but 
he  had  heard  our  conversation.  He  was 
interested  in  pictures,  and  he  didn't  think 
about  them  as  his  mother  did. 

"I  don't  think  you've  got  a  chance, 
kid,"  he  said,  "but  I  like  your  spirit. 
Here's  all  the  change  I've  got." 

He  handed  me  eighty  dollars. 

Eighty  dollars  may  not  sound  much 
to  buy  four  dresses.  It  wasn't.  But  it 
was  so  much  more  than  nothing.  I  went 
to  a  second  hand  place,  to  a  wholesale 
place,  and  I  got  four  dresses.  I  know  now 
they  must  have  been  pretty  terrible.  But 
then  I  thought  they  were  magnificent. 

The  next  day  I  went  to  the  studio 
ready  to  work. 

I  had  never  put  on  a  make-up.  While  I 
was  doing  the  tests  for  the  contest  they 
had  an  actress  who  made  up  all  the  girls. 
Now  I  had  to  go  alone.  But  I  was  en- 
couraged when  they  put  me  in  a  dressing 
room  with  four  other  girls.     I   thought 


In  Frosty  February  use 

FHOSIl  LLA 


117 


( 


Opera  cloaks — evening  wraps — high 
hats — bright  lights — ^theatre  parties — it's 
the  social  season !  And  the  snow  and  blow 
of  late  winter  are  ready  to  take  their  toll — 

Here  come  those  cold  and  cutting  winds 
—to  crack  lips  and  chap  hands— to  roughen 
cheeks,  elbows,  knees  and  ankles — unless 
you  use  precaution  and — Frostilla  ! 

Like  a  good  friend,  Frostilla  will  stand 
'twixt  wind  and  skin  —  and  guard  you 
thru  this  tricky  weather. 

And  if  this  advice  should  reach  you  a  bit 
late — if  chapped  and  roughened  skin  are 
already  your  sad  lot  —  cheer  up !  For 
Frostilla  will  promptly  sootheandsmooth 
the  skin  and  banish  that  dry,  "starched", 
corrugated  condition  for  evermore! 


Frostilla  makes  the  perfect  powderbase. 
Just  massage  it  ever  so  gently  into  the 
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View  your  satin-smooth  reflection  in  the 
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urally that  last  touch  of  powder  does  its 
work — and  thank  Frostilla ! 


You  will  find  Frostilla  in  its  new,  blue 
dress  and  its  silvery  cellophane  wrapper, 
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There's  a  luxury-size  package  priced  at 
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r/4f  FROSTILLA  CO.,ELMIRA,N.Y. 


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skin.  To  soften  chapped  ankles  and  knees.  To  smooth  rough- 
ened upper  arms  and  elbows.  To  heal  cracked  lips.  To  revive 
dance-tired  feet.  To  protect  the  tender  skin  of  children. 
(Men  find  it  a  luxurious  source  of  comfort  after  sha'ving.) 


SendfortkiS  Unusual  Sample  I 
The  Frostilla  Sample-Size  pre- 
sents a  delightful  way  to  get 
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it — it  fits  in  pursea.  grips  and  desk 
drawers.  Write  for  it.  It's  yours 
for  a  dime,  and  with  it  comes  a 
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The  Frostilla  Co. 


Please  send  me  ; 
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plea 


PnOTOPLAY   MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Will  bobbed 

hair  cause 

BALDNESS? 


NEW  danger 
threatens  the  beautiful  hair  of  Ameri- 
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Give  your  hair  a  chance!  Wildroot 
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all  drug  stores  and  barber  shops. 
Accept  no  substitutes. 

WILDROOT 


surely  they  would  help  me.  But  they 
didn't.  They  just  laughed.  They  said, 
"Go  ahead  and  learn  like  the  rest  of  us 
did." 

Sometimes  I  wonder  about  things  like 
that.  Most  of  the  people  in  pictures  are 
so  kind.  It  seemed  as  though  fate  were 
just  throwing  e\-erything  in  my  way, 
gi\ing  me  every  possible  obstacle.  I  don't 
think  those  girls  meant  to  be  unkind. 
They  were  careless  and  self-centered. 
Most  of  the  unkindness  in  the  world 
comes  from  thoughtlessness.  I  am  sure 
of  that. 

I  DID  the  best  I  could.  When  I  came  on 
the  set  Mr.  Cabanne  thought  I  had 
gone  crazy.  I  looked  like  a  clown.  I  tell 
you  I  didn't  have  to  use  any  cold  cream  to 
take  that  grease  paint  off.  I  washed  it 
off  with  good  hot  tears.  The  next  day 
I  watched  the  other  girls  and  learned  a 
little  and  got  by  all  right. 

My  part  wasn't  very  big  but  I  had  about 
fi\-e  scenes.  In  one  of  them  I  was  sup- 
posed to  cry.  Mr.  Cabanne  didn't  seem 
to  think  I  could,  but  I  did.  It  was  always 
easy  tor  me  to  cry.  All  I  had  to  do  was 
to  think  of  home.  He  said  I  had  done  it 
well  and  it  seemed  to  please  him.  After 
that  he  was  kinder,  and  helped  me. 

When  the  picture  came  to  Brookljm  I 
was  so  e.xcited  I  couldn't  sleep.  I  asked 
some  of  the  girls  from  school  to  go  with 
me  to  see  it.  I  guess  maybe  I  wanted 
to  show  off  a  little.  I  wanted  to  prove  to 
them  what  I  could  do.  I  thought  of  those 
fi\e  scenes  and  I  felt  sure  they'd  respect 
me  after  that.  I'd  be  a  real  movie 
actress. 

We  went.  They  ran  the  picture. 
There  wasn't  a  single  shot  of  me  in  it  any- 
where. 

The  girls  certainly  made  life  miserable 
for  me.  You  can't  blame  them.  But  it 
was  a  bitter  blow  to  me. 

But  not  the  worst  one. 

Mother  was  growing  steadily  worse  and 
her  thoughts  seemed  to  center  on  me. 

She  came  up  to  me  one  day  on  the  back 
porch  where  I  was  doing  some  washing 
and  said,  "I  think  I'll  kill  you.  You 
would  be  much  better  off  dead.  This  is  a 
terrible  world.  Motion  pictures  are  ter- 
rible.   I  think  it  is  my  duty  to  kill  you." 

I  was  frightened  but — it  was  more  than 
that.  I  was  so  sorry  for  her,  I  lo\-ed  her 
so.  I  knew  she  loved  me.  I  never  men- 
tioned pictures  to  her  afterthat,  butevery 
once  in  a  while  she  would  start  talking 
about  how  it  was  her  duty  to  kill  me.  I 
told  Dad  and  it  worried  him  terribly  and 
we  had  a  new  doctor  but  he  said  there  was 
nothing  he  could  do. 

TH INGS  weren't  breaking  for  me  at  all. 
Winning  the  contest  hadn't  seemed  to 
mean  a  thing.  I  wore  myself  out  trying 
to  find  work,  going  from  studio  to  studio, 
from  agency  to  agency,  applying  for  e\'ery 
possible  part.  But  there  was  alwajs 
something.  I  was  too  young,  or  too  little, 
or  too  fat.  Usually  I  was  too  fat.  When 
I  told  them  that  I'd  won  this  contest,  they 
only  laughed.  They  said  the  woods  were 
full  of  girls  who'd  won  some  bum  beauty 
con  test  and  they  were  mostly  dumb  or  they 
wouldn't  have  been  in  any  beauty  con- 
test in  the  first  place.  Which  I  guess 
maybe  was  right.  And  I  couldn't  wear 
clothes  and  I  wasn't  pretty  enough. 
But  finally  I  got  a  job.    Elmer  Clifton 

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was  going  to  make  a  picture  called  "Down 
to  the  Sea  in  Ships."  He  wanted  a  small, 
tomboy  type  of  girl  to  play  a  second  lead. 
He  hadn't  much  money  to  spend  and 
couldn't  afford  to  pay  much  salary  for 
this  part.  He  had  been  at  a  casting 
agent's  ofifice  and  they  had  been  going 
over  all  the  people  they  knew  without 
hitting  on  the  right  one.  The  contest 
manager  had  sent  Mr.  Clifton  copies  of 
the  magazines  containing  my  picture. 
After  the  agency  Aisit  he  happened  to 
open  one  of  them  to  a  picture  of  me.  It 
was  one  in  the  red  tam  and  was  part  of 
the  publicity  from  the  contest,  so  you  see 
it  did  do  me  some  good. 

HE  said,  "Who  the  dickens  is  that? 
Clara  Bow.  Cute  name.  That's 
what  I  want.    Send  for  that  kid." 

They  sent  for  me. 

But  I  was  terribly  discouraged  by  then. 
I  was  so  sick  of  being  told  I  was  too 
young  or  too  small.  So  I  decided  to  take 
a  desperate  chance.  I  put  my  hair  up, 
sneaked  one  of  mother's  dresses  and  went 
over  done  up  like  that. 

When  Mr.  Clifton  saw  me  he  said, 
"Great  heavens,  you're  not  the  girl  I  saw 
in  the  picture.  I  wanted  a  kid,  to  play 
a  tomboy  part.    You  won't  do  at  all." 

Just  think.  I  had  guessed  wrong  and 
nearly  missed  my  chance.  I  started  ex- 
plaining so  fast  the  words  stumbled  o^•er 
each  other.  I  said,  "Oh,  I'm  the  girl  all 
right.  But  I've  lost  so  many  parts  be- 
cause I  was  too  young  that  I  put  on 
mother's  clothes  to  see  if  I  couldn't  look 
older." 

That  made  him  laugh  and  I  went  home 
and  got  my  own  clothes  and  came  back 
and  got  the  part  and  fifty  dollars  a  week. 
That  was  more  money  than  I  knew  there 
was  in  the  world. 

But  we  had  to  go  away.  They  were 
going  to  make  the  picture  up  in  New  Bed- 
ford. I'd  never  been  away  from  home 
a  night  in  my  life  and  I  knew  mother 
wouldn't  let  me  go.  But  Mr.  Clifton 
arranged  for  the  cameraman's  wife  to  go 
along  and  be  with  me  as  a  chaperon — .so 
Clara  Bow  went  on  her  first  location  with 
a  chaperon. 

I  WENT  home  all  happy  and  thrilled. 
Mother  was  sitting  there,  and  she  was 
\ery  quiet  and  didn't  say  much.  She 
looked  well,  though,  there  was  color  in 
her  face.  Father  was  working  and  we  had 
dinner  and  she  was  quiet,  but  \'ery  pleas- 
ant and  sweet.  Then  I  went  to  bed.  I 
hadn't  told  her  about  the  job.  I  thought 
I'd  wait  until  father  was  there. 

I  don't  know  how  long  I  had  been 
a.sleep  when  I  woke  up  and  realized  there 
was  somebody  in  the  room.  My  heart 
was  beating  hard  and  funny.  The  door 
was  a  little  open  and  in  the  light  from  the 
other  room  I  saw  mother  standing  there, 
i'l  a  white  nightgown.  Her  hair  was 
liraided  over  each  shoulder  and  hung 
clown  to  her  knees. 

In  her  hand  was  the  butcher  knife. 

I  said,  "Mother?" 

She  didn't  answer.  Just  came  closer 
to  the  bed. 

I  said  "Mother,  darling,  what  are  you 
doing?" 

She  pinioned  my  hands  down.  "I'm 
going  to  kill  you,  Clara,"  she  said  \"cry 
quietly.    "  It  will  be  better." 

She  put  the  knife  at  my  throat. 


oAPerfect 
MarceWavcA 


cost  21 


in  15  minutes 

Not  a  conooction  from  a  bottle  —  not  a 
sticky,  messy  lotion  —  not  a  "trick" 
brush — not  a  "magic"  cap — not  an  anti- 
quated "curling"  device — nota  "scien- 
tific" substitute  for  the  old-fashioned 
kid  curler.  This  amazing  French  inven- 
tion is  positively  guaranteed  actually  to 
marcel  wave  any  head  of  hair  in  fifteen 
minutes  at  a  cost  of  less  than  two  cents. 

Note  the  endorsements  shown  below  of  famout 
motion  picture  stars — their  names  and  companies 


By  Mile.  Renet  Duval 
*ROM  Paris  I   bring  to  Ameri 


-i 


FR 
women  thegreatest  beauty  secret 
of  all  time.  French  hairdressers  have 
guarded  it  jealously  for  many,  many 
years.  This  secret  will  at  once  en- 
hance the  natural  beauty  of  any 
woman's  hair  a  hundredfold.  And — 
there  is  but  one  simple,  easy  thing 
to  do.  Now  every  woman  and  girl 
in  America  can  know,  for  the  first 
time,  the  real  and  true  secret  of  the 
French  woman's  always  perfectly 
marcelled  hair  —  a  thing  that  has 
caused  .'American  women  who  visit 
France  much  astonishment. 

An  Amazing  Revelation 

It  is  so  simple — a  small,  inexpensive, 
easy-to-use  device — the  invention  of 
a  famous  Parisian  hairdresser — it  is 
now  called  Marcelwaver.  I  brought 
it  from  Paris  to  America — my 
friends  here  perfected  it  for  Ameri- 
can use  —  then  it  was  sent  to  1,000 
prominent  American  women  —  in- 
cluding the  most  fa- 
mous motion  picture 
stars — to  try  and  test 
tor  themselves.  Mar- 
celwaver gave  such  per- 
fect results  —  proved 
of  such  great  conven- 
:ice— saved 


Results 


one  of  those  1,000  wom- 
en asked  to  keep  it — and 
their  friends  sent  in 
their  orders  for  thou- 
sands of  Marce 


'.ime-^avingr  beautifying 
2nd  indiipen^abU  part  of 
ny  totUt  outfit." 

Betty  Brokson 


Gilda  Gray 

Samuel  Goldteyn  Star 

"his  surprising  what 
professional  work  can  be 
done  in  one' sown  boudoir 
with  this  modern  little  in' 
strument,  the  Marcel- 

(Siinet)  Gilda  Gray 


Phyllis  Haver 

DeMilleStar 

**/  comider  tlie  Marcel' 

waver  just  the  thinz  to  put 

the  finishing  touch  to  my 

hair  before  goinz  out  or 

iefore  stepping  be/ore  the 

camera." 

(Simed)  Phyllis  Haver 


Lillian  Gilmore 

Universal  Pictures  Star 

"I  simply  could  not  get 
along  "without  M arcel' 
waver,  and  am  thoroughly 
delighted  with  the  results. " 
(Signed) 
Lillian  Gilmore 


This  Secret  17RPl?f 
Is  Yours        r  Klj/1^.  I 

Do  not  send  me  money — 
just  send  your  name  and 
address  on  the  coupon  be- 
low. I  will  at  once  send 
you  the  secret  of  a  perfect 
marcel  wave  in  15  min- 
1  cost  of  2c  or  less 
—  also  my  now  famous 
book,  "  How  to  Marcel 
Wave  Your  Own  Hair"— 
all  this  at  no  cost  to  you 
— send  today! 


in 


Mil:  Rente  Duval 

MARCELWAVER   COMPANY 

Dept.    bi-C  Cincinnati,  Ohio 

^  r?r>T7T7  HAIR  waving    ' 

I     V  IVC/Jn  BOOK  COUPON 

I  Mile.  Renee  Duval,  Dept.  63-G 

I   MARCELWAVER  CO.,  Cincinnati,  Ohio 

I    Please  send  me  FREE  your  precious  secret  of  a 
perfectly  marcelled  head  of  hair  in  IS  minutes  at 

I   book,  ■■Ho\v  to  Marcel  Wave  Your  Own  Hair." 

Uame 

I   Address 


I  City State 

I        (  )  Ckeci  kere  if  interested  in  atent': 


PHOTOPLAY    M-1 


Photoplay  Magazine — Advertising  Section 


in  Far  West 
and  Canada} 


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The  room  went  all  black.  I  fought  to 
keep  consciousness.  I  knew  if  I  didn't  I 
was  lost — we  were  both  lost.  I  kept 
thinking.  "Oh,  poor  mother,  poor 
mother,  how  terrible  she  will  feel  if  she 
ever  knows  she  has  done  this.  I  mustn't 
let  her." 

I  moved.  The  knife  came  closer.  The 
hands  tightened  like  steel. 

I  STARTED  to  talk,  to  plead,  to  soothe, 
watching  her  all  the  time.  She  didn't 
seem  to  hear  me.  Her  eyes  burned  into 
mine.  I  don't  know  how  long  it  was,  but 
it  seemed  hours.  At  last,  when  she 
seemed  to  relax  for  a  final  effort,  I  made 
a  desperate  spring,  as  swiftly,  as  strongly 
as  I  could.  It  knocked  her  away  from 
me.  I  ran  across  the  room  and  out  the 
door  and  turned  and  locked  her  in. 

Outside  I  was  so  weak  I  could  hardly 
move.  I  could  hear  her  inside  trying  the 
door.  The  handle  turned.  I  wanted  to 
go  back  in  and  comfort  her.  But  I  was 
afraid  to.  I  was  too  terrified  to  stay 
alone.  I  went  downstairs  and  asked  the 
lady  there  if  I  could  sit  there  awhile. 
She  looked  at  me,  but  didn't  ask  me  any 
questions  and  she  said  I  could  stay. 

I  sat  there  all  night.  At  five  o'clock,  I 
heard  Daddy's  step.  I  ran  to  meet  him. 
Poor  Daddy.  We  went  up  together. 
There  was  no  sound  from  the  room.  We 
opened  the  door  and  she  was  sleeping  on 
my  bed,  as  peacefully  as  a  child,  her  hands 
folded,  the  long,  golden  braids  over  her 
shoulders.  When  she  woke  up  she  didn't 
know  anything  about  it. 

I  was  glad  to  go  away  then.  She  didn't 
make  any  objection,  when  Dad  explained 
it  to  her.  But  the  shock  had  upset  me 
more  than  I  knew.  All  the  thirteen 
weeks  we  were  on  location  I  was  ill.  I 
knew  it  was  only  nerves  and  I  fought 
against  it.  But  I  couldn't  sleep.  I  used 
to  wake  up  crying  all  the  time. 

When  I  came  home,  mother  was  there. 
Dad  told  me  he  had  had  her  away  in  a 


sanitarium  for  treatment.  They  said 
she  wasn't  insane.  You  couldn't  call  her 
that  because  she  was  so  intelligent.  She 
could  answer  any  question,  talk  well,  be 
as  calm.  .  .  .  Then  once  in  a  while  these 
spells  came  on.  But  she  seemed  so  much 
better  Dad  brought  her  home.  She 
wanted  to  be  at  home. 

But  she  began  to  be  unhappy  again 
about  my  going  into  pictures.  Once  she 
said,  "You  don't  take  me  to  the  studio 
with  you.  You're  ashamed  of  me.  You 
think  I'm  crazy."  That  broke  my  heart. 
I  was  so  proud  of  her. 

So  I  decided  to  give  up  pictures.  May- 
be mother  would  be  better.  I  couldn't 
bear  to  make  her  unhappy  like  that.  So 
I  hunted  around  and  got  a  job  answering 
the  phones  in  a  doctor's  office.  I  hated  it. 
The  trip  was  long  and  the  pay  small,  but  it 
was  all  right. 

And  then  I  started  trying  to  have  a  little 
fun.  I  just  had  to.  I  knew  a  lot  of  young 
people  around  Brooklyn,  boys  I'd  been  to 
school  with.  They  were  always  asking  me 
to  go  places.  The  boys  seemed  to  like  me 
and  I  liked  them,  though  I  had  never  been 
in  love,  not  even  a  kid  romance.  I  never 
had  a  love  affair  until  after  I  went  to 
Hollywood. 

ONE  night  I  went  to  a  party  with  some 
young  friends,  two  boys  and  a  girl. 
We  were  having  a  fine  time,  dancing  and 
playing  the  phonograph,  just  like  a  bunch 
of  kids  will,  when  the  telephone  rang. 

It  was  my  father  and  he  said  I  was  to 
come  home  right  away. 

I  didn't  want  to  go.  I  said:  "Oh,  Dad, 
please  don't  make  me.  I'm  having  such  a 
good  time.  If  mother's  having  one  of  her 
spells,  she'll  come  out  of  it  all  right." 

That  was  the  only  time  I'd  ever  said 
anything  like  that.  But  I  was  only  a  kid 
and  I  wanted  a  little  fun. 

But  Dad  insisted.     He    said,    "You'd 
better  come  right  home,  Clara." 
(To  be  Continued) 


Jonesboro,  La. 

I  had  accumulated  a  small  amount 
from  my  pension,  which  I  receive 
from  the  Government  due  to  injuries 
received  inthe  World  War.  It  seemed 
as  though  I  was  only  one  more 
despondent  person  in  the  world,  as  I 
had  lost  both  my  legs  just  above 
the  knees  while  fighting  for  my 
country.    I  am  unable  to  work. 

As  there  is  little  entertainment  to 
be  found  in  the  smaller  towns,  the 
movies  have  certainly  helped  me 
while  away  the  long  hours  which  I 
have  to  pass  every  day. 

Upon  entering  the  theater  one 
afternoon,  I  noticed  that  "The  Big 
Parade"  was  to  be  shown.     I  sup- 

ilvcitlscmcilt   In  I'llOTOPLAY  MAO.VZINE  Is  guaranteed. 


posed    it    would    be    "just    another 
movie." 

Instead,  it  was  a  masterpiece — 
superb. 

I  entered,  a  lonely  soul.  After 
seeing  John  Gilbert's  excellent 
portrayal  of  the  American  Soldier, 
I  left  the  theater,  still  with  my  lone- 
liness, but  also  with  new  life,  and  a 
desire  instilled  within  me  to  do 
something  for  someone,  even  though 
this  seemed,  at  that  time,  im- 
possible. 

A  National  Red  Cross  Drive  was 
on  at  this  time,  and  later,  that  same 
afternoon,  I  gladly  contributed  my 
savings  to  this  Great  Mother. 

T.  B.  W. 


Photoplay  Magazine — Advertising  Section 


The  Diary  of 
Lorelei  Lee 


[  CONTINUED  FROM  PAGE  33  ] 

the  part.    When  am  I  going  to  work? 

The   casting   directors  don't  seem   to 

remember  me  from  Sennett's. 
April  13 — I  went  with  the  nicest  boy  to 

see  the  play,  "Chicago."    Oh,  what  a 

part.    I'd  love  to  do  it.    I'll  bet  Phyllis 

Haver  plays  it  in  pictures.     She's  a 

Sennett  gal,  too. 
April  14 — Went  to  FBO  for  a  test.     I 

had  to  cry  and  get  hysterical.  All  tired 

out  tonight. 
April  17 — I  didn't  photograph  well  in  the 

FBO  test.    Don't  get  the  part. 

APRIL  18— Heavens!  I'm  getting  fran- 
tic. I  wish  I'd  start  to  work.  Why 
doesn't  someone  see  some  possibili- 
ties in  me  and  give  me  a  chance? 

April  24 — Such  a  glorious  day,  and  such 
an  exact  opposite  to  my  thoughts.  I'm 
positi\ely  getting  panicky.  Why  don't 
I  get  work? 

May  2 — Woke  up  with  a  terrible  case  of 
the  blues.  But  I  simply  won't  give  in  to 
the  thought  I  wasn't  intended  for  a 
motion  picture  actress.  In  the  after- 
noon Madeline  Hurlock  and  I  went  ice 
skating.  I  told  Madeline  today  I 
wouldn't  ad\ise  anybody  to  lea\e  Sen- 
nett's and  start  free-lancing. 

May  5 — Took  a  test  at  Metro-Gold wym's 
for  the  lead  with  William  Haines. 
Talked  to  Joan  Crawford  awhile. 
There's  a  girl  who  deserved  a  break  and 
got  it.  She's  a  great  girl.  Things  look 
promising  about  the  part. 

May  7 — 0\er  to  United  Artists  to  see 
about  a  part  as  Mary  Pickford's  sister. 
Wouldn't  it  be  grand  if  I  got  it?  I  al- 
ways ha\e adored  her. 

May  8 — Went  to  see  "Seventh  Heaven." 
What  a  picture!  And  what  an  actress 
Janet  Gaynor  is!  Oh!  It  must  be 
grand  to  get  the  biggest  part  of  the 
year. 

MAY  14 — Woke  up  feeling  great,  but 
two  things  happened  to  make  my  day 
the  worst  yet.  I  didn't  get  the  Mary 
Pickford  part  and  I  didn't  get  Billy 
Haines  part.  But  I'm  glad  about  the 
last  one,  because  Joan  wanted  it,  and 
I'm  glad  she  got  it.  It  looks  like  I'm 
never  going  to  work  in  pictures 
again.  I  won't  cry  after  I  get  in  bed 
tonight. 

May  26 — Went  to  see  a  firm  of  agents 
who  just  came  out  here  from  New 
York.  Thought  they  might  handle  me 
and  get  me  some  good  parts.  E\ident- 
ly  they're  not  interested.  They  evaded 
and  said  they  would  telephone  me. 

May  30 — Had  a  terrible  case  of  the  weeps. 
Mother  tried  to  cheer  me  up,  but  it  all 
seems  a  total  loss. 

June  2 — Called  o\er  to  Warner  Brothers 
about  a  lead  with  George  Jessel.  Took 
a  test  for  it.  This  may  be  a  change  of 
luck. 

June  6 — Didn't  get  the  part  with  George 
Jessel. 

June  9 — It's  been  exactly  three  months 
since  I  left  Sennett's  and  I  haven't  done 


Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 

Eat  what  you  please  | 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found  this  easy 
v/ay  to  take  off  2  to  4  pounds  once  or  twice  a  week. 
These  women  take  refreshing  Fayro  baths  in  the 
privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same  natural 
mineral  salts  that  make  effective  the  waters  of 
twenty-two  hot  springs  of  America,  England  and 
Continental  Europe.  For  years  the  spas  and  hot 
springs  bathing  resorts  have  been  the  retreat  of  fair 
women  and  well  groomed  men. 

Excess  weight  has  been  removed,  skins  have  been 
made  more  lovely,  bodies  more  shapely  and  minds 
brighter. 

The  Hot  Springs  Are  Now  Brought  to  You 

Painstaking  analyses  of  the  active  ingredients  of 
the  waters  from  twenty-two  of  the  most  famous 
springs  have  taught  us  the  secret  of  their  effective- 
ness. You  can  now  have  all  these  benefits  in  your 
own  bath.     Merely  put  Fayro  into  your  hot  bath. 

It  dissolves  rapidly.  You  will  notice  and  enjoy  the  pungent 
fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating  perspira- 
tion, forces  lazy  body  cells  to  sweat  out  surplus  fat  and  bodily 
poisons.  Add  Fayro  to  your  bath  at  night  and  immediately  you 
will  lose  from  2  to  4  pounds  in  an  easy,  refreshing  and  absolutely 
harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that  Fayro  is  certain 
to  do  the  work  and  that  it  is  absolutely  hatmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 


Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  bodv 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  Js  soon  as  you  are  the  correct  weight  for  your  height 
do  not  try  to  redtue  further.  No  need  to  deny  yourself  food  you 
really  want.  No  need  for  violent  exercise.  No  need  for  drugs  or 
medicines.  Merely  a  refreshing  Fayro  bath  in  the  privacy  of  your 
own  home. 

Try  Fayro  at  Our  Risk 

The  regular  priceof  Fayro  is  $1.00  a  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  §2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
vou  want  it. 


HERE'S    PROOF 

Baths 


"Three  Fayro  baths  reduced 
my  weight  U  pounds  in  8 
days.  I  feel  helier  than  I 
have  fell  for  years." 


"/  weigh  16  pounds  less  and 
feel  younger  and  sleep  beUer. 
Fayro  is  wonderful. 


"My  hips  were  always  too 
prominent  until  I  commenced 
Fayro  baths.  I  have  lost  12 
pounds." 


"Thank  you  for  Fayro.  I 
lost  14  pounds  in  three  weeks: 
feel  better  and  certainly  look 
belter." 


"Since  childhood  my  thick 
ankles  have  always  been  a 
source  of  embarrassment. 
Fayro  baths  have  reduced 
them  beautifully.  Thank  you 
very  much." 


For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  has  been 
authorized  and  names  and 
addresses    will  be  given  on 


PH  3-28 


FAYRQ 


If  each  healthful  bath  of  Fayro  does  noi 
reduce  your  weight  from  2  to  4  pounds,  W( 
will  refund  your  money  withouta  question 
Vou  risk  nothing.  Clip  the  coupon  an( 
mail. 


Fayro,  Inc. 

821  Locust  St.,  Pittsburgh,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use,  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


City State 

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


advertisers  pie 


PHOTOPLAY   MAG.4ZINE. 


122 


**r^v 


An- 


'r,\ 


.A 


Do  This 

to  have  bright  eyes 

To  restore  the  lustre  of  youth  to  dull, 
lifeless  eyes,  simply  apply  a  few  drops 
of  harmless  Murine.  Also  use  it  when 
your  eyes  are  bloodshot  to  quickly 
clear  them  up.  Many  women  use 
Murine  every  day  to  keep  their  eyes 
ahvays  clear  and  radiant.  6oC  buys  a 
month's  supply.  Try  it! 


Photoplay  Magazine — Advertising  Section 

a  thing.  All  I  ha^-e  left  now  is  my  sense 
of  humor,  and  if  that  leaves  me,  I'm 
sunk.  One  has  to  have  a  sense  of 
humor  to  stand  all  the  grim  jokes  that 
Fate  has  been  playing  on  me  for  the 
last  three  months. 

JUNE  19—1  haven't  had  the  heart  to 
record  a  stretch  of  dreary  days  in  my 
diary.  I'm  not  going  to  write  any- 
thing down  until  something  happens. 

June  20 — Good.  Took  another  test  at 
FBO  for  a  big  emotional  part.  I  don't 
want  to  play  emotional  parts.  /  want 
to  he  a  comedienne. 

June  23— Didn't  get  the  FBO  part. 
Tough. 

June  20 — The  only  thing  left  for  me  to  do 
is  to  fall  in  love.  I'm  afraid,  though, 
that  \\ould  be  more  worry  and  trouble 
than  getting  ahead  in  pictures.  But  he 
is  a  very  nice  boy. 

JULY  8 — I  simply  refuse  to  write  an- 
other line  until  I  get  something. 
Diary,  why  must  it  be  this  way?  I've 
cried  and  I've  laughed,  and  I've  tried 
every  way  I  know.  Nothing  happens. 
I'm  through,  now,  until  there's 
something  to  write. 


3 


Free  I 

AddrtiS — 

City.. 


il  this  coupon  to  Murine  Co. ,  Dept. 
9  E.  Ohio  St..  Chicago,  for  book 
checked:n"EveBeautv"n   EyeCar 


PleHae  PRINT  y 


Loosen  Up 
Chest  Colds 


Jusf  Ru6 
Away  Danger 

When  your  lungs  are 
congested  and  you 
have  a  hacking  cough 
watch  out!  RubMus- 
terole  on  the  sore 
spot.  There's  nothing 
better  for  quick,  safe 
relief.  Musterole 
penetrates  the  skiQ 
bringing;  a  soothing, 
coolii.gseDsationand 
welcome  relief. 
Recommended   by 


doctors   and   nurses. 


Musterole  relieves  cold  in  chest,  sore  throat. 

bronchitis,  aches  and  pains  in  the  back  and 

joints.  Keep  Musterole  handy. 

To  Mothers:  Musterole  is  also  made 
in  milder  form  for  babies  and  small 
children.  Ask  for  Children 's  Musterole* 


BET-rtR  THAN  A  MUSTARD  PLASTER 


August  2 — ^Got  a  call  from  Paramount. 
Maybe  this  will  mean  something.  It's 
the  first  call  in  a  month.  I'm  to  go 
tomorrow.  Can  hardly  wait.  They 
told  me  I  am  to  meet  Anita  Loos  and 
John  Emerson.  Can  it  be  that  I'm  a 
candidate  for  the  great  role  of  Lorelei 
in  "Gentlemen  Prefer  Blondes"?  No, 
I  won't  get  my  hopes  raised.  That's 
too  much. 

August  3— Went  to  Paramount  today. 
I  was  just  one  of  about  200  blondes — 
every  blonde  girl  in  pictures  was  there, 
eager  for  the  role.  I  waited  for  four 
hours  and  there  were  still  blondes 
ahead  of  me,  so  I  left.  I  guess  it  really 
didn't  matter,  because  I'm  sure  they 
already  have  somebody  picked  and  that 
this  is  all  a  big  publicity  campaign 
they're  continuing.  The  biggest  part 
of  the  year  surely  wouldn't  be  given  to 
an  unknown.  Let's  be  honest — that's 
what  I  really  am.  Just  an  "unknown." 
Clara  Bow's  my  bet  to  get  it. 

August  8 — Paramount  called  again,  and 
Mr.  Datig,  the  casting  director,  asked 
me  if  I  had  met  Miss  Loos.  I  said 
"No,"  so  he  said  for  me  to  come  right 
over.  I  did,  and  got  right  in.  Miss 
Loos  was  gone  but  I  met  Mr.  Emerson 
and  he  asked  me  about  myself  and  my 
experience  and  wrote  down  my  name. 
Finally  he  said,  "You're  kind  of  cute," 
and  that  was  all.  I  guess  I'm  not  the 
type  for  that,  either. 

August  13— Went  to  the  beach  and  sat 
on  the  sand  all  day,  trying  to  figure  out 
what  it's  all  about.  I  just  can't  seem 
to  make  any  headway.  Extra  work, 
and  all  that  experience,  and  a  definite 
idea  of  what  I  want  to  do  doesn't  seem 
to  have  made  any  difference.  ' '  Start  at 
the  bottom  and  work  hard" — That's 
a  good  joke.  But  I  will  get  there;  I'm 
determined. 

August  15— The  Paramount  studio  called 
me  again  to  take  a  test  for  Miss  Loos 
tomorrow  morning.  I'm  just  holding 
my  breath.     No  thinking;  still  hoping. 

August  17 — Went  to  Paramount  at  ten 
o'clock  to  take  test  for  part  of  Lorelei. 
There  were  eight  other  girls  on  the  set.  I 

ry  adviTllsonifnl  In  PIIOTori-.W  M.VGAZIXE  Is  guarante 


Tli( 


U 


No  Wonder 
the   Tears 

Gray 
Hair 

Is  Tragic 


it  cheats,  it  doesn't  play 
It  proclaims  to  the  world  a 
story  of  age  that,  too  often,  has  not 
the  slightest  foundation  in  fact. 

But  no  -noman  need  struggle 
along  under  its  handicap  or  need 
she  pay  the  high  price  of  hairdresser 
for  tinting  false  age  away. 


Only  One  Application  of 

BROWNATGNE 

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Photographs,  sent  In  plain  wrapper. 

ORTHOPEDIC  INSTITUTE 

.'Sec.  C.  10.'!2  Loew  State  Bldg. 

I.0S  Angeles.  Cal. 


V 


Photoplay  Magazine— Advertising  Section 


They  were  the  prettiest  girls  I  ever 
saw,  and  they  were  all  ha\ing  tests. 
Mai  St.  Clair  was  directing  the  test. 
He  ne\er  looked  at  me.  Test  after  test 
was  made,  and  at  fi\-e  o'clock  I  was  the 
last  one  left,  all  tired  out.  Finally  Mr. 
St.  Clair  came  over  to  me  and  said, 
"\^'ell,  it's  late  but  we'll  take  it."  He 
seemed  tired.  I  was  so  tired  that  I 
wasn't  a  bit  ner\ous,  and  I  was  a  little 
angry;  no  one  had  paid  the  slightest 
attention  to  me.  Mr.  St.  Clair  seemed 
bored,  and  as  I  went  in  front  of  the 
camera,  I  made  up  my  mind  that  I'd 
make  him  wake  up.  He  explained  the 
part,  but  I  knew  it  already.  It  was 
right  out  of  the  book  and  I  had  read  it 
three  times.  He  stood  waj'  behind  the 
camera  and  started  the  test.  When  it 
was  half  way  through,  he  was  right  up 
beside  the  camera,  and  when  it  was 
over,  he  came  out  and  put  his  arm 
around  me.  He  said,  "I've  made  200 
tests  and  that's  the  best  one.  I  don't 
even  want  to  see  it  on  the  screen."  I 
was  weak,  then,  so  I  could  hardly  walk, 
but  I  was  treading  on  air  as  I  went 
home.  Nearly  hit  a  car  at  Melrose  and 
LaBrea.  Grandmother,  mother  and  I 
sat  up  half  the  night,  discussing 
Lorelei  and  planning  and  hoping  and 
wishing. 

August  18 — Paramount  called  real  early 
for  me  to  come  for  another  test.  Met 
Mr.  Emerson,  and  he  said  he  was  more 
than  pleased  with  the  first  test,  but  that 
he  wanted  to  see  how  I  responded  to 
direction.  So  he  ga\e  me  another  test 
of  about  five  scenes  from  the  picture. 
When  it  was  over,  he  said,  "You  ha\e 
the  best  chance  of  anyone."  I  haven't 
met  Miss  Loos  yet,  but  the  suspense  is 
getting  awful.  I  can  hardly  stand  it. 
I  bet  I  don't  sleep  at  all  tonight.  I'm 
to  go  back  to  see  the  test  at  three 
o'clock  tomorrow.  That's  exactly 
three  centuries  away. 

August  19 — Went  to  the  studio  at  three 
o'clock  and  met  Mr.  Emerson.  He 
took  me  into  a  dark  projection  room. 
The  test  was  already  running.  There 
were  two  people  in  the  room,  but  I 
couldn't  see  who  they  were.  I  was 
watching  myself  on  the  screen,  and 
could  hardly  believe  that  I  was  that 
girl.  When  the  lights  came  up,  I  saw  I 
was  sitting  ne.xt  to  the  tiniest  person  I 
had  ever  seen.  Mr.  Emerson  said, 
"Bug,  I  want  you  to  meet  Miss  Tay- 
lor." She  said,  "Hello,"  and  that's  all. 
It  was  Miss  Loos.  As  I  walked  out  of 
the  room,  Mr.  Emerson  said,  "Well, 
it's  up  to  the  executives  now.  As  far  as 
Miss  Loos  is  concerned  you'\e  got  it." 
A  lot  of  men  walked  in  as  I  went  out. 
I  went  home  and  as  soon  as  I  got  there, 
Mr.  Datig  called  me  up  and  said  for  me 
to  hurry  right  back.  My  head  was 
swimming.  Things  happened  so  fast. 
When  I  got  to  the  studio,  Mr.  Datig 
ushered  me  into  a  room  filled  with  men. 
It  was  the  publicity  department  and 
they  all  inter\iewed  me  and  asked  me 
questions  like,  "  Do  you  think  you  have 
a  blende  personality'?"  I  didn't  know 
what  it  was  all  about.  Then  the  door 
flew  open  and  in  came  Miss  Loos  and 
Mr.  Emerson.  She  laughed  and  said, 
"Your  test  was  the  worst,  so  we  picked 
you."  Mr.  Emerson  shook  hands  with 
me,  and  they  went  out  and  the  man 
started    asking    me    questions    again. 


123 


DRA 


and 

WIN  A  PRIZE 

Do  You  Like  to  Draw? 

Copy  this  dancing  girl  and  send  us  your  drawing — perhaps  you'll  win  first 
prize.  This  contest  is  for  amateurs  only  (17  years  of  age  or  more),  so  do  not 
hesitate  to  enter,  even  if  you  haven't  had  much  practice. 

.       $100.00 
50.00 

5th  Prize     .    .    .    $10.00 
6th  to  15th  Prizes,  ea.  $5 
To  the  Next  50  Best  Drawings — A  Fountain  Pen 


1st    Prize 
2nd  Prize 

3rd  Prize    . 
4th  Prize    . 

.   .    $25.00 
.   .      15.00 

drawing  in  this  contest 
may  have  his  or  her  art  ability  tested 
free!  When  your  contest  drawing  is 
received,  we  will  mail  you  our  .'Vrt 
Ability  Questionnaire.  Fill  this  in  and 
return  it,  and  you  will  receive  our  critic's 
frank  report  of  your  natural  sense  of  design,  pro- 
portion, color,  perspective,  etc. — and  witli  it  our 
book  "YOUR  FUTURE.-  showing  work  of 
Federal  Students  and  telling  you  all  about  the 
Federal  home-study  course.  This  is  free  and 
places  you  under  no  obligation  whatever. 
This  interesting  analysis  has  been  the  start  for 
many  Federal  students,  who  through  proper 
training  of  their  abilitv.  are  now  commercial 
artists  earning  S2000.  S4000.  S5000  and  S6000 
yearly — some  even  more.  The  Federal  School 
has  won  a  reputation  as  "the  School  famous  for 
successful  students."  Read  the  rules  carefully 
and  enter  this  contest — see  what  you  can  do. 

Federal  School 

of  Commercial 

Designing 

300  Federal  Schools  Bldg., 
Minneapolis,   Minn. 


Rules  for  Contestants 

This  contest  open  only  to  amateurs, 
17  years  old  or  more.  Professional 
commercial  artists  and  Federal  stu- 
dents are  not  eligible. 

Note  these  rules  carefully: 


exactly  5  inches  high,  on  paper  3J4  inches 
wide  by  6  inches  high.  Draw  only  the  girl  and 
shadow,  not  the  lettering. 

<2.  Use  only  pencil  or  pen. 

O.  No  drawings  will  be  returned. 


awarded  for  drawings  best  in  proportion  and 
neatness  by  Faculty  members  of  the  Federal 
Schools,  Inc.  All  conte.stants  will  be  notified 
of  the  prize  winners.  Make  your  drawing  of 
the  girl  now  and  send  it  to  the  address  given  in 
this  ad. 


rnoTOPL.iT   MAGAZIXE. 


24 


Photoplay  Magazine — Advertising  Section 


Beauties 

Advise  this 

Method 

of  removing  cold  cream 


7- Day  Test  Free 

YOU  use  cold  cream  for  many  beauty 
purposes.  And  then  remove  it  — 
how?  With  towels,  which  are  ruined  by 
cream,  oils  and  frequent  laundering.  With 
old  cloths  soiled  from  too  frequent  use! 

Skin  specialists  say  careless  removal 
of  creams  makes  for  sallowness.  Now 
a  new  way  of  removing  cold  cream  as- 
sures radiant,  glowing  skin;  absolute 
cleanliness;  and  it  is  most  economical,  tool 

Kleenex  'Kerchiefs  are  soft,  thin  tissues 
made  for  removing  cold  cream  effec- 
tively, gently.  You  use  once,  then  dis- 
card. They  absorb  all  surplus  oils  — 
leave  the  skin  lovely. 

Stars  of  stage  and  screen  were  first  to 
adopt  this  new  beauty  method — women 
whose  complexions  are  of  vital  importance. 

FOR  COLDS 

For  colds,  Kleenex  *Kerchiefs  eliminate  damp 
handkerchiefs,  possible  reinfection  and  irri- 
tation. You  use  them  once,  then  discard  them. 
Absorbent,  non-irritating,  economical. 

KLEENEX 

ABSORBENT 

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At  all  drug  and  toilet  goods  counters 

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Please  send  sample  ofKleenex'Kerchlets. 


Imagine!  I  had  just  gotten  the  big- 
gest part  of  the  year,  and  I  was  ex- 
pected to  answer  questions.  I  was 
dazed.  Then  Mr.  Datig  came  and 
got  me  and  took  me  into  the  attor- 
ney's office  and  I  signed  a  contract 
to  play  the  part.  And  there's  op- 
tions with  it,  so  if  they  like  me  in  the 
part,  they  will  «^ake  up  my  options  on 
a  five-year  contract.  Who's  the  hap- 
piest girl  in  the  whole  world  tonight? 
Don't  be  silly. 

August  20 — Went  to  the  studio  today  to 
pose  for  photographs.  I'm  having  a 
terrible  time  keeping  it  a  secret.  I'm 
not  to  say  anything  until  it  comes  out 
in  the  paper. 

August  24 — It  was  in  the  papers  tonight. 
The  phone  kept  ringing,  and  it  seems 
like  every  one  of  my  friends  called  up 
to  congratulate  me.  Isn't  it  too  mar- 
\-eIous? 

AUGUST  25— The  phone  began  ringing 
at  seven  o'clock.  I  have  more  friends 
than  I  realized.  Went  to  the  studio 
to  be  interviewed  by  a  Photoplay 
Magazine  writer.  My  first  real  inter- 
view. Went  to  the  Montmartre  for 
dinner.  That  agent  from  New  York 
that  turned  me  down  months  ago 
was  there  and  came  up  and  said,  "I 
knew  all  the  time  you'd  get  it.  I 
knew  you  had  it  in  you."  The  phone 
rang  until  eleven  o'clock. 

August  26 — Got  wires  from  Texas 
Guinan  and  Edna  Hibbard,  who  played 
Dorothy  in  the  play  in  New  York.  They 
were  kind  to  remember  me.  Lots  of 
other  telegrams  too.  Saw  Mr.  Lasky 
at  the  studio  and  he  congratulated  me. 

August  27— Today  started  the  big  thrill 
of  getting  wardrobe  for  the  part  of 
Lorelei.  Had  a  long  talk  with  Tra^'is 
Banton,  who  showed  several  sketches 
he  made  of  costumes  for  the  part.  The}' 
are  gorgeous.  I'm  to  have  loads  of 
pretty  things.  Took  another  test  with 
a  candidate  for  Dorothy. 

August  29 — Studio  all  day  taking  tests  of 


girls  for  Dorothy.  I'm  getting  awfully 
tired.  Went  over  to  ^ladeline  Hur- 
lock's  for  dinner,  and  we  talked  over 
the  good  old  days  at  Sennett's.  Gee,  I 
wish  I'd  get  over  this  excitement.  I 
can't  seem  to  get  to  sleep. 
August  30 — Heard  the  picture  is  to  start 
the  12th.  Can't  wait.  Looked  at  some 
more  sketches.  My  clothes  are  going  to 
be  exquisite.  Travis  Banton  is  terribly 
clever. 

SEPT.  1— Went  to  studio.  Two  inter- 
views in  the  morning.  My  photo- 
graphs in  the  afternoon,  and  then 
two  more  tests  for  Dorothy  candi- 
dates. Am  I  busy?  I  asked  for  work 
and  got  it! 

Sept.  2— This  afternoon  Mai  St.  Clair 
took  me  into  Pola  Negri's  dressing  room 
to  meet  her.  She's  terribly  fascinating 
and  quite  beautiful.  She  looked  at 
me  and  said,  "You  will  be  goot."  Com- 
ing out  we  met  Louise  Brooks  and  Mai 
introduced  me  to  her.  She  has  more 
chic  than  any  girl  I  ever  met.  I  like 
her. 

Sept.  3 — Hairdressers  all  morning.  No 
call  from  the  studio  and  I  came  home 
and  relaxed.  The  first  day  We  been 
home  in  two  weeks.  Read  "Gentle- 
men Prefer  Blondes"  again.  It's  the 
best  book  I  ever  read. 

Sept.  7 — Went  to  a  preview  of  Mar\- 
Pickford's  picture,  "My  Best  Girl." 
It's  splendid.  I  saw  the  part  I  was 
supposed  to  play  but  didn't  get.  But 
I  don't  feel  bad  about  it  now.  A  lot 
more  people  came  up  and  congratu- 
lated me  as  I  was  leaving  the  theater. 

Sept.  8— Took  test  at  ten  thirty.  I  hope 
they  pick  a  Dorothy  soon.  Tonight  I 
made  my  first  personal  appearance  as 
an  added  attraction  at  Loew's  State. 
It's  amazing  the  interest  the  public 
takes  in  Lorelei. 

Sept.  10 — I  wear  a  long  blonde  wig  in  the 
first  part.  It's  gorgeous.  Hal  Rosson 
is  to  photograph  the  picture.  He  is 
considered  one  of  the  best  cameramen 
in  the  business. 


A  study  in  concentration.  These  little  troupers  have  been  working 
in  scenes  of  "The  Man  Who  Laughs,"  and,  to  meet  the  require- 
ments of  the  California  law,  they  have  been  dismissed  from  the 
set  for  a  few  hours  to  study  their  lessons.  In  a  corner  of  the  studio, 
under  the  supervision  of  Mrs.  Mary  West,  the  young  players  study 
as  earnestly  as  though  they  were  miles  away  from  the  camera 

Every  ailverllsiTiicnl   In  I'[IOT(IPr,.\Y  MAG.VZIXE  I3  guaranteed. 


Photoplay  Magazine 

Sept.  14 — "Gentlemen  Prefer  Blondes" 
started  today.  What  a  relief!  I 
couldn't  belie\e  it  until  now.  Now  1 
actually  am  Lorelei  and  am  really  act- 
ing in  the  part. 

SEPT.  19— Worked  all  day  at  studio. 
Did  the  murder.  Miss  Loos  told  me 
today  I  was  doing  better  than  they 
ever  hoped  anyone  would  ever  do.  I 
hope  people  will  like  me  in  the  pic- 
ture. You  never  can  tell,  though.  I 
may  be  all  right  now,  but  a  flop  at  the 
finish.  Fittings  until  8  o'clock. 
Home  dead  tired. 

Sept.   20 — Worked   today  with   Chester 

Conklin.      He   is   the   judge.      He's   a 

mar\elous  comedian.      Mai  said  I  did 

well. 
Sept.  21 — Alice  White  selected  as  Dor- 
othy.   She  has  done  some  great  things 

for  First  National  and  I  think  she  is  a 

great  selection  for  the  part. 
Sept.  22 — Anita  and  John  Emerson  left 

at  6  o'clock  for  New  York.    They  told 

me  I  was  doing  good  work  and  to  keep 

it  up.     I  was  terribly  sorry  to  see  them 

leave.    Anita  Loos  has  been  like  a  fairy 

godmother.       E\erything    has    turned 

out  beautifully  since  I've  known  her. 

SEPT.  30— Worked  all  day  and  until 
9  o'clock  tonight.  Then  rushed  to 
a  dinner  at  the  Ambassador  to  a  din- 
ner given  for  me  by  a  man  who  just 
came  back  from  Paris.  He  brought 
me  an  antelope  bag  from  Pa  ton's  and 
a  marquisite  pin.    Lorelei's  first  gifts. 

Oct.  8 — Worked  all  day,  then  a  big  night. 
Mai  St.  Clair  and  his  wife  ga\e  a  Lorelei 
party  for  me  at  his  house.  Had  a 
glorious  time.  Crowds  of  people  were 
there,   and  everyone  was  so  sweet. 

OCT.  10 — After  work  went  to  the  ice 
rink  and  skated.  Fell  down  and  to- 
night have  a  big  black  and  blue 
mark.  If  I  was  still  working  at 
Sennett's  it  would  show. 

Oct.    12 — Had  the  biggest  thrill  today. 

Opened  two  magazines  and  found  big 

inter\-iews  about  me.    Si.x  months  ago 

"inter\iews  as  Lorelei  would  ha\'e  been  a 

wild  dream. 
Oct.  15 — Finished  the  picture  at  2:04  this 

afternoon.     We  had  a  lot  of  farewell 

pictures   taken,   and    Mai   ga\e   me  a 

lovely  corsage  of  orchids.    Somehow  I 

feel  terribly  sad.     I  only  hope  the  pub- 
lic likes  the  picture  one-half  as  well  as 

I  liked  working  in  it. 
Oct.  17 — The  studio  called  this  morning 

and  asked  me  to  come  o\er  to  see  Mr. 

Schulberg.     When   I   walked   into   his 

office,  he  looked  at  me  in  a  funny  way. 

I     was    still    standing    at    the    door. 

Finally  he  said,  "  Miss  Taylor,  it's  been 

very  nice  having  you  with  us,  and  We 

called  you  in  to  say  good-bye."    Then  he 

got  up  and  walked  toward  me.     I  al- 
most died.    He's  going  to  show  me  the 

door,  I've  been  a  flop.    Another  dream 

broken.     A   lot  of   panicky   thoughts 

rushed  through  my  head.     The  next 

thing  I  knew  he  was  shaking  my  hand 

and  saying,  "  I  want  to  say  good-bye  to 

Lorelei.    We  decided  yesterday  that  we 

want  you  to  sign  a  long-term  contract 

and  to  stay  with  us,  not  as  Lorelei  but 

as  Ruth  Taylor,   Paramount  featured 

player." 


-Advertising  Section 


125 


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126 


Photoplay  Magazine — Advertising  Sec 


Amateur  Movies 

[  CONTINUED  FROM  PAGE  71  ] 

not  a  golfer,  then  choose  something  else 
with  which  you  are  familiar  and  write 

a  script  about  it. 

Fifth:  Remember  the  limitations  of 
the  camera.  Trj-  not  to  let  yourself  be- 
come iinohed  in  too  many  intricate  and 
unusual  camera  details.  Remember  that 
the  professional  cameraman  has  an  entire 
technical  staff  and  equipment  at  his  dis- 
posal. 

Si.xth:  Ne\'er  be  afraid  to  tackle  any- 
thing new.  The  amateur  is  blessed  in- 
deed in  that  he  has  no  need  to  think  of 
how  his  picture  will  sell  and  whether  or 
not  the  new  effects  he  devises  will  please 
the  public.  An  amateur  has  freedom 
from  all  business  considerations,  there- 
fore a  lack  of  courage  in  his  efforts  is  un- 
pardonable. 

A  LOS  ANGELES  photo-filter  special- 
ist now  has  soft  focus  and  fog  filters 
adaptable  to  the  16  mm.  lens  used  by 
amateur  cameras.  The  first  —  a  dift'using 
screen — brings  a  softened  image  without 
sacrificing  speed.  The  soft  focus  was  de- 
vised by  D.  W.  GriflSth  and  is  used  con- 
tinually in  professional  films.  The  fog 
filter  gives  all  the  effect  of  foggy  weather 
and  can  also  be  used  in  making  soft  focus 
art  titles.  Try  it  on  an  outdoor  shot  this 
Winter. 


For  a  ^S 

Comfortable  Wrist 

Nothing  to  pinch,  pull  or  get  out 
of  whack.  Just  two  bands  of  metal 
held  together  by  a  friction-bar. 
Easily  fitted,  convenient  and  safe. 
Your  jeweler  will  show  you  a 
range  of  designs  for  men  and 
women,  in  12-K.  green,  white  or 
yellow  gold  filled. 

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A 


ML'XICH,  Germany,  firm   is  now 
marketing  a  93-^  and  16  mm.  auto- 


P.  and  A.  Photo 
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Mrs.  Douglas  Fair- 
banks Analyzes 
Mary  Pickford 


[  CONTINUED  FROM  PAGE  31  ] 

without  anything.  She  was  wonderful 
through  those  hard  poverty  days." 

"And  she  has  always  protected  you 
from  the  commercial  side  of  your  work, 
hasn't  she?"    I  interpolated. 

"Oh,  yes,  the  unpleasant  part,  the 
hardening  part,  the  part  that  frets  so 
many  artists,"  she  said  with  sparkling 
eyes.  Mary's  love  for  her  mother  is  very 
deep  and  sincere. 

"Vou  would  have  loved  to  ha\e  had 
children  of  your  own,  two  or  three,"  I 
suggested. 

"/^H,  yes,  not  two  or  three,  but  twelve 
V^or  thirteen.  Grandma  had  thirteen. 
It  means  so  much  to  us  to  ha\e  little 
Mary.  Somehow,  I  don't  know  just  how 
I  am  going  to  do  it,  but  I  am  going  to 
ha\-e  a  lot  of  children.  And  I  must  not 
wait  too  long,  I  want  to  grow  up  with 
them,  watch  them  develop."  And  Mary 
meant  it. 

"Is  it  true  about  the  college  picture?"  1 
asked . 

"Oh,  no,  but  we  did  discuss  one.  But 
college  pictures  are  being  overdone.  It 
would  have  to  be  an  exceptionally  good 
story.  You  know,  the  most  important 
things  about  pictures  are,  first  the  story, 
then  the  directing,  and  then  the  editing. 
It  is  the  most  difficult  to  find  good  stories. 
Sam  Taylor  directed  'My  Best  Girl'  de- 
lightfully, and  Kathleen  Is'orris  wrote  the 
story,  although  we  had  her  change  it  a 
little  for  us." 

"And  the  next  picture?"  I  asked. 

"I  don't  know.  Doug  and  I  con- 
sidered doing  a  picture  together  called 
'The  Crusaders.'  I  was  to  be  the  girl 
leading  30,000  boy  children  on  a  terrific 
march.  But,  oh,  well,  we  doubt  the 
advisability  of  doing  a  picture  together 
just  yet." 

"If  you  are  about  seventeen  in  'My 
Best  Girl,'  you  are  beginning  to  grow  up 
gradually.  You  ha\e  usually  been  nearer 
twelve,"  I  remarked. 


D 


127 


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think  perhaps  I  can  do  it  that 
way.  I  would  like  to  do  one  taking  a  little 
girl's  life  from  tiniest  bab}-hood  and  play- 
ing her  at  e\  ery  age,"  said  Mary. 

"And  take  us  right  through  to  her  old 
age?" 

"Oh.  women  don't  grow  that  old  any 
more,"  said  Mary.  "There  aren't  any 
realh  old  women  any  more.  But  I  would 
get  quite  old — oh,  perhaps  35,  she  could 
t\cii  be  a  grandmother  soon  after  that." 

So  vou  see,  behind  it  all,  with  all  her 
Irtcdom  and  power,  we  have  a  \'ery 
troubled  Mary,  wondering  how  she  can  in- 
\  t  igle  the  public  into  letting  her  grow  up. 
She  lb  de\ising  ways  and  means  of  slipping 
it  ci\"er  on  them.  She  wants  them  to  love 
the  mature  Mary  just  as  they  ha\"e  loved 
the  skinny  legged,  lively,  lo\"able  little-girl 
Mary.  But  somehow  they  expect  Mary, 
like  Peter  Pan,  to  stay  kiddish  forever. 
They  love  her  maternal  little  ways — but 
the}'  want  her  Wendy-ish,  just  playing  at 
being  mother. 

THEY  want  to  keep  Mary  a  bud  that 
ne\"er  blooms.  And,  of  course,  Mary 
does  seem  \ery  much  like  those  buds  that 
sometimes  make  such  a  glorious  start  on 
the  American  Beauty  rose  tree.  Their 
lo\ely  petals  cling  so  closely,  and  give 
such  promise  of  a  wondrous  bloom  to 
come,  but  they  ne\er  open  out  and  flaunt 
their  full  glory. 

Yet  the  same  public  that  has  adored 
Mary  in  her  immature  roles  continues  to 
expect  great  things  of  its  Mary,  greater 
things.  Mary's  mind  has  matured  for 
this  greater  glory,  but  her  physique,  her 
art,  and  this  same  public's  will  for  her  re- 
main childish.  Something  is  hindering  the 
perfect  blooming.  No  one  realizes  this 
more  than  Mary.  ApparentK-  unfettered 
by  the  fetters  that  beset  other  artists, 
Mary  still  feels  curiously  fettered. 

"But  you  love  pictures  and  will  go  on 
making  them  for,  well  another  ten  years," 
I  suggested. 


I  DON'T  know, 
as  that. 


Perhaps  not  so  long 
I  think   I  have  found  my 

pro\ince  for  the  present  in  this  fine, 
young,  middle-class  working  girl  type.  It 
would  be  a  pity  for  me  to  retire  from  pic- 
tures altogether,  with  my  long  experience. 
I  suppose  I  shall  always  want  to  make 
pictures.  But  I  am  coming  to  hate  star- 
ring pictures.  I  want  pictures  that  gi\e 
every  actor  a  chance.  'Aly  Best  Girl'  does 
that — it  really  isn't  just  Mary  Pickford. 
Se\eral  other  members  of  the  cast  ha\-e 
excellent  roles.  Perhaps,  in  that  ten  years 
hence  you  talk  about,  I  shall  be  develop- 
ing new  actors  and  not  be  caring  so  \ery 
much  what  happens  for  Mary  Pickford," 
she  said. 


earnestly  feeling  the  poignancy  of  the 
position  of  the  then  once  famous  woman 
who  did  not  realize  her  day  was  done. 

And  so,  ten  years  hence,  Mary  is  going 
to  be  psyching  herself  with  ruthless 
criticism.  I  could  almost  see  the  promise 
of  this  torture  forming  inhermind — audit 
seemed  so  incongruous  in  this  dainty,  trim, 
fairylike  little  person  with  the  glowing 
golden  curls. 

If  only  this  Mary's  mind  had  not 
matured,  if  only  she  were  incapable  of  this 
ruthless  self-analysis,  she  might  ha^■e  gone 
on  being  the  same  buoyant  child-like 
Mary  Pickford  for  another  generation  of 
picture  fans  to  adore.  But  as  it  is,  the 
harshest  critic  that  Mary  will  e^-er  ha\e 
will  be  Mary. 

BUT  always  she  is  wrestling  with  Mrs. 
Douglas  Fairbanks,  who  has  made  four 
mind-illuminating,  intelligence-whetting 
tours  through  Europe — the  tra\elled,  cul- 
tured Mrs.  Douglas  Fairbanks  who  has 
come  to  know,  enjoy,  appreciate  the  fas- 
cinating sophistications  of  a  \ery  different 
world  from  the  one  Mary  Pickford  por- 
trays. Mrs.  Douglas  Fairbanks  who  is  at 
home  at  royal  courts  and  entertains  great 
celebrities  of  all  nations  in  her  mansion 
home,  seems  to  ha\e  so  little  in  common 
with  the  spindle-legged  Mary  Pickford  of 
the  screen,  romping  in  hoydenish  delight 
through  her  simple  little  heart-touching 
tragi-comedies. 

Mary  said  she  had  created  a  false  situa- 
tion in  Fauntleroy  by  playing  both  the 
mother  and  the  son  and  trying  to  win 
public  sympathy  at  being  distressed  at 
being  separated  from  herself.  Yet  that  is 
just  what  has  happened  to  Mary  in  real 
life — wealth,  success,  power,  a  de\"eloped 
intelligence  ha^•e  separated  Mary  from 
herself.  When  she  said  those  old  hard 
poverty  days  were  more  real  to  her  than 
any  life  that  has  been  hers  since,  she 
meant  it. 

And  when  we  were  talking  about  little 
Mary,  the  eleven-year  old,  who  is  onh'  to 
go  into  pictures  if  she  really  lo\"es  it, 
Mary  also  added  that  it  was  \-ery  difficult 
for  an^'one  to  make  good  in  anything 
when  the  financial  urge  was  missing. 
Wealth  and  place  weaken  endea\or, 
weaken  the  will  to  sacrifice,  weaken  pas- 
sionate enthusiasm.  Mary's  little  Rlary 
will  ne\er  know  poverty,  so  that  she  will 
be  denied  those  essential  urges. 


AND  our  Mary,  too, 
r 


has  wealth  and 
>-place.  They  haven't  managed  to  kill 
her  deep  love  for  her  work,  but  they  ha\e 
unsettled  her,  made  her  restless — actually, 
in  some  queer  way,  undermined  her  con- 
fidence in  herself.  It  seemed  so  foolish, 
sitting  there  gazing  at  the  triumphant, 


"You  could  go  back  to  the  legitimate  successful,  affluent  and  free  Mary,  know- 
ing her  for  ha^■ing  gained  the  arch-desire 
of  screenlanders,  and  yet  want  to  take 
her  in  one's  arms  and  comfort  her,  pet  her, 
assure  her  affectionately  that  "Every- 
thing's all  right,  dear.  You  are  still  the 
belo\ed  Mary." 

Besides,  Mary  was  smiling  .  .  .  or  was 
it  the  cultured,  charming  Mrs.  Douglas 
Fairbanks  who  was  smiling — and  keeping 
my  uncalled-for  emotions  in  their  place? 
I  am  afraid  I  should  ha\e  recei^■ed  a  cul- 
tured little  snub  from  Mrs.  Douglas  Fair- 
banks, had  I  dared  to  express  any  absurd 
sympathy  for  Mary  Pickford. 


stage,"  I  suggested.  "Your  training  be- 
gan on  the  stage." 

"Oh,  no,  one  should  ne\'er  try  to  go 
back.  That  would  be  a  serious  mistake. 
No,  one  must  always  go  forward,  don't 
>ou  think?  If  not  in  one's  old  sphere, 
then  in  another.  It  isn't  good  to  try  to 
go  back  to  anything,  not  e\en  to  the  old 
home  town,  or  one's  old  lo\es." 

And  I  recalled  hearing  Mary  say — oh, 
>ears  ago — that  the  moment  she  felt  that 
the  public  no  longer  wanted  her  she  would 
retire.  She  was  talking  about  another 
actress's   heartaches   at   that    time,   and 


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Just  A  Song  At 
Midnight 


[  CONTINUED  FROM  PAGE  70  ] 


All  at  once  Ann — being  a  poet — was 
dramatizing  herself.  As  women  will 
do — «ven,  sometimes,  when  they  are 
not  poets.  She  was  seeing  herself  a 
Columbine — gay,  spangled,  mad  with 
youth.  Dancing  off  to  the  city.  And  to 
a  Harlequin  who  was  the  essence  of  cities 
and  of  those  things — success  and  money 
and  position — for  which  the  city  stands. 
While  Pierrot,  in  his  eternal  clown  suit, 
with  his  violin  clasped  to  his  breast  and 
his  grotesquely  whitened  face  lifted  to  the 
sky — faithful  Pierrot  who  had  known  her 
lips — -waited.  Waited  in  the  shadow  of 
the  trysting  tree. 

QUITE  suddenly  Ann  had  hurried  to 
,  her  feet.  She  was  crossing  to  the 
crowded  desk  on  which  she  wrote  her  copy 
■ — and  her  poems.  Which,  with  the  years, 
were  becoming  more  and  more  popular. 
Seating  herself  at  the  desk  she  selected  a 
wide,  white  sheet  of  paper  and  a  stubby 
pen.  And  began  to  write.  To  write  the 
picture  that  her  imagination  had  painted. 

And  when  she  had  finished  writing  it, 
she  rose,  just  a  shade  wearily,  and  began 
to  undress. 

A  warm  bath  and  a  night  gown  of  peach 
colored  crepe  rather  renewed  her  con- 
fidence in  herself.  She  didn't  read  o\er 
the  poem — not  at  all.  Until  the  next 
morning.  And  then  she  found  it  was 
surprisingly  good — a  lyric  bit  of  verse, 
with  a  shade  of  really  deep  feeling 
between  the  lines  of  it.  And  so — the 
mood  of  drama  quite  gone,  and  Jeremy 
again  a  dim  figure  from  the  dim  past,  she 
typed  the  poem.  And  put  it  into  a  long 
manila  envelope,  and  sent  it  to  the  ofifice 
of  a  certain  popular  magazine  that  was 
published  once  a  week.  And  three  days 
later  the  magazine  sent  her  a  check  for  it. 

Quite  a  nice  check,  with  which  she  pur- 
chased cuff  links  for  Richard. 

IT  was  two  months  later  that  Richard — 
buying  a  copy  of  the  certain  popular 
magazine,  while  they  loitered  along  the 
avenue — let  his  gaze  run  down  the  length 
of  the  poem.  He  paused,  on  the  street,  to 
read  it — as  he  was  wont  sometimes  to 
pause,  and  scrutinize  the  columns  of  the 
financial  page. 

"It's  a  pretty  thing,"  he  told  Ann,  as 
he  read  it — "  'Columbine's  Song.'  Sort 
of  fanciful — what?  I  wonder,  darling, 
where  your  ideas  come  from?  You" — 
even  on  the  avenue  his  hand  could  find 
her  hand — -"You  don't  know  how  proud 
I  am,  when  I  see  your  name  in  print!" 

Ann  returned  the  pressure  of  his 
fingers.  Her  eyes  did  not  follow  along  the 
column  of  type.  Ann  was  workman 
enough  to  lose  acti\e  interest  in  her 
verse — once  it  was  out  of  hand.  But, 
even  though  she  did  not  read  it  o\-er — • 
even  though  she  had  forgotten,  partly, 
the  swing  of  the  lines  (for  much  had  run 
out  of  her  stubby  pen  sincetheeveningof 
the  poem's  birth — and  she  had  coAered 
many  wide  sheets  of  paper^ — she  spoke 
just  a  shade  anxiously. 


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"Richard,"  she  questioned — "would  it 
matter  to  you  that  I'd  kissed  any  other 
man  before  we — we  became  engaged?" 
She  spoke  almost  shyly. 

Richard  was  laughing. 

"Good  Lord,"  he  ejaculated — "why 
should  it  matter?  You're  not  a  child — of 
course,  I'm  not  the  first  chap  you've  ever 
kissed!  I'd  feel  there  was  something 
wrong  with  you  if  I  were.  I've — "  remi- 
niscently  he  smiled — "I've  kissed  other 
women,   myself.     But" — all  at  once  his 

\oice  was  serious — "/  woiil  cvct again. 

A  ud  neither  will  yon!  "  Ann  looked  up  at 
him  with  eyes  suddenly  misty. 

"I  reckon,"  she  whispered — ^still  rather 
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AND  the  poem,  innocently  appearing 
enough,  found  its  way  into  a  good 
many  homes — for  the  popular  magazine 
had  an  amazing  circulation.  And  a  young 
girl  pasted  it  in  the  frame  of  her  mirror, 
and  an  old  man  tucked  it  into  his  wallet. 
And  a  woman  with  grey  hair  sighed,  and 
another  woman  with  auburn  hair  left  her 
husband  at  his  Canfield,  and  went  into 
the  next  room  to  write  an  indiscreet  letter. 

And  a  certain  man,  in  a  certain  small, 
but  growing  town,  packed  a  prosperous 
looking  pigskin  traveling  bag,  and  started 
— witli  a  look  on  his  face  that  was  half 
puzzled  and  half  self-conscious — toward 
the  city. 

And  on  the  sleeper,  before  he  tumbled 
into  the  lower  berth  that  the  porter  had 
made  up  for  him,  the  man  took  the  poem 
— already  a  shade  frazzled  about  the 
edges — from  his  pocket.  And  read  it 
over.    It  went  like  this — 

"  Harlequin,  Harlequin,  you  have  my  lips. 
You  may  know  the  pressure  of  my  dainty 

finger  tips; 
You  may  always  dance  with  me,  when 

haunting  waltz  tunes  start. 
You  may  hold  me  close,  so  close — but 

Pierrot  has  my  heart ! 

"Often  we  may  speak  of  love,  often  we 

may  play 
At  the  vivid  game  of  youth — we  may 

have  life's  day. 
We  may  wander  hand  in  hand,  when  the 

moon  is  bright, 
But  I  hear  a  little  song  calling  through 

the  night. 

"I  may  listen  as  you  talk,  I  may  laugh 

with  you, 
I  may  wear  my  gayest  gowns — rose  and 

mau\-e  and  blue — 
I   may  give  you  much  of  joy,  pay  you 

rapture's  toll, 
You  may  have  my  lips,  alwaj's  ...  But 

Pierrot  has  my  soul ! 

"Harlequin,  Harlequin,  we  may  journey 

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To  that  paradise"  of  dreams,   where   no 

returnings  are! 
We    may    cross    the    highest    peak,    the 

seventh  silver  sea, 
But    still    I    know    that    Pierrot    waits, 

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So,  on  a  slim  note  of  wistful  ness,  the 
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Photoplay  Magazine — Advertising  Section 


131 


man  waiting.  It  was  rather  a  little  joke 
between  them — Ann  and  the  telephone 
operator.  For  it  was  always  the  same 
gentleman  who  waited,  although  the  girl 
at  the  switchboard  liked  to  clothe  it  in 
mystery! 

"Oh,  send  him  up!"  Ann  said  blithely 
— for  she  had  not  been  expecting  Richard 
until  a  whole  hour  later.  And  then  she 
put  Richard's  roses  in  front  of  his  picture 
on  the  table  in  her  small  living  room. 
Not  that  she  was  emotionally  dishonest — 
it  was  her  dramatic  sense  again.  The 
position  of  the  roses  did  not  make  her 
love  either  them — or  Richard's  photo- 
graph— more  greatly ! 

IT  always  took  so  long  for  the  elevator 
to  carry  Richard  from  the  hotel's  foyer 
to  the  door  of  her  apartment.  Ann  had 
astonished  herself  once  by  timing  the 
process — and  discovering  that  the  actual 
space  involved  was  a  little  less  than  two 
minutes.  From  the  way  her  heart 
thumped,  while  waiting,  she  had  fancied 
it  to  be  much  longer!  After  putting  the 
Howers  in  their  place,  she  ran  to  the  door 
and  stood — childishly  expectant.  It  was 
a  tiny  jcke  of  theirs  that  her  opening  of 
the  door  occurred  so  soon  after  Richard's 
knock  upon  it  that  there  wasn't  even 
time  for  an  echo! 

One  minute.  One  minute  and  a  half. 
Ann  read  off  the  ticking  of  the  second 
from  her  busy  little  wrist  watch.  And 
then  a  knock.  A  trifle  louder  than 
Richard's  usual  knock.  She  swung  the 
door  sharply  inward,  reached  forward 
with  white,  expectant  hands.  Hands  that 
fell  suddenly  to  her  sides.  For  the  man, 
revealed  by  the  opening  door,  was  not 
Richard!  The  man  was  decidedly  not 
Richard!  For  a  moment  she  thought  he 
was,  indeed,  a  stranger.  And  then  came 
the  sound  of  a  voice — a  voice  that  brought 
with  it  a  throb  of  memory! 

"Well,  Ann,"  said  the  voice.  "I'd — I'd 
scarcely  know  you,  girl !  You've  changed 
— filled  out,  some,  I  guess!"  (What 
woman  can  stand  the  expression,  "filled 
out" — especially  when  she  is  close  to 
thirty — without  wincing?) 

And  Ann,  answering,  tried  to  make  her 
voice  sound  casual,  as  she  stood  aside  to 
let  her  visitor  enter. 

"OO  have  you  changed,"  she  said — 
Oslowly — "and  why  wouldn't  you? 
After — ten  years — " 

It  was  Jeremy.  Jeremy  who  had 
played  Schubert's  silver  song  in  the  moon- 
light. Jeremy  whose  kisses  had  taught 
her  lips  the  meaning  of  romance.  Jeremy 
whose  arms  had  been  like  bands  of  steel, 
holding  her  close.  Jeremy — and  she 
would  ne\'er  ha\e  recognized  him  sa\"e 
for  his  voice! 

For  Jeremy  showed,  plainly,  each  of 
the  ten  years  that  had  gone  by.  They 
might — thought  Ann,  gazing  at  him,  have 
been  measured  in  pounds.  Jeremy,  who 
had  been  so  youthfully  slender,  so  lithe — 
was  stout.  No — fat.  He,  indeed,  had 
filled  out.  Ann's  ej'es — travelling  up- 
ward, from  his  broad,  sensibly  shod  feet 
to  his  uncovered  head — noticed,  with  a 
sense  of  complete  unreality,  that  he  was 
beginning  to  get  bald.  There  was  a  pink 
spot  that  showed,  ever  so  plainly,  through 
liie  thinning  brown  hair.  Jeremy — 
quickly  she  calculated  his  years — was  in 
his    early    thirties.      And    yet    he    was 


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Local  Color 


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City  and  State 


Strangely  middle-aged.    Strangely  settled. 

Together,  and  silently,  they  walked 
across  the  small  room.  Together,  like 
awkward  children — left  alone  in  a  parlor, 
and  not  too  sure  that  the  grown-ups 
weren't  watching — they  seated  them- 
selves upon  a  di\an.  On  the  way  to  the 
divan  Jeremy  had,  quite  in  the  manner 
of  one  who  plans  to  stay  awhile,  placed 
iiis  hat  upon  the  table.  It  seemed 
strange,  to  Ann,  that  another  man's  hat 
should  be  set  upon  the  table  sacred  to 
Richard's  photograph  and  his  fiowers. 
She  almost  said  something  of  the  sort  and 
caught  herself  just  in  time.  For  when  he 
spoke,  at  last,  it  was  with  a  jerk  of  one 
thumb  in  the  direction  of  Richard's  like- 
ness. 

"And  I  suppose,"  he  said  abruptly, 
"that,  that's  your  Harlequin s"' 

Ann  gulped.  Her  wide  eyes  blinked 
with  a  frightened  kitten  expression.  And 
then — 

"Vou  mean?"  she  queried. 

JEREMY  had  fished  into  his  pocket  with 
a  hand  that,  all  at  once,  was  slightly 
nervous.  He  brought  to  light  the  be- 
ginning-to-be frayed  page  of  a  popular 
magazine. 

"That's  why  I  came,"  he  said  slowly, 
handing  Ann  the  fragment  of  printing. 
"I  read  this.  I  knew,  at  once,  that  you 
meant — me.  And  I  came  to  save  you 
from  making — a  mistake  .  .  .  .  " 

Ann's  fingers  were  curiously  numb  as 
she  reached  for  the  ill  advised  child  of  her 
brain.  Yes — it  was  "Columbine's  Song" 
right  enough.  What  evil  fate  had 
prompted  her  to  write  such  a  thing?  Her 
wonderings  were  interrupted  by  Jeremy's 
\-oice. 

"I  wouldn't  have  known  you  meant 
me,"  he  was  saying,  "if  you  hadn't  men- 
tioned the  old  trysting  tree.  That  made 
me  sure — Oh,  Ann — "  all  at  once  he  was 
reaching  toward  her,  and  Ann  realized 
at  the  moment  that  jokes  about  fat  men 
in  love  had  no  foundation  of  fact.  This 
fat  man  in  love  was  not  amusing.  Angrily 
she  put  the  width  of  the  room  between 
them. 

"Jeremy — "  she  said,  "don't!  It's  all 
too  silly!" 

The  man  had  risen  from  the  divan. 

"What's  silly?"  he  asked,  and  there 
was  an  aggressive  tilt  to  his  square  chin. 

Ann  tried  to  explain. 


ALL  this,'' 
!■ 


she  said  at  last,  and  vague- 
ly. "You  coming  here,  for  instance. 
And  me,  writing  a  sentimental  poem.  And 
being  engaged — to  another  man!" 

Jeremy  laughed.  Was  there  a  note  of 
triumph  in  his  laughter? 

"Oh,"  he  said,  almost  airily,  "I  ex- 
pected you  to  be  engaged.  At  least. 
Why,  for  all  I  knew,  you  might  have  been 
married — "  lightly  his  fingers  tapped  the 
l)oem. 

"And — ■"  Ann's  eyes  were  even  wider 
than  they  had  been — "if  I  were  married?" 

The  man's  own  eyes  were  wide.  As  if 
he,  himself,  were  astonished  at  his  daring. 

"  I'd  rescue  you !"  he  said,  quite  simply. 
And  even  the  idea  of  him  as  a  chubby 
knight  errant  was  not  laughable.  Not, 
at  least,  to  Ann. 

"Oh,  Jeremy!"  she  breathed  in  plain- 
tive accents.  How  on  earth  would  she 
explain  to  him  that  the  poem  was  just  a 
throwback — that    it    meant    nothing    at 

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tel 


all?  "Oh,  Jeremy!"  she  half  sobbed. 
And  realized,  as  her  voice  caught  in  her 
throat,  that  she  was  sobbing  from  nerv- 
ousness. It  was  bad  enough,  quite,  to 
have  an  old  lover  return — and  unex- 
pectedly. It  was  worse  to  have  him 
come  romantically,  with  high  flung 
phrases  and  knightly  gestures.  Insistent 
upon  rescuing  one  from  a  situation  that 
was  happily  beyond  need  of  rescue. 

EN  Richard  called  upon  the 
telephone,  some  twenty  minutes 
later,  to  tell  of  an  unexpected  business 
matter,  that  would  keep  him  late  at  the 
ofifice,  he  had  no  way  of  knowing  the 
relief  that  swept — at  the  sound  of  his 
apologetic  voice — over  Ann's  face.  It 
had  been  a  keen  problem  in  her  mind — • 
how  to  get  Jeremy  away  before  Richard's 
arrival. 

"Oh,  that'll  be  all  right,"  she  answered, 
almost  too  sweetly.  "I'll  see  you  tomor- 
row." And  then  she  hung  up  the  re- 
ceiver and  turned  to  Jeremy — who 
loomed  large  upon  the  sofa.  Jeremy  who 
had  never  stirred  from  his  place  at  the 
tinkle  of  the  telephone  bell.  It  was  his 
very  solidity,  his — his  setness — that  forced 
Ann  into  hysterical  speech. 

"Ob,  for  goodness'  sake,"  she  cried, 
"let's  get  away  from  here!  Let's — " 
inspiration  touched  her,  "let's  go  out  to 
dinner." 

Jeremy  rose  with  something  like 
alacrity. 

"That's  a  good  girl,"  he  answered 
approvingly — "hurry  into  your  hat,  and 
we'll  go.  Believe  me — I  can  eat  right 
now!"  One  knew,  looking  at  him,  that 
he  could  usually  eat. 

And  so  it  happened  that  in  the  space 
of  ten  minutes,  they  were  walking  to- 
gether down  the  wide  avenue.  The 
avenue  which  belonged  to  Richard,  not 
Jeremy.  In  the  direction  of  the  famous 
old  restaurant  of  which  Jeremy  had  once 
read,  in  a  book.  But  Ann's  hand  did  not 
rest  upon  Jeremy's  stout  arm.  In  fact, 
both  of  her  hands  were  clenched  tight  in 
the  pockets  of  her  coat. 

They  were  a  trifle  early  for  dinner. 
And,  as  Jeremy  ordered  from  the  suave 
French  waiter,  Ann  was  glad  of  the  hour. 
Many  of  her  friends  dropped  in  at  this 
same  restaurant  when  the  later  evening 
came.  It  would  be — nicer— if  she  and 
Jeremy  had  left  before  there  was  a  ques- 
tion of  any  embarrassing  introduction. 

They  ate  their  soup — a  soup  rich  and 
pungent — in  silence.  They  waited,  still 
in  silence,  for  their  roast.  And,  as  they 
sat  waiting,  the  orchestra  came  on  to  the 
little  balcony  from  which  they  dispensed 
music,  and  began  to  tune  up.  And — a 
shade  idly,  his  tuning  done,  the  violinist 
began  to  play.  Softly,  half  to  himself,  for 
the  dining  room  was  sparsely  settled. 
At  the  first  note  of  his  song,  Ann  felt  her 
heart  sinking,  sinking.  This  chain  of 
coincidence  was  growing  too  strong.  In 
her  heart  of  hearts  she  heard  a  strangely 
familiar  voice,  repeating  a  line  she  had 
written. 

"But  I  hear  a  little  song,  calling 
through  the  night!"  was  the  line. 

She  glanced  at  Jeremy  under  heavy 
lashes,  and  saw  with  relief  that  he  was  not 
listening — that  he  was  watching  the  ap- 
proach of  the  waiter. 

"It  is  good  food  they  serve  here,"  he 


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said.  And  did  not  notice  that  the  song 
was  over. 

Ann  did  not  want  to  say  it.  It  was 
something  she  didn't  want  to  bring  up. 
But— 

"You  used  to  play  the  violin  rather 
well,"  she  told  him,  and  her  voice  was 
soft. 

Jeremy  laughed  and  cut  into  the  meat 
that  lay  upon  his  plate — 

"So  I  did,"  he  answered,  "but  I 
haven't  touched  my  fiddle  for  years.  I 
have  a  radio — now — best  one  in  town. 
I've  gotten  three  thousand  miles  on  it. 
Say"  his  mind  was  not  one  to  stay  too 
long  upon  any  subject,  "how  about  a  side 
order  of  some  mushrooms  under  glass?" 

IT  was  when  they  were  beginning  des- 
sert that  the  thing  Ann  had  been  fearing 
happened.  A  friend  came  into  the 
restaurant.  Not  one  of  the  friends  that 
she  especially  shared  with  Richard — no, 
it  wasn't  as  bad  as  that!  A  thin  little 
wisp  of  a  girl  who  always  looked  starved — 
and  who  claimed  to  admire  greatly  the 
quality  of  Ann's  verse.  A  girl  who  lived 
upon  the  fringe  of  Bohemia — who,  rather, 
existed  there.  She  hurried  to  their  table 
— did  the  thin  little  girl — and  seated  her- 
self wearily  in  the  chair  that  Jeremy  drew 
forward. 

"I'm  only  going  to  have  a  salad  for 
supper,"  she  said — raising  her  large  eyes 
to  Jeremy's  face.  "  Do  you  mind  if  T  stay 
here,  with  you?  It's — it's  so  lonely  eating 
by  one's  self" — her  voice  was  wistful. 

Ann,  though  glad  of  the  interruption, 
stifled  an  unwelcoming  word.  She  knew 
this  girl  so  well.  The  salad  would  be- 
come, miraculously,  a  steak  and  potatoes 
au  gratin.  And  it  would  appear  on  their 
bill.  Not — she  stole  a  glance  at  her  com- 
panion— not  that  that  would  bother 
Jeremy.     He  looked  prosperous  enough. 

She  stole  a  glance  at  Jeremy!  And  saw 
— with  amusement — that  his  eyes  were 
smiling  as  they  rested  upon  the  face  of  the 
thin  little  girl.  And  then,  all  at  once,  she 
was  remembering  Jeremy's  first  word  of 
greeting,  to  her.  A  word  that  might  have 
expressed  a  \-ague  disappointment. 

"You've  filled  out — "  he  had  said. 
Just  that. 

BUT  he  was  speaking  again.  This  time 
to  the  girl  who  was  an  interloper. 

"You're  darn  right  it's  lonely,  eating 
without  a  dinner  partner,"  he  said.  "/ 
know.  And  say,  a  salad's  not  enough  for 
you.  You  don't  look  strong  enough  to  get 
along  on  such  light  fare." 

The  girl  sighed. 

"Perhaps  you're  right,"  she  agreed, 
gently,  and  drew  the  waiter's  attention  to 
the  special  steak — "but  most  men  aren't 
so — so  thoughtful.  What  a — "  she  sighed 
again — "what  a  wonderful  husband  you'd 
make!    I — I  take  it  you're  not  married?" 

Jeremy  was  flushing.  And  Ann, 
watching  the  thin  little  girl,  credited  her 
with  a  real  cleverness.  The  child,  she 
knew,  was  usually  without  financial  re- 
source. Perhaps  the  solidness  of  Jeremy 
had  an  appeal  for  her.    Perhaps — 

"No,  he's  not  married,"  she  answered 
almost  maliciously — "  not — yet !" 

Jeremy  shot  a  glance  at  her.  For  one 
who  had  travelled  miles  because  of  a 
shred  of  poetry,  his  expression  bore  a 
strange  chill.  Or — was  it — fear — appre- 
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But  the  thin  girl  was  not  noticing  the 
exchange  of  words — or  glances.  Artlessly 
she  babbled  on. 

"We're  all  so  happy  for  Ann,"  she  mur- 
mured. "She's  going  to  marry  soon,  you 
know.  And  I  hear  that  the  man  she's 
going  to  marry  is — is  a  dear.  Do  you 
know  him?" 

UNDER  coverof  the  table  cloth  Ann's 
hands  were  clasped  together.  It  had 
come — a  direct  question.  If  Jeremy 
answered  it,  as  directly,  it  would  mean 
an  exciting  story  to  find  its  way  back  to 
Richard.  But  Jeremy — this  day — was 
doing  the  unexpected. 

"No,"  he  said,  very  slowly,  with  his 
eyes  on  his  now  empty  plate.  "No,  I 
haven't  met  the  lucky  man.  But  I've 
known  Ann  for  years.  She's  from  the 
little  town  I  live  in — " 

"Oh,"  the  thin  girl's  face  was  almost 
avid  as  she  cut  into  the  steak  that  the 
waiter  placed  in  front  of  her — and  sud- 
denly Ann  knew  that  the  girl  had  been 
actually  hungry.  Hungry  in  more  ways 
than  one. 

"Oh,"  she  said— "I'd  love  to  live  in  a 
little  town!  I'm  so — "  was  there  a  real 
sob  in  her  voice?  "  I'm  so  tired  of  cities — 
I'd  love  to  stay  forever  in  a  place  where 
there  were  houses  and  gardens." 

Jeremy  was  leaning  forward.  And,  on 
his  eager  face,  Ann  saw  the  reflection  of 
the  slim  youth  she  had  known  ten  years 
before. 

"Would  you  really?"  he  questioned. 
And  then,  very  boyishly — "  I  have  a  house 
and  a  garden — " 

It  was  the  beginning  of  the  end ! 

THEY  sat  at  the  table  after  dinner, 
talking.  Talking  happily  and  natu- 
rally. The  ice  bands  that  had  held  Ann's 
soul  in  check  had  melted  away.  Jeremy 
— quite  plainly  Jeremy  had  found  another 
Columbine!  One  who,  if  she  captured 
him,  would  never  desert  the  trysting 
tree  or  the  slightly  changed  song  that  he 
was  able  to  sing!  It  took  Ann's  sense  of 
responsibility  away — it  made  her  feel 
curiously  free,  this  thought.  When  at 
last  they  left  the  hotel,  she  knew,  by  the 
prodigious  size  of  the  tip  he  gave  the 
waiter — that  the  man  was  really  inter- 
ested. 

They  delivered  the  girl  at  the  doorway 
of  the  shabby  rooming  house  in  which  she 
lived — after  driving  in  a  taxi  for  many 
costly  hours,  through  a  city  park.  And 
as  they  went  on  in  the  taxi,  toward  her 
hotel,  Ann  found  that  she  was  laughing. 
Her  chuckle  was  utterly  delicious  in  its 
kindliness.  She  didn't  ask  a  question. 
She  didn't  have  to — Jeremy  answered 
the  chuckle! 

"After  all,  Ann,"  he  said  ponderously — 
"we've  both  changed  in  ten  years  .  .  .  ." 

Ann  swept  the  mirth  from  her  voice 
before  she  answered. 

"We — have!"  she  said,  at  last. 

"And,"  Jeremy's  tone  was  suddenly  less 
ponderous,  "and— after  all,  you  don't 
need  me.  And  hang  it,  a  fellow  likes  to 
be  needed!  Now — that  kid  we  just  left. 
Take  her,  for  instance.  She — she's  so 
frail.  She  doesn't  even  know  how  to  order 
a  meal.  A  chap  could  make  her  happy  in 
ways  that  wouldn't  begin  to  satisfy 
you — " 

Ann  remembering  the  look  on  the  girl's 
face  as  she  viewed  the  steak,  nodded  her 


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head  slowly.  There  in  the  darkness.  Her 
Aoice  was  all  sympathy  when  she  spoke. 

"A  chap  could — "  she  said.  And  then 
— "Why  don't  you  try  it,  Jeremy,  your- 
self?" 

Anxiously  the  man  turned  toward  her, 
in  the  darkness  of  the  swiftly  moving 
cab.  His  tone  was  actually  shy  when  at 
last  he  spoke. 

"I'd  like  to—"  he  told  her— "if— 
you're  sure  you  understand." 

Suddenly,  swiftly,  Ann  leaned  forward. 


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That  I  reckon  I've  always  loved  you. 
That  I'll  never  love  anyone  else!  You 
must  believe  me!" 

Richard's  voice  came  in  an  almost 
business-like  way  over  the  'phone. 

"Of  course,  I  believe  you!"  he  told  her. 
"And  I  love  you,  too — "  Xobly  he 
stifled  a  yawn — but  Ann  heard  the  faint 
hint  of  it  across  the  wire.  "And — "  he 
didn't  mean  to  be  unkind  in  changing  the 
subject,  "And  now,  darling,  you  must  get 
your  beauty  sleep.     And  I  think  you're 


135 


And  kissed  the  astonished  Jeremy  upon  the  sweetest — ^"  was  it  another  yawn  that 
one  plump  cheek.  It  was  a  kiss  that  a  Ann  heard  as  she  put  the  receiver  softly 
sister — a  mother — might  have  bestowed,     in  its  place 

"You  darling!"  she  said. 

Jeremy's  answering  kiss  was  brotherly 
in  the  extreme. 


IT  was  well  after  eleven  when  she 
entered  her  room.  But  Ann  was  not 
considering  the  hour.  She  tossed  her  hat 
and  coat  aside.  Her  gloves  she  flung 
upon  the  table.  She  kissed  Richard's 
photograph  (once  she  had  kissed  another 
photograph)  and  touched  one  of  his 
flowers  with  a  slim  forefinger.    And  then 


OF  course — oh!  of  course!  Men  aren't 
Don  J  uans  when  they' ve  been  wakened 
from  a  sound  sleep  by  the  loud  ringing  of 
a  bell.  Most  men  aren't  even  polite.  But 
it  was  with  a  sense  of  disappointment,  of 
let  down,  that  Ann  turned  from  the  tele- 
phone. The  tears  were  not  far  from  lier 
eyelids  as  she  seated  herself  carelessly — 
for  want  of  something  better  to  do — at 
her  broad  desk. 

There  was  white  paper  on  the  desk 


she  went  to  the  telephone  and  called  his     A  pen.    All  at  once  Ann  was  drawing  the 
number. 

It  took  quite  awhile  to  get  the  number. 
But  central  rang  persistently.  And  then, 
when  Ann  had  about  given  up  hope, 
there  was  a  click. 

And  Richard's  voice  asked  a  sleepy 
question. 


paper  toward  her — was  dipping  the  pen 
into  the  ink  bottle.  Dramatizing  herself 
again?  But^certainly.  There  are  limes 
when  all  women  dramatize  themselves — 
even  when  they  aren't  poets!  In  the 
morning? 

Well,    there     were   also   long    manila 
"It's — "    Ann's  answering  words  held     envelopes  upon  the  desk! 
joyous  note — "it's" — even  she  was  un-         "All  day  long  I  waited — "  she  wrote, 
grammatical! — "me.     I  was  afraid  3'ou'd     and  she  was  being  very  sorry  for  herself  as 


thought  I  was  abrupt,  this  afternoon,  but 
I  had  a  guest." 

As  one  struggling  back  from  another 
world,  Richard  answered. 

"I  didn't  think  any  such  thing,"  he 
told  her — "  I  was  in  the  deuce  of  a  hurry 
myself.   Say" — was   there   an   aggrieved 


she  formed  the  words — "with  soul  aflame 
did  I  wait, 

"And    then,    through    the    still    of    the 
evening, 
I  heard  your  voice  at  the  gate! 
And  your  voice — it  was  like  the  shadows 
-sombre  and  dim  and  gray, 


note  in  his  voice — "  I've  been  asleep  since     And  the  flame  died  out  of  my  waiting 

heart,  with  the  words  that  I  could 
not  say!" 
Sighing  meditatively — and  feeling  ever 
so  much  better — Ann  started  upon  the 
second  verse. 


ten.    I  was  all  in — " 

Ann's  tone  had  lost  some  of  its  ex- 
uberance.   Yet  she  persisted. 

"  But  I  just  wanted  you  to  know — " 
she  told  him  softly — "that  I  love  you. 


Omaha,  Neb. 

"You  can't  call  a  man  a  coward 
if  he  dies  trying,  can  you?" 

How  often  that  little  scene  from 
"The  Rough  Riders"  has  stiffened 
my  backbone  and  squared  my 
shoulders.  Three  years  ago,  I  was 
forced  to  leave  my  profession  and 
take  up  more  remunerative  work  to 
enable  me  to  meet  the  family  ex- 
penses. 

I  was  completely  discouraged  and 
disheartened  and  also  somewhat 
rebellious. 

I  allowed   myself  only   one   rec- 


reation and  that  was  the  movies. 
In  fact,  I  considered  the  movies  one 
of  the  necessities.  I  had  to  keep 
sane  and  fit  and  the  movies  filled 
that  requirement. 

I  have  worked  hard  and  within  a 
year  I  shall  go  back  to  my  profession 
with  a  keener  outlook  and  a  more 
tolerant  and  intelligent  sympathy. 
The  future  looks  very  promising  and 
I  thought  you  might  like  to  know 
that  it  was  the  movies,  not  the 
church,  that  gave  me  the  courage 
and  inspiration  when  needed. 

M.  C. 


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brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelaslies  and  eyebrows,  1  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
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Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
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long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  linesl  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  HefHefinger,  240  W.  "B"  St..  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  .  .  .  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  VV.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  liox  179,  Jeanette,  Penn.:  "Vour  eye- 
lash and  evebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
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eyelash  Method.  It  is  surely  wonderful."  From 
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Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious.'. 

Results  Noticeable  in  a  Week 
In  one  week — sometimes  in  a  day  or  two — you 
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tiful— like  a  silken  fringe.  The  darling  little  upward 
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tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
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Remember  ...  in  30  days  I  guarantee  results  that 
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absolutely  and  entirely  satisfied,  your  money  will 
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136 


Photoplay  Magazine — Advertising  Section 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"R.AMOXA"— FxiTED  Artists.— From 
the  stor>-  by  Helen  Hunt  Jackson.  Directed 
b\-  Edwin  Carewe.  The  cast:  Ramona, 
Dolores  Del  Rio;  Allessandro,  Warner  Bax- 
ter; Felipe,  Roland  Drew;  Senora  Moreno, 
\'era  Lewis;  Juan  Canito,  Michael  Visaroff; 
The  Sheepherder,  Carlos  Amor;  Father  Sa!- 
vierderra,  John  T.  Prince:  Marda,  Mathilde 
Comont;  Jean,  by  Herself. 

"L.AST  COMMAND,  THE"  —  Par.^- 
MOUKT. — From  the  story  by  Lajos  Biro. 
Continuity  by  John  S.  Goodrich.  Directed 
by  Joseph  Von  Sternberg.  The  cast: 
Sergiiis  Alexander,  Emi!  Jannings;  Natacha, 
Evelyn  Brent;  Leo,  William  Powell;  The 
Adjutant,  Nicholas  Soussanin;  Serge,  the 
Valet,  Michael  Visaroff. 

"DIVINE  WOMAN,  THE"— M.-G.-M. 
— From  the  story  by  Gladys  Unger.  Scenario 
by  Dorothy  Farnum.  Directed  by  Victor 
Seastrom.  The  cast:  Marianne,  Greta 
Garbo;  Lucien,  Lars  Hanson; Monsieur  Le- 
grande,  Lowell  Sherman;  Mme.  Pigonier, 
Polly  Moran;  Mme.  Zizi  Rouck,  Dorothy 
Gumming;  Jean  Lery,  John  Mack  Brown; 
Gigi,  Cesare  Gravina;  Paulette,  Paulette 
Duval ;  Stage  Director,  Jean  De  Briac. 

"NOOSE,  THE"— First  National- 
From  the  play  by  Willard  Mack  and  H.  H. 
\'an  Loan.  Directed  bv  John  Francis  Dil- 
The  cast:  Nickie  Elhins,  Richard 
Barthelmess;  Buck  Cordon,  Montagu  Love; 
//;;;  Coiiley,  Robert  O'Connor;  Tommy, 
Eaton;  Dot,  Lina  Basquette;  Phyllis, 
Thelma  Todd;  Seth  McMillan,  Ed.  Brady 
Dave,  Fred  Warren;  Bill  Chase,  Chas. 
Giblyn;  Mrs.  Bancroft,  Alice  Joyce;  The 
Warden,  Wm.  Walling';  The  Governor,  Robert 
T.  Haines;  Craig,  Ernest  Hilliard. 

"BEAU  SABREUR"  —  Par.^mount.  — 
From  the  .-tory  by  Percival  Christopher 
Wren.      Adapted    by    Tom    J.    Geraghty. 


Directed  by  John  Waters.  Photography  by 
C.  Edgar  Schoenbaum.  The  cast:  Major 
Henri  de  Beaujolais,  Garv  Cooper;  Mary 
Vanhrugh,  Evelyn  Brent;  Sheikh  El  Hamel 
Noah  Beery;  Bacque,  William  Powell;  Bud- 
dy, Roscoe  Karns;  Suleiman  the  Strong, 
Mitchell  Lewis;  Raoul  de  Redon,  Arnold' 
KmV,  Dufour,  Raoul  Paoli;  Mau'die,  Joan 
Standing;  Geiieral  de  Beaujolais,  Frank 
Reicher;  Djikki,  Oscar  Smith. 

"  LEOPARD  LADY,  THE  "— Pathe-De 
MiLLE. — From  the  story  by  Edward  Childs 
Carpenter.  Adapted  bv  Beulah  Marie  Dix. 
Directed  by  Rupert  Julian.  Photography 
by  John  JNIescall.  The  cast:  Paufa,  Jac- 
quelme  Logan;  Caesar,  Alan  Hale;  Chris, 
Robert  Armstrong;  Fran  Holweg,  Hedwig 
Reicher;  Herman  Berlitz,  James  Bradbury, 
Sr.;  Hector,  Lion  Tamer,  Dick  Alexander; 
Presner,  William  Burt;  Mama  Lolita,  Sylvia 
Ashton;  Austrian  Maids,  Kay  Deslys' and 
Willie  Mae  Carson. 

"BIG  CITY,  THE "-M.-G.-M.— From 
the  story  by  Tod  Browning.  Scenario  by 
Waldemar  Young.  Directed^bv  Tod  Brown- 
ing. The  cast:  Chuck  Collins,  Lon  Chaney. 
Sunshine,  Marceline  Day;  Ciirlv,  James 
Murray;  Hcleti,  Betty  Compson;  Red 
Mathew  Betz;  The  Arab,  John  George; 
Tennessee,  Virginia  Pearson;  Grogan,  Walter 
Percival ;  O'i/am,  Lew  Short;  Bl'inkie,  Eddie 
Sturgis. 

"DOVE.  THE"  —  United  Artists.  — 
Adapted  from  the  play  bv  Willard  Mack 
Directed  by  Roland  West.  The  cast: 
Dolores,  Norma  Talmadge;  Don  Jose  Maria 
Y  Sandoval,  Noah  Beer\';  Johnny  Powell 
Gilbert  Roland;  Billy,  Eddie  Borden;  Mike, 
Harry  Mvers;  Gomez,  .Michael  \"avitch- 
The  Patriot,  Brinsley  Shaw;  The  Com- 
mandantc,  Kalla  Pasha;  The  Command-ante's 
Captain,  Charles  Darvas;  Sandoval's  Cap- 
tain,_  Michael  Dark;  The  Drunk,  Walter 
Daniels. 


The  Chief  and  the  GeneraL    Adolph  Zukor  visits  Emil  Jannings  on 
the  set  of  "The  Last  Command"  and  the  president  of  Paramount- 
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"WHIP  WOMAN,  THE"  —  First  Na- 
tional.— From  the  story  by  Forrest  Halsey 
and  Leland  Ha^•ward.  Directed  bv  Joseph 
{".  Hoyle.  The' cast:  Sari,  Estelle  Taylor; 
Count  Michael  Fercnzi,  .Antonio  Moreno; 
The  Baron,  Lowell  Sherman;  Countess 
Fercnzi,  Hedda  Hopper;  Miss  Haldane, 
Jiilanne  Johnston;  The  Girl,  Loretta  Young. 


"JUDGMENT  OF  THE  HILLS"  — 
FBO. — From  the  story  by  Larry  Evans. 
Adapted  by  Dorothy  Yost.  Directed  by 
J.  Leo  Meehan.  Photography  by  Allan 
Seigler.  The  cast:  Margaret  Dix,  Virginia 
Valli;  Tad  Dennison,  Frankie  Darro;  Brant 
Dennison,  Orville  Caldwell;  Jch  Marks, 
Frank  McGlynn,  Jr.;  Lige  Turney,  Johnny 
Cough. 

"ROSE-MARIE"  —  M.-G.-M.  —  From 
the  play  by  Otto  Harbach  and  Oscar  Hani- 
merstein.  Scenario  by  Lucien  Hubbard, 
Directed  by  Lucien  Hubbard.  The  cast: 
Rose  Marie,  Joan  Crawford;  Jim  Kcnyon, 
James  Murray;  Sergeant  Malone,  House 
Peters;  Etienne  Doray,  Creighton  Hale; 
Black  Bastien,  Gibson  Gowland;  Lady 
Jane,  Polly  Moran;  Henri,  Lionel  Belmore; 
Emile,  William  Orlamond;  Wanda,  Ger- 
trude Astor;  Jean,  Ralph  Yearsley;  Hudson, 
Sven  Hugo  Borg;  Gray,  Harry  Gribbon. 

"LADIES'  NIGHT  IN  A  TURKISH 
BATH" — First  National. — From  the  play 
by  Charlton  Andrews  and  Avery  Hopwood. 
Scenario  bv  Jeane  Towne.  Directed  by 
Eddie  Cline.  The  cast:  Helen,  Dorothv 
Mackaill;  Steve,  Jack  Mulhall;  Sweeney,  Big 
Boy  Williams;  Ma,  Sylvia  Ashton;  Pa, 
James  Finlayson;  Stivins,  Harvey  Clarke; 
Airs.  Stivins,  Ethel  Wales;  Le  Roy,  Reed 
Howes. 


"GATEWAY  OF  THE  MOON "  —  Fox. 
— From  the  story  by  Clift'ord  Bax.  Scenario 
by  Bradley  King.  Directed  by  John 
Griffith  Wray.  The  cast:  To7n,  Dolores 
Del  Rio;  Arthur  Wyatt,  Walter  Pidgeon; 
George  Gillespie,  Anders  Randolf;  Henry 
Hooker,  Ted  McNamara;  Rudolf  Gottman, 
Adolf  Millar;  Jim  Mortlake,  Le.slie  Fenton; 
Soriano,  Noble  Johnson;  Indiana  child, 
Virginia  LaFonde. 


"SPORTING  GOODS"— P.^RAMOUNT. 
— From  the  play  by  James  Forbes.  Adapted 
by  Tom  Crizer  and  Ray  Harris.  Directed 
by  Malcolm  St.  Clair.  The  cast:  Richard 
Shelby,  Richard  Dix;  Alice  Elliot,  Gertrude 
Olmsted;  Jordan,  Ford  Sterling;  Henry 
Thorpe,  Philip  Strange;  Mrs.  Elliot,  Myrtle 
Stedman;  Regan,  Wade  Boteler,  Timothy 
Stanfield,  Claude  King;  Mrs.  Stanficld, 
Maude  Turner  Gordon;  Reggie,  Lige  Con- 
ley;  Cvril,  Tom  Maguire;  Hotel  Manager, 
E.  H.  Calvert. 

"LATEST  FROM  PARIS,  THE"  — 
M.-G.-M. — From  the  story  by  A.  P. 
Younger.  Continuity  by  A.  P.  Younger. 
Directed  by  Sam  Wood.  The  cast:  Agnes 
Dolan,  Norma  Shearer;  Mr.  Littaucr,  George 
Sidney;  Joe  Adams,  Ralph  Forbes;  Mr. 
Blogg,  Tenen  Holtz;  Bud  Dolan,  William 
Bakewell;  Bert  Blevins,  Bert  Roach;  Louise 
Morgan,  Alargaret  Landis. 


"LOVE  AND  LEARN"  —  Par.\mount. 
— From  the  story  by  Doris  Anderson. 
Adapted  bv  Florence  Ryerson.  Directed  by 
Frank  Tu'ttle.  The  cast:  Nancy  Blair, 
Esther  Ralston;  Anthony  Coiules,  Lane 
("liaiKllcr;  Mrs.  Ann  Blair,  Hedda  Hopjier; 
Robert  Blair,  Claude  King;  Hansen,  Jack  J. 
Clark;  Jim  Riley,  John  Trent;  Sergeant 
Flynn,  Hal  Craig;  Rosie,  Helen  Lynch; 
Jail  Matron,  Catherine  Parrish;  Martha, 
Martha  Franklin;  Gardener,  Jerry  Mand)-; 

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Gray 
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2  Then  sfmply 
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This  clear,  colorless  liquid  restores  youthful 
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Gray  hair  lacks  color  pigment.  This  way 
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We  send  j'ou  free  a  sample  of  Mary  T.  Gold- 
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Or  go  to  the  nearest  drug  store  today.  A 
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I  Mary  T.Goldman,  108-C  Goldman  Bldg.,  St.  Paul, Minn.   | 

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I  brown auburn  (dark  red) light  brown . 

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MARY    T.    GOLDMAN'S 


138 


T7  "D  TT  17  T''^  Kis^proof  Girl- 
XT  IV  li  H  coupon  /or  12  color  ar 


Photoplay  Magazine — Advertising  Section 

Dorothea    Wolbert;    Bum,    Johnn\ 


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stxxu^  on,  all  dau 

No  smearing  or  rubbing  off  as  with  the 
ordinary  kind,  as  Kissproof  is  waterproof. 
And  the  color — an  indescribable  blend  of 
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every  complexion.  Your  first  application  of 
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intriguing,  beautiful,  more  lovely  than  ever. 

SertdLfor 
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It  contains  a  dainty  miniature  Kissproof 
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of  the  new  windproof  Kissproof  Face  Poiv- 
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dressing  for  the  lashes 
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enclose  2o  cents  to  cover  cost   of 


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Corns  Vanish 

after    this    amazing    liquid 

ylc^s  like  an  anaesthetic 
Stops  pain  in  3  seconds 

INSTANTLY  and  at  once,  you  can 
wear  tight  shoes,  dance,  walk  in 
comfort.  Then  soon  the  corn  or  cal- 
lus shrivels  up  and  loosens. 

You  peel  it  off  with  your  finders  like  dead 
skill.      N(i    more    dangerous    parine. 

Profexslonal  dancern  by  the  s^'ore  use  this 
remarkable  method.  Acts  in»tantly.  like  a  local 
anaenlhctic.  Doctors  approve  it.  Removes  the 
whole  com.   besides  Btopplnc   pain   at  once. 

Ask  your  dnigirist  lor  •'Gets-It."  .Siitisfac- 
•  lon  Kniirnntrril.  Works  alike  on  any  corn  or 
cilIUH — old  or  new.  hard  or  soil. 

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Maid, 
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Detective,  Guy  Oliver. 


"TWO  FLAMING  YOUTHS."  —  Para- 
MOU.NT. — From  the  story  by  Percy  Heath. 
Scenario  by  Percy  Heath  and  Donald  Davis. 
Directed  by  John  Waters.  Photography  by 
H.  KiiileyMartin.  The  cast:  Gabby  Gil- 
foil,  W.  C.  Fields;  Sheriff  Ben  Holden,  Ches- 
ter Conklin;  Mary  Gilfoil,  Mary  Brian; 
Tony  Holden,  Jack  Luden;  Simeon  Trott, 
George  Irving;  Madge  Malarkey,  Cissy  Fitz- 
gerald; Slippery  Sawtelle,  Jimmie  Quinn. 

"A  GIRL  IN  EVERY  PORT"— Fox.— 
From  the  story  by  Howard  Hawks.  Directed 
by  Howard  Hawks.  The  cast :  Spike  Mad- 
den, Victor  McLaglen;  Marie,  the  girl  in 
France,  Louise  Brooks;  Jetta,  the  girl  in 
Singapore,  China,  Myrna  Loy;  Chiqiiiti,  the 
girl  in  Buenos  Aires,  Maria  Casajuana; 
The  Girl  in  Bombay,  Sally  Rand;  The  Girl  in 
South  Sea  Islands,  Natalie  Kingston;  Lena, 
the  girl  in  Holland,  Phalba  Morgan;  Other 
girl  in  Holland,  Gretel  Yoltz;  Girls  in  Pan- 
ama, Natalie  Joyce,  Elena  Jiirado,  Dorothy 
Matthews;  Madame  Flore,  Gladys  Brock- 
well;  Salami,  Robert  Armstrong;  Gang 
Leader,  Francis  MacDonald;  Character  in 
Bombay,  William  Demarest;  Lena's  Hits- 
band,  Feli.x  Valle. 

"13  WASHINGTON  SQUARE"— Uni- 
versal.— Directed  by  Melville  W.  Brown. 
The  cast:  "Deacon"  Pyecroft,  Jean  Hers- 
holt;  Airs.  De  Peyster,  Alice  Joyce;  Jack  De 
Peyster,  George  Lewis;  Mary  Morgan,  Helen 
Foster;  Mathilde,  ZaSu  Pitts;  Olivelta,  Helen 
Jerome  Eddy;  Mrs.  Allistair,  Julia  Swayne 
Gordon;  Mayfair,  Jack  MacDonald;  Sparks, 
Jerry  Gamble. 


"TENDERLOIN"— Warners.— From 
the  story  by  Melville  Cosman.  Scenario  by 
E.  T.  Lowe,  Jr.  Directed  by  Michael  Cur- 
tis. The  cast:  Rose  Shannon,  Dolores  Cos- 
tello;  Chuck  Shannon,  Conrad  Nagel;  The 
Professor,  Mitchell  Lewis;  Sparrow,  Georgie 
Stone;  Lefty,  Dan  Wolheim;  The  Mug,  Pat 
Hartigan;  Detective  Simpson,  Fred  Kelse>-; 
Co-ivles,  G.  Raymond  Nye;  Aunt  Molly, 
Dorothy  Vernon;  Bobbie,  Evelyn  Pierce. 

"UNDER  THE  BLACK  EAGLE"  — 
AL-G.-M. — From  the  story  by  Norman 
Houston.  Continuity  by  Bradley  King. 
Directed  by  W.  S.  Van  Dyke.  Photography 
by  Henry  Sartov.  The  cast:  Karl,  Ralph 
Forbes;  Margareta,  Marceline  Day;  Hans, 
Bert  Roach;  Vlrich,  William  Fairbanks; 
The  Colonel,  Marc  MacDermott;  Print, 
"Flash." 


"CRIMSON  CITY,  THE"— Warners. 
— From  the  story  by  Anthony  Coldewe\-. 
Scenario  by  Anthony  Coldewey.  Directed 
by  Archie  Mayo.  Photography  by  Barney 
McGill.  The  cast:  Nan  Toy,  Myrna  Lo>-; 
Gregory  Kent,  John  Miljan;  Barbara  Howells, 
Leila  Hyams;  "Dagger"  Foo,  Matthew  Betz; 
Major  Howells,  Anders  Randolf;  Sing  Yoy, 
Sojin;  Su,  Anna  May  Wong;  Richard  Brand, 
Richard  Tucker. 

"CHICAGO  AFTER  MIDNIGHT"  — 
FBO. — From  the  story  by  Charles  K.  Har- 
ris. Continuity  by  Enid  fjibbard.  Directed 
by  Ralph  I  nee.  P'hotography  by  J.  O.  Tay- 
lor. The  cast:  Jim  Bovd,  Ralph  I  nee;  Bcitv 
JBoyrf,  JolaMendez;B('«vBovd  {Baby),  Lor- 
raine Rivero;  Hardy,  James  Mason  ;'/^f,  the 
Rat,  Carl  Axzelle;  Mrs.  Boyd,  Helen  Jerome 
Eddy;  Tanner,  Ole  M.  Ness;  Jack  Waring, 
Bob  -Seiter;  Frank,  Frank  Mills;  Casey, 
Christian  J.  Frank. 

"COMRADES"  — First  Nation.\l.— 
From  the  story  bv  William  Gilbert.  Con- 
tinuity by  Ruth  Todd.  Directed  bv  Cliff 
Wheeler.     The  cast:     Helen  Dixon,  Helene 


When  white  water 
roars  a  challenge 


When  the  rai.iJi  sv.;.-!  a:. J  U^p  about  you; 
when  the  swift  current  carries  you  on  at  ex- 
press train  speed,  then  you'll  be  most  grateful 
lor  the  perfect  balance  of  your  "Old  Town 
Canoe." 

"Old  Towns"  are  patterned  after  actual  Indian 
models.  Famous  for  their  steadiness  and  dura- 
bility. Light  in  weight  too.  Priced  as  low  as 
§67.    From  dealer  or  factory. 

New  catalog  gives  complete  information  about 
all  models,  including  sailing  canoes,  square-stern 
canoes,  dinghies,  etc.  Also  racing  step-planes, 
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today.  Old  Town  Canoe  Co.,  823  Main 
Street,  Old  Town,  Jlaine. 

Vld  Town  Canoes^ 


Learn  about  amazing 
scientific  method  of  obtaining  new,  beautiful  skin. 
Now  you  can  get  rid  of  pimples,  blackheads,  freckles, 
oilv  skin,  large  pores,  lines  and  blemishes,  because 
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did  it.  Your  new,  clear,  youth-white  skin  will  aston- 
ish and  please  friends.  Send  no  money.  Simply  write 
for  free  copy  of  HOW  TO  OBTAIN  NEW  YOUTH- 
WHITE  SKIN  IN  7  DAYS.  A  post  card  will  do.  Ad- 
dress the  Technical  Chemical  Laboratories,  Dept.  55. 
No.  285  Madison  Ave.,  New  York,  N.  Y. 


BERMim 

Only  2  Days  from  New  York 

Winter  temperature  60°  to  70" 

All  land  and  water  sports 

Sailings  Twice  Weekly 

The  palatial,  new  motor-ship 
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and  the  twin-screw,  oil-burning  steamer 
"FORT  VICTORIA" 

For  Illustrated  Booklet?  Write 
FURNESS     BERMUDA     LINl 

34  Whitehall  Street,  New  York  City 
or  any  Local  Tourist  Agent 


PHOTO  ENLARGEMENTS 

Size  16x20  inches  ^^  ^^/% 

Some  price  for  fall  length    ^T^B    H^H  1. 
or  bust  form,  eroapa.  Isnd-    ■  ■   K_V  ^^ 

or  enlaTBOmenta  of  noy  part 
of  (TTOOP  picture.  Safe  ro- 
tom  of  yonr  own  original 
photo  ffoaranteed, 

SEND  NO  MONEY 

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or  BCDd  $1.00  with  order  and  we  paypoetage. 

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"Ill  .end  FREE  s  hand-tint«d  minlatnre  rerrodocUon  of  plioto  •««. 
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PIIOTOPT-AY  MAQ.XZINE  Is 


Photoplay  Magazine — Advertising  Section 


Costello;  Perry  O'Tolle,  Donald  Keith;  Bob 
Dixon,  Gareth  Hughes;  Mrs.  Dixon,  Lucy 
Beaumont;  John  Burton,  Josef  Swickard; 
"  Tommy,  "  James  Lloyd. 

"LAW  OF  THE  RANGE,  THE"— M.- 
G.-M. — From  the  story  by  Norman  Hous- 
ton. Scenario  by  Richard  Schayer.  Directed 
by  William  Nigh.  Photography  by  Clyde 
de  Vinna.  The  cast:  Jim  Lockliart,  Tim 
McCoy;  Betty  Da/las,  Joan  Crawford:  Soli- 
taire Kid,  Rex  Lease;  Mother  Lockhart,  Bodil 
Rosing;  Cohen,  Tenen  Holtz. 

"CHEER  LEADER,  THE"  —  Gotham. 

— From  tlie  story  b>-  Lee  Authmar.  Scenario 
by  Jack  Casey.  [Directed  by  Alvin  Nietz. 
The  cast.  Jimmy  Grant,  Ralph  Graves; 
Jean  Howard,  Ciertrude  Olmsted;  Elizabeth 
Summers,  Shirley  Palmer;  Alfred  Crandall, 
Ralph  Emmerson;  Richard  Crosby,  Harold 
Goodwin;  Percival  Spervins,  Donald  Stuart. 

"BRANDED  SOMBRERO,  THE"  — 
FBO. — From  the  story  by  Cherry  Wilson. 
Directed  by  Lambert  Hillyer.  The  cast: 
Starr  Hallett,  Buck  Jones;  Connie  Marsh, 
Leila  Hyams;  Charles  Maggert,  Jack  Baston: 
"Honest"  John  Hallett,  Stanton  Heck;  Link 
Jarvis,  Francis  Ford;  Rosa,  Josephine  Borio; 
Hallett,  Leo  Kelly. 

"LADY  OF  VICTORIES,  THE"— M.- 
G.-M. — From  the  story  by  Leon  Abrams. 
Directed  by  William  Neill.  The  cast: 
Josephine,  Agnes  Ayres;  Napoleon,  Otto 
Mattieson;  Talleyrand,  George  Irving. 

"  FORTUNE  HUNTER,  THE  "  —  W.\r- 
NERS. — From  the  story  by  Winchell  Smith. 
Scenario  by  Bryan  Foy  and  Robert  Dillon. 
Directed  by  Charles  F.  Reisner.  Photog- 
raphy by  Ed  Du  Par.  The  cast:  Nat  Dun- 
can, Syd  Chaplin;  Josie  Lockuwod,  Helene 
Costello;  Betty  Graham,  Clara  Horton ; 
Handsome  Harry  West,  Duke  Martin;  Sam 
Graham,  Thomas  Jefferson;  Blinky  Lock- 
wood.  Erville  Alderson;  Roland,  Paul 
Kruger;  Betty  Carpenter,  Nora  Cecil;  Dry 
Goods'  Store  Owner,  Louise  Carver;  Sheriff, 
Bob  Perry;  Waitress,  Babe  London. 

"HUSBANDS  FOR  RENT"  —  War- 
ners.— From  the  story  by  Edwin  Justin 
Mayer.  Scenario  by  C.  Graham  Baker. 
Directed  by  Henry  Lehrman.  Photography 
by  Barney  McGill.  The  cast:  Herbert 
Willis,  Owen  Moore;  .Molly  Devoe,  Helene 
Costello;  Doris  Knight;  Kathryn  Perry; 
Hugh  Frazer,  John  Aliljan;  Sir  Reginald 
Knight,  Claude  Gillingwater;  Waldo  Squibbs, 
Arthur  Hoyt;  Maid,  Helen  Lynch;  Valet, 
Hugh  Herbert. 

"ON  YOUR  TOES"  — Universal. — 
From  the  story  by  Earl  Snell.  Adapted  by 
Earl  Snell  and  Gladys  Lehman.  Directed 
by  Fred  Newmeyer.  The  cast:  Elliott 
Beresford,  Reginald  Denny;  Mary  Sullivan, 
Barbara  Worth;  Jack  Sullivan,  Hayden 
Stevenson;  Alello,  Frank  Hagney;  Grand- 
mother, Mary  Carr;  Mammy,  Gertrude 
Howard;  Mose,  George  West. 

"SILK  LEGS" — Fox. — From  the  story 
by  Frederica  Sagor.  Scenario  by  Frances 
Agnew.  Directed  by  Arthur  Rosson.  The 
cast:  Ruth  Stevens,  Madge  Bellamy;  Phil 
Barker,  James  Hall;  Ezra  Fulton,  Joseph 
Cawthorn;  Mary  McGuire,  Maude  Fulton; 
Mrs.  Fulton,  Margaret  Seddon. 

"LEAVE  'EM  LAUGHING"  —  Hal 
Roach  -  M.-G.-M.  —  Directed  by  Clyde 
Bruckman.  Photography  by  George  Stev- 
ens. The  ca.st:  Stan  Laurel,  Oliver  Hardy. 

".SHEPHERD  OF  THE  HILLS"  — 
First  Nation.\l. — From  the  story  by 
Harold  Bell  Wright.  Adapted  by  Marion 
Jackson.     Directed  by  Al  Rogell.    The  cast: 


139 


^ 


\rf 


^JH/A. 


BLONDES! 

Are  you  dulling  the 

golden  beauty  of 

your  hair  with 

ordinary  shampoos? 

To  prosrrvo  its  trun  be:iuty — blondp  li.-iir  must  be 
(rivpn  X prcinl  car e  —  must  hnvc  ;i  sh.-impoo  cspe- 
ri!,llvs,iitnrl  tnitssPnsitivPtnvHnn        R1,,i>,lov    fhn 


tores,  or  send  couix 


Dei)t.  .M.  27  West  2ntli  street.  N.Y.C. 

I  would  like  to  try  BIonde\.  thespecia!  new  sha 
Blondes.    Please  send  me  a  Free  Trial  PacUage. 


Address. 
City 


FOOT 
PAINS 

ENDED 

or  you  pay  nothing 

Burning:,  aching:  feet 
— foot  calluses,  pains 
in  toe.s,  in.step,  ball 
or  lieel — dull  ache  in  ankle,  calf  or  knee — 
shooting;  pains,  flattening  and  spreading:  of  the 
feet,  sagging;  arches — all  now  quickly  ended. 
90%   of  all    toot  pains   can  be  stopped   in 


the 


%veakened  condition  of  i 
Now  an  amazing  device  acts 
port    and    strengthen    these 


tal 


superelasi 
designed  and  ten 
sion.     You  slip  it 

Pain  stops  like 
with  delight— we 
Soon  band  may  1 
to  stay.  2,000.00( 
are  amazed  at  re: 

Test  it  10  days, 
your    money    retu 


lioned 


That 


n  or  dance 

tight    shoes    comfortably. 

liscarded.      Feet    are   well 

iw    are    worn.     Specialists 

3,   urge  it  widely. 

lot  amazed  and  delighted 

I.      Go    to    druggi.'^t.    shoe 

store    or    chiropodi.^t. 

It    they     can't    supply 

you.  use  coupon  below 

and  pay  postman.  Send 

for   free  book   on   foot 

and  leg  troubles. 

FREE  if  it  fails ^ 

ArchBraceCo.,    953  Jung  Bldg..  Cincinnati.  Ohio   | 
Send  one  pair  of  braces  marked  below:  I 

(Persons  over  1^  lbs.  require  lona  braces)  I 


jrUNGS 


FOR  SEVERE  CASES 
I  —with  cushion  lift 

I    D  BANNER  {-mediv-m.-)  $2 
I    D  VICTOR  (tone)  $2.50 


FOR  MlhD  CASES  j 

—without  cushion  lift  | 

D  WONDER  (medium)  $1  I 

n  MIRACLE  (long)  Jl.DO  ' 


I  D  Money  enclosed.    D    Send  C.  O.  D.  plus  postage. 

I  ShoeSize Shoe  Width 

I  Address 

!  City State 


Canada:  M.  L.  C.  Bldg..  Montreal.  Add  26c  to  above  prices. 


When  you  write 


please  mention  rHDTOPI.AY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section" 

CLASSIFIED 
ADVERTISING 


Don't  Let  Them 

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The  Shepherd— David  Homit,  Alec  B.  Fran- 
cis; "Sammy"  Lane,  jMoIly  O'Day;  Young 
Matt,  John  Boles;  Wash  Cibbs,  Matthew 
Betz,  Old  Matt,  Romaine  Fielding;  "By 
Thnndtr,"  Otis  Harlan;  Ollie,  Joseph  Ben- 
nett. Lillle  Pete,  Maurice  Murphy;  Ann! 
Mollu,  Edythe  Chapman;  Jim  Lane,  Carl 
StotLd.ile;'jl/agg/f,  Marion  Douglas;  The 
Artist,  John  Westwood. 

"BY  WHOSE  HAND?"  —  Columbi.\.— 
Directed  by  Walter  Lang.  The  cast:  Van 
Siivdam  Smith,  Ricardo  Cortez;  Peg.  Hew- 
lett] Eugenia  Gilbert;  Sidney,  J.  Thornton 
Baston;  Rollins,  Tom  Dugan;  Eli,  Edgar 
Washington  Blue;  Silly  McShane,  Lillianne 
Leighton;  Mortimer,  William  Scott;  Clar- 
edge,  John  Steppling;  Tex,  De  Sacia  Mooers. 

"HER  SUMMER  HERO"  —  FBO.  — 
From  the  story  by  Gertrude  Orr.  Continu- 
ity by  Gertrude  Orr.  Directed  by  James 
Dugan.  The  cast:  Kentieth  Holmes,  Hugh 
Trevor;  Herb  Darrow,  Harold  Goodwin; 
Joan  Stanton,  Duane  Thompson;  Chris, 
James  Pierce;  Al  Stanton,  Cleve  Moore; 
Grace,  Sally  Blane. 


Spokane,  Wash. 

My  only  son,  a  handsome,  blond 
American,  volunteered  in  the  World 
War  when  he  was  just  eighteen  and 
still  at  school. 

Like  thousands  of  others,  he  came 
home  so  changed. 

He  was  so  restless  and  craved  ex- 
citement day  and  night. 

Very  soon  my  heart  was  torn  apart ; 
my  only  child  was  slowly  losing  his 
mind. 

I  gave  up  most  of  my  time  to  him. 
We  motored  to  Yellowstone  and  the 
beautiful  Puget  Sound  country.  He 
was  fairly  happy  while  on  the  go. 
But  my  strength  soon  began  to  go, 
and  I  have  had  to  put  him  in  one  of 
the  U.  S.  Veterans'  Hospitals. 

We  were  in  Seattle  when  Rudolph 
Valentino  died.  Two  of  his  plays  were 
being  shown.  My  son  chose  "The 
Son  of  the  Sheik"  and  we  went  to  see 
it.  Seated  upon  my  right  was  an 
Italian  woman,  young,  animated  and 
evidently  very  tender-hearted.  She 
had  sobbed  so  long,  I  grew  distressed 
and  touched  her  arm  gently  and  re- 
marked: "Do  you  see  this  hand- 
some young  man  on  my  lelt?" 

She  dried  her  eyes,  looked  at 
him  and  said,  "Yes,  Ma'am,  isn't 
he  grand?" 

I  then  said,  "Why  weep  for  the 
dead?  We  all  loved  Rudy,  but  he  is 
at  peace.  My  poor  boy  faces  being 
shut  up  behind  iron  bars  where  he 
will  fret  his  broken  heart  away,  be- 
cause he  loves  home,  the  great  out- 
doors and  freedom." 

She  threw  her  arms  about  me  and 
sobbed,  "I  will  stop  crying  and  pray 
for  your  boy." 

May  I  ask  the  fans  if  it  would  , 
not  do  more  real  good  to  send  some 
cheer  to  the  poor  fellows  in  the  U.  S. 
Veterans'  Hospitals  and  help  the 
living,  and  let  our  dear  Valentino 
re.st  in  peace? 

Mrs.  B.  L.  B. 


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Brief   Reviews    of    Current    Picture; 


[  CONTINUED  FROM   PAGE    14 


IN  OLD  KEMTUCKY— Metro-Goldwyn-Mayer. 
— A  story  of  tlie  Kentucky  Derby  that  is  better  than 
most  race-track  tales,  thanks  to  a  fine  performance 
by  James  Murray  and  an  exceptional  "  bit  "  by  Wesley 
Barry.  {January.) 

IRRESISTIBLE  LOVER,  THE— Universal.— 
What  happens  when  a  hard-boiled  bachelor  meets  a 
sweet  young  thing.  Just  a  Ic*.  of  nonsense,  snapped  up 
by  Norman  Kerry  and  Lois  Moran.  {January.) 


JAZZ  SINGER,  THE  —  Warners.  —  Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitapiione  nor  a  good  story  can  conceal  the  painful 
fact  that  .W  Jolson  is  no  movie  actor.    {December.) 

*JESSE  JAMES— Paramount.— Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distinguished  train  robber.  Don't  let  the  blue-noses 
interfere  with  \-our  enjoyment  of  a  corking  melo- 
drama.     {December.) 


LAST  MOMENT,  THE— Fine  Arts.— An  inde- 
pendent film,  built  around  the  theory  that  a  drowning 
man  sees  his  whole  life  pass  in  review  in  a  few  seconds. 
Terribly  overacted.      {February.) 

LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  that  needs  music — and  a  certain 
verboten  beverage — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  how!     {December.) 

*LEGION  OF  THE  CONDEMNED.  THE— Para- 
mount.— More  heart-gripping  than  "Wings."  It's  a 
story  of  the  exploits  of  a  French  Flying  Squadron. 
{February.) 

LEGIONNAIRES  IN  PARIS  —  FBO.  —  A  bur- 
lesque of  what  happened  to  the  American  Legion  in 
Paris  last  summer.  You'll  laugh  and  laugh  and  laugh. 
{February.) 

LES  MISERABLES— Universal.— The  Victor 
Hugo  ston'  is  great,  but  the  acting,  photography  and 
settings  prove  that  fifty  million  Frenchmen  can  be 
wTong  when  they  make  movies.     {November.) 

LIFE  OF  RILEY,  THE— First  National.— George 
Sidney  and  Charlie  Murray  in — you'll  never  guess — 
another  Irish-Jevrish  comedy.  Not  as  bad  as  most. 
{October.) 

LIGHT  IN  THE  WINDOW,  A— Rayart.— Simple 
tear  jerker  with  some  sincere  acting  by  Henrv  B. 
Walthall.      {February.) 

LIGHTER  THAT  FAILED,  THE  —  Metro- 
Goldwyn-Mayer. — Hal  Roach  builds  a  comedy  on  a 
gift  fad.    Little,  but  oh,  my!    {February.) 

LONDON  AFTER  MIDNIGHT  —  Metro- 
Goldwyn-Mayer. — Lon  Chaney  in  a  grand  murder 
mystery.    Mr.  Chaney  plays  a  dual  role.    {February.) 

LONE  EAGLE,  THE— Universal.— .^^nother  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Keane.      {December.) 

LONESOME  LADIES— First  Naticnal.— Lewis 
Stone  and  .Anna  Q.  Nilsson  in  a  rather  amusing  com- 
edy of  domestic  ructions.      {October.) 

*LOVE— Metro-Goldwyn-Mayer. — Anna  Karen- 
ina?  Not  so's  you  <;ould  notice  it.  But  John  Gilbert 
and  Greta  Garbo  melt  the  Russian  snow  with  their 
love  scenes.  Will  it  be  popular?  Don't  be  silly  I 
{November.) 

LOVELORN,  THE  — Metro-Goldwyn-Mayer.  — 
The  talc  of  two  sisters  who  could  have  avoided  a  lot  of 
tragedy  by  heeding  the  wisdom  of  Beatrice  Fairfax. 
Not  for  the  sophisticated.    {January.) 

LOVE  MART,  THE— First  National.— Pictorially 
fine  romance  of  old  Louisiana,  with  Billie  Dove  and 
Gilbert  Roland.     {February.) 

*LOVES  OF  CARMEN— Fox.— Ven-  rough  ver- 
sion of  the  Merimee- Bizet  classic  with  a  biff-bang 
performance  by  Dolores  del  Rio  and  some  heavy 
cussing  by  Victor  McLaglen.  Lock  up  the  children. 
(Seplember.) 

MADAME  POMPADOUR— Paramount.— Dor- 
othy Gish  and  .Antonio  Moreno  in  an  English  produc- 
tion, lavishly  set  but  not  particularly  dramatic.  A 
shady  side  of  history  that  is  not  for  the  little  dears. 
{October.) 

*MAGIC  FLAME,  THE— Goldwyn-United  Art- 
ists. — Melodrama,  comedy,  romance,  pathos-^and 
above  all  Vilma  Banky  and  Ronald  Colraan.  Step 
right  this  way.  girls.      {September.) 

MAIN  EVENT,  THE  — Pathe-De  Millc.  — Prize- 
fight stuff.  The  story  is  old;  the  directorial  twists  are 
new.  The  acting  is  above  par.  That's  all.  {Janu- 
ary.) 


MAN  CRAZY— First  National.— Dorothv  Mac- 
kaill  and  Jack  Mulhall  in  a  comedy  about  a  couple  of 
Down  East  high-hats  who  go  in  for  adventure 
Pleasant  liglit  fiction.    {January.) 

MAN'S  PAST,  A— Universal.— A  solemn,  worthy 
production  with  Conrad  Veidt,  a  capable  actor. 
{October.) 

*MAN,  WOMAN  AND  SIN— Metro-Goldwvn- 
Mayer.— Scandal  in  a  Washington  newspaper  office. 
«ith  some  good  capital  atmosphere  and  some  con- 
ventional movie  melodrama.  John  Gilbert  does  well, 
but  Jeanne  Eagcls  is  no  Greta  Garbo.     {January.) 

♦MILE-A-MINUTE  LOVE— Universal.  — Regi- 
nald Denny  hands  this  picture  to  Janet  La  Verne,  a 
five-year-old.  You'll  love  her  and  you'll  love  the 
picture.      {November.) 

*MOCKERY— Metro-Goldwvn-Maver.  —  Lon 
Chaney,  as  a  Russian  peasant  with  a  harelip,  gets  all 
mixed  up  in  the  Revolution.    {October.) 

MOJAVE  KID,  THE— FBO.— Introducing  a 
new  Western  hero — Bob  Steele.  He's  a  good  kid  with 
a  pleasant  personality.      {October.) 

MOON  OF  ISRAEL— FBO.— A  foreign  ver- 
sion of  the  "Ten  Commandments."  It  should  not 
have  been  let  by  Ellis  Island.      {September.) 

MUM'S  THE  WORD— Fox.— Another  two-reel 
comed5-  mth  Nick  Stuart  and  Sally  Phipps  that 
deserves  your  kind  attention.    {January.) 

*MY  BEST  GIRL— United  Artists.— Some  of  Man.' 
Pickford's  best  comedy  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Marv  at  her 
greatest.    The  children,  of  course  I    {December.) 

MY  FRIEND  FROM  INDIA— Pathe-De  Mille.— 
The  sort  of  thing  that  made  'em  laugh  when  girls  wore 
long  skirts  and  high  laced  shoes.    {January.) 

NAUGHTY  BUT  NICE— First  National.— The 
ugly  duckling  goes  to  boarding  school  and  gets  a 
course  in  IT.  Colleen  Moore  makes  it  entertaining. 
{September.) 

NEST,  THE— Excellent.— Pauline  Frederick  brings 
her  great  gifts  to  the  sincere  portrayal  of  a  mother 
role.      {December.) 

NEVADA— Paramount.— A  de  luxe  Western,  with 
Can-  Cooper.  Beautiful  scenerj',  fine  acting  and 
plenty  of  thrills.      {October.) 

NIGHT  LIFE— Tiffany.— An  engrossing  drama  of 
Vienna,  before  and  after  the  war.  The  crook  stuff  has 
an  original  twist  and  Eddie  Gribbon,  Johnnie  Harron 
and  Alice  Day  contribute  some  fine  acting.  {January.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  «ith  Mary  Astor  and  Lloyd 
Hughes.      {December.) 

NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Beery  and  Raymond  Hatton  show  signs  of  weak- 
ening under  the  strain.  They  need  a  fresh  line. 
{December.) 

OLD  SAN  FRANCISCO— Warners— The  earth- 
quake comes  along  just  in  time  to  save  Dolores 
Costello  from  the  Fate  that  is  Worse  Than  Death. 
Lots  of  good  acting — but  not  by  Dolores.  {September.) 

ONE  ROUND  HOGAN— Warners— Wherein  love 
saves  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.  Not  so  bad.  'De- 
cember.) 

ONE  WOMAN  TO  ANOTHER— Paramount.— It 
is  a  farce  about  nothing  at  all,  but  charmingly  told 
and  ingratiatingly  acted  by  Florence  Vidor  and 
Theodor  von  Eltz.      {November.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comedy,  but  Marie  Prevost,  aided  by  James  Cruze, 
should  do  better  than  this.     {December.) 

ON  YOUR  TOES— Universal.— Reginald  Denny 

as  a   man   who  would  not  be  a  teacher  of  aesthetic 
dancing.    We  had  to  laugh!     {January.) 

OPEN  RANGE— Paramount.— Lane  Chandler 
and  his  horse.  "Flasli,"  in  one  of  the  best  Westerns 
now  leaping  across  our  screens.    {January.) 

OUT  ALL  NIGHT— Universal.— Reginald  Denny 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      {December.) 

PAID  TO  LOVE— Fox.— A  sprightly,  charmingly 
directed  comedy  that  kids  the  old  hokum  of  the 
rajthical  kingdom,  romance.      {October.) 

PAINTED  PONIES— Universal.— More  breath- 
taking incidents  in  the  frantic  career  of  Monsieur 
Hoot  Gibson.      {October.) 

PAINTING  THE  TOWN  —  Universal.— Glenn 
Trj'on,  a  new  comedian,  just  up  among  the  Big  Boys. 
A  story  of  a  small  town — nutty  but  refreshing. 
{September.) 

PAJAMAS— Fox. — Olive  Borden  as  one  of  those 
terrible  movie  society  girls  that  ought  to  be  slapped  to 
sleep.      {February.) 


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PARIS  OR  BUST— Universal.— Glenn  Tryon  as  a 
boy  who  knew  he  was  a  flyer  "because  his  mother 
gave  his  father  the  air."  Anyway,  you'll  laugh  at  it. 
{Decernber.) 

*PATENTLEATHER  KID,  THE— First  National. 
— Richard  Barthelmess  gives  a  truly  great  perform- 
ance of  a  prizefighter  who,  drafted  into  the  War, 
turns  out  a  hero.  A  picture  we  are  proud  to  recom- 
mend.    {September.) 

PERFECT  GENTLEMAN,  A— Pathe.— Monte 
Banks  in  a  series  of  unusually  good  gags.  Good  fun. 
(.November.) 

POOR  NUT,  THE— First  National.— A  stage 
plav  tliat  misses  fire  on  the  screen  because  of  over- 
drawn cliaracterizations.    Not  so  raucli.    (September.) 

PRETTY  CLOTHES— Sterling.— Moral:  Don't 
let  a  man  give  yo  u  a  charge  account.      (.February.) 

PRICE  OF  HONOR,  THE— Columbia.— An  old- 
time,  tear-ierking,  lieart-stirring  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.      (December.) 

PRINCE    OF    HEAD    WAITERS,     THE — 

Paramount. — Wherein  a  noble  head  waiter  saves  his 
son  from  the  clutches  of  a  vamp.  Well  told  and 
well  acted  by  Lewis  Stone.  Eminently  satisfactory. 
(September.) 

♦PRIVATE  LIFE  OF  HELEN  OF  TROY,  THE— 
First  National. — Not  the  satireof  Erskine's  novel,  but 
a  movie  burlesque  of  Homer  with  wise-cracking  titles. 
Maria  Corda  is  a  fascinating  new  type.    (January.) 

*OUALITY  STREET  —  Metro-GoldwA-n-Maver. 
—Marion  Davies  is  delightful  in  Sir  James  Barrie's 
fragrant  romance.  A  picture  you'll  be  glad  to  see. 
(October.) 


—  •'  Red ' 


RITZY— Paran 

concocted  by  Elin 
Betty's  stuff  but  a 


Every  advertisement 


niOTOPI.AY  M.\0.\ZINI 


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RACING     ROMEO,     THE  —  ] 

Grange  in  a  motor  maniac  yarn.  A  weak  one. 
{January.) 

RAGTIME— First  Division.— Just  a  lot  of  cellu- 
loid.   (January.) 

RED  RAIDERS,  THE— First  National.— Ken 
Mavnard  does  his  version  of  the  Irish-Jewish  storv. 
Thanks  to  the  star,  it  isn't  so  bad.      (October.) 

RED  RIDERS  OF  CANADA— FBO.— Heroic  stuff 
about  tlic  Great  Northwest.    Okay.     (February.) 

REJUVENATION   OF    AUNT   MARY,    THE— 

Pathe-De  Mille. — May  Robson  plays  the  screen  ver- 
sion of  her  famous  old  play.  It's  still  lots  of  fun. 
(October.) 

RENO,  DIVORCE — Warners — Ralph  Graves  wrote 
the  story,  directed  it  and  acted  in  it.  The  strain  was 
too  much  for  him.  A  fair  film  with  May  Mc.Avoy  as 
its  ornamental  heroine.      ( November.) 

unt. — The  storv  of  a  little  snob, 
Glyn  for  Betty  Bronson.  Not 
using,  nevertheless.    (September.) 

ROAD  TO  ROMANCE,  THE— Metro-Goldwyn 
Ma\cr. — Joseph  Conrad's  novel  comes  out  as  an  un- 
ri  a!  movie.     Not  congenial  stuff  for  Ramon  Novarro. 

ROLLED  STOCKINGS  —  Paramount.  —  The 
^  I  iinticr  set  cut  loose  in  a  peppy  college  story.  James 
Hill,  Richard  Arlen  and  Louise  Brooks  run  away 
\\  It  li  the  honors.      {September.) 

ROSE  OF  THE  GOLDEN  WEST— First  Na- 

tinn.il. — Flappers  will  be  more  interested  in  the  ro- 
mantic love  scenes  between  Gilbert  Roland  and  Mary 
Astor  than  they  will  be  in  the  story.  It's  a  beautiful 
picture.      ( November.) 

RUBBER  HEELS— Paramount.— One  gorgeous 
stunt  filmed  at  Niagara  Falls  and  that's  all.  The 
rest  just  proves  that  Ed  Wynn  is  no  screen  comic. 
(September.) 

RUNNING  WILD— Paramount.— You'll  get  a 
real  lau.i;h  from  W.  C.  Fields  as  the  hen-pecked 
husband  made  suddenly  brave  by  a  hypnotist.  Great 
stuff.      {September.) 

SAILOR    IZZY    MURPHY— Warners  — George 

Jessel  in  a  comedy  that  has  thrills  and  a  bit  of  pathos. 
Lots  of  laughs.     ( November.) 

SAILOR'S  SWEETHEART,  A  — Warners  — 
They  have  nerve  to  call  this  "comedy."  Don't  do  it 
again,  Louise  Fazendal    {December.) 

SATIN  WOMAN,  THE— Gotham.— One  of  Mrs. 
Wallace  Rcid's  little  preachments — if  j'ou  care  for 
them.      (October.) 

SECRET  HOUR,  THE— Paramount.— .A.  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted,"  which  proves  that  you  can't  make  pictures 
to  please  the  censors  and  have  'em  good,    {December.) 

SECRET  STUDIO,  THE— Fox.— Olive  Borden 
is  the  only  attraction  in  a  trite  and  cheap  story  of  a 
poor  girl's  troubles  in  a  big  city.      (September.) 

SERENADE— Paramount.— Holding  a  stethoscope 
to  the  fluttering  heart  of  a  musician.  One  of  .Adolphe 
Mrnjou's  best,  and  brightened  by  the  presence  of 
Kathrj'n  Carver.      (February.) 

♦SHANGHAI  BOUND  —  Paramount.  -Adven- 
ture, action,  romance — all  set  in  the  vivid  background 
of  rambuctious  China.     Plus  Richard  Dix.  (October.) 

SHANGHAIED— FBO.— Eat-em-up  love  story 
about  a  sailor  and  a  dance-hall  girl.  You'll  laugh  in 
the  wrong  places.      (November.) 


Photoplay  Magazine — Advertising  Section 


*SHE'S  A  SHEIK— Paramount.— Bebe  Daniels  is 
great  as  a  wild  Arabian  gal  who  captures  her  man  and 
tames  his  proud  spirit.    A  swell  evening.    {January.) 


SHOOTIN'  IRONS— Paramount.— Jack  Luden 
and  Sally  Blane  in  a  jitney  story  of  the  great  hokum 
places.      {November.) 


SILENT  HERO,  THE— Rayart.— A   ne 

w  dog — 

ie  Napoleon  Bonaparte — -in  the  same  old  st 

ory.   But 

ju'll  like  Nap.      {October.) 

SILK  STOCKINGS— Universal.— Proving  that 
divorce  may  be  worse  than  marriage — of  all  things! 
Laura  La  Plante's  best  comedy.  But  not  for  the 
little  darlings.      {September.) 

SILVER  SLAVE,  THE— Warners.— How  mother 
saves  daughter  from  the  clutches  of  a  villain  by  vamp- 
ing him  herself.  Ah,  these  self-sacrificing  mothers! 
{February.) 


SINEWS  OF  STEEL— Gotham.— A  story  of  big 
business  showing  how  the  big  steel  corporations  eat  up 
the  little  ones.     (November.) 

SINGED— Fox.— Blanche  Sweet  as  a  dance  hali 
queen  and  a  man's  loyal  pal.  And  very  fair  stuff, 
Mortimer!     (September.) 

SMILE,  BROTHER,  SMILE— First  National.— 
Jack  Mulhall  in  an  amusing  story  of  a  shipping  clerk 
who  would  be  a  salesman.      {October.) 

SOFT  CUSHIONS— Paramount.— Douglas  Mac- 
Lean  tries  Broadway  gags  in  a  Bagdad  harem.  A  lot 
of  \vise-crackinR  and  a  real  flit  by  a  newcomer — Sue 
Carol.      {November.) 

*SORRELL  AND  SON— United  Artists.— Herbert 
Brenon  has  made  a  touchingly  beautiful  picture  of 
this  story  of  a  father's  love  for  his  son.  Superbly 
played  by  H.  B.  Warner  and  a  fine  cast.    {January.) 

SPOTLIGHT,  THE— Paramount— How  the  bu- 
colic Lizzie  Slokes  became  Rostova.  the  Russian  star. 
Nice  kidding  of  our  craze  for  foreign  names  and  tem- 
perament.   With  Esther  Ralston.     {January.) 

SPRING  FE-VER—Metro-Goldwyn-Mayer.—Wil- 
liam  Haines  and  Joan  Crawford  in  a  mildly  funny 
comedy  built  about  the  golf  mania.      {October.) 

STAND  AND  DELIVER— Pathe-De  Mille.— Rod 
La  Rocquc  joins  the  French  Army  and  goes  on  a  ban- 
dit hunt.  Once  more  Lupe  Velez  registers  a  hit. 
{February.) 

STRANDED— Sterling.— A  little  girl  goes  to  Hol- 
lywood to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  wrote  the  storj-.     {December.) 

►STUDENT  PRINCE,  THE— Metro-Goldwyn- 
Ma.jer. — Ramon  Novarro  in  one  of  the  best  love 
stories  ever  written.  Unforl  unately  Norms  Shearer  is 
mis-cast  and  Lubitsch  isn't  completely  in  his  element. 
Very  much  worth  seeing,  nevertheless.     {November.) 

♦SUNRISE— Fox.— F.W.  Murnau  makes  the  camera 
do  everjthing  but  talk.  Short  on  story  interest  but 
long  on  beauty.     {December.) 

*SWIM,  GIRL,  SWIM— Paramount.— Credit 
Bebe  Daniels  with  another  personal  hit  in  a  story  of 
college  life.  "Trude"  Ederle  is  in  it,  too.  Take  the 
whole  family.      (October.) 

SYMPHONY,  THE— Universal.— Rather  wooden 
story  that  tries  to  be  another  "Music  Master." 
Redeemed  by  a  good  performance  by  Jean  Hersholt. 
(January.) 

TARTUFFE,  THE  HYPOCRITE— UFA.—  Prov- 
ing that  when  the  Germans  make  a  bad  one,  they  can 
equal  Hollywood's  worst.  Even  Emil  Jannings  can- 
not save  it.      (October.) 

TEA  FOR  THREE— Metro-Gold^vi'n-Mayer.— 
The  second  of  the  Lew  Cody-Aileen  Pringle  comedies, 
neatly  and  subtlely  acted.     (November.) 

TELL  IT  TO  SWEENEY— Paramount.— Chester 
Conklin  and  George  Bancroft  in  a  comedy  that  is  just 
plain  nickelodeon.      (November.) 

TEN  MODERN  COMMANDMENTS  —  Para- 
mount.— A  back-stage  stor\*  of  chorus  girls  and  such- 
like, made  better  than  it  really  is  by  the  presence  of 
Esther  Ralston.      (September.) 

TEXAS  STEER,  A— First  National.— Will  Rogers, 
as  star  and  title-writer,  pokes  fun  at  our  politicians. 
A  picture  that  papa  will  enjoy.    (January.) 

THANKS  FOR  THE  BUGGY  RIDE— Universal. 

— Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and,  incidentally,  Laura  La  Plante's 
best.     (December.) 

THIRTEENTH  HOUR,  THE  —  Metro-Goldwyn- 
Ma>er. — In  spite  of  trapdoors,  secret  panels  and 
underground  passages.  Napoleon,  the  crafty  canine, 
outsmarts  the  villains.      (February.) 

THIRTEENTH  JUROR,  THE— Universal.  —  A 
satisf\ing  and  well-made  picture,  with  Francis  X. 
Bushman  and  Anna  Q.  Nilsson  doing  fine  work.  See 
it.      (October.) 

THREE'S  A  CROWD— First  National.— Harry 
Langdon  attempts  too  much  in  this  one.  The  boy's 
good,  but  he's  not  Chaplin  yet.  Better  luck  next 
time.     (October.) 


TIME  TO  LOVE— Paramount.— Raymond  Grif- 
fith trying  to  prove  how  silly  he  can  be — and  proving 
It,  too.  Of  course,  if  you  have  a  lot  of  time  to  waste — 
(September.) 

TIP  TOES— British  National.— Dorothy  Gish  in 
another  English  picture  that  is  just  a  filier-in.  A 
bnef  moment  of  Will  Rogers  makes  it  worth  your 
money.      (October.) 

TOPSY  AND  EVA— United  Artists.— Broad 
burlesque  of  the  old  story  with  Rosetta  Duncan 
snatching  most  of  the  footage.  Funny  in  a  way 
and  sliglitly  vulgar.     (September.) 

TUMBLING  RIVER— Fox.— It's  a  Tom  Mix  pic- 
ture and  one  of  his  best.  That's  all  you  need  to 
know.      (October.) 

■TWELVE  MILES  OUT— Metro-Goldwyn-Maver. 
— Rum-running  off  our  drv  coasts.  .\  highly  popu- 
lar film  with  Jack  Gilbert  giving  a  sound~and  inter- 
esting performance.     (September.) 

*TWO  ARABIAN  KNIGHTS— United  Artists.— 
Proving  that  there  can  be  something  new  in  war 
comedies.  Bright!  Original!  Entertaining!  With 
Louis  Wolheim  and  William  Boyd.  See  it,  by  all 
means.      (November.) 

TWO  GIRLS  WANTED— Fox.— Adapted  from 
John  Golden  s  stage  success,  it's  a  nice,  amusing  story 
about  a  modern  working  girl.  With  the  adorable 
Janet  Gaynor.    (February.) 

*UNCLE  TOM'S  CABIN— Universal.— Harriet 
Beecher  Stowe's  story  re-written  to  include  the  Ci\il 
War  and  Sherman's  March  to  the  Sea.  An  effective 
picture,  if  you  don't  mind  the  violence  done  to  the  old 
favorite.    (January.) 

♦UNDERWORLD  —  Paramount.  —  Great  story, 
great  direction,  great  acting.  A  raw,  red  drama  of 
the  seamy  side  of  life.  George  Bancroft,  Evelyn 
Brent  and  Clive  Brook  are  credited  with  hits.  Not 
for  the  children.     (September.) 

VANITY— Producers  Dist.  Corp.— A  society  girl 
goes  into  war  work  and  forthwith  renounces  the  high 
hat.  All  right,  if  you  like  this  sort  of  thing.  With 
Leatrice  Joy.     (September.) 

*  VALLEY  OF  THE  GIANTS,  THE  —  First  Na- 
tional.— Splendidly  presented  drama  of  the  Big  Tree 
Country,  stirringly  acted  by  Milton  Sills  and  Doris 
Kenyon.     (February.) 


CONFIDENTIAL— Fox.— T 

isnares  the  heart  of  society's  pi 
ew  clotlies,  with  Madge  Bella 
(February.) 


e  little 
;.  An  old 
ay  as  the 


WANTED,  A  COWARD— Sterling.— If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

WE'RE      ALL      GAMBLERS— Paramount.— In 

spite  of  Tliomas  Meighan  and  the  direction  of  James 
Cruze,  this  is  disappointing.      (October.) 

WEST  POINT  —  Metro-GoldwTn-Mayer.  — 
William  Haines  in  a  gay  and  amusing  comedy  of  the 
U.  S.  Military  Academy.  Joan  Crawford  is  the  girl. 
(February.) 

WHAT    HAPPENED   TO    FATHER— Warners. 

— Warner  Gland's  first  starring  vehicle  and  a 
picture  quite  unworthy  that  gentleman's  talents. 
(September.) 

WHITE  PANTS  WILLIE— First  National.— Some 
snappy  celluloid  dedicated  to  the  Art  of  Johnny 
Hines.      (October.) 

WILD  GEESE— Tiffany.— Sincere  presentation  of 
Martha  Ostenso's  novel,  with  a  fine  characterization 
by  Russell  Simpson.    (January.) 

*WIND,  THE— Metro-Goldwj-n-Mayer.- Lillian 
Gish  in  a  fine  and  impressive  drama  of  life  on  a  Texas 
ranch.  Excellent  support  by  Lars  Hanson  and 
Montagu  Love.      (November.) 

*WINGS — Paramount. — The  War  in  the  Air — a 
thrilling  spectacle  that  is  nicely  timed  to  J-our  in- 
terest in  aviation,     (September.) 

WISE  WIFE,  THE— Pathe-De  Mille.— One  of 
those  stories  about  How  to  Hold  a  Husband — if  you 
are  interested.    (January.) 

WIZARD,  THE — Fox. — One  of  Monsieur  Leroux's 
most  thrilling  mystery  yarns  enacted  by  Edmund 
Lowe  and  other  capable  performers.    (February.) 

WIZARD    OF    THE    SADDLE,    THE— FBO  — 

Western  hokum,  made  enjoyable  by  the  horse- 
manship of  Buzz  Barton,  the  freckled  kid,  (February.) 

WOLF  FANGS — Fox. — Ranger,  the  dog,  saves  the 
poor  gal  from  her  brutal  step-father.  Elemental 
amusement.      (February.) 

WOMAN  WISE— Fox.— Showing  the  downfall  of 
a  hard-boiled  bachelor.  With  Walter  Pidgeon  and 
JuneCollyer.    (February.) 

WOMEN'S  WARES— Tiffany.— Evelyn  Brent  as 
a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.      (December.) 

WRECK  OF  THE  HESPERUS,  THE— Pathe-De 

Mille. — Elmer  Clifton,  who  made  "Down  to  the  Sea 
in  Ships,"  has  again  turned  out  some  glorious  sea 
stuff.  Longfellow's  ballad  has  been  movie-ized,  but 
you'll  like  Virginia  Bradford.      (February.) 


Earle  E.  Liederman 

The  Muscle  Builder 

Author  of  ''MuvJe  BuHdlno,"    '  Science   of   TVre^tllno  " 
•■becrtts  of  Strength."  "Here'i  Health,"  •■Endurance."  etc. 

MUSCLES 

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here.    This  talk  was  ne 

I  Want  Live  Ones 


Hein 


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i  few  things  I'm 


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shoulders  like  baseballs.  I'm  going  to  deepen  your  chest 
so  that  you  will  double  your  lung  capacity.  Each  breath 
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pillars.  I'm  going  to  work  on  every  inner  muscle  as  well, 
toning  up  your  liver,  your  heart,  etc.  You'll  have  a  snap 
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ukelele  it's  good.      It's  wonderful.     And   don't  forget. 

fellow— I'm  not  just  promising  all  this— I  guarantee  it. 

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PHOTOPLAT   MAGAZINE. 


'44 


Photoplay  Magazine — Advertising  Section 


Edna  J.  Ferguson 
Demins,  New  Mexico 


Robert  A.  Breault 
Cohoes,  New  York 


Mellin's  Food— A  Milk  Modifier 

The  nutritive  elements  in  Mellin's  Food  are  readily  digested  and 
these  nutritive  elements  act  as  a  modifier  of  cow's  milk  in  a  manner  to 
assure  the  digestion  of  the  milk  curd  and  to  favorably  affect  the 
digestibility  of  the  fat  of  the  milk. 

Mellin's  Food  furnishes  carbohydrates  in  the  form  of  maltose 
and  dextrins,  readily  available  for  all  purposes  of  this  indispensable 
food  element. 

Mellin's  Food  contributes  protein  in  cereal  form,  and  also 
supplies  mineral  matter  consisting  of  potassium,  calcium,  sodium, 
magnesium,  phosphatic  salts  and  iron. 

Mellin's  Food  and  cow*s  milk  satisfies  the  desire  for  food  and 
meets  the  nutritive  requirements  for  growth  and  development  by 
furnishing  nourishment  appropriate  to  the  baby's  digestion  and 
assimilation. 


When  the  baby  begins  to  take  solid  foods 

Mellin's  Food  Biscuits 

are  particularly  suitable. 

Palatable  —  Crisp  —  Nourishing. 

Samples  sent  upon  request,  postage  prepaid. 

Mellin's  Food  Co.,     177  State  St.,       Boston,  Mass. 


>tAGAZlNE  is  KuaranteeU. 


,M^' 


©  192S  P.  G.  &  Co. 


Hidden  springs 

of  beauty 

in  your  skin 

-set  them  free! 

In  your  marvelous  skin  itself  Nature  has  set  up  a 
beauty  shop!  Did  you  know  that?  Complicated 
little  cells  renew  its  silken  surface  day  by  day  .  .  . 
invisible  springs  of  moisture  keep  it  cool  .  .  .  tiny 
oil  glands  lubricate  it.  A  whole  beauty  system  to 
keep  it  smooth,  pliant  and  fine! 

But  soot  and  dust,  powder  and  cream  and  rouge, 
sometimes  seal  up  these  little  founts  of  loveliness. 
And  then  skin  troubles  come  to  flaw  your  com- 
plexion's ivory-smoothness! 

You  can  free  these  tiny  beauty-workers  by  giving 
them  perfect  cleansing  .  .  .  soap-and-water  cleans- 
ing ..  .  Ivory  cleansing.  Physicians  who  are  skin 
specialists  say  that  only  pores  which  are  carefully 
cleansed  with  warm  water  and  a  pure  soap  can  go 
on  with  their  beautifying  task,  uninterrupted. 

To  millions  of  women  "pure  soap"  means  Ivory 
Soap.  Ivory's  fine  materials  are  carefully  blended  to 
make  it  so  pure  and  mild  that  millions  of  mothers 
will  use  nothing  else  to  cleanse  their  babies'  skin. 
Ivory  possesses  no  magic  beauty-bestowing  power  of 
its  own— no  soap,  of  course,  has  that.  But  its  ex- 
quisitely soft  lather  penetrates  every  pore  and  frees 
it  of  its  tiny  blockade  of  dust  and  powder — gently, 
thoroughly,  safely!  Ivory  cleansing  thus  sets  your 
own  beauty-workers  free  to  keep  your  skin  fresh 
and  lovely. 

Ivory  Soap 

Kind  to  everything  it  touches 
gc)^Xoo%  Pure  -  It  Floats 


TRY  a  sample  of  Ipana  Tooth  Paste,  if  you  want 
to.  The  coupon  on  this  page  will  bring  you  the 
conventional  ten-day  tube — enough  to  prove  to  you 
Ipana's  delicious  taste  and  its  remarkable  power  to 
clean  and  to  whiten  your  teeth. 

But  do  not  be  content  with  that  alone.  Learn,  too, 
what  Ipana  can  do  for  your  gums.  Ask  for  a  full- 
size  tube  at  the  drug  store 
and  start  tonight  to  use  it, 
twice  a  day.  Before  thirty 
days  have  passed  you  will 
find  that  your  gums,  too,  have 
much  improved  — in  color,  in 
texture  and  in  health. 


BRISTOL-NfYERS  CC.Dept.  I3S. 

73  West  St..  New  York  aty 

Kindly  send  me  a  trial  tube  of  IPANA  TOOTH 

PASTE.    Enclosed  is  a  two-cent  stamp  to  cover 

partly  the  cost  of  packing  and  mailing. 


Ssme  . . 
AJJnu. 


Under  our  diet  of  soft  modern  food  the  health 
of  our  gums  is  impaired.  But  with  Ipana  and  a  Hght 
massage  you  can  restore  to  your  gums  the  stimula- 
tion they  need.  For  Ipana  is  a  tooth  paste  of  peculiar 
benefit  to  the  gums.  It  contains  ziratol,  an  antiseptic 
and  hemostatic  used  for  years  by  dentists  in  strength- 
ening weak  and  tender  gums. 

So  tr)'  Ipana  for  at  least 
one  month.  Its  delicious  taste 
will  win  you  from  the  start — 
and  its  benefits  to  the  health 
of  your  mouth  will  keep  you 
its  staunch  friend,  perhaps, 
for  life!  ^.„„ 


ove  riGttzres 


The  Doctor  Tells  How  We  React  tl  Them 


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■                -the  enjoymxnX 
\                 oj  the  theatre 

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i     LIFE  SAVERS 

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Photoplay  Magazine — Advertising  Section 


If  your  aums  are  the  least  bit  tender 
start  with  Ipana  toniahtl 


YOUR  teeth  may  be  as  white  as 
ivory — ^yet  faced  with  grave  and 
serious  trouble. 

There  may  not  be  a  cavity  in  your 
mouth,  or  a  filling  in  your  head,  yet 
you  may  need  the  attention  of  a  good 
dentist  and  the  use  of  the  correct  way 
of  caring  for  your  teeth.  * 

For  your  gums  may  be  tender — they 
may  even  show  a  tendency  to  bleed.  If 
your  tooth  brush  "shows  pink" — 
even  slightly  or  occasionally — it  is  a 
sign  that  something  is  amiss  and 
that  your  gums  need  immediate  care. 

What  to  do  if  your  gums 
need  attention 

Talk  to  your  dentist.  Probably  he  will 
explain  the  matter  to  you  in  some  such 
terms  as  this: 

"The  food  you  eat  is  to  blame.  For  it 
is  too  soft  for  the  teeth  and  gums.  It 
lacks  fibre  and  roughage.  It  gives  the 
gums  no  friction,  no  stimulation,  no 
work.  The  blood  does  not  circulate 
properly  through  the  tissues  and  the 
gums  become  undernourished.  And  this 
often  leads  to  more  serious  troubles." 

But  your  dentist  can  do  more  than 
explain  the  cause  of  the  difficulty; 
he  will  point  out  to  you,  too,  the 
correct  way  to  offset  the  bad  effects 
of  your  diet. 

In  all  probability,  he  will  order  gum 
massage.    For  today  thousands  of  good 
dentists  say  to  their  patients: 

"Massage  the  gum  tissue  with  Ipana  at 
the  same  time  you  brush  your  teeth.    If 


The  pressure  and  the  friction  of  a  light 
massage  stirs  the  dormant  blood 
within  the  gum  walls,  and  speeds 
fresh,  clean  blood  to  take  the  place  of 
the  stagnant  old. 

How  Ipana  aids  massage  in 
toning  the  gum  tissues 

The  use  of  Ipana  tones  the  outer  walls 
of  the  gums,  for  its  gentle  healing  in- 
gredient (ziratol,  a  well-known  anti- 
septic and  hemostatic)  is  helpful  in 
restoring  to  the  gums  their  needed  and 
normal  tonicity. 

Massage  and  Ipana  can  make  your 
gums  firm  and  healthy.  Their  color 
will  be  right.  You  avoid  "pink  tooth 
brush".  You  improve  the  health  and 
beauty  of  your  mouth. 

Weha  ve  placed  a  coupon  in  the  corner 
of  this  page.  If  offers  you  a  trial  tube, 
enough  for  about  ten  days.  Use  it  if 
you  will.  Certainly  this  tube  will 
prove  to  you  Ipana's  delicious  flavor, 
its  incomparable  power  to  keep  your 
teeth  clean,  white  and  beautiful. 

Get  a  full-size  tube  at  the 
nearest  drug  store 

But  ten  days  are  all  too  short  to  show 
you  what  Ipana  can  do  for  the  health 
of  your  gums.  At  least  a  month  is 
needed — a  full-size  tube  will  show  you 
afar  better  result.  So,  we  urge  you  to  go 
'  to  your  drug  store  and  buy  a  full-size 
your  gums  are  tender  to  the  brush,  mas-  tube(about  120brushings).Useittothe  last 
sage  them  gently  at  first  with  Ipana  on  squeeze!  Then  will  you  know  what  Ipana 
the  finger  tips.  For  Ipana  is  as  helpful  to  can  do  to  tone  and  strengthen  your  gums 
the  gums  as  it  is  cleansing  to  the  teeth."        — to  improve  the  health  of  <?// your  mouth! 


HEALTHY   GUMS   ARE  FIRM  AND  CORAL  PINK 


V. 


IPANA  Tooth  Paste 


-yJ. 


RliTOL  MYERS  CO..  Depc.  148,  73  West  Street.  New  York  City 
Kindly  send  me  a  trial  tube  of  IPANA.   Enclosed  is  a  two- 


.^  -h 

t- 

cent  Stamp  to  co 

vcr  partly  the  cost  of  packing  a 

nd  ma 

ling. 

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City 

Jti£. 

Stall 

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iciltlon   PHOTOPLAY   M.\G.^ZIXB. 

Photoplay  Magazine — Advertising  Section 


-best  show  in  town 


9^ 


"A  Band  of  Men  whose 
Sweetheart  was  Death!" 

From  every  corner  of  the  world  they 
came,  that  valiant  band  of  youths 
ytbo  had  tried  everything  in  life  but 
Death!  Fearful  tragedies,  smashed 
loves,  lost  fortunes  had  driven  them 
to  join  that  daredevil  band  of  war 
aiers  — "The  Legion  of  the  Con- 
demned".  Day  after  day,  high  above 
the  earth,  they  flirted  with  Death, 
or  drove  their  roaring  planes  far 
behind  the  enemy  lines  to  land  spies 
—  the    most    hazardous   mission   of 


C/Ae 


FAY  WRAY  and  GARY  COOPER,  Paramount's 

Glorious  Young  Lovers,  in  a  scene  from  "The 

Legion  of  the  Condemned",  their  first  co-starring 

picture.  A  William  Wellman  production. 


Legion  of  th 


'//  it's  a  Paramount  Picture 
t's  the   best  shoiv   in   town." 


CONDEMNEI) 

^  Another  of  those  great  Paramount  Pictures  that  are  talked 
about  by  everyone  and  remembered  for  days  and  days! 
^  Popular  approval,  and  crit'.cal  opinion  from  coast  to  coast, 
placed  Paramount  'way  in  the  lead  on  all  lists  of  the  best 
pictures  of  1927.  1928  hits  are  even  greater!  Because  Para- 
mount goes  ever  onward  and  upward,  accelerating  progress 
year  by  year.  €|  Ask  your  Theatre  Manager  when  he  is  going 
to  show  "Legion  of  the  Condemned"  and  all  the  other  great 
Paramount  Pictures  of  1928. 
Paramount  Famous  Lasky  Corp.,  Adolph  Zukor,Pres.,ParamountBldg.,N.  Y. 


Waramount  ^Icture^ 


Every  iKlvi-rtlsomeii 


PHOTOPLAY  MAGAZINE  Is  guaranteed. 


The  World's   Leading   Motion   Picture   Publication 


FREDERICK    JAMES 


Contents 


For 

April 

1928 


Vol.  XXXIII 


James  R.  Quirk 

=  EDITOR    AND   PUBLISHER 


No.  5 


The  High-Lights  of  This  Issue 


Cover  Design 

Esther  Ralston- 


Charles  Sheldon 
-Painted  from  Life 


As  We  Go  To  Press 

Latest  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets 
The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

The  Story  of  Greta  Garbo 

As  Told  by  Her  to  Ruth  Biery 

Correct  These  Nutty  Biographies 

There's  $500  in  Prizes  and  a  Lot  of  Fun  in  Photo- 
play's Newest  Contest 

Olympus  Moves  to  Hollywood 

Ruth  Waterbury 
Discovered! — That  Movie  Gods  and  Goddesses  are 
as  Beautiful  as  the  Ancient  Ones  of  Greece 


I  Studio  Conference 

Dr.  Louis  E 


Agnes  Smith 
Bisch 


Box  Office  Love 
A  True  Story  of  i 

Love  Pictures 

The  Doctor  Explains  How  We  React  to  Them 

Gossip  of  All  The  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

$15,000  in  Prizes  Awarded  For  Ideas 

Winners'  Names  in  Photoplay's  Greatest  Contest 


10 


16 


27 


30 


32 


34 


37 


40 


44 


48 


The  Movie  Hound  (Fiction  Story) 

Agnes  Christine  Johnston    50 
Every  Dog  Has  His  Day— and  This  One  Had  His 

The  Shadow  Stage  52 

Reviews  of  Newest  Pictures 

My  Life  Story  56 

Conclusion  of  Clara  Bow's  Intimate  Revelations,  as 
Given  to  Adela  Rogers  St.  Johns 

Just  a  Small  Town  Girl     Catherine  S.  Prosser    58 

It's  Esther  Ralston 

More  Luck  O'  the  Irish  Frances  Denton     63 

Little  Hoosier  with  Long  Hair  Picked  as  Harold 
Lloyd's  Leading  Woman 

Williamu  Cowboy  Robert  Dean  Frisbie     64 

What  Happens  When  a  Bill  Hart  Film  Plays  the 
South  Seas 

She  Makes  Good  at  59      Frederic  H.  Schrader     66 
After  Eleven  Years  Margaret  Mann  Gets  a  Title  R61e 

Making  a  Million  Tom  Mix     68 

He's  Still  Trying  to  Lasso  the  Dollars 

Shop  Through  Photoplay  70 

Fifth  Avenue  Fashions  for  Limited  Incomes 

Amateur  Movies  Frederick  James  Smith     72 

Judges  are  Considering  Prize  Films 

Food  with  a  Foreign  Accent  91 

Photoplay's  Cook  Book  Tells  You  How  To  Prepare 
Dishes  That  Delight 

Questions  and  Answers  The  Answer  Man  101 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Cast  of  Current  Photoplays  146 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


A  complete  list  of  all   photoplays  reviewed   in  the  Shade wr   Stage  this  issue  will  be  found  on  page  12 


I 


Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 

The  International  News  Company,  Ltd..  Distributing  Agents,  5  Bream's  Building,  London.  England 

James  R.  Quirk.  President  Robert  M.  Eastman.  Vice-President  Kathryn  Dougherty.  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba;  $3.00  Canada;  $3.50  to  foreign  countries.   Remittances 

should  be  made  by  check,  or  postal  or  express  money  order.    Caution— Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24,  1912,  at  the  Postofiice  at  Chicago,  111.,  under  the  Act  ol  March  3,  1879. 
Copyright,  1928,  by  the  Photoplay  Publishing  Company,  Chicago. 


^s  we  go  7o  Dress 


/ 


Joast  jAinute  /Slews' 
Toni  Sa^t  0!^  West 


BEBE  DANIELS  is  recovering  from  in-     TT  is  reported  that  John  Barrymore  may     role  in  the  screen  version  of  Jim  Tully's 
juries  sustained  while  at  work  on  a     -^return  to  the  speaking  stage  in  New  York.    - '  'Beggars  of  Life." 
new  picture,  "Hold  Everything."   She     It  seems  that  John  is  tired  of  the  films, 
was  seated  m  a  reproduction  of  a  Pullman  'T^ED  McNAMARA  died  suddenly  in  Los 

compartment,   which   was   mounted   on   a     "pMIL   JANNINGS   has  taken  over  the      -*■  Angeles,    breaking    up    WiUiam    Fox's 
truck.    The  limb  of  a  tree  swept  the  settmg     -*--'home   of  Joseph  Schenck  and  Norma     comedy  team  of  McNamara   and  Sammy 
from  the  truck,  pinioning  Miss  Daniels  under     Tahnadge  on  Hollywood  Boulevard.     Emil 
the  wreckage.     At   the   same  time  James     needs  a  bigger  place  for  his  growing  house- 
Hall,  her  leading  man,  and  Clarence  Badger,     hold, 
her  director,  were  slightly  hurt. 

WALLACE    BEERY    is    deserting  the 
f 


Cohen.    McNamara  is  survived  by  a  widow 
and  a  four-year-old  daughter. 


IRVING  THALBERG  and  his  wife,  Norma 
Shearer,  sailed  for  Europe 
Feb.  21st  for  a  flying  vacation 
trip. 

NOW  that  Samuel  Goldwyn 
has  decided  not  to  co-star 
Ronald  Colman  and  Vilma 
Banky,  he  is  looking  for  a  blonde 
leading  woman  for  Mr.  Col- 
man. Ambitious  blondes  can 
apply  immediately  to  Mr. 
Goldwyn. 

NEWS  of  Lottie  Pickford's 
secret  Paris  divorce  from 
Allan  Forrest  has  just  leaked 
out.  The  divorce  was  ob- 
tained seven  months  ago.  This 
was  Lottie  Pickford's  second 
marriage. 

CLARA  BOW  is  recuperating 
from  an  operation  for  ap- 
pendicitis.   Miss  Bow's  opera- 
tion held  up  the  start  of 
work   on   the  star's   new 
picture,    "Ladies    of    the 
Mob." 


comic  films.  He  returns  to  a  dramatic 


JACQUELINE  LOGAN 
J  has  filed  a  divorce  suit 
against  her  husband, 
Ralph  J.  Gillespie,  Los 
Angeles  real  estate  man. 
The  couple  had  been  mar- 
ried for  three  years.  Miss 
Logan  charges  him  with 
cruelty. 

tDESSIE  LOVE  isplaying 
•'—'on  the  coast  speaking 
Stage,  in  a  San  Francisco 
production  of  the  Broad- 
way hit,  "Burlesque." 


Were  you  shocked  at  the  news  that  Betty  Compson  had  discovered 
her  mother  at  a  county  poor  farm.' 

Well,  hold  everything.  The  story  wasn't  true.  It  was  all  the  mis- 
take of  a  Philadelphia  reporter.  The  woman  who  found  her  mother, 
Mrs.  Anna  Fisher,  in  the  poor-house  at  Pottsville,  Pa.,  was  Betty 
Thompson.  The  reporter  caught  the  name  as  Betty  Compson  and 
the  story  was  wired  to  newspapers  all  over  the  country. 

The  "fans"  were  surprised  but  not  half  so  surprised  as  Miss  Comp- 
son herself.  Miss  Compson 's  mother  has  been  living  in  peace', 
plenty  and  prosperity  in  Hollywood  for  years.  Betty  has  always  been 
devoted  to  her  mother  and  has  taken  excellent  care  of  her. 

Here  you  see  Betty  and  her  mother,  very  far  removed  from  even  a 
hint  of  the  poor-house.  Anyway,  all  the  newspapers  are  busy 
apologizing  to  Miss  Compson.  It  was  a  beautiful  sob  story,  a  tale 
to  wring  your  heart,  but  fortunately  it  wasn't  true. 


■'tXT'ILLIAM  BOYD  and  EUnor  Faire 
"  *  have  been  receiving  hundreds  of  letters 
mentioning   the   impending  arrival   of   the 

stork.    But  they  both  have 

entered  strenuous  denials. 

How  do  reports  like  this  ever 

start? 

HELENE  COSTELLO  is 
suing  Jack  Regan  for 
divorce.  She  charges  him 
with  non-support.  Jack  and 
Helena  were  childhood  friends, 
but  their  married  life  lasted 
less  than  a  year  after  their 
secret  wedding. 

AILEEN  PRINGLE  gets  a 
new  contract  with  Metro- 
Goldwyn-Mayer  at  $1,000  per 
week. 


■succumbs  to  movie  offer. 
The  noted  German  stage  direc- 
tor will  direct  LilUan  Gish  in 
"The  Miracle  Woman." 

JANET  GAYNOR, 
Charles  Farrell  and 
Frank  Borzage  will  make 
a  trip  to  Europe  to  film 
exteriors  for  "Blossom 
Time." 

PHYLLIS  HAVER  will 
be  starred  in  "Tenth 
Avenue,"  a  fihn  version  of 
the  stage  play. 

ARCH  SELWYN  buys 
the  American  rights  to 
"Dawn,"  the  film  story  of 
the  Nurse  Cavell  case 
that  has  raised  so  much 
controversy  in  England 
and  Germany. 


Photoplay  Magazine — Advertising  Section 


iwiinifiiii  iirmi 

MissEsiher  Ralston,  Parajyiount  Star,  now  appearing 
in  "The  Modern  Ten  Commandments" ,  uearing  the 
Esther  Model  of  the  Arch  Preserver  Shoe  named  in 
her  fionor. 


yy 


The  First 

"Commandment 

About  Feet 


is  that  they  must  not  be  abused.  If  you  abuse  your 
feet  in  ordinary  shoes  that  allow  them  to  sag  and 
be  pinched,  then  you  must  pay  a  heavy  penalty. 
Your  feet  ache,  annoy  you,  dissipate  your  energy 
and  youth.  When  the  famous  stars,  such  as  Esther 
Ralston,  find  it  worth  while  to  turn  to 


^RCH  PRESERVER 


then  all  women  should  recognize  the  need  of  this 
shoe.  For  every  woman,  to  appear  at  her  best,  must 
retain  youth,  vivacity  and  verve. 

There  is  real  help  in  the  Arch  Preserver  Shoe,  be- 
cause it  keeps  the  feet  healthy  and  comfortable. 
Exclusive,  patented  features- — a  concealed  arch 
bridge  to  prevent  sagging  and  a  flat  inner  sole  to 
prevent  pinching  —  explain  the  wonderful  satis- 
faction this  shoe  gives.  And  it  is  as  charming  as 
it  is  comfortable,  because  it  is  designed  in  the 
smartest  of  New  York  and  Paris  styles. 

THE  SELBY  SHOE  COMPANY 
951  Seventh  St.,  Portsmouth,  Ohio 


There  is  only  one  Arch  Preserver  Shoe.  It3 
principles  of  construction  are  fully  protected  by 
patents.  No  shoe  is  an  Arch  Presen'er  Shoe 
unless  stamped  with  the  Trade-Mark.  Made  for 
women  and  misses  by  The  Selby  Shoe  Co.. 
Portsmouth,  Ohio.  For  men  and  bovs  b>-  E  T. 
Wright  &  Co.,  Inc.,  Rockland,  Mass. 


this  coupon  or  write  to  The  Selby 
Shoe  Co.,  951  Seventh  St.,  Ports- 
mouth. Ohio,  for  new  free  booklet  No.  T-51. 

"Feet — the  New  Source  of  Youth  and  Smartness" 

and  name  of  dealer. 


Name 

Address 

i^        City State. 

mention  PHOTOPLAY  JIAGAZIXE. 


Brief  Reviews  of 


'^In&.icates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


Current  Pictures 


ACROSS  THE  ATLANTIC— Warners.— A  war 
and  aeroplane  story  that  furnishes  routine  entertain- 
ment.    (February.) 

AFTER  MIDNIGHT— Metro-Goldwyn-Mayer.— 
In  .epitc  of  its  modern  veneer,  just  the  story  of  the 
good  girl  who  never  slips  from  the  straight  and  narrow 
path.    Not  worthy  of  Norma  Shearer.     (October.) 

ALIAS  THE  LONE  WOLF— Columbia.— Bert 
Lytell  returns  to  the  character  that  made  him  famous 
ten  years  ago.  A  crook  stor>',  well  told,  agreeably 
acted  and  safely  presented  for  the  family.  (January.) 

AMERICAN  BEAUTY— First  National.— Billie 
Dove  has  her  fling  at  playing  a  modern  Cinderella. 
Frothy  but  nice.      (December.) 

ANGEL   OF    BROADWAY,    THE  —  Pathe  -  De 

Mille.— In  which  a  Night  Club  hostess  joins  the  Sal- 
vation Army  to  look  for  drama.  She  finds  it.  You'll 
like  Leatrice  Joy  and  Victor  Varconi.   (November.) 

BABY  MINE— Mctro-Goldwyn-Mayer.  —  Karl 
Dane,  George  K.  Arthur  and  Charlotte  Greenwood  in 
an  old  farce,  dressed  up  in  new  gags.    (February.) 

BACK  STAGE — Tiffany. — Social  research  into 
the  lives  of  dancing  girls.  It  will  excite  only  the  very 
naive.     (November.) 

BATTLE  OF  THE  CENTURY,  THE— Metro- 
Goldwyn-Mayer. — More  than  three  thousand  pies 
were  used  in  one  sequence  of  this  two  reel  comedy.  A 
burlesque  on  the  fistic  doings  in  Chicago.  (January.) 

*BEAU  SABREUR— Paramount.— Not  another 
"Beau  Geste,"  but  a  thrilling  and  picturesque  tale, 
nevertheless.  You'll  like  Evelyn  Brent,  Gary  Cooper, 
William  Powell  and  Noah  Beery.     (March.) 

BECKY  —  Metro-Goldwyn-Mayer.  —  Again  the 
Iioor  working  girl  goes  on  the  stage.  A  light,  routine 
comedy  brightened  by  the  antics  of  two  Irishcrs — 
Sally  G'Ncil  and  Owen  Moore.      (February.) 

BIG  CITY,  THE— Metro-Goldwyn-Mayer.— Lon 
Chaney  and  Betty  Compson  re-united  in  a  crook 
story  in  which  Lon  proves  that  he  needs  no  trick 
make-up  to  make  him  a  fascinating  person.      (March.) 

BIRDS  OF  PREY— Columbia.— Priscilla  Dean 
goes  in  for  a  little  ladylike  banditry.  The  results 
aren't  thrilling.      (December.) 

BLONDES  BY  CHOICE— Gotham.— The  ad- 
ventures of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  ,sex  but  no 
appeal."     Not  bad.  Mortimerl     (December.) 

BLOOD  SHIP,  THE— Columbia.— Mutiny,  bru- 
tality and  murder.  A  fine  performance  by  Hobart 
Bosworth.  Too  gruesome  for  good  entertainment. 
(Ocloher.) 

BODY  AND  SOUL— Metro-Goldwyn-Mayer,— 
Should  a  surgeon  kill  his  wife's  boy  friend?  Even  the 
acting  of  Ailcen  Pringle.  Lionel  Barrymorc  and  Nor- 
man Kerry  can't  enliven  this  cheery  little  problem. 
(December.) 

BOY  OF  THE  STREET,  A— Rayart.— Wherein  a 
little  brother  reforms  a  crook.  Young  Mickey  Ben- 
nett makes  the  sentimental. yarn  agreeable.  (Janttory.) 

BOY  RIDER,  THE— FBO.— The  exploits  of  one 
Buzz  Barton,  a  freckle-faced  kid  who  can  ride  a  boss. 
For  the  less  critical  of  the  younger  generation. 
(Novtmber.) 

BRANDED  SOMBRERO,  THE— Fox.— Buck 
Jones  plays  Buck  Jones  in  a  conventional  picture  that 
IS  only  enlivened  by  a  good  fight.     (March.) 

BRASS  KNUCKLES— Warners.— More  crooks  re- 
form, thanks  to  the  sweet  presence  of  Betty  Bronson. 
With  Monte  Blue  and  Bill  Russell.  And  rather  good, 
at  that.     (January.) 


BREAKFAST  AT  SUNRISE— First  National.— 
Lively  little  French  farce  about  one  of  those  trick 
marriages.  Deftly  played  by  Constance  Talmadge. 
The  children  will  prefer  Tom  Mix.     (December.) 

BROADWAY  KID,  THE— Warners.— A  George 
Jessel  comedy  that  looks  like  a  convention  of  old 
gags.  A  good  performance  by  Audrey  Ferris,  a  new- 
comer.     (October.) 

BROADWAY  MADNESS— Excellent.— Proving 
that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  whiff  of  country  air.    (December.) 

BUCK  PRIVATES— Universal.— Laughing  off  the 
War.  Malcolm  McGregor,  Eddie  Gribbon,  Lya  de 
Putli  and  ZaSu  Pitts  are  the  members  of  an  excellent 


Pictures   You 
Should  Not  Miss 

"The  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Sorrell  and  Son" 

"The  Circus" 

"The  Last  Command" 

"Love" 

"Gentlemen  Prefer  Blondes" 

"Underworld" 

"The  Patent  Leather  Kid" 

"The  Noose" 


As  a  service  to  its  readers.  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


BUSH  LEAGUER,THE—Warnets.— Monte  Blue 
makes  the  big  team  and  wins  the  love  of  the  own- 
er's daughter.     Need  we  say  more?    (November.) 

♦BUTTONS— Metro-Goldwyn-Mayer.— A  sea  story, 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  by  Jackie. 
For  the  whole  family.      (December.) 


BY  WHOSE  HAND?— Columbia.— Those  dog- 
gone jewels  are  missing  again.  The  result  is  the  usual 
ga-ga  crook  stuff.     (March.) 

CABARET  KID,  THE— Peerless.— Made  in  Eng- 
land and  France,  with  Betty  Balfour,  the  Belle  of 
Britain,  as  its  star.  Some  good  scenes  but  a  discon- 
nected story.    (January.) 

CASEY  JONES— Rayart.— "  Come  all  you  round- 
ers if  you  want  to  hear."  Simple  melodrama  with 
Ralph  Lewis  as  the  brave  engineer.      (February.) 

CHAIN  LIGHTNING— Fox.— If  you  like  to 
watch  Buck  Jones  chasing  horse  thieves,  here  is  a 
picture  in  which  Buck  Jones  chases  horse  thieves. 
(November.) 

CHEATING  CHEATERS  —  Universal.  —  Fun 
pmong  a  lot  of  unusually  agreeable  crooks.  With 
Betty  Compson  and  Kenneth  Harlan.    (February.) 

CHEER  LEADER,  THE— Gotham.— This  time 
the  cheer  leader  rushes  in  and  wins  the  game  for  dear 
old  -Mma  Mater.  All  right,  if  you  still  have  a  taste  for 
college  pictures.      (March.) 

♦CHICAGO  —  Pathe-De  Mille.— A  shrewd  satire 
on  the  lady  murderess,  beloved  of  the  newspapers. 
And  Phyllis  Haver,  Grown-up  entertainment.  See 
it.      (February.) 

CHICAGO  AFTER  MIDNIGHT— FBO —Ralph 
Ince  in  a  vigorous  melodrama  built  around  the  suffer- 
ings of  another  one  of  those  innocent  crooks.  (March.) 

CHINESE  PARROT,  THE— Universal.- Who 
swiped  the  pearl  necklace?  The  mystery  is  well  sus- 
tained and  the  Oriental  backgrounds  are  interesting. 
.And  Sojin  does  a  real  Lon  Chaney.    (January.) 

♦CIRCUS,  THE— United  Artists.— The  triumphant 
return  of  Charles  Chaplin.  Must  we  waste  space  ad- 
vising you  to  see  it?     (January.) 

CITY  GONE  WILD,  THE— Paramount.— Thom- 
as Meighan  in  a  lively  meller  of  the  Chicago  Under- 
world.   Good  stuff.      (October.) 

CLANCY'S  KOSHER  WEDDING  —  FBO.— 
This  Irish-Jewish  nonsense  has  gone  far  enough.  All 
in  favor  say  "Aye!"    (October.) 

COLLEGE— United  Artists. — Buster  Keaton  as  a 
wet  smack  who  would  be  an  athletic  hero.  Not  over- 
whelmingly funny.     (November.) 

COLLEGE  WIDOW,  THE— Warners.— Dolores 
Costello  vamps  the  football  team  and  the  boys  win 
the  game  for  dear  old  Whoozis.  Just  another  one  of 
those  things.    (January.) 

COMBAT — Pathe. — Bad  direction  and  heavy 
mugging  by  George  Walsh  eliminate  this  as  entertain- 
ment.     (December.) 

COME  TO  MY  HOUSE— Fox.— Olive  Borden  and 
Antonio  Moreno  flounder  around  in  a  lot  of  insipid 
doings.      (February.) 

COMRADES— First  Division.— Again  comes  the 
World  War!  The  story  of  a  brave  boy  who  takes  the 
place  of  a  Cft^SUdLf  one.  With  Helcne  Costello, 
Gareth  Hughes  andTionald  Keith.      (March.) 

COWARD,  THE— FBO.— Warner  Baxter  as  a 
wealthy  sap  who  turns  out  to  be  a  hero.  Old  stuff  but 
always  good.      (November.) 

CRIMSON  CITY,  THE— Warners.— Drama  be- 
tween a  couple  of  victims  of  bad  luck  in  Singapore. 
Lots  of  action — and  you'll  like  Myrna  Lo\'.    (March.) 
[  CONTINUED  ON  PAGE  12  ] 


Photoplay  Magazine — Advertising  Section 

Taring  wi  mask  from  the 

KIMCf  OF  CRBBmm 


DREi^SED  TO  IKBLL 

with  EDMUND  LOWE  ^  MARY  ASTOR       ll 


IF  you  have  weak  nerves,  stay  away  from 
"Dressed  to  Kill" !  But  if  you  like  a  pic- 
ture with  a  punch  to  it — a  picture  that  will 
keep  you  right  on  the  edge  of  your  seat  for 
forty-five  minutes,  with  your  heart  so  far 
up  in  your  throat  most  of  the  time  that 
you  wouldn't  dare  cough  for  fear  of  losing 
it — then  go  see  this  one! 

Go  with  Edmund  Lowe,  Mary  Astor  and 
Ben  Bard  behind  the  scenes  of  the  under- 
world !  See  real  newspaper  headline  stuff 
in  the  making!  Get  the  thrill  of  your  life- 
time breathlessly  watching  the  outcome  of 


the  heart-stopping  gun  battle  in  the  dark 
between  the  "brains"  of  the  gang  and  his 
chief  henchman — with  Mary  Astor  the 
prize  at  stake! 

In  this  story  of  super  crooks  and  their  cold- 
blooded methods,  Edtnund  Lowe  and  Ben 
Bard  give  the  best  characterizations  of  their 
careers,  and  Mary  Astor  reveals  a  wealth  of 
emotional  expression  that  will  arouse  the 
enthusiasm  of  even  her  warmest  admirers. 
In  story,  casting  and  direction,  "Dressed  to 
Kill"  is  the  perfect  picture. 
You'll  remember  it  for  ^mk 

a  long  time!  ^M    ■  (T^ 


THE  ONI  GREAT 


When  you  write  to  advertisers  please  mention  niOTOPLAT  IIAGAZIXE. 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$25,  $10  and  $5 


The  Real  Critics,  the  Fans,  Give  Their  Views 


The  Monthly  Barometer 

A  GREAT  razzing  for  Canon  Chase 
who  had  the  effrontery  to  try  to 
blame  the  Hickman  case  in  Los 
Angeles  on  the  movies. 

Loud  handclaps  for  Clara  Bow's  Life 
Story,  as  written  by  Adela  Rogers  St.  Johns. 
Clara's  frankness  about  her  early  life  and 
her  bravery  have  won  her  a  lot  of  new 
friends.  Big  bouquets,  too,  for  Janet  Gay- 
nor,  Charles  Rogers  and  Charles  Farrell, 
the  most  admired  among  the  newcomers. 
And  the  "fans"  want  to  see  more  of  Betty 
Bronson. 

Greta  Garbo  and  John  Gilbert  are  still  the 
leaders  in  the  torrid  zone.  "Seventh 
Heaven  "  has  climbed  to  an  easy  first  place 
in  popularity  among  the  newer  pictures, 
while  "The  Big  Parade"  and  "Beau  Geste" 
still  prove  to  be  two  of  the  greatest  pictures 
ever  released. 

Also  Photopl.w  notices  a  slight  tendency 
among  its  readers  to  be  bored  with  inferior 
"Westerns"  and  an  almost  universally  un- 
favorable reaction  to  the  practice  of  cutting 
worth-while  pictures  to  make  room  for 
vaudeville  and  jazz  bands  on  programs. 

What  have  you  to  say?  Make  your  let- 
ters brief,  frank  and  to  the  point. 

$25.00  Letter 

El  Paso,  Tex. 

Two  years  ago  I  had  for  a  little  daughter, 
a  dainty,  fragile  piece  of  Dresden  china  and 
you,  Photopl.w,  have  stolen  her  from  me; 
for  it  was  through  you  that  she  saw  her  first 
"Our  Gang"  comedy. 

The  next  afternoon  two  strong  wills 
clashed,  and  she  was  the  victor.  I  could 
have  annihilated  both  publisher  and  pro- 
ducer, for  she  donned  a  pair  of  ragged  over- 
alls'and  a  shirt  discarded  by  her  brother  and 
organized  a  gang  of  her  own.  Now  she  lives 
in  the  sunshine  which  has  burnt  her  soft 
blond  curls  until  they  resemble  parched 
prairie  grass.  All  day,  her  gang  dig  caves  or 
ride  old  mangy  burros  over  the  sand  hills. 
At  first  I  nearly  died,  but  the  doctor  said  I 
had  been  literally  washing  my  child  away. 
So  now  when  I  look  at  the  sturdy  brown 
leg.s,  bli.stered  nose  and  radiant  smile,  I 
could  throw  my  arms  about  you  all  and  kiss 
you. 

10 


The  readers  of  Photoplay  are  in- 
vited to  write  this  department — to 
register  complaints  or  compliments-— 
to  tell  just  what  they  think  of  picttjres 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


Time  was  when  folks  would  murmur, 
"What  a  beautiful,  flower-like  child!"  But 
now  it's  this  from  the  whistling  policeman — 
"Hello  there!    That  you,  Johnnie?" 

So  my  girl  is  no  more — but  my  tomboy  is 
here  with  a  bang. 

Mrs.  E.  M.  Clarke. 

$10.00  Letter 

Uniontown,  Pa. 
Once,  in  films,  the  present  scribe 

Craved  the  sad,  the  fatalistic; 
At  the  Blissful  Clinch  would  jibe  .   .   . 

Death  for  All  seemed  more  Artistic! 
But  one  rainy  day  I  sat 

Through  the  woes  o{  August  Schilling; 
Cried  upon  my  new  green  hat  .  .  . 

Soon  the  aisles  my  tears  were  filling! 
"Underworld"  next  brought  to  me 

Crooks  and  gats  and  bullets  binging; 
.\?<  I  wept,  I  prayed  to  see 

Btdl  Weed,  Killer,  saved  from  swinging. 
Carmen's  pa.ssing  finished  me! 

Carmen,  made  for  love  and  laughter! 
Little  feet,  from  shoes  set  free, 

Walking  into  the  Hereafter! 


Gosh,  what  grief  the  fan  endures, 
This  new  type  of  film  attending! 
Down  with  Sorrow! 

I  am  yours, 
Henceforth,  for  the  Happy  Ending! 

Clara  Phillippi  Johnson. 

$5.00  Letter 

Chicago,  111. 

It  certainly  is  pitiful.  Poor  H.  L.  Menck- 
en! A  mighty  intellect  developed  to  a 
degree  that  finds  this  world  of  mere  humans 
so  largely  morons.  When  I  read  his  com- 
ments upon  the  movies,  I  waver  between  a 
suspicion  that  he  is  attempting  witticisms 
and  the  impression  that  he  suffers  from 
some  psychosis. 

Why  do  some  people  expect  each  movie  to 
be  a  flawless  jewel,  and  rant  when  disap- 
pointed? Who  goes  to  a  stage  play  expect- 
ing each  line,  each  gesture  to  be  a  master- 
piece? Everybody  feels  that  if  the  majority 
of  episodes  or  phases  in  a  stage  play  are  good 
that  the  play  is  a  success.  But  if  some  can 
find  the  merest  faulty  detail  in  a  movie  .  .  . 
ha!  ha!  the  director  is  rotten.  Should  they 
recognize  one  of  the  only  thirty-two  plots 
extant,  lo!  this  puerility  is  for  morons! 

Do   you    suppose     Mencken    is    merely 
seeking  the  attention  of  the  movie  fans  who 
otherwise  have  not  noticed  his  existence? 
Beulah  Barker. 

The  Movies  a  Liberal  Education 

Pueblo,  Colo. 

I  am  an  architect,  and  a  better  one  than 
I  would  have  been  had  it  not  been  for  the 
movies.  I  have  not  had  the  advantages  of 
learning  and  travel  that  the  majority  of  men 
of  my  profession  have.  However,  I  am  not 
a  failure  by  any  means. 

In  my  business  you  have  to  keep  up  with 
the  latest  ideas.  In  order  to  do  this  most 
architects  do  a  great  deal  of  reading  or 
travelling.  I  don't  do  much  of  either.  But 
I  keep  up  with  new  ideas  pertaining  to  my 
business  by  attending  the  movies,  where  I 
can  see,  with  my  mind  as  well  as  my  eye,  all 
kinds  of  building,  engineering,  decorating, 
landscaping  and  everything  else  pertaining 
to  my  business.    And  it  is  up-to-date. 

Fred  Clark. 
[  continued  on  page  82  1 


Photoplay  Magazine — Advertising  Section 


LILLIAN  GISH 

and  RALPH  FORBES  in  the 


Directed  by 
FRED.NIBLO 

from 
[hanningPolloc" 
Stage  Classic 


THE  ENEMY  is  the  picturization 
of  the  famous  stage  success  by 
Channing  Pollock.  It  is  one  of 
the  most  important  pictures  in 
years.  Directed  by  Fred  Niblo, 
director  of  Ben-Hur,  it  has  mer- 
ited unstinted  public  apprecia- 
tion as  a  $2.00-a-seat  attraction 
at  New  York's  Astor  Theatre, 
where  "The  Big  Parade"  played. 


%%  --.-. 


AMETRO-GOLDWYN-MAYER  PiCTLRE 


Photoplay  Magazine — Advertising  Section 


LAURA  LA  PLANTE 

A  beautiful  girl  in  odd  atmosphere 

Can  you  imagine  the  sweet  face  and  figure 
of  LAURA  LA  PLANTE  clothed  in  a  tin  hat  and  a 

soldier's  uniform? 

She  wears  these  "implements  of  war"  in 
Universal's  successful  production,  "Finders  Keep- 
ers," adapted  from  Mary  Roberts  Rinehart's  humorous  and 
clever  story  of  the  same  name,  that  ran  in  the  Saturday  Eve- 
ning Post. 

The  story  concerns  the  experiences  of  a 

Colonel's  daughter  who  falls  in  love  with  a  private  in 
her  father's  training  camp.  JOHNNY  HARRON,  who  played 
opposite  Miss  LA  PLANTE  in  "Silk  Stockings"  is  again 
the  opposite  in  this  play. 

Washington  papers  praise  the  picture 
enthusiastically.  The  Post  says :  "  An  intensely  amus- 
ingcomedy."  TheStar:  "Laura La Plante delights  the  eye  with 
her  beauty  and  throws  the  audience  into  hysterical  laughter." 

Pictures  which  I  can  conscientiously  rec- 
ommend to  you  are:  "Uncle  Tom's  Cabin,"  with  an 
all-star  cast;  "The  Cat  and  the  Canary,"  with  LAURA  LA 
PLANTE;  "The  Cohens  and  Kellys  in  Paris"  with 
GEORGE  SIDNEY  and  J.  FARRELL  MACDONALD; 
"Love  Me  and  the  World  is  Mine"  with  MARY  PHILBIN 
and  NORMAN  KERRY;  "The  Man  Who  Laughs"  with 
CONRAD  VEIDT  and  MARY  PHILBIN;  "Les  Miser - 
ables,"  Universal  Film  de  France  triumph. 

MISS  LA  PLANTE'S  new  comedy,  "Thanks 
for  the  Buggy  Ride,"  will  appear  before  long.  She 
is  supported  by  a  company  of  stars — GLENN  TRYON, 
Universal's  great  find;  RICHARD  TUCKER,  LEE  MORAN, 
KATE  PRICE,  TRIXIE  FRIGANZA,  DAVID  ROLLINS 
and  JACK  RAYMOND. 

I  don't  suppose  any  picture  ever  made  has 
such  an  irresistible  appeal  for  every  member  of  the 
family  as  Universal's  production  of  "Uncle  Tom's  Cabin." 

(To  be  continued  next  month)  C^^^    \aemnile 
Pretldenl 

UNIVERSAL  PICTURES 


Brief  Reviews  of 
Current  Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


*CROWD,  THE  — Metro-Goldw^-n-Maver  —The 
story  of  a  white-collar  man  and  his  wife  and  their 
fiH^K  \-  ^  K'S^'S-.  Truthfully  and  beautifuUv 
told  by  King  Vidor  and  sympathetically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.) 

CRUISE  OF  THE  HELLION,  THE— Ra^  art  — 

In  which  a  Dad  boy  is  reformed  by  an  energetic  papa. 
It  s  good  stuff  With  Donald  Keith  and  Edna  Mur: 
phy.     (December.) 

„*^RXSTAL  CUP,  THE— First  National.— Dorothy 
Mackaill  in  the  drama  of  a  man-hater  that  sometimes 
approaches  the  weird.  Only  for  the  sophisticated 
\Uciooer.) 

DEAD  MAN'S  CURVE-FBO.-An  automobile 
yarn  that  is  a  fiat  tire.  Douglas  Fairbanks,  Jr.,  heads 
the  cast,  m  case  you  care.    (February.) 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors. Stay  home  and  catch  up  with  the  darning. 
(Uecemoer,) 

DESIRED  WOMAN,  THE— Warners  —Irene 
Rich  in  a  drama  that  proves  that  English  women 
sometimes  have  a  rotten  time  in  India.    (February.) 

*DEVIL  DANCER,  THE— United  Artists.— Gilda 
Gray  among  the  Llamas  of  Thibet.  The  iady  can  act 
and  her  dancing  would  insure  the  success  of'a  far  le=^ 
interesting  picture.  A  good  show  for  the  grown-ups 
(January.) 

*DIVINE  WOMAN,  THE  -  Metro-Goldwvn- 
Mayer.— How  an  ugly  duckling  becomes  a  great 
actress.  With— goody,  goody!— Greta  Garbo.  And 
Lars  Hanson  is  a  great  help.  Naturally,  you'll  go  and 
see  it.     (March.) 

DISCORD— Pathe.—LiI  Dagover  and  Gosta  Eck- 
man  in  a  foreign-made  production.      (February.) 

DOG  OF  THE  REGIMENT  — Warners— Rin- 
Tin-Tin  plus  a  good  story  plus  good  acting.  In  other 
words,  a  good  picture.     (December.) 

I  CONTINUED  ON  PAGE  139  ] 


730  Fifth  Ave. 


Evory  advcrtlscme 


New  YorK  City 

rilOTOPI..\Y  M.\G.\ZIXE  is  Euar,inl( 


Photoplays  Reviewed  in  the 
Shadow  Stage  This  Issue 

Save  tins  magazine — refer 
to  the  criticisms  before  you 
pick  out  your  evening's 
entertainment.  Make 
this  your  reference  list. 

Page 

Abie's  Irish  Rose— Paramount ^:i 

A  Blonde  for  a  Night— Pathe-De  Mille    .^3 
Bringing  Up  Father — M.-G.-M..  149 

Burning  Daylight— First  National 55 

Chaser.  The— First  National 149 

Cohens  and  Kelleys  in  Paris,  The — 

Universal 54 

Cupids  Knockout — Hercules .\\<) 

Czar  Ivan  the  Terrible— Sobkino- 

Amkino 53 

Doomsda\ — Paramount 53 

Drums  of  Love— United  Artists 55 

Feel  My  Pulse— Paramount 55 

Graft — Universal 147 

Foreign  Legion,  The — Universal 54 

Her  Great  .Adventure — A.  G.  Steen,  Inc.149 

His  Country— Pathe-De  Mille 54 

Honeymoon  Flats — Universal 149 

I  Told  You  So— Leigh  Jason 148 

Love  Me  and  the  World  Is  Mine — 

Universal 55 

Monkey  Business — M.-G.-M 149 

Night  Flyer,  The — Pathe-De  Mille.  .  .  .14S 

Phantom  of  the  Range — FBO 148 

Prince  of  Peanuts,  The— Universal 149 

Rush  Hour,  The— Pathe-De  Mille 148 

Sadie  Thompson— United  .'\rtists 52 

San  Francisco  Nights — Gotham 148 

Satan  and  the  Woman— Excellent 148 

Scarlet  Youth— S.  S.  Millard 147 

Simba — Martin  Johnson  Corp 54 

Skyscraper — Pathe-De  Mille 54 

Smart  Set.  The— M.-G.-M 54 

Soft  Li\ing — Fox 55 

Square  Crooks— Fox 149 

Street  Angel— Fox 52 

Trail  of  '98,  The— M.-G.-M 52 

Tree  of  Life,  The — Zenith 149 

Under  the  Tonto  Rim — Paramount 140 

Wallflow^ers — FBO 149 


Photoplay  Magazine — Advertising  Section 


A^^ 


IrviP 


yess 


ioi^ 


BY  JAMES  R.  QUIRK 


"^  ^/G 


6oy 


r/ 


Most  infant  prodigies  are  mere  inflated  promises  forced  in  the 
hothouse  of  parental  ambition.  Because  of  their  youth,  their 
slightest  aptitude  toward  art  spotlights  them.  Put  them  up 
against  a  regular  program  of  talent  testers,  however,  and  they 
generally  go  out  as  their  second  teeth  come  in. 

Now  "Big  Boy"  is  an  infant  prodigy,  a  baby  who  got  a 
break,  a  miniature  Atlas  supporting  a  world  of  good  fun.  He 
is  a  juvenile  Jannings.  But  though  he's  known  enough  success 
to  upset  a  strong  bank  balance,  he  remains  an  unspoiled,  comic 
little  kid.  He  is  under  contract  to  make  eight  two-reel  starring 
comedies  for  Educational  this  year,  and  that  schedule  clinches 
all  argument  as  to  his  consistent  cleverness. 

His  father  is  a  traveling  salesman  and  his  mother  just  a 
charming  young  matron.  No  theatrical  background  there;  yet 
iy"  is  another  proof  that  actors  are  born  and  not  made. 


EDITOR  OF  PHOTOPLAY  MAGAZINE 

"Big  Boy,"  whose  real  name  is  Malcolm  Sabiston,  was  born 
good  and  has  become  better.  At  one  month,  he  was  in  "Three 
Weeks;"  and,  at  four,  he  was  in  electric  lights.  Before  he  could 
walk,  he  could  act;  and  the  year  he  could  travel  on  his  own  foot- 
power  he  reached  stardom.  Now  he  has  a  comedy  technique 
that  must  make  the  long-haired  boys  who  talk  with  sonorous 
solemnity  about  the  art  of  acting  want  to  go  out  and  shoot 
themselves  and  a  couple  of  other  fellows. 

Incidentally,  "Big  Boy"  got  into  the  movies  through  answer- 
ing an  advertisement.  You  can  prove  for  yourself  how  such 
action  pays  by  letting  this  little  child  lead  you  straight  to  the 
box-office  the  next  time  you  see  one  of  his  Educationa/  comedies 
advertised.  And  take  the  children.  One  sight  of  "Big  Boy's" 
infectious  happy  grin  will  do  them  more  good  than  a  quart  of 
sulphur  and  molasses. 


Educational  is  the  world's  greatest  Producer  and  distributor 

of  Short  Features  — exclusively.     That's  why  Educational 

Pictures  always  make  a  good  show  better. 


LUPINO  LANE 

in  Lupino  Xane  Comedies 

LLOYD  HAMILTON 

in  Hamiiton  Comedii 

HOPE  HAMPTON 
in  "The  Call  of  the  Sea" 
and  "Love's  Springtime" 

I^Phmerathed  in  Tiihnicilor) 


':^S^U^^  '°«i?rJ..-.iL»™  ..SLS„ 


CHARLEY  BOWERS 

in  Bowers  Comedies 


DOROTHY  DEVORE 

in  Dorothy  Devore  Comedies 


'  Tuxedo  Comedies 


Jack  IVhiie  Productions) 


McCALL  COLOUR 
FASHION  NEWS 


CAMEO  COMEDIES 


LYMAN   H.    HOWE'S 
HODGE-PODGE 


OUTDOOR  SKETCHES 
i>y  Robert  C.  Bruce 


KINOGRAMS 

The  News  Reel  That 

Tops  The  Field 


CURIOSITIES 

The  Movie  Side-Sho\ 

PnduuJ  h  ir.,l„r  Fumr 


FELIX  THE  CAT 

Cartoons  By  Pal  Sullivan 


CARTER  DeHAVEN 
tn  Character  Studies 


EDUCATIONAL  FILM  EXCHANGES,   Inc.,  E.  IV.  Mammons,  President 
Executive  Offices:  1501  Broadway,  New  York,  N.  Y. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


14 


Photoplay  Magazine — Advertising  Section 


THIS  COUPON  WILL  HELP  YOU  TO  SEE 

ONE   OF  THE  YEAR'S   GREAT  FILMS 

^ ^ 

Miss  Colleen  Moore, 

CO  First  National  Pictures, 

bept.  A,  383  Madison  Ave.,  N.  Y.  C. 


TIME."  Will  you  please  let  me  know  wl 
it  will  be  shown  in  my  neighborhood? 


r/re  to 


COILILEIBM 


f* 


today  .  .  .  Find  out  when 


ts  coming 


/ 


^ 


CaryCbopep- 

JromiheplayM    ^ 
Jane  Cml  and  JaneJiwfin- 

„^Ceoite 
Fitznuiurice 

Production 

CidaptationhfmUisQMbeck 
.jcemmbH  Carev  wUsoa 


/QlLAC  TIME  will  soon  be  here  .  .  .  What  a 
Cr^^  Time  THAT'S  going  to  be  for  Movie  lovers! 

For  "LILAC  TIME"  will  be  the  most  elaborate  and 
exciting  screen  production  of  the  films'  most  popular 
star— COLLEEN  MOORE. 

A  lavish  spectacle  of  beauty  and  thrills ...  Months  in 
the  making . . .  (Miss  Moore  herself  spent  goo  HOURS 
on  this  production)  ...A  superb  love  story  from  one  of' 
the  stage's  great  romance  classics  —  a  famous  ^Broad- 
way hit. 


1  Broad- 

H 


J 


The  showing  of  this  FIRST  COLLEEN  MOORE' 
SUPER-SPECIAL  will  be  such  an  important  screen 
event  that  no  lover  of  truly  fine  pictures  can  afford  to 
miss  it.  That  is  why  we  offer  the  unusual  service  of  in- 
forming you  when  and  where  it  will  appear  in  your  city. 
The  coupon  above  protects  you  against  any  chance  of 
missing  it.   Fill  it  out  now  and  mail  it —  x 

You  will  receive  a  personal  answer 
'\^  from  COLLEEN  MoORE. 


w^*  ^^ 


ativcrtlsement 


HOTOl'I.AY   i\L' 


Photoplay  Magazine — Advkrhsing  Section 


15 


r>  Colleen  as  a  perky,  pranky  maid  of 

O  ty  ty  France.  Piquant . .  .  picturesque.  A 
Stranger  to  Love — until  she  falls  in  Love  with 
a  Stranger  from  overseas.  How  she  loses  him, 
how  she  wins  him  back  when  her  last  hope 
seems    lost,   is   a   story   that  will   make   you 


remember  the  supreme  moments  of  your  life ! . . . 

JolinMcCbniiidc  pmen^ 


Ma  ORE 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


DEAR  CAROLYN  VAN  WYCK: 
How  can  I  learn  to  apply  make-up 
correctly?  I  am  conEidered  as  pretty 
as  the  average  girl  of  nineteen,  but  I  don't 
improve  mv  appearance,  as  movie  stars  do, 
when  I  make-up.  Something  goes  all 
wrong.  I've  medium  brown  hair,  a  round, 
full  face,  hazel  eyes  and  a  pale,  clear  skin. 
I  want  to  be  distinctive,  but  no  matter  how 
much  rouge  I  put  on,  half  an  hour  later  I'm 
pale  and  when  I  use  lipstick  and  eyebrow 
pencil  I  look  hard.  Does  this  mean  I 
shouldn't  use  make-up  or  that  I'm  just  using 
it  ignorantly?  Frances  K. 

EVERY  girl  should  use  make-up,  Frances, 
at  least  to  the  extent  of  powder  and  lip- 
stick. A  good  make-up  is  a  marvelous  thing. 
It  brightens  the  eyes  and  lightens  the  spirit. 
It  hides  a  shiny  nose  and  an  inferiority-  com- 
plex. It  adds  to  the  general  beauty  of  the 
whole  world  and  I'm  very  much  for  it. 

I  have  studied  cosmetics  and  their  use  a 
great  deal  and  I  approve  of  them  highly. 
I've  watched  stage  stars  on  Broadway  and 
screen  stars  in  Hollywood  creating  their 
calcium  complexions.  I've  taken  personal 
lessons  from  Senz,  the  make-up  master  of 
New  York.    And  here  is  what  I've  learned: 

No  make-up  is  a  good  make-up  unless  it 
individualizes  the  face.  Movie  stars,  for 
instance,  are  loved  for  their  startling  dis- 
tinctiveness and  no  "second  Clara  Bow," 
no  "second  \alentino"  has  ever  succeeded. 
Remember  this  when  making-up.  You 
want  to  make  your  own  face  more  charm- 
ing, not  make  your  face  into  somebody 
else's  face. 

I  emphasize  this  because  it  is  the  com- 
monest cosmetic  fault.  It  is  the  attempt  to 
give  oneself  eyebrows  where  they  aren't  and 
Cupid's  bow  lips  on  a  thin  mouth  that 
create  the  hard,  artificial  look  that  Frances 
protests. 

Frances  has  the  necessary  basis  for  a  good 
make-up,  q  fine  skin  which  every  girl  can 
have  in  exchange  for  a  little  care. 

Frances  must  now  study  her  face  until 
she  knows  its  every  line,  fault  and  value 
and  the  color  of  her  skin,  eyes  and  lips.  The 
color  study  is  most  important  for  there 
should  be  no  color  in  a  make-up  not  original- 
ly in  one's  complexion.  Hence  it  is  gener- 
ally wise  to  avoid  "flesh  colored"  powder 
and  green  or  lavender  "eyeshadow."  Most 
eyes  are  blue,  brown  or  a  combination  of 
these  two  colors.  Most  skins  vary  between 
white  and  brown. 

Powder  must  match  the  skin.  Frances 
should  buy  several  different  shades  of  her 


16 


Make-up 

Is  This  Month's  Problem 


A  GIRL'S  face  still  influences  her 
fortune.  Never  has  make-up 
been  more  important  than  in  this 
day  of  the  modem  girl.  To  buy  just 
the  right  shade  of  powder,  the 
proper  shade  of  rouge — there's  the 
rub,  and  here's  the  advice. 

Let  me  help  you  individually  on 
this  problem  or  any  other  concern- 
ing beauty,  health  or  happiness. 
Letters  with  stamped,  self-addressed 
envelopes  will  be  answered  by  mail; 
those  without  postage,  in  PHOTO- 
PLAY. Pamphlets  on  the  care  of  the 
skin  are  yours  for  the  sending  of  a 
stamped  envelope.  A  booklet  on 
weight  reduction  may  be  had  for  ten 
cents. 

Carolyn  Van  Wyck. 


favorite  brand  and  mix  them  to  obtain  the 
correct  tone.  If  she  will  test  the  colors  on 
the  inner  side  of  her  arm  just  below  the 
elbow,  where  the  skin  retains  its  truest  tint, 
she  will  get  the  right  color. 

She  must  do  the  same  thing  with  rouge, 
blending  to  get  a  shade  one  tone  brighter 
than  the  natural  tint  of  her  lips.  A  heavy 
red  rouge  should  never  touch  pale  lips  and 
cheeks.  A  pale  rouge  should  never  come 
near  the  beautiful  dark  red  glow  shown  in 
the  cheeks  of  a  healthy  brunette.  Frances 
had  best  buy  paste  rouge  for  this  purpose. 
Rouge  in  powder  form  can  not  be  as  care- 
fully applied  as  paste  and  it  blows  off,  where 
the  paste  tint  lasts  all  day. 

The  mascara  for  Frances'  brows  and 
lashes  should  be  the  brown  of  her  hair. 
Then  she  needs  a  large  powder  puff,  good 
cold  cream,  cleansing  tissues  and  a  baby 
hair  brush. 

Working  before  a  light  similar  to  that 
under  which  her  make-up  will  be  judged — 
daylight  for  street,  bright  electric  lights  for 
evening,  Frances  begins.  Her  face  is  per- 
fectly clean,  her  hair  securely-  tucked  back 
behind  a  towel. 

If  Frances'  skin  is  dry,  she  uses  a  light 
coating  of  cold  cream,  or  for  evening,  a  very 
light  coating  of  grease  paint,  spread  thinly 


/-pjGirls' 
/-^oblems 


and  evenly  over  her  entire  face.  (The 
greasepaint  should  be  one  tone  darker  than 
the  powder.)  But  if  her  skin  is  oily, 
Frances  needs  no  other  grease  base  than 
that. 

Comes  the  cheek  rouge,  never  put  on  in 
one  round  spot  of  color.  Since  Frances' 
face  is  a  full  one,  she  shades  carefully  down- 
ward from  a  line  parallel  to  the  top  of  her  ear 
to  a  point  directly  under  the  center  of  each 
eye  and  parallel  to  the  broadest  part  of  the 
nose,  where  the  color  should  be  brightest. 
From  here  she  lets  it  fade  outward  and 
downward  to  the  angle  of  her  jawbone,  a 
triangle  of  color,  blended  into  the  skin  so 
that  no  harsh  lines  show. 

Lip  rouge — paste,  too,  and  not  an  un- 
wieldy lipstick — follows.  Start  on  the 
upper  lip.  With  the  tips  of  the  little  fingers, 
left  finger  for  the  left  side,  right  for  the  right, 
draw  the  rouge  down  and  back  inside  the 
lip,  then  out  to  the  end  of  the  lip.  Use  only 
a  thin  coating  of  rouge,  never  a  heavy  coat. 
The  lower  lip  is  stretched  tightly  over  the 
teeth  and  its  depth  rouged  equal  to  the 
height  of  the  upper  lip's  Cupid's  bow.  The 
mouth  make-up  is  very  difficult  and  must 
be  practiced  repeatedly  to  gain  perfection.  , 


FOR  evening  Frances  may  put  the  merest 
dash  of  grease  paint  the  color  of  her  eyes 
over  her  eyelids  and  then  her  face  is  ready 
for  powdering. 

Powder  should  never  be  rubbed  on  but 
slapped  on.  Slap,  slap,  slap,  goes  the  pow- 
der puff.  Ten  minutes  isn't  too  long  for 
this  beauty  task.  Slap,  slap,  over  the  whole 
face,  eyelids,  mouth,  cheeks,  ears,  neck. 
A  face  so  powdered  requires  no  retouching 
for  hours. 

When  her  face  resembles  a  snow  scene, 
Frances  uses  the  baby  brush  to  smooth 
the  excess  powder  off,  brushing  carefully 
around  the  ba^e  of  the  nose,  the  nostrils,  the 
lashes,  the  brows.  Her  skin  will  emerge, 
tinted  and  smooth  and  very  lovely. 

There  remains  only  the  mascara.  Fran- 
ces scorns  a  brush  already  thick  with  mas- 
cara but  makes  hers  very  clear  to  start. 

She  rubs  the  brush  once  over  the  mas- 
cara cake,  then  once  over  her  eyelashes,  the 
upper  ones  down,  the  lower  ones  up.  Then 
putting  more  mascara  on  the  brush,  she 
brushes  the  upper  lashes  up  several  times, 
the  lower  down,  until  all  are  evenly  dark- 
ened. She  touches  her  eyebrows  lightly 
enough  to  take  off  every  bit  of  povvder  but 
not  enough  to  leave  a  definite  dyed  line. 

Now  Frances  takes  the  towel  from  about 
her  head,  combs  her  pretty  hair,  shades  the 
harsh  light  and  really  sees  herself.  She  has 
worked  for  thirty  to  forty-five  minutes, but 

[  CONTINUED  ON  PAGE  86  ] 


Photoplay  Magazine — Advertising  Section 


17 


BEAUTY  CREATIONS 


GLORIFV  VOUR   OWN    TYPE 


COXY  ROUGES 

In  the  new  East  Indian  box. 

ght  No.  64,  Light  No.  12,  Medium  Nt 

Dark  No.  76  and  Inviiihle  No.  SO. 

REFILLS — Obtainable  everywhere. 


OLYMPIC  LIPSTICK 

The  Delightful  New  Double  Size  in  Light, 

Medium,  Dark,  Cerise,  Invisible. 

REFILLS— Obtainable  everywhere. 


'Ae  tAemostofyom'-own  Seauti^. 

Q)maftness  itsecr  aiciates  that 

Face  Powder  must  matc/i  the  comjbtesd- 

ion,  anc/COT^  Face  Powders  ^zy^ 

vou  tne  one  coffectsnaaeroT^youf- 

type,  ^^men  witA  tfie  exquisite  com- 

plementa-^y  s/iades  of  COT  Y 

Rouges  anc/\l'^'s\\^you  create 

t/ie  perfect  aftistzc  /lafmony 

wAicA  reveats  you7<' 

(iSr-eatest  tove- 

/iness. 


coty  face  powder 

Blanc— Naturtl— Rose  No.  1— Rose  No.  2— Rachel  No.  . 
Rachel  No.  2—0cre~0cre  Rose  -Mauve 


''ROUGE 

&pi    6ookU-&    iliustrated  ty 
CHARLES    DANA   GIBSON 


714  QFifth.  ^^enue,  <^7^y'orL 

CANADA — 55  M'Cill  College  Ave..  Momreal 


PIIOTOl'I.AY 


Photoplay  Magazine — Advertising  Section 


^ot  and  cAA  xmxttr  -  -  ^catle  ^tlmaLatloa 
-  '  tkc  ctoxa  3 arc  raetKocL  o|  3clta(X 


To  free  your  skin  from  blemishes— 
follow  the  famous  If''oodbury  treat- 
ment shown  in  this  picture.  Clear 
directions  are  given  below.  Thou- 
sands of  beautiful  women  are  keep- 
ing their  skin  clear  and  smooth  by 
this  method. 


ACNE  (blemishes)  even  in  its  mild- 
-^*-  est  form,  is  a  skin  defect  that  no 
woman  can  endure  with  philosophy. 

But  desperate  remedies  are  of  no 
avail  in  removing  blemishes.  A.  blem- 
ish is  a  tiny  abscess  in  one  of  the  pores 
of  your  skin,  caused  by  infection. 

The  best — the  only  way  to  deal  with 
this  trouble  is  to  trust  to  the  clean, 
sure  methods  of  science. 

Hot  and  cold  water,  gentle  stimula- 
tion, careful  cleansing,  with  a  soap 
especially  made  for  a  sensitive  skm — • 
this  is  the  method,  worked  out  by  a 
famous  skin  specialist  and  approved 
by  the  best  skin  authorities,  for  deal- 
ing with  blemishes. 

Just  before  you  go  to  bed,  wash 
your  face  vigorously  with  warm 
water  and  Woodbury's  Facial 
Soap,  finishing  with  a  dash  of  cold 
water.  Then  dip  the  tips  of  your 
fingers  in  warm  water  and  rub 
them  on  the  cake  of  Woodbury's 
until  they  are  covered  with  a  heavy 
cream-like  lather.  Cover  each 
blemish  with  a  thick  coat  of  this 
and  leave  it  on  for  ten  minutes; 
then  rinse  carefully,  first  with 
clear  hot  water,  then  with  cold. 

After  the  last  blemish  has  disappeared 
continue  to  give  your  face,  every  night, 
a  thorough  cleansing  with  warm  water 
and  Woodbury's  Facial  Soap. 

A  clear,  fresh,  rosy  skin  will  be  the 


result  —  a  skin  that  will  confront  you 
from  your  mirror  without  shame,  without 
reproach. 

Thousands  of  beautiful  women  are  mak- 
ing these  treatments  a  regular  part  of  their 
toilet. 

A  25-cent  cake  of  Woodbury's  lasts  a 
month  or  six  weeks.  On  sale  at  all  drug 
stores  and  toilet  goods  counters. 


Is  one  of  these  conditions  Keeping  your  skin 
from  being  attractive? 
Blackheads  Dryness,  scaliness 

Blemishes  (acne)  Salhivness 

Excessive  oiliness  Large  pores 

Treatments  for  each  of  these  troubles,  together  with  the  famous 
Woodbury  ice  treatment  for  normal  skins  are  given  in  the  free 
booklet  wrapped  around  every  cake  of  Woodbury^s  Facial  Soap. 


Who  can  resist  it?  —  the  charm 
of  a  beautiful  skin. 


~Siou' — the  large-size  trial  set! 


The  Andrew  Jergei 
For  the  enclosed 
large-size   trial   cal 


5Co.,2207AlfredSt.,Cii 


enclosed  lo  cents — please  send  me  the  new 
trial  cake  of  Woodbury's  Facial  Soap,  the 
earn. and  Powder,  the  Cold  Cream,  the  treat- 
klet.  "A  Skin  You  Love  to  Touch,"  and  in- 
;  for  the  new  complete  Woodbury  "Facial." 
a.  address  The  Andrew  Jergens  Co.,  Limited, 
brooke  St.,  Perth,  Ont. 


;»noTOrLAY   M.^G.\S5INB  is  gua 


h 


JOHN  GILBERT — in  person  and  not  a  "ghost"  writer — is 
working  on  his  hfe  story  for  Photoplay.   John's  Hterary  style 
has  all  the  brilliance  and  warmth  of  his  acting.    His  story  will 
appear  in  an  early  issue. 


I C  T  lU  R  IE  ^ 


CShn  -tJ^    ^"ll^"^  Jacqueline  Logan's  future  when  he  cast  her  as  Mary  Mag- 
dalen  in    The  King  of  Kinj^s.      Since  then.  Jacqueline  has  been  giving  a  series  of  en- 
gaging portraits  of  Bad  Girls  with  Good  Intentions. 


As  plain  Joe  Page,  he  came  to  Hollywood  to  teach  dancing.    The  movies  re-christened 
him  Don  Alvarado,  as  more  fitting  his  type  and  his  Latin  ancestry.    Now  he  is  one  of 
the  most  fatal  of  the  recent  discoveries. 


TUNE  COLLYER  S  father  is  a  New  York  lawyer  and  she  was  educated  for  a  social  career. 
J  Her  grand-dad  was  Dan  Collyer,  comedian  with  Harrigan  and  Hart.    June's  theatrical 
heredity  triumphed  over  her  social  environment. 


A  FTER  one  brief  fl:ng  at  independence,  Corinne  GrifEth  has  returned  to  the  old  home- 

-*   *-stead  at  the  First  National  Studios,  where  the  truant  daughter  was  welcomed  with  a 

couple  of  good  stories  and  a  raise  in  salary. 


PROVING  that  an  ounce  of  sincerity  outweighs  a  ton  of  reputation.    Barry  Norton,  an 
unknown,  played  the  role  of  Mother's  Boy  in  "What  Price  Glory"  so  beautifully,  that 
Fox   rewarded  him  by  casting  him  in  Murnau's  "The  Four  Devils." 


GOXXvXO^D        LINE        O  f=-       B  E:A  U  T^ 


^ERYTHING  that  the 
Modern  requires  of  a  foun- 
dation garment  is  illustrated 
in  this  Step-in  and  bandeau 
by  Gossard.  Fourteen  inches 
of  openwork  elastic  and  satin, 
lightly  boned,  ease  the  figure 
into  lines  of  supreme  smart- 
ness. One-side  lacing  permits 
adjustment  to  the  individual 
waistline.  Even  the  bandeau 
achieves  new  lines  and  new 
easiness  by  shaping  to  a  3-inch 
elastic.  Ask  your  corsetiere  for 
Gossard  Step-in  1063,  at  $10, 
and  uplift  bandeau  914,  in 
satin  tricot. 


THE  H.  W.  GOSSARD  CO.,   Chicago,  San  Francisco,  New  York,  Atlanta,  Dallas,  Sydney,  London,  Toronto,  Buenos  Aires 


46 


\jh  a  Million  on 

"^      *20  a  week" 


WHEN  I  was  living  at  home,"  writes  Miss 
Dorothy  Ranson,  99  Joralemon  Street, 
Brooklyn,  "I  discovered  that  stockings 
soon  lost  their  lustre  and  looked  faded,  unless 
washed  in  pure  Lux  suds. 

"Shortly  after  that,  1  came  to  the  city  to 
work.  My  whole  wardrobe  was  on  a  very 
meager  scale.  For  instance,  I  rarely  had  more 
than  three  pairs  of  stockings  at  a  time. 

"Yet  several  times  I  heard  comments 
on  my  wonderful-looking  stockings, 
and  one  day  the  girls  asked  me  how  I 
managed  to  look  'like  a  million  dollars' 
on  $20  a  week! 

"The  chief  reason  was  that  I  never 
took  chances  when  washing  my  clothes. 
I  knew  from  experience  that  dresses, 
even  the  $9.45  kind,  as  well  as  stockings, 
stay  nice  twice  as  long  washed  in  Lux." 

"HER  SURPRISE'  SPOILED  MY  DRESS" 

ly/f  ANY  mothers  have  had  experiences 
■'•'■'•  somewhat  like  that  of  Mrs.  Anna 
Wakefield,  907  Bryn  Mawr  Road,  Pitts- 
burgh, Pennsylvania.  Mrs.  Wakefield 
writes  to  us  as  follows: 


She  was  always  attrac- 
tively dressed  .  .  .  here 
is  the  method  she  used. 


A  year  ago  I  bought  a  pink  cotton  print  for 
dresses  for  six-year-old  Julia  and  myself.  I  wore 
mine  all  winter  and  it  stayed  so  fresh,  washed  in 
Lux,  that  I  took  it  with  me  this  summer  on  a  visit. 

"To  surprise  me  the  friend  I  was  visit- 
ing washed  it  with  the  soap  chips  she  uses. 

"And  I  was  surprised !    My  dress  came 

out  so  faded  looking !  Little  Julia's  dress  is 

still  fresh  and  bright  .  .  .  thanks 

to    Lux!     I    realize    now    how 

^   Jl^*^^^  much   I   save  in  using  Lux  for 

^■/  /i^^^^         colored  things." 

JK/  I     M''^^^^.  These  are  just  two  of  the  491,000  letters 

'^V  /     ^H  i^^^^^k         received  during  the  past  year  by  Lever 
W  /       Bl.^^^^^^  Bros.  Co..  Cambridge, 


The     National     Guide     to     Motion     Picture 


[TRADE  MABK] 


PHOTOPLAY 


April,  1928 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


You  must  give  Corinne  Griffith 
credit  for  one  thing.  UnHke 
many  of  our  stars  and  produc- 
ers, she  does  not  make  the  same  mis- 
take twice  in  the  same  place.  This,  it 
would  seem,  should  prove  that  the 
lady  has  her  share  of  brains  in  addi- 
tion to  more  than  her  share  of  pul- 
chritude, an  unusual  combination. 

Having  had  her  fling  at  being  an  independent 
producer  like  Mary,  Doug,  Harold,  and  Charlie, 
in  the  face  of  adverse  conditions,  she  quickly 
accepted  the  offer  of  First  National  to  return  to 
their  studios  at  half  a  million  dollars  a  year. 

The  year  she  played  truant  from  that  studio 
her  income  dropped  off  over  three  hundred 
thousand  dollars. 

And  just  to  show  how  happy  they  were  to 
have  their  Corinne  back  the  First  National 
studio  barons  gave  her  one  of  the  very  choicest 
stories  of  the  year,  "The  Divine  Lady,"  as  her 
first  vehicle. 

T\  THICH  recalls  the  retort  of  one  producer 
^^  who,  when  urged  to  make  artistic  pictures 
instead  of  box-office  attractions,  replied,  "What 
is  the  good  of  prestige  in  a  poorhouse?" 

TT  has  been  intimated  that  one  of  the  reasons 
-'-motion  picture  production  has  been  concen- 
trated in  Hollywood  is  that  the  three  thousand 
miles  between  the  cinema  capital  and  New  York 
veils  the  business  from  the  eyes  of  the  bankers 
who  have  money  at  stake,  and  surrounds  pro- 
duction with  an  atmosphere  of  mystery. 


That  is  not  exactly  true.  California 
has  a  distinct  advantage  in  climate 
and  the  proximity  of  all  sorts  of  ex- 
teriors.    But  the  California  climate 
can  be  very  tricky.     Because  of  bad 
weather,  one  company,  sent  into  the 
big  redwood  forests,  ran  up  a  cost  of 
three  hundred  thousand  dollars  be- 
fore the  picture  was  finished. 
At  that  rate,   the  company  could   have  af- 
forded a  gold  plated  forest  right  in  the  studio 
back  yard. 

'  I  'HAT  recalls  another  one,  the  famous 
-*-  dictum  of  Julius  Stern,  comedy  maker  for 
his  uncle,  Carl  Laemmle,  when  a  director  was 
ambitious  and  wanted  to  spend  several  hundred 
dollars  to  take  a  company  to  Catalina  Island 
for  a  few  days. 

"Rocks  and  trees  you  want,"  said  Stern.  "A 
tree's  a  tree,  a  rock's  a  rock.  Shoot  the  scenes 
up  in  the  park." 

OTRANGE  as  it  may  seem,  Charlie  Chaplin's 
^picture,  "The  Circus,"  was  admitted  to  Eng- 
land as  a  British  production  under  the  recent 
law  designed  to  check  the  invasion  of  American 
pictures. 

The  law  provides  that  the  star,  the  author, 
the  director,  and  the  promoter,  must  be  British. 
Charlie,  a  British  subject,  is  all  of  them  in  one. 

TT  is  understood  that  one  president  of  the 
-■-United  States  urged  Charlie  to  become  an 
American  citizen,  but  he  is  true  to  the  land  of 


his  birth.  It  certainly  did  not  help  any  when  those 
eternal  revenue  chaps  soaked  him  recently  for  over  a 
million  and  a  half  dollars  for  delinquent  income  taxes. 
That  was  quite  a  little  joke  on  poor  Charlie,  but  for 
once  he  conformed  to  the  legendary  idea  of  an  English 
sense  of  humor  and  could  not  see  anything  funny  in  it. 
And  how  in  the  name  of  human  nature  could  you  expect 
him  to  jump  up  and  sing  "Yankee  Doodle"  after  a  sock 
like  that? 

THE  most  vicious  example  of  censorship  I  have  ever 
seen  is  the  manhandling  of  the  Russian  picture, 
"Czar  Ivan  the  Terrible,"  by  the  New  York  state  board. 
Here  is  one  of  the  most  artistically  made  pictures  that 
has  ever  reached  the  screen  from  any  country.  The 
New  York  board  ordered  the  elimination  of  scenes  be- 
cause they  were  "sacrilegious"  and  other  reasons  that 
were  absolutely  ridiculous.  No  wonder  foreign  nations 
feel  that  there  is  a  concerted  movement  in  this  country 
to  bar  their  pictures  regardless  of  their  merit. 

Sending  an  art  work  to  such  a  board  is  as  absurd  as 
giving  an  expensive  watch  to  a  baby  to  take  apart  and 
put  together  again. 


A  READER,  an  instructor  of  English  in  one  of  our 
large  universities,  intensely  interested  in  motion 
pictures,  and  an  incurable  movie  addict,  writes  to  in- 
quire as  to  the  significance  of  mergers  of  producing  and 
distributing  companies  that  are  contemplated  and  of  the 
consolidation  of  large  groups  of  theaters  under  the  con- 
trol of  a  few  concerns. 

"Does  not  this,"  he  asks,  "spell  monopoly,  with  the 
ultimate  destiny  of  the  industry  in  the  hands  of  a  few 
individuals  in  whose  power  will  rest  the  domination  of 
this  great  medium  of  expression?" 

No,  professor,  it  does  not.  With  a  thousand  times  a 
billion  dollars,  Henry  Ford  could  never  make  us  all  ride 
in  his  car,  and  he  would  not  attempt  it.  Because  he 
makes  a  good  car,  and  is  wise  enough  to  sell  millions  of 
them,  does  not  mean  that  he  is  a  monopolist.  No  one 
ever  made  that  charge  against  the  greatest  mechanic 
that  ever  lived.  With  all  the  money  in  the  world 
Standard  Oil  could  not  stop  independent  companies. 

In  justice  to  the  big  motion  picture  companies,  it 
must  be  said  that  none  of  them  dreams  of  monopoly. 
If  one  group  acquired  all  the  motion  picture  theaters  in 
the  country  today,  thousands  of  others  would  open  and 
operate  so  economically  that  the  ornate  palaces  of  the 
trust  would  lose  money  so  fast  that  they  would  be 
turned  quickly  into  office  buildings,  garages,  and 
warehouses. 


TOO  many  pictures  are  being  produced,  many  cities 
are  "overseated,"  which  is  the  trade  way  of  saying 
there  are  too  many  theaters.  The  little  theater  owners 
are  howling  murder,  and  asking  the  government  to  step 
in  with  federal  supervision  of  distribution.  But  that 
problem  is  not  peculiar  to  motion  pictures,  and  other 
industries  have  gone  through  the  same  travail.  But, 
being  in  the  picture  business,  the  fight  is  more  spec- 
tacular, that's  all. 

The  finest  and  most  powerful  government  that  ever 


existed,  buttressed  by  billions  of  wealth,  the  whole 
machinery  of  courts,  army,  navy,  police,  customs,  and 
prohibition  services,  spies,  stool  pigeons,  religious 
fanaticism,  personal  regard  for  health,  and  educational 
efforts  cannot  enforce  prohibition.  What  chance  would 
a  film  monopoly  have  with  a  wilful  public  like  that? 


TO  hand  comes  a  little  brochure  entitled  "Standard 
of  Christian  Living"  and  is  presented  bj'  M.  E. 
Kern,  general  secretary  of  the  Missionary  volunteer  de- 
partment of  some  general  church  conference  held  in 
Tennessee  recently. 

"Recreation  is  necessary,"  it  reads,  "amusement  is 
not.  The  theater  is  no  place  for  the  Christian.  The 
moving  picture  house  has  popularized  the  theater  and 
millions  are  daily  in  attendance  at  this  school  of  iniq- 
uity. We  appeal  to  parents,  children,  and  youth  to 
shun  these  places  of  amusement." 

WHEN  the  police  go  chasing  criminals  these  days, 
they  don't  search  the  crowds  that  spend  riotous 
evenings  at  those  awful  movies.  No,  the  wise  sleuths 
trail  the  sanctimonious  brothers  who  attend  prayer 
meetings. 

Two  of  the  vilest  of  the  recent  criminals  were  led  off 
to  jail  shortly  after  they  had  taken  part  in  religious 
meetings.  Adolph  Hotelling,  the  Michigan  fiend  who 
murdered  a  little  girl,  was  nabbed  soon  after  he  had 
been  made  a  deacon  of  his  church  and  had  officiated  at 
services.  Cecil  Clyde  Campbell,  who  mashed  in  his 
wife's  head  with  a  hammer  in  a  New  York  hotel,  was 
caught  after  he  had  been  joining  in  the  hallelujahs  at  a 
revival  meeting  in  Philadelphia. 

The  Rev.  Mr.  Priddy,  ex-clergyman  and  vice  reform- 
er, wiped  out  his  whole  family  with  an  axe  and  the  de- 
tails were  so  dreadful  that  even  the  New  York  news- 
papers balked  at  printing  them. 

Don't  let  the  fear  of  getting  into  bad  company  keep 
you  from  going  to  church.  But  if  your  minister  starts 
preaching  about  the  evils  of  Hollywood  and  the  movies, 
ask  him  to  give  a  little  sermon  on  Deacon  Hotelling,  the 
Rev.  Mr.  Priddy,  and  the  rehgious  Mr.  Campbell. 

UNDER  the  positive  title  of  "Why  German  Films 
Are  Better,"  a  young  writer  in  one  of  our  new 
critical  journals  bellows  out  a  lusty  underline  hoch, 
hoch  for  everything  Teutonic  and  with  one  full  swoop 
disposes  of  all  American  pictures  as  a  sad  mess. 
Listen  to  these  ravings: 

"It  does  not  appear  that  in  order  to  enter  the 
films  in  Germany  one  has  to  be  of  a  low  order  of 
mind  or  a  failure  at  some  other  profession,  which 
is  almost  always  the  case  in  this  country." 

A  few  months  before  his  drool  appeared  in  type,  this 
young  cookoo,  who  modestly  allied  himself  with  the 
"Hated  Cognoscenti,"  was  trying  in  vain  to  get  a  job 
in  a  Hollywood  studio.  I  helped  him  get  a  job  as  a 
reader  in  a  scenario  department,  but  he  was  fired  after 
a  few  weeks. 

A  genius  hasn't  got  a  chance — 


f- 


*m^^ 


CJ ^  JWhT  becomes  of  child  actresses  when  they  grow  up?  Some  of  them 
yy  reach  the  awkward  age  and  never  outgrow  it.  Others,  Hke  Virginia 
Lee  Corbin,  develop  a  mature  beauty  that  overshadows  their  baby 
prettiness.  When  she  was  a  child,  Virginia  was  starred  in  a  series  of  fairy 
tales.  Now  that  she  has  grown  up,  she  has  to  work  to  recapture  her  early 
position.     And,  if  she  gets  the  "breaks,"  she  ought  to  do  it. 


^e  Story  of 


First  Chapter  in  the  Life  of  the 
Screen's  Most  Popular  Star 


IT  WAS  Saturday  evening,   New- 
Year 's  eve,  1927. 
Greta  Garbo  sat  at  a  tiny  table 

in  a  tiny  tea  room  in  Santa 
Monica,  California.  She  had  just 
thrown  from  her  shoulders  a  gray 
woolly  coat  "such  as  we  wear  in  Swe- 
den," and  was  looking  wistfully  out  of 
the  window  as  though  to  penetrate 
the  dark  secrets  beyond  them. 

"Let's  not  talk  of  me!"  she  pleaded. 
"It  is  New  Year's  eve.  In  Sweden 
that  means  so  much,  so  very  much. 
There  we  go  to  church  and  eat  and 
drink  and  see  everybody  we  know.  I 
have  been  so  blue  all  day.  At  home, 
in  Stockholm,  they  are  skiing  and 
skating  and  throwing  snowballs  at 
one  another.  The  cheeks  are  red — 
oh,  please,  let's  not  talk  of  me. 

"I  was  born ;  I  grew  up ;  I  have  lived 
like  every  other  person.  Why  must 
people  talk  about  me?  We  all  do  the 
same  things  in  ways  that  are  just  a 
little  different.  We  go  to  school,  we 
learn;  we  are  bad  at  times;  we  are 
good  at  others.  But  we  grow  up,  the 
one  the  same  as  the  other.  We  find 
our  life  work  and  we  do  it.  That's  all 
there  is  to  anyone's  life  story,  isn't  it? 

"I  have  been  reading  other  life 
stories.  Some  people  were  born  in  red 
brick  houses,  others  in  plain  white 
board  ones.  What  is  the  difference? 
We  were  all  born  in  houses.  I  will  not 
have  it  printed  that  I  was  born  in  this 
house  or  that;  that  my  mother  was 
this  or  my  father  that.  They  were  my 
mother  and  my  father,  just  as  yours 
were  your  mother  and  your  father. 
To  me  that  is  what  counts.  Why 
should  the  world  talk  about  them? 
I  don't  want  the  world  to  talk  about 
my  mother  and  father. 

"Nor  my  brother,  nor  my  sister.  My 
sister — she  has  died  since  I  came  to 
this  country — I  cannot  believe  it  until  I  return  to  my 
home  and  find — she  is  not  there  to  greet  me. 

"My  brother — he  wants  to  come  to  America.  I  do 
not  know.  Pictures?  He  is  so  timid.  But,  then,  I, 
loo,  was  timid. 

"Why  should  I  tell  the  world  about  them?  They  are 
mine!  No,  I  am  the  youngest,  but  they  have  always 
treated  me  as  the  oldest.  I  can't  remember  being 
young,  really  young,  like  other  cliildrcn.  I  always  had 
my  opinions,  Ijut  I  never  told  my  mind.  No  one  ever 
seemed  to  think  I  was  young. 


"Then  my  test  came.    And  I  was  frightened.    I  trembled  all  over.    All 

hear  was   whispering.     I   almost  fainted  afterwards!"     Thus  Greta 

Royal  Theater  in  Stockholm,  the  cli- 


"My  father  died  when  I  was  fourteen.  God,  what  a 
feeling.  Someone  you  love  is  there,  then  he  is  not  there. 
Gone  where  you  can't  see  him,  can't  talk  with  him. 
You  go  to  the  studio,  work  all  day,  come  home  to  the 
hotel,  lie  down,  turn  out  the  lights,  and  think  about 
liim. 

"The  same  flesh,  the  same  blood — yet  he  is  gone, 
never  to  return.    Gone — my  God,  what  a  feeling. 

"I  have  always  been  moody.  When  I  was  just  a  little 
child,  as  early  as  I  can  remember,  I  have  wanted  to  be 
alone.    I  detest  crowds,  don't  like  many  people.    I  used 


I 


reta 


arb  0 


I  could  see  was  that  black  pit— that  black  open  space.  All  I  could 
Garbo  describes  her  first  try-out  at  the  Dramatic  School  of  the 
max  of  all   her   childhood    longings 


to  crawl  into  a  corner  and  sit  and  think,  think  things 
over.  When  just  a  baby,  I  was  always  figuring,  wonder- 
ing what  it  was  all  about — just  why  we  were  li\ing. 

"Children  should  be  allowed  to  think  when  they 
please;  should  not  be  molested.  'Go  and  play  now,' 
their  mothers  and  fathers  tell  them.  They  shouldn't 
do  that.  Thinking  means  so  much  to  even  small 
children. 

"When  I  wasn't  thinking,  wasn't  wondering  what  it 
was  all  about,  this  living;  I  was  dreaming.  Dreaming 
how  I  could  become  a  player. 


As  Told  By  Her 

to 

Ruth  Biery 


Illustration   by 
Chris  Marie  Meeker 

"No,  none  of  my  people  were  on  the 
stage.  It  was  just  born  in  me,  I  guess. 
Why,  when  I  was  just  a  little  thing, 
I  had  some  water  colors.  Just  as  other 
children  ha\e  water  colors.  Only  I 
drew  pictures  on  myself,  rather  than  on 
paper.  I  used  to  paint  my  lips,  my 
cheeks,  paint  pictures  on  me.  I  thought 
that  was  the  way  actresses  painted. 

"Long  before  I  had  been  in  a  theater,  I 
did  this.  I  don't  know  where  I  got  it; 
from  pictures,  from  others  talking — or 
just  from  me,  the  inside  of  me.  I  didn't 
play  much.  Except  skating  and  skiing 
and  throwing  snowballs.  I  did  most  of 
my  playing  by  thinking.  I  played  a  little 
with  my  brother  and  sister,  pretending  we 
were  in  shows.  Like  other  children.  But 
usually  I  did  my  own  pretending.  I  was 
up  and  down.  Very  happy  one  moment, 
the  next  moment — there  was  nothing  left 
for  me. 

"Then  I  found  a  theater.  I  must  have 
been  six  or  seven.  Two  theaters,  really. 
One  was  a  cabaret;  one  a  regular  theater, 
— across  from  one  another.  And  there 
was  a  back  porch  to  both  of  them.  A  long 
plank  on  which  the  actors  and  actresses 
walked  to  get  in  the  back  door.  I  used  to 
go  there  at  seven  o'clock  in  the  evening, 
when  they  would  be  coming  in,  and  wait 
until  eight-thirty.  Watch  them  come  in; 
listen  to  them  getting  ready.  The  big 
back  door  was  always  open  even  in  the 
coldest  weather. 

"T  ISTEN  to  their  voices  doing  their 
-^parts  in  the  productions.  Smell  the 
grease  paint!  There  is  no  smell  in  the 
world  like  the  smell  of  the  backyard  of  a 
theater.  No  smell  that  will  mean  as  much 
to  me — ever. 

"Why,  last  night,  for  the  first  time  since 

I  came  to  this  city,  I  went  to  a  theater. 

Went    down    to    the    Biltmore    in    Los 

Angeles.  Went  behind  and  talked  with  the 

girls;  watched  them  make  up;  smelkd  the  backyard  of 

the  theater  just  as  I  used  to  when  I  was  little. 

"Night  after  night,  I  sat  there  dreaming.  Dreaming 
when  I  would  be  inside — getting  ready.  I  was  alone.  I 
don't  like  to  be  with  people — and  I  can  never  stand  any 
kind  of  fighting. 

"One  night  when  I  was  going  home,  I  saw  two  men 
fighting.  They  were  drunk.  I  can't  stand  people  who 
are  drunk!  One  was  big  and  the  other  little.  The  big 
man  was  hurting  the  little  one.  I  went  up  and  pulled 
on   the  big  man's  sleeve.       [continued  on  page  78] 

31 


/^^orrect  These  Nutfy 

How  much  do  you  know  about  the  movie  stars? 
Read  how  your  knowledge  of  simple  screen  facts 
can  earn  money  for  you.     It's  a  fascinating  game 


Do  you  know  your  movie  stars?  Here  is  a  contest 
that  will  test  your  film  information. 
Aunt  Hezekiah  and  Uncle  Jim  are  visiting 
relatives  in  Hollywood.  They  are  trying  to  get 
the  real,  true  information  about  the  stars.  Either 
somebody  is  kidding  them  or  else  the  old  folks  are 
getting  their  facts  mixed,  because  they  have  been 
making  some  weird  reports  about  the  stars. 

You  can  make  money  on  their  blunders.  On  the 
opposite  page  you  will  find  two  of  Aunt  Hezekiah's 
Nutty  Biographies.  Aunty  is  trying  to  tell  you  some 
real  facts  about  Douglas  Fairbanks  and  Clara  Bow. 
Correct  her  errors  and  send  your  corrections  to  Photo- 
PL.\Y  Magazine,  observing  the  simple  rules  set  forth  at 
the  bottom  of  this  page. 

There  are  no  mistakes  in  spelling  or  punctuation  in 
these  Nutty  Biographies.  There  are  no  concealed 
meanings. 

And — watch  your  step — Aunt  Hezekiah  has  managed 
to  glean  a  little  true  information  jumbled  up  with  her 
mistakes.  So  don't  be  overzealous  and  contradict  all 
the  poor  old  lady  has  to  tell  you. 

Correct  the  mistakes  in  the  captions  under  the 
photographs,  too.    They  are  part  of  the  game. 

In  order  to  make  the  contest  absolutely  fair,  the 
Answer  Man  is  going  to  be  hard-hearted  and  refuse  to 


answer  questions  concerning  the  heroes  and  heroines  of 
the  Nutty  Biographies. 

But  there's  nothing  to  prevent  you  from  looking  else- 
where in  this  magazine  for  any  information. 

The  complete  list  of  winners  in  the  April  Photopl.w 
contest  will  be  announced  in  the  June  issue  of  Photo- 
play, which  is  just  as  fast  as  is  physically  possible.  The 
correct  answers  will  also  be  given  in  the  same  issue. 
No  solutions  will  be  returned. 

Right  at  this  moment.  Aunt  Hezekiah  and  Uncle  Jim 
are  sleuthing  around  the  studios,  picking  up  a  lot  of  hot 
facts  about  more  players.  Next  month  they  are  going 
to  give  you  the  real  inside  information  about  these  two 
other  favorites. 

But  in  the  meantime,  you  can  win  a  nice  prize  by  cor- 
recting the  mistakes  in  the  Nutty  Biographies  just 
across  the  page.    Good  luck! 

Accuracy,  of  course,  will  be  the  principal  help  in 
winning  a  prize.  But  neatness,  originality  and  clever- 
ness will  also  count  in  your  favor.  All  of  the  Nutty 
Biographies  will  concern  stars  so  prominent  that  most 
of  the  principal  facts  of  their  careers  are  well-known  to 
every  little  girl  or  boy. 

If  you  have  been  saving  your  back  copies  of  Photo- 
play, you  will  find  that  they  will  be  a  big  help  to  you 
in  this  contest. 


Rules  of  Contest 


1.  Fifteen  cash  prizes  will  be  paid  by  Photoplay  for 
each  month'.s  solutions,  as  follows: 

First  prize $200 

Second  prize 100 

Third  prize 50 

Fourth  prize 25 

Fifth  prize 25 

Ten  prizes  of  $10  each 100 

2.  _  Beginning  with  the  April  issue,  Photoplay  Maga- 
zine is  publishing  two  Nutty  Biographies  of  prominent 
screen  players.  Catch  the  errors  in  these  biographies  and 
send  in  your  corrections.  Photoplay  Magazine  will  award 
fifteen  prizes  each  month  for  the  best  solutions  to  its  Nutty 
Biographies.  Accuracy,  neatness,  originality  and  clever- 
ness will  be  considered  in  awarding  the  prizes. 

3.  Each  month's  solutions  must  be  submitted  within 
one  month  after  the  appearance  of  the  issue  on  the  news- 
stands. Your  solutions  for  the  April  Nutty  Biographies 
must  be  received  in  the  office  of  Photoplay  by  midnight  of 
.April  15th.     PiioToi'LAY  April  issue  is  on  sale  .March  15tli. 


4.  Send  your  solutions  to  The  Nutty  Biography 
Editor,  Photoplay  Magazine,  221  West  57th  Street,  New 
York  City.  Be  sure  that  your  name  and  address  is  written 
on  your  solution,  j^ll  solutions  must  be  typewritten  on 
sheets  of  paper,  using  only  one  side  of  each  sheet. 

5.  It  is  not  necessary  for  you  to  buy  copies  of  Photo- 
play Magazine  to  compete.  You  may  consult  file  copies  in 
your  local  library.  It  is  suggested  that  you  study  back 
copies  of  Photoplay  for  facts  about  the  players  written 
about  in  the  Nutty  Biographies.  Better  save  your  back 
copies  of  Photoplay  for  this  purpose.  However,  you  can 
also  obtain  back  copies  at  your  local  library. 

6.  The  judges  will  be  a  committee  of  members  of 
Photoplay's  staff.  Their  decisions  will  be  final.  No 
relatives  or  members  of  the  household  of  any  one  connected 
with  this  publication  can  submit  solutions.  Otherwise, 
the  contest  is  open  to  everyone,  everywhere. 

7.  In  the  event  of  ties  for  any  of  the  prizes,  the  full 
award  will  be  given  to  each  tying  contestant. 

8.  It  is  impossible  to  answer  inquiries  regarding  this 
contest.  Do  not  write  for  facts  or  further  information. 
Letters  will  not  be  answered. 


Here  Is  an  Amusing  New  Contest — Put 


33 


^iographies-SOO  in  Prizes 


Clara  Bow 

Uncle  Jim  wrote  to  Clara  Bow  for  her  photo- 
graph and  this  is  what  he  got.  His  heart  gave 
a  leap  when  he  opened  it  and  recognized  the 
girl  who  captured  his  heart  in  "Get  Your  Man" 


Douglas  Fairbanks 

Aunt  Hezekiah  says  that  this  is  a  fine  picture 
of  Douglas  Fairbanks  as  Paul  in  Elinor  Glyn's 
"Three  Weeks."  The  chariot  race  in  this  film 
was  staged  in  Rome,   so  Auntie  informs  us 


T\  THILE  we  were  eating  dinner  in  a  cafeteria  last 
^^  night,  we  got  into  a  conversation  with  a  girl  who 
went  to  school  with  Clara  Bow  up  in  Toronto,  Canada, 
where  Clara  was  born. 

My  dear,  did  you  know  that  she  was  part  Esquimau? 
However,  Clara  Bow  is  her  real  name,  strange  as  that 
may  seem. 

Because  I  liked  Clara  so  much  in  "Children  of 
Divorce,"  I  listened  to  every  word  this  girl  said.  Clara 
left  school  to  go  on  the  stage  and  David  Belasco  starred 
her  in  "The  Good  Little  Devil."  Because  she  has  had 
so  much  stage  training,  she  is  John  Barrymore's  favorite 
leading  woman. 

I  was  glad  to  hear  that,  off  the  screen,  Clara  is  very 
demure  and  married  to  Conrad  Nagel,  the  famous  direc- 
tor. It  was  Conrad  who  selected  her  as  the  "IT"  girl 
of  Hollywood.  Wasn't  that  a  sweet  thing  for  a  husband 
to  do? 

This  friend  of  Clara  has  promised  to  take  us  around 
to  the  Paramount-Famous-Lasky  Studio  where  Clara 
works  and  Pa  is  all  excited  about  meeting  her.  Pa,  like 
the  other  gentlemen,  certainly  prefers  blondes  and  so 
Clara  is  one  of  his  favorites.  He  has  been  raving  about 
her  ever  since  he  saw  her  in  "  Down  to  the  Sea  in  Ships." 

Clara  certainly  should  be  glad  to  have  such  a  loyal 
school  friend. 

This  girl  told  us  that  Clara  was  very  unhappy  in 
her  first  marriage  and  that  she  has  sworn  never  to 
marry  another  multi-millionaire. 

Anyway,  we  all  knew  at  the  time,  didn't  we,  that 
"Daddy"  Browning  wouldn't  make  her  a  good  hus- 
band? I  am  glad  to  know  that  she  has  finally  settled 
down  to  domesticity. 


/^F  all  the  lucky  things!  Cousin  Henry  managed  to 
^^get  us  in  the  studio  where  Douglas  Fairbanks  was 
working  on  his  new  picture,  "The  Circus."  We  picked 
up  all,  sorts  of  fascinating  gossip  about  Doug  while 
standing  on  the  set.  Doug  knows  all  about  circus  life 
because  his  father  was  a  famous  English  clown.  But 
he  left  the  circus  at  an  early  age  and  enlisted  to  fight  in 
the  French  Revolution. 

Mack  Sennett  met  him  in  Paris  while  they  were 
fighting  in  the  same  mob  scene  and  signed  him  up  to 
play  in  the  movies.  His  first  picture  was  "The  Lamb." 
Do  you  remember  it?  But,  of  course,  you  can't  forget 
his  great  performance  of  Richard  the  Lion  Hearted  in 
"Robin  Hood." 

These  movie  stars  are  the  oddest  persons.  In  spite  of 
all  his  wealth,  Doug  lives  in  a  two-family  bungalow  in 
a  suburb  of  Los  Angeles  called  Pasadena.  He  is  married 
to  Mary  Pickford  and,  as  you  know,  she  is  the  leading 
woman  in  all  his  pictures.  Also  she  does  all  his  house- 
work, as  Doug  does  not  believe  in  keeping  servants. 
Mary  is  a  French  woman  and  she  and  Doug  were  mar- 
ried in  the  stirring  days  of  the  Revolution. 

Around  the  studio,  Doug  is  known  as  "the  man  of  a 
thousand  faces"  because  he  delights  in  playing  the 
role  of  cripples  or  monstrosities.  Do  you  remember  him 
as  Ahab  in  "The  Sea  Beast"?  However,  he  is  a  fine 
athlete  and  fond  of  all  out-door  sports.  Last  year,  he 
played  in  the  Davis  Cup  Tennis  matches. 

We  certainly  did  enjoy  our  glimpse  of  studio  life 
and  it  is  wonderful  to  learn  the  real  truth  about  the 
stars,  after  all  the  wild  gossip  you  hear.  I  shall  always 
boast  that  I  once  looked  into  the  steel  blue  eyes  of  the 
great  Douglas  Fairbanks. 


Your  Brains  to  Work  and  Win  a  Prize 


33 


rCjLYMPW }Ioves 

^^-^  T^ViF*  QtQrf liner  HiQmverv  fh: 


By 
Ruth  Water  bury 


The  startling  discovery  that  meas- 
urement movie  gods  and  goddesses 


ancient  ones 


HOLLYWOOD  is  the  world's  new 
Olympus. 
Hollywood  is  bringing  back 
the  glory  that  was  Greece. 
Hollywood,  scorned  by  the  so-called 
aesthetes,  is  restoring  the 
finest  ideal  for  health  and 
beauty  the  world  has  ever 
known. 

Hollywood,   criticized   by 
the  self-elected  intelligensia 
as  glorifying  the  moron,  is 
glorifying  the  American  girl 
and  boy  as  ancient  Greece,  the  most 
intellectual  of  all  ancient  nations,  glo- 
rified its  younger  generation. 

The  girl  model  that  the  Greeks 
upheld,  the  bare-armed,  bare-legged, 
slender,  short-haired  girl  of  beauty  and 
ambition,  Hollj'wood  has  re-created. 

The  male  of  brain  and  brawn,  bronzed, 
energetic  and  handsome,  that  the  Greeks 
idolized,  is  the  Hollywood  male  of 
today. 

Their  very  gods  are  there — the  Apollo 
and  the  Aphrodite — in  the  figure  of  a  star 
of  either  sex,  n;eeting  measurement  for 
measurement  the  marble  proportions  of 
the  Apollo  Belvedere  and  the  Venus  di 
Milo — Venus  being  merely  Aphrodite 
masquerading  under  her  Roman  name. 
We  will  prove  it  to  you  with  figures, 
beautiful  figures,  amazing  figures  in 
which  Joan  Crawford's  and  Richard 
Arlen's  lead  all  the  rest. 

For  centuries  the  Greek  ideal  has  been 
dead. 

The  gods  of  Olympus  ordained  beauty 
of  human  face  and  figure  the  highest 


Richard  Arlen  outclasses  all  other  male  stars,  coming  within 

one-half   inch    of   meeting   the   perfect   proportions   of   the 

Greek  Apollo 

Si. 


Apollo  Mea 

surements 

Early 

Modern 

Greek 

Hollywood 

Ht.  ...S'llVa" 

5'103/4" 

Wt. .  .  173  lbs. 

168  lbs. 

Chest .  .     41" 

391/2" 

Hips...  .391/2" 

391/4" 

Calf.  .  .  .  141/2" 

14" 

Ankle 9" 

91/4" 

9af^OLLYWOOD 


urement  for  meas- 
are  beautiful  as  the 
of  Greece 


attribute.  Birthdays  went  tincounted  in  Greece. 
They  beheved  only  in  youth. 

Clothes  were  mere  draperies.  They  be- 
lieved in  beauty  unadorned.  No  matron  ever 
tried  to  get  away  with  being  a  stylish  stout. 
Beauty  was  her  creed  and  she  lived  up  to  it. 
■  Gymnasiums  were  crowded.  The  populace 
was  happy,  and  healthy.  Art  was  created, 
literature,  music,  drama,  sculpture;  and  its 
artists,  actors  and  playwrights  were  superior  to 
any  since. 

But  Greece  fell  before  the  barbarians.  Over 
the  ages  its  ideals  were  lost  while  the  human 
body  was  stuffed  with  food  and  covered  by 
canton  flannel.  Beauty  was  dethroned  and 
Prudery  put  in  its  place.  A  sight  of  an  ankle 
was  considered  a  peep  at  the  Devil.  The 
glorious,  free,  joyous  world  of  Olympus  was  for- 
gotten. All  that  remained  were  a  few  Greek 
marbles,  chief  among  them  the  Venus  and 
Apollo,  pale  portraits  of  a  vivid  life. 

Then  the  movies  came  with  their  demand  for 
beauty,  for  youth,  for  health,  for  artistic  pro- 
ductiveness. They  happened  to  settle  in  a 
village  near  the  sea.  The  Greeks  had  lived 
near  the  sea.  The  cinematropolis  rose  in  a 
country  where  the  climate  made  heavy  clothing 
a  joke,  as  it  would  have  been  in  Greece.  A 
community  grew,  made  by  beauty,  urged  by 
beauty,  producing  beauty.  All  over  the  world 
rose  temples  of  the  motion  picture'  where  the 
people  went  to  worship  the  gods  of  Hollywood. 
And  the  standard  rose  higher  and  higher  until 
these  modern  living  gods  who  reached  the 
heights  had  to  be  flawless  indeed.  To  main- 
tain their  beauty  movie  stars  had  to  live  sanely, 
eat  wisely,  exercise  daily,  as  the  Greeks  had. 
In  other  words,  Olympus  moved  to  Hollywood. 

Photoplay    Magazine    started    gathering 


Venus   Measurements 

Early 

Modern 

Greek 

Hollywood 

Ht 5'4" 

5'3i/2" 

Wt...  135  lbs. 

112  lbs. 

Chest.  .343/4" 

323/4" 

Hip.  ...371/2" 

353/4" 

Calf. .  .  .  131/2" 

i2y2" 

Ankle 8" 

7y2" 

Venus  rising  from  the  movies.     Just  a  modern  Amer- 
ican girl,  but  Joan  Crawford,  to  a  quarter  incli,  approxi- 
mated the  figure  of  the  ancient  goddess  of  love  and 
beauty 

35 


When  god  meets  god.  Over  the  ideal  figure  of 
Apollo  Belvedere  is  sketched,  in  dotted  line,  the 
nearly  perfect  form  of  the  composite  male  star 


statistics.  From  every  studio  we  got  the  measure- 
ments of  all  the  men  and  women  under  contract  to 
them,  their  height,  weight,  chest  measurement,  hip 
measurement,  calf,  ankle,  shoe  size  and  glove  size. 
We  expected  some  of  the  men  to  meet  the  Apollo 
standard  but  I  fancied  the  girls  would  be  too  small  and 
slim  for  Venus'  proportions. 

But  this  is  what  we  really  discovered. 

Estimated  on  seventy-two  girls  in  pictures — stars 
and  leading  women — their  standard  of  physical  beauty 
is  less  than  two  inches  at  variance  with  that  of  Venus! 

Compare  for  yourself  the  two  sets  of  measurements 
in  the  box  beside  the  exquisite  portrait  of  Joan  Craw- 
ford. There  are  the  so-slightly  different  measure- 
ments of  the  ancient  goddess  of  Athens  as  compared 
with  the  composite  modern  goddess  of  Hollywood. 

From  the  72  girls  there  are  twenty-three  taller  than 
Venus,  forty-one  smaller  and  nine  her  exact  height. 
The  tallest  girl  in  pictures  is  Gertrude  Astor,  five  feet 
seven  and  a  half  inches.  Next  come  Anna  Q.  Nilsson, 
Gwen  Lee  and  Eleanor  Boardman,  five  feet  seven,  and 
Constance  Talmadge,  Natalie  Kingston,  Greta  Garbo 
and  Doris  Kenyon,  all  five  feet  six.  A  half  inch  too 
tall  are  Lillian  Gish,  Sally  Blaine  and  Florence  Vidor, 
while  Jacqueline  Logan,  Clara  Bow,  Bebe  Daniels  and 
Ivy  Harris  are  half  an  inch  too  short.  The  shortest 
girl  is  Barbara  Kent,  a  mere  four  feet  eleven,  with 
36 


Maiy  Pickford,  Janet  GaynOr,  May  McAvoy 
and  Helen  Foster  nearly  as  brief  as  Barbara 
— they  being  each  just  five  feet. 

Incidentally,  while  this  has  nothing  to  do 
with  Venus,  the  average  girl  star  wears  a 
four  C  shoe  and  a  size  6  glove. 

The  nine  who  are  exactly  Venus'  height  are 
Billie  Dove,  Yola  D'Avril,  Colleen  Moore, 
Pola  Negri,  Thelma  Todd,  Leatrice  Joy, 
Elinor  Fair,  Aileen  Pringle  and  the  afore- 
mentioned Joan  Crawford. 

Venus'  chest  measured  thirty-four  inches. 
That's  one  of  the  points  where  the  film  girls 
vary  most.  Renee  Adoree,  Aileen  Pringle, 
Molly  O'Day,  Doris  Kenyon  and  Phyllis 
Haver  are  36  bust,  while  Janet  Gaynor,  Fay 
Wray,  Ruth  Taylor,  Doris  Hill,  Marceline 
Day,  Virginia  Lee  Corbin  are  only  31.  The 
biggest  feet  of  all — shades  of  Helen  of  Troy — 
are  Maria  Corda's  size  eights.  The  smallest  are 
Helen  Foster's  one  and  a  half  B's.  But  the 
chief  difference  from  the  goddess  is  that  every 
actress  is  proportionately  under  weight. 

The  heaviest  of  all  is  Gwen  Lee,  who 
weighs  only  135  pounds.  Greta  Garbo  and 
Natalie  Kingston — remember  their  five  feet 
six — show  125  pounds,  but  outside  of  these 
three  every  girl       [  continued  ON  page  92  ] 


The  Venus  di  Milo  herself.     The  dotted  line  shows 

the  composite  movie  Venus,  a  difference  so  slight  it 

can  scarcely  be  seen 


3 


ox-Office  Love 

A  true  story  of  a 
studio  conference 


THE  Master  Minds  of  the  Yes-  O  ^  A  CX  n 
yes  Studio  were  gathered  to-  ■*-*  J  -^fe^' 
gether  in  important  confer- 
ence. In  spite  of  the  fact  that 
they  had  just  seen  the  grandest  and  most  expensive 
picture  that  their  company  ever  had  made,  the  Master 
Minds  were  nervous  wrecks  and  fit  to  be  tied.  They 
were  in  such  a  state  that  they  didn't  know  whether  to 
call  in  a  psycho-analyst  or  a  golf-professional  or  both. 

One  of  their  best  directors,  working  with  their  most 
popular  star,  had  just  made  a  great  picture  out  of 
"Macbeth."  (Please  remember  that  this  is  an  im- 
aginary occurrence.)  It  was  a  great  box-ofifice  knock- 
out, full  of  tears,  laughter  and  sex  appeal,  but  the  Mas- 
ter Minds  were  faced  with  the  horrid  problem  of  finding 
a  new  title  for  it. 

Of  course,  no  member  of  the  Yesyes  Studio  was  dumb 
enough  to  suggest  that  the  picture  be  released  under  its 
original  title.  An  assistant  cameraman  hinted  at  such 
a  possibility,  but  he  was  rushed  off  to  an  asylum  and 
put  under  observation. 

"I've  got  an  idea,"  said  one  of  the  Lesser  Master 
Minds.      "Call  it  'Scotch  Passions.'  " 

"Not  so  good,"  answered 
The  Chief,  "there's  no  such 
thing." 

"Then  how  about  'Pas- 
sionate Princes'?"  asked 
another  bright  boy. 

"Sounds  like  a  costume 
picture." 

"Or  '  Murder  at  Mid- 
night'? " 

"  Might  be  a  crook  story." 

"  'A  Highland  Fling'?  " 

"This  ain't  a  Beery-Hat- 
ton  comedy." 

"Or  'Night-Hfe  in  Scot- 
land'?" 

"Be  yourself.  Who  do 
you  think  we  are.  Burton 
Holmes?  " 

"I  have  it!"  shouted  the 
head  subtitle  writer.  "Call 
it '  Murderous  Wives.'  " 

"My  boy,"  sobbed  The 
Chief,  "you're  worth  at 
least  half  your  salary.  You've 
saved  the  picture  for  us.  Go 
and  buy  yourself  a  new  hat 
and  charge  it  to  the  Over- 
head." 

This,  of  course,  is  an  im- 
aginary occurrence.  But,  as 
a  D.  W.  Griffith  subtitle 
would  say,  it  is  based  on 
Actual  Fact.  There  is,  as 
you  probably  have  noticed, 
an    Art    in    selecting    main 


es 


mi 


th 


The  first  rule  of  inventing  box-office  titles  for 
pictures  is  to  get  a  phrase  that  will  suggest  sex. 
Any  hint  of  sex  attracts  you,  just  as  this 
picture  makes  you   look  at  this  page.     Easy  ? 


titles  for  pictures.  Maybe  it  is  an 
Art ;  maybe  it  is  a  superstition.  Any- 
way, whatever  it  is,  motion  picture 
magnates  piously  believe  that  by 
observing  the  following  rules  in  the  main  title,  almost 
any  picture  will  lure  the  public  to  the  box-office: 

1.  All  box-office  titles  should  hint  at  a  sex  situation, 
a  sex  struggle,  or  a  sex  indiscretion. 

2.  The  word  "love"  in  a  title  is  guaranteed  to  make 
men,  women  and  children  part  with  their  quarters. 
Next  in  importance  to  the  word  "love"  are  such 
luscious  words  as  passion,  heart,  kisses,  woman, 
scandal,  devil,  marriage,  flesh  and  sin. 

3.  If  the  name  of  a  town  must  be  suggested,  use 
Paris  or  Broadway.  "  Paris  Love  "  has  a  greater  appeal 
than  "London  Love."  "A  Broadway  Romance"  is 
infinitely  more  potent  than  "A  Main  Street  Romance." 

4.  If  an  hour  of  the  day  must  be  suggested,  by  all 
means,  pick  midnight.  Thus  "A  Midnight  Kiss,"  the 
film  title  of  the  stage  play  "Pigs,"  is  far  hotter  than 
would  be  "An  Afternoon  Kiss." 

5.  If  you  are  picking  colors,  choose  crimson,  scarlet 
or  red . 

6.  Never  select  a  title 
that  is  too  long,  hard  to  pro- 
nounce, contains  a  foreign 
name  or  hints  at  an  histor- 
ical event. 


T  TNDER  the  sway  of  this 
^'^superstition,  "Aren't 
We  All?"  became  "A  Kiss  in 
the  Dark."  "The  Undying 
Past"  went  up  in  electric 
lights  as  "Flesh  and  the 
Devil."  You  went  to  see 
"When  a  Man  Loves," 
whereas  you  might  have 
passed  up  "Manon  Les- 
caut."  "  Ladies  of  Hell"  was 
substituted  for  "Annie  Lau- 
rie." Balzac's  "Pere  Goriot" 
emerged  as  "Paris  at  Mid- 
night." "Hail  and  Fare- 
well "was  changed  to  "Heart 
of  a  Siren."  "Anna  Kare- 
nina"  blossomed  out  as 
"Love." 

It's  all  very  easy.  I — and 
you,  too — could  go  on  quot- 
ing examples  indefinitely. 

And  the  screen  magnates 
are  very  smart  to  work  out 
these  little  rules  for  sure-fire 
box-office  titles.  It's  a  great 
system. 

The  only  trouble  with  it  is 
that    nearly    every     great, 

[  CONTINUED    ON    PAGE    84  ] 


37 


They'll 

Never 

PLAY 


The  girl  who  would  a-luring  go.  Bored  with 
beingthe  sweet  influence  in  a  screen  hero's  Hfe, 
Mary  Brian  hoped  to  slink  around  in  velvet  and 
earrings.  But  her  producers  refused.  They 
know  the  movie  bad  die  young 


No  Little  Kva  for  Louise  Crooks.  5;he  can  get 
blonde  curls  from  the  wigmaker's  and  a  gaga 
dress  from  the  wardrobe  but  Nature  decreed 
that  chic  Louise  will  always  look  beautiful  but 
never  dumb  enough  to  be  an  angel  child 


A  triumph  of  bathing  suit  over  beefsteak.  In 
her  early  movie  days  Esther  Ralston  clad  her- 
self in  khaki  and  spent  her  dramatic  time 
making  cows  contented.  But  never  again. 
For  the  moment  Esther  got  into  better  and 
briefer  things,  particularly  one-piece  things, 
she  revealed  herself  a  real  star  with  a  chiffon 
complex 


38 


Portrait  of  Richard  Arlen's  suppressed 
desire.  From  Poverty  Row  to  Paramount 
stardom,  from  rags  to  Jobyna  Ralston  and 
marriage.  All  this  Richard  has  won.  But 
he  won't  be  happy  until  he's  a  comedy 
cop,  upholding  a  bathing  beauty 


Now  this  little  star  will  not  be  permitted  to  play 
Mr.  Barrie's  favorite  brain  baby.  Above  all,  proper 
Peter  Pans  have  been  chosen  for  a  lack  of  IT  and 
legs  invisible  to  the  naked  eye.  And  Clara  Bow's  is 
not  a  Pan  like  that 


George  Bancroft,  terror  of  "Underworld,"  roar  of 
"The  Rough  Riders,"  a  new  star  in  the  film  firma- 
ment, triumphant  but  sad.  For  cruel  casting  keeps 
him  playing  these  rough  boys  even  as  he  yearns  to 
Sahara  around,  a  sheik,  with  that  mysterious  some- 
thing that  melts  an  iron  woman 


Not  always  has  William  Powell  been  the 
city  slicker.  Once  he  was  just  a  clear- 
eyed  college  boy  like  this  and  Bill  longs 
to  turn  this  spiritual  side  to  the  camera! 
Harsh  fate!  His  art  keeps  him  screen- 
ing sin  after  sin 


39 


ve  Pictures 


By  Louis  E.  Bisch  M.  d.,  Ph.  i). 


I  AM  acquainted  with  a  maiden  lady  of  seventy  who 
is  as  ardent  a  movie  fan  as  one  could  wish  to  see. 
She  lives  in  a  neighborhood  in  New  York  where 
there  is  a  picture  house  on  almost  every  block. 
Nothing  disconcerts  her  so  much  as  when  two  or  three 
of  these  local  theaters  play  the  same  film  the  same  week. 

You  might  wonder  what  a  woman  of  that  age  and 
experience — perhaps  one  might  better  say  lack  of  ex- 
perience— could  want  with  love.  But  this  is  her 
story. 

"Doctor,"  she  said,  "you  take  such  an  interest  in 
motion  pictures,  can't  you  persuade  the  producers  to 
give  us  more  love?" 

I  had  to  confess  that  it  seemed  to  me  the  producers 
were  shoveling  on  love  pretty  thick. 

"Well,  maybe  you  are  right,"  she  replied.  "Maybe 
I  crave  love  so  much  because  somehow  life  did  not  give 
me  my  share.  I  don't  mind  confessing  that  before  the 
movies  came  along  I  often  suffered  terribly  for  lack  of  it. 
Now,  at  any  rate,  I  am  gratified  when  I  see  love  on  the 
screen.  It  unloads  something  inside,  within  myself, 
that  has  been  trying  to  express  itself  for  years." 

Finally  she  added,  with  a  twinkle  in  her  eye,  "Love 
is  what  keeps  me  so  young,  you  know!" 

This  old  lady  is  not  the  only  one  who  continues  to 
crave  love. 

The  young  hunger  for  it  as  much  as  the  old. 

Having  loved,  or  still  being  in  love,  makes  no  differ- 
ence either. 

Love  is  an  irresistible  and  irradicable  longing  that 
even  love  itself  never  completely  satisfies. 


By  nature  we  are  polygamous  or  polyandrous.    Such  love  scenes  as  these 

between  Greta  Garbo  and  Lars  Hanson  are  a  pretty  safe  way  of  satisfying 

that  desire  to  philander.    Motion  pictures  absorb  our  surplus  longing  for 

romance  in  a  sane  way 

40 


The  more  you  love,  the  more  you  want  it. 

And  you  don't  have  to  get  used  to  it  to  like  it — like 
olives  and  kumquats.  You  just  naturally  cannot  live 
without  it. 

Ha\'e  you  ever  tried  to  arrive  at  an  accurate  evalua- 
tion of  your  own  love  life? 

Have  you  ever  sat  down  to  a  quiet,  honest,  heart-to- 
heart  talk  with  yourself,  actually  checking  up  instead  of 
wishing  and  hoping? 

Ask  yourself  these  questions : 

How  much  do  you  repress  and  deny  to  yourself  the 
promptings  of  your  heart  ? 

How  often  do  you  dream  about  expressing  your  love 
for  someone  instead  of  taking  steps  that  would  lead  you 
actually  to  express  it? 

How  often  do  you  feel  the  need  of  petting  and  affec- 
tion but  are  unable  to  make  your  desires  a  reality? 

How  many  times  have  you  thought  that  the  man  or 
woman  you  have  chosen  as  your  beloved  object  could 
be  more  loving? 

How  many  times  have  you  wondered  why  you  do  not 
feel  to  him  as  loving  as  you  used  to? 

How  often  have  you  felt  jealous? 

How  often  have  you  resolved  to  be  resigned  and  to 
forget? 

T  KNOW  you  have  wrestled  with  thoughts  such  as 
-^  these  because  everybody  does. 

And   that   is   why   it   is   such   a   relief   to   go   to  a 
picture   show,   see   love   free,   untrammelled   and   ad- 
venture-bent,  and    feel    like    the    lovers    the    picture 
story  depicts. 

To  be  sure,  there  are  other 
varieties  of  love  besides  roman- 
tic love. 

There  is  mother  love,  for  in- 
stance, and  that  never  fails  to 
grip- 
Do  you  recall  how  during  the 
war  those  in  authority  in  the 
army  and  navy  were  continu- 
ally reminding  the  men  to 
write  home  to  mother? 

Everybody  has  a  mother  and 
his  or  her  mother  becomes  the 
individual's  first  sweetheart. 
Mother  love  becomes  a  "fixa- 
tion," psychologists  say,  an 
emotional  attachment  the  in- 
dividual cannot  shake  even  if 
he  tries. 

Five  or  six  years  ago,  William 
Fox  made  a  picture  called 
"Over  the  Hill."  It  was  a 
story  of  mother  love,  a  simple 
tale  of  a  mother  who  had 
worked  and  sacrificed  for  years 
to  take  care  of  her  children. 
One  by  one,  they  left  her  and 
neglected  her  until,  alone  and 
destitute,  she  was  sent  to  an 
Old  Folks  Home. 


The  doctor  explains 
how  we  react  to  them 
and  how  motion 
pictures  satisfy  our 
incurable  and  insati- 
able  longing  for 
romance 


In  an  address  made  at  the  Harvard 
Graduate  School  of  Business  Administra- 
tion, Mr.  Fox  told  of  the  remarkable  effects 
of  that  picture.  Two  years  after  the  pic- 
ture was  put  in  circulation,  he  said,  he 
made  an  investigation  of  institutions  for 
the  old  and  infirm  throughout  the  United 
States  and  he  found  that,  during  the  two 
years  that  the  picture  was  in  circulation, 
approximately  thirty-five  per  cent  of  the 
total  inmates  had  been  reclaimed  and  re- 
established in  homes  by  their  relations  as  a 
direct  result  of  that  particular  photoplay. 

Then  there  is  love  of  country — patriot- 
ism— and  that  always  ennobles  and  elevates. 

"The  Big  Parade"   is  a  case  in  point. 
Also    "What    Price    Glory"    and 
"Seventh  Heaven."     Whenever  a 
screen  production  features  human- 
ity    in     an     individual     character 
study,  sacrificed  on  the  altar  of  that 
individual's  country,  there  is  bound 
to  be  an  instant  response.    One  is 
roused  by  such  stories  even  if  the  hero  in 
question  be  a  foreigner,  suffering  for  his 
own  cause  that  appears  to  him  as  an  ideal. 

""DEAU  GESTE"  took  the  Photoplay 
-'-'Magazine  prize  as  being  the  finest  pic- 
ture in  1927.   This  dealt  with  brother  love. 

Then  there  is  "Wings,"  likewise  depict- 
ing a  non-sexual  love  of  one  buddy  for  an- 
other.    Again  success! 

Even  the  love  of  a  dog  for  his  master  carries  sympa- 
thy. Witness  the  popularity  of  the  productions  in 
which  Rin-Tin-Tin  appeared  and  the  late  Peter  The 
Great! 

Love  of  one  kind  or  another  must  be  brought  into 
every  picture  if  it  would  succeed. 

A  loveless  screen  story  is  like  soup  without  seasoning. 
Every  medal-winning  picture  stressed  particularly  the 
universal  element  of  love. 

Nevertheless,  in  the  last  analysis,  the  most  appealing 
and  most  exciting  form  of  love  continues  to  remain  the 
love  between  the  sexes. 

Romantic  love  is  the  most  colorful  and  varied.  It  is 
the  most  stimulating.     It  is  the  most  appeasing. 

The  imagination  works  like  a  house  afire  when  the 
picture  is  about  love. 

We  don't  have  to  stretch  it  or  strain  it. 

When  love  is  on  the  screen  we  readily  imagine  any- 
thing, accept  anything,  believe  anything. 

A  love  story  doesn't  even  have  to  square  with  reality 
to  be  convincing. 

It  can  take  place  in  the  Garden  of  Eden  or  on  the 
planet  Mars.  So  long  as  it  is  about  love  we  drink  it  in 
with  the  eagerness  of  a  fever-racked  patient 


Because  we  are  curious  about  love,  because  we  are  always 

seeking  for  the  perfect  love  affair,  the  screen  romances  of 

Vilma  Banky  and  Ronald  Colman  have  a  constant  fascination 

for  us 


Nor  does  it  matter  whether  love  is  thwarted  or  love  is 
triumphant.    So  long  as  it  is  love.    That  is  what  counts. 
Romantic  love  we  all  must  have. 
We  live  by  love! 
And  why? 
Why  always  love? 
What  is  love  anyway? 

SINCE  my  work  as  a  neuropsychiatrist  deals  so 
largely  with  emotional  mechanisms — with  the  origin, 
development,  successes  and  failures  of  love — I  am 
often  asked  these  questions. 

And  to  answer  them  is  not  so  easy. 

It  would  be  much  simpler  to  explain  an  irresistible 
compulsion  to  steal  or  murder  than  to  explain  this  be- 
setting obsession  to  love. 

Love,  that  unquenchable  urge,  that  cardinal  desire, 
that  supreme  compelling  and  impelling  motive  that 
never  dies,  is  the  most  elusive,  involved  and  subtle 
human  factor  that  psychology  has  to  deal  with. 

Psychoanalysis  claims  that  love  starts  with  the 
Oedipus  Complex. 

It  claims  also  that  the  Oedipus  Complex  is  responsible 
for  the  way  you  love.  [  continued  on  p.\ge  143  ] 


^^GTavorite 


Aileen  Pringle: 
lack  hair, 
green  eyes. 
Aileen  selects 
a  tailored  suit 
of  gray  serge 
with  white  pin 
stripes.  The 
hat  is  gray  felt 
with  a  crown 
trimmed  in 
ver  mesh. 
She  wears  a 
jade  pin 


Marion  Davies: 
Blonde  hair,  blue  eyes. 
She  chooses  a  Russian 
coat  of  white  hand- 
woven  linen  crash. 
The  pocket  ornament 
is  appliqued  in  silks — 
lavender,  green,  yel- 
low and  pale  blue.  The 
belt  is  of  white  kid. 
With  it,  Marion  wears 
a  white  aviator  hat, 
white  shoes  trimmed 
in  green  and  nude  silk 
chiffon  hose 


Ruth  Taylor:  Blonde  hair,  blue 
eyes.  Ruth's  coat  is  of  wood 
nymph  beige  kasha  with  shawl 
collar  and  deep  cuffs  of  golden 
beige  fox.  The  skirt  is  brown 
kasha  and  the  blouse  is  peach 
beige.  She  wears  tan  and  brown 
oxfords  and  a  beige  felt  hat 


Colleen  Moore:  Dark 
auburn  hair,  one  brown 
eye  and  one  blue  eye. 
Probably  because  of  her 
mixed  eyes.  Colleen 
sticks  to  one  tone  in  her 
street  dress  —  sand  col- 
or. The  coat  is  quilted 
velvet  and  the  one  piece 
frock  is  of  heavy  silk 
crepe.  The  tan  felt 
hat  has  a  butterfly 
ornament  of  cocoa 
yarn.  The  hand-bag 
is  cocoa  antelope  skin 


42 


s 


c 


treet  Costumes 


Clara  Bow:  Red  hair,  brown  eyes.  The 
coat — rose  cocoa  velvet.  The  skirt — 
pleated  beige  crepe.  The  hat — dark 
brown  velour.  The  shoes — parchment 
kid.  There  you  are,  flappers ! 


WHAT  color  shall  I  wear? 
Here  is  an  answer  to  the  ques- 
tion, gi^•en  by  seven  stars  of  all 
different  types  and  colorings.  The  cos- 
tumes were  selected  by  the  actresses  them- 
seK'cs  from  their  own  wardrobes  and  reflect 
the  tastes  of  the  wearers  and  not  the  ideas 
of  studio  designers. 

Any  of  these  costumes  may  be  adapted 
by  any  woman  to  suit  her  own  purse.  If 
you  cannot,  like  Bebe  Daniels,  afiord  sable 
trimming,  you  can  remember  that  soft 
dark  brown  furs  look  well  with  soft  dark 
brown  eyes. 

For  more  formal  wear,  Marion  Davies 
prefers  French  blue.  Clara  Bow  is  happiest 
in  peacock  blue.  Clara  wears  what  makes 
her  happy  whether  it  is  correct  or  not. 
Aileen  Pringle  advises  brunettes  with  white 
skin  to  wear  lacquer  red.  And  Ruth 
Taylor  finds  that  blondes  prefer  peach  color. 


The  stars  choose  these  out- 
fits for  personal  wear.  To 
which   type   do   you    belong? 


Bebe  Daniels:  Black 
hair,  dark  brown  eyes. 
All  in  dark  brown  velvet. 
The  sable-trimmed 
coat  may  be  used  for 
informal  evening  wear. 
The  only  ornament  on 
the  hat  is  a  dull  gold 
buckle.  The  shoes  are 
satin 


Norma  Shearer:  Medium  brown  hair, 
blue  eyes.  Neither  blonde  nor  brunette, 
she  wears  a  dark  green  skirt  with 
ighter  blouse.  The  coat  is  robin's  egg 
blue.  The  hat — blue  with  a  dark  green 
design 


Editor  Rogers  of  Olathe,  Kansas,  "viewed  with 
alarm"  his  boy's  ambitions  to  become  one  of  those 
movie  actors.  And  now  that  "Buddy"  has  estab- 
lished himself  as  one  of  the  best  young  leading 
men,  Editor  Rogers  "points  with  pride" 


IF  the  meeting  will  please  come  to  order,  we  will  consider 
the  first,  but  not  necessarily  the  most  important,  question  of 
the  month.  What's  become  of  Constance  Talmadge?  A  few 
months  ago,  Constance  signed  a  contract  with  United 
Artists  but,  oddly  enough,  the  powers  in  charge  seem  to  be 
singularly  indifferent  to  the  lady's  future.  She  hasn't  worked 
for  months  and  there  seems  to  be  no  mad  rush  to  put  her  back 
on  the  screen.  And  there's  no  denying  that  other  younger  and 
fresher  comediennes  have  cut  into  Connie's  position. 

AS  sister  of  Norma  and  sister-in-law  of  Joseph  Schenck, 
overlord  of  the  United  Artists,  Connie  had  her  own  way 
for  a  long  time.  Her  marriages,  her  divorces,  her  engagements 
and  her  diamond  bracelets  were  always  good  for  publicity. 
Lately  a  strange  silence  has  enveloped  Connie's  doings.  There 
have  been  no  reports  of  either  a  new  husband  or  a  new  picture. 
At  the  rate  Connie  is  heading  for  screen  obscurity,  I  hope  she 
still  clings  to  the  diamond  bracelets. 

npHEY  tell  this  story  on  Samuel  Untermyer,  the  rich 
■*•  New  York  lawyer.  Untermyer  has  a  beautiful  estate 
in  Yonkers  which  he  has  often  graciously  loaned  as  a 
background  for  motion  pictures. 

Once,  however,  in  Mr.  Untermyer's  absence,  a  small  film 
company  invaded  the  place  and  stole  some  shots  of  "Grey- 
stone"  without  getting  the  owner's  permission. 

One  night  Mr.  and  Mrs.  Untermyer  went  to  see  a  movie 
in  Yonkers  and  what  was  their  distress  to  see  a  view  of 
"Greystone"  prefaced  by  the  title,  "The  home  where  no 
happiness  dwells." 

SUE  CAROL  has  denied  her  engagement  to  Nick  Stuart. 
A  statement  which  interests  practically  every  male  being 
in  the  Cinema  City. 

"DEN  LYON  is  saving  a  lot  of  money  in  long  distance  tele- 
iJphone  calls  to  New  York.  He  is  taking  Marion  Ni.xon  to  all 
the  Hollywood  festi\ities  and  Marilyn  Aliller's  dressing  room 
in  .New  ^■ork  is  decorated  with  photographs  of  Jack  W'arburton. 
.-\nd  Marilyn  gives  it  out  to  the  press  that  the  affair  with  Ben 
never  was  serious.    Why,  Marilyn,  you  little  madcap! 

NOW  comes  wind  of  another  romance.  M>rna  Kcnned\-, 
Charlie  Chaplin's  new  leading  lady,  and  James  Hall  are 
gomg  around  Hollywood's  "places  to  go"  together.  Oh,  yes, 
also  Virginia  Bradford  and  Frank  Marion,  who  are  rising  to 
fame  together  on  the  De  .Mille  lot  in  Culver  City.  Interesting, 
how  these  youngsters  hang  together. 

U 


Some  old  meanie 
said  that  Lu  pe 
Velez  wasn't  the 
type  to  wear 
modern  American 
clothes.  So  Lupe 
had  this  picture 
taken  to  prove  that 
she  can.  But  she 
can't  make  all  that 
unbobbed  hair  stay 
tucked  under  a 
cloche  hat 


ARE  we  going  to  have  no  unattached  girls  left  in  the  Cinema 
City?  Marceline  Day  has  been  one  whom  engagement 
rumors  have  passed  by  until  Richard  Dix  made  his  bow.  Now 
ihey  are  being  seen  cAcrywhere  together  and  even  Richard's 
closest  friends  admit  he  is  "different" — more  quiet,  more  settled 
down,  they  tell  me.  Ah,  love!  It  does  make  a  difference.  And  no 
one  in  Hollywood  would  deny  that  they  both  have  the  symptoms. 

SPEAKING  of  Marceline,  she  went  out  and  bought  herself  a 
lovely  new  home  in  Be\ erly  Hills  the  other  day.  Uhich  may 
or  ma}'  not  ha^■e  something  to  do  with  the  case,  tra  la. 

"DAN  into  William  Powell  the  other  day. 

■^^     "What  you  doing  now,  Bill?" 

"Oh,  I'm  playing  the  comedy  relief  for  Beery  and  Hatton." 
Powell  is  modest.    There  isn't  a  better  actor  or  a  finer 

guy  on  the  screen. 


of  ^11 

Studios 


The  wrap-around 
evening  gown, 
wrapped  around 
Louise  Brooks. 
This  crushed  gold 
dress  is  held  in 
place  by  six  little 
buttons  fasten- 
ing on  the  left 
side.  And  that 
is  putting  dra- 
matic suspense 
in  clothes 


ELEANOR  BOARDIMAN  and  King  Vidor  moved  from  their 
hilltop  home  to  allow  John  Barrymore,  the  new  owner,  to 
enter. 

Moved  to  an  elaborate  new  apartment  house  in  Beverly 
Hills. 

Stayed  one  night  and  moved  to  another. 
They  didn't  like  the  bows  painted  on  the  breakfast  room 
chairs. 

"JUST  why  don't  you  name  that  child?"  someone  de- 
Jmanded   of   King    Vidor. 

"Why  should  we?"  King  retorted.  "There's  only  one. 
No  need,  whatever,  to  distinguish." 

Perhaps  that  is  the  secret  of  the  nameless  infant  of  the 
film  metropoUs. 

Eleanor  Boardman  and  King  are  waiting  imtil  necessity 
demands  a  cognomen. 


Lina  Basquette  celebrates  her  debut  as  a  star  by 
acquiring  a  motor  that  has  a  make-up  box,  a 
chauffeur  telephone  and  all  those  other  ritzy  con- 
traptions that  make  motoring  more  comfortable 
than  staying  at  home 


CHARMING  candor  on  the  part  of  Mae  Murray's  husband. 
Da\id  Mdivani  was  arrested  for  speeding  recently  in  Santa 
Monica. 

When  the  judge  asked  him  his  occupation,  Mdivani  an- 
swered simply,  "husband." 

TRYING  THALBERG  and  Norma  Shearer  are  making  a 
-l-quickie  trip  through  Europe.  Not  on  business,  just  by  way 
of  a  honeymoon.  Furthermore,  Norma  announces  that  after 
one  more  year  in  pictures,  she  is  going  to  retire  and  become 
merely  Mrs.  Thalberg. 

Believe  it  or  not,  but  that  is  what  she  says. 

HELP!  Jackie  Coogan  may  go  to  England  and  make  one 
picture  this  summer.  That's  nothing  new,  but  the  kick  to 
the  story  lies  in  the  fact  that  Jackie  may  remain  over  there  and 
finish  off  his  education  at  O.xford.  What  a  wind-up  for  the 
wistful,  ragged  baby  of  "The  Kid"! 

A  ND  now  the  favorite  snappy  come-back  is,  "Take  your 
■^^■hand  off  my  knee.  I  don't  want  to  go  into  the  movies." 

LET'S  go  slumming.  Let's  consider  the  doings  of  some  of  our 
playmates  who  are  skating  so  gracefully  on  thin  ice.  There 
is,  for  instance,  the  famous  lady  who  has  taken  for  her  motto, 
"all  for  love  and  the  world  well  lost."  She  is  rich,  popular 
and  her  whole  reputation  is  at  stake.  Nevertheless,  she  is 
enamored  of  a  young  Latin  who  has  nothing  to  lose,  and  much 
to  gain,   by  the  romantic  attachment. 

For  months,  Hollywood's  fa\orite  topic  of  conversation  has 
been  the  story  that  the  husband  hired  a  gang  of  thugs  to  mess 
up  the  face  of  the  handsome  ri\al.  True  or  not,  the  tale  has 
become  one  of  the  legends  of  the  mo\ies. 

Undisturbed  by  all  the  gossip,  the  lady  is  having  a  great  time 
making  faces  at  the  conventions. 

CONSIDER,  too,  the  frantic  domestic  affairs  of  Dolores  Del 
Rio.  And  shed  a  few  tears  for  Jaime  Del  Rio,  who  is  only  her 
husband.  Before  Edwin  Carewe  coaxed  the  rich  Alexican  beauty 
to  Hollywood,  all  was  sweetness  and  light  in  the  Del  Rio 
household. 

When  the  couple  moved  to  Hollywood  and  Dolores  became 
a  star,  Jaime  (it's  pronounced  Heim)  felt  that  he  was  being 
slowly  shoved  into  the  background. 

Jaime  refused  to  play  second  saxophone  and  moved  to  New 
York,  where  he  is  writing  a  play  in  order  to  establish  his  own 
claim  to  fame.  He's  a  gentleman  and  he  won't  talk.  And  he's 
still  in  love  with  his  wife. 

-45 


Don't  you  think  you  are  going  to  like  this 

young  fellow?     He   is  Rex   King,   former 

rodeo  performer,  who  has  been  signed  by 

Fox  to  perform  in  horse  operas 


WELL,  Henri  de  la  Falaise  is  off  on  another  one  of  his 
semi-annual   trips  to   Paris.      Every    time    Henri    goes 
abroad  the  wise  boys  begin  to  bet  he'll  never  return. 


w 


ALTER  WINCHELL  teUs  this  one  and  it  is  worth 
passing  on.  A  film  company  was  considering  making 
Emil  Ludwig's  story  of  Napoleon.  At  a  conference  of 
master  minds,  various  actors  were  suggested  for  the  role 
of  Bonaparte. 

Finally  an  exasperated  magnate  squawked,  "But  dese 
are  all  little  fellers  dot  you  are  suggesting.  Dis  is  a  beeg 
story  so  we  got  to  haf  a  beeg  ector  for  Napoleon." 

THE  1928  baby  Wampas  stars  were  asked  to  sell  boxes  for 
the  ball  in  their  honor,  prices  ranging' from  eighty  to  two 
hundred  and  fifty  dollars. 

Lina  Basquetle  and  Sue  Carol,  two  of  the  lucky  babies,  met 
at  a  social  function. 

"I  see   Ruth  Taylor  has  sold  the  most,"  Lina  whispered. 

Sue  nodded.  "Ha\e  you  sold  any,  Lina?"  Sue  returned 
the  whisper. 

"Yes.    One.    Two  hundred  fift\-." 

"Who  to?" 

"Cecil   De  Mille — my  director.     Have  you?" 

"Yes.      One.      Two   hundred   fifty." 

"Who  to?" 

"Mrs.  Sam  Lederer.    My  mother." 

/^RETA  GARBO  was  having  her  pictures  taken  by 
^^Ruth  Harriet  Louise.  During  one  of  the  close-up  shots, 
her  eyes  blinked. 

"Oh,  I'm  so  sorry,  Miss  Louise,"  Greta  apologized. 
"But  I  twinkled." 

TW"HAT  a  hard,  hard  life  these  movie  producers  do  lead! 
VV       Take  poor  Harry  Rapf,  for  instance.    Harry  is  one  of 
the    producers   for    Metro-Goldwyn-Mayer. 

Recently  Mr.  Rapf  had  to  search  for  talent.  What  a  painful 
duty!  Mr.  Rapf  had  to  come  East  and  for  two  weeks  he 
watched  the  finest  dramas,  the  choicest  musical  comedies,  the 

40 


How  murders  are  plotted.  Mai  St.  Clair  forced  Ford 
Sterling  and  Richard  Dix  to  work  in  a  rain  scene.  The 
rain  was  even  wetter  than  usual.  There's  an  unhappy 
ending  ahead  for  the  hard-hearted  director.  Won't 
someone  please  stop  these  men  ? 


slickest  night  club  shows  along  Broadway.    Talk  about  work! 

I  asked  Mr.  Rapf  why,  with  Hollywood  over-run  with 
beautiful  extra  girls,  he  didn't  search  there  for  undiscovered 
stars. 

"Hollywood  girls  all  get  to  looking  alike,"  he  said.  "New 
York  girls  retain  their  individuality." 

Which,  certainly,  should  be  a  hint  to  the  ambitious. 

FAY  WRAY  was  thrilling  o\er  memories  of  a  golf  game 
played  in  the  light  of  a  full  moon. 
"Who  were  ^-ou  with,  Fay?"  we  queried. 
A  pronounced  blush  was  the  only  answer. 
"Who  are  you  playing  around  with?" 
"Oh,  not  any  one  person." 
"Well,  we  might  print  a  list." 
"Oh,  no!     It  would  be  too  long,"  Fay  modestly  answered. 

THE  way  these  cruel-hearted  directors  get  their  heroines  to 
cry  is  outrageous! 
Marceline  Day  was  just  getting  ready-to  \yeep  in  the  picture, 
when  the  Aillain  called  out,  "Bring  on  the  glycerine."  Marce- 
line burst  into  a  flood  of  tears,  she  felt  so  insulted! 

■tJERBERT   BRENON   had    been   waiting    for   Loretta 
•*-*■  Young's  flood  gates  to  open,  when  he  spied  her  sister 
and  said  in  a  stage  whisper,  "There's  her  sister.    I  wish 
we'd  put  her  in  the  part  instead." 
Loretta  went  into  real  tears  in  a  second! 

JOHN  ROBERTSON,  who  has  directed  some  of  the  most 
J  noteworthy  American  pictures,  has  gone  to  England  to  head 
his  own  company.  Being  a  Canadian  by  birth,  Mr.  Robertson 
gets  in  under  the  new  English  quota  law  which  required 
that  British  films  be  made,  for  the  most  part,  by  English 
citizens. 

Mr.  Robertson's  chief  problem  will  be  to  develop  British 
talent. 

And  he's  the  director  to  do  it,  as  he  has  discovered  an  un- 
usual number  of  young  American  stars. 

WITH  Mr.  Robertson  goes  Albert  Parker,  another  excel- 
lent director  and  Hollywood's  best  raconteur.     (Look  it 
up  in  a  French  dictionary.) 

And  so  Hollywood  loses  two  of  its  limited  supply  of  reallv 
interesting  gentlemen. 


Most  babies  cry  off-schedule.    Three-year- 
old    Evelyn    Mills   only    weeps    when    the 
director  gives  the  order.    Here  she  is  with 
Louise  Dresser  in  "His  Country" 


Agnes  Christine  Johnson,  wife  of  Frank  Dazey,  has 
managed  to  raise  these  three  children,  write  a  flock  of 
scripts  and  a  play,  and  turn  out  an  occasional  short 
story  for  Photoplay.  Read  "The  Movie  Hound"  in 
this  issue.    It's  clever 


O.  P.  HEGGIE,  the  actor  placed  in  the  stage  revi\-al  of 
"Trelawney  of  The  VA'clls, "  was  rushed  from  New  York  to 
Hollywood  to  appear  in  Norma  Shearer's  interpretation  of 
the  play  under  the  name  of  "The  Actress." 

Production  was  delayed  while  he  crossed  the  continent; 
special  cars  met  him  at  the  station  and  rushed  him  to  the 
studio  without  even  stopping  to  deli\-er  his  luggage. 

When  he  arri\-ed,  it  was  discovered  that  he  would  work  for 
two  days  with  his  face  beneath  a  newspaper  covering.  Any 
"prop"  boy  could  have  sat  in  the  position  and  no  one  know  the 
difference. 

"TT  could  only  have  happened  in  Hollywood"  might  well 
■*-title  this  true  story. 

A  famous  producer  was  to  be  married.  Another  pro- 
ducer issued  invitations  to  a  big  formal  dinner  in  his  honor 
on  the  eve  of  his  marriage. 

The  elite  of  the  male-notables  attended. 

The  dinner  was  strictly  formal.  A  huge  plaque  of  honor 
was  awarded  the   groom. 

State  speeches  were  offered  eulogizing  his  accompUsh- 
ments   for   the    "beesness." 

Finally  a  director  slipped  out  to  go  home  and  tell  his  wife 
he  was  so  bored  he  just  couldn't  stay  another  moment. 

The  next  day  he  received  a  bill  for  $106  for  his  participa- 
tion in  the  "invited"  dinner. 

""R  OSE-MARIE, "  the  film  version  of  the  operetta,  has 
ivfinally  reached  the  screen.  It's  a  Northwest  story  and  it  is 
merely  just  another  pretty  good  picture.  The  public  that 
sees  the  picture  will  not  realize  all  tlie  money  and  heart-breaks 
it  cairsed.  The  film  was  made  three  times,  with  various  casts 
and  various  directors.  It  cost  §700,000  and  a  lot  of  valuable 
time  and  effort. 

Vet  it  is  no  better  than  a  lot  of  other  pictures  made  for 
one-fifth  the  sum.  And  that,  boys  and  girls,  is  why  the 
business  men  connected  with  pictures  go  into  nervous  break- 
downs. 

PERHAPS  you  have  read  the  story  of  how  Phyllis  Haver 
went  to  the  Ten  Cent  store  before  Christmas  to  get  some 
tree  ornaments  and  was  so  struck  by  the  girl  who  waited  upon 
her  that  she  obtained  a  part  for  her  in  Cecil  De  Mille's  "The 
Godless  Girl." 

But  I  doubt  if  you  have  heard  Dorothy  Ward's  side  of  this 


story.  \\'hen  one  of  her  customers 
ask  "Say,  little  girl,  have  you  ever 
was  annoyed  at  the  question.  She 
was  disgusted  at  the  attempt  to 
\\'oolworth's  regulations.  Nor  w 
address. 

Lucky  for  Dorothy  that  Phyllis 
agent  to  \^'oolworth's  bookkeepi 
necessarv  information. 


interrupted  the  mad  rush  to 
been  in  pictures?"  Dorothy 
didn't  recognize  Phyllis,  and 
make  her  talk  against  Mr. 
ould  she  give  her  name  or 

was  persistent  and  sent  her 
ng   department    to   get  the 


I  HAVE  a  hunch  Phyllis  Haver  will  never  be  out  of  a  job. 
If  she  ever  wants  to  gi\e  up  acting  she  will  be  all  read>-  to 
take  up  the  promotion  of  others  for  acting. 

After  disco\  ering  Dorothy  Ward  in  a  Ten  Cent  store  and 
placing  her  with  the  De  INIille  organization,  she  turned  her 
attention  to  Ray  Cook,  a  twelve  year  old  youngster. 

"  He  has  such  an  interesting  face, "  she  told  me.  "A  pug  nose 
and  real  freckles.  Eyes  that  laugh  all  the  time.  He  can't  help 
but  register." 

Oh,  yes,  she  placed  him.    ^^'ith  the  same  organization. 

A  S  you  have  probably  heard,  Universal  spent  $2,000,000 
■^^■and  two  years  in  making  "Uncle  Tom's  Cabin."  In  spite 
of  all  the  efforts  to  make  a  smashing  hit  of  the  film,  the 
picture  has  been  no  more  successful  than  other  less 
expensive  productions.  The  failure  of  the  picture  to 
knock  the  world  cold  has  been  a  source  of  constant  aggrava- 
tion to  Carl  Laemmle. 

And  so,  in  the  Universal  offices,  the  film  has  been  re- 
titled  "Uncle  Carl's  Crabbm'." 

LARRY  SEMON,  the  comic  who  used  more  custard  pies 
than  all  the  other  fimnies  put  together,  has  gone  into 
bankruptcy  for  a  couple  of  million.  Semon  has  been  directing 
recently  while  his  wife,  Dorothy  Dwan,  has  been  doing  all  the 
acting   for   the   family. 

THE  year  1927  marked  one  great  improvement  in  Hollywood. 
The    number   of   extra   girls    requiring   assistance   from 
charitable  organizations  was  [  continued  on  page  88  ] 

47 


315000. „  Prizes 


First  Prize 

Rena  Vale 
Los  Angeles,  Cal. 


OVER  40,000  readers  of  Photoplay  Magazine 
submitted  ideas  in  the  Paramount  Famous- 
Lasky  Corporation — Photoplay  $15,000  con- 
test. This  avalanche  of  ideas  presented  a 
herculean  task  to  the  staff  of  Photoplay  and  to  the 
board  of  contest  judges. 

In  order  to  arrive  at  an  absolutely  fair  decision  re- 
garding the  submitted  ideas,  a  careful  reading  was  given 
each  idea.  The  idea  then  received  a  rating  from  a 
committee  of  examiners.  In  this  way  the  thousands  of 
ideas  finally  were  sifted  down  to  a  few  hundred. 
From  these  few  hundred,  after  repeated  consideration 


Over  40,000  Ideas  Submitted  in 
Paramount  Famous-Lasky  Cor- 
poration—  Photoplay  Maga- 
zine Contest  for  Stories — Fifty 
Prize  Winners  Named 


by  the  judges,  a  set  of  fifty  winning  ideas  was  selected. 

These  ideas  were  then  submitted  to  the  Paramount 
Famous-Lasky  Corporation  for  a  final  opinion  as  to 
their  exact  screen  possibilities.  After  a  reading  by 
Jesse  L.  Lasky,  First  Vice-President,  and  other  execu- 
tives of  Paramount  Famous-Lasky,  the  fifty  ideas  were 
returned  to  the  board  of  judges  and  a  final  rating  given 
the  winners. 

This  effort  to  insure  absolute  fairness  to  every  con- 
testant required  time  and  care.  The  contest  was  in- 
augurated in  the  April,  1927,  issue  of  Photoplay  and 
closed  at  midnight  on  August  15,  1927.  The  final 
decision  upon  the  winners  was  reached  on  February 
1,  1928,  six  and  one-half  months  being  required  to 
examine  and  pass  upon  the  40,000  submitted  ideas. 

An  amazing  quantity  of  excellent  ideas  was  received. 
The  submitted  ideas  revealed  a  surprising  level  of 
originality  and  ingenuity,  as  well  as  a  tremendous 
interest  in  the  photoplay.  If  the  40,000  ideas  did 
nothing  else,;they  showed  a  genuine  and  sweeping  love 
of  motion  pictures  throughout  America,  and,  indeed, 
the   whole    world. 

Naturally,  there  was  duplication  of  idea.  Biography 
was  one  of  the  favorite  fields  of  suggested  idea.  Prac- 
tically everybody  in  the  world's  history,  from  Eve  to 
Calvin  Coolidge,  was  suggested.  The  favorite  char- 
acters suggested  were,  oddly  enough,  Christopher 
Columbus  and  Mary,  Queen  of  Scots. 

Probably  the  Mississippi  flood  was  suggested  by 
more  contestants  then  any  other  one  subject.     The 


Awarded  for  Ideas 


Second  Prize 

Mrs.  M.  Caroli 
New  York  City 

fact  that  the  flood 
was  raging  during 
part  of  the  contest 
period  made  this  a 
favorite  theme.  The 
Lindbergh  flight  was 
another  popular  idea. 
Scores  of  contestants 
suggested  ideas  devel- 
oped upon  the  possi- 
bility of  life  on  Mars 
or  the  moon  and  life 
as  it  may  be  about 
2,000  years  from  to- 
day. Job  led  all  the 
Biblical  characters  in 
popularity.  The  fa- 
vorite general  theme 
was  probably  the  sep- 
arated-and-lost  twin 
idea,  with  one  living 
in  poverty  and  the 
other  in  wealth.  The 
lost  parent  idea  fol- 
lowed   right    behind. 

In  announcing  thecon- 
test  winners,  Photoplay 
Magazine  can  not  tell 
the  winning  ideas  them- 
selves. Since  the  prizes 
are  awarded  by  the  Par- 
amount Famous-Lasky 
Corporation,  the  ideas, 
upon  being  accepted  as 
winners,  become  the 
property  of  that  organi- 
zatio  n.  To  tell  these  win- 
ning ideas  now  would  be 
to  lay  the  Paramount 
Famous-Lasky  Corpora- 
tion open  to  the  theft  or 
appropriation  of  these 
winning  stories  by  un- 
scrupulous people  and  to 


Third  Prize 

Yvonne  Corriveau 
Pawtucket,  R.  I. 


Fourth  Prize 

Marvel  Kingsley 
Madison,  Wis. 


Says  Jesse   L.  Lasky, 

First  Vice-President  of  Paramount 
Famous-Lasky  Corporation: 

The  $15,000  Idea  Contest  conducted  by  PHOTO- 
PLAY Magazine  and  Paramount  Famous-Lasky 
has  given  me  a  great  personal  gratification  and  will, 
I  trust,  be  most  profitable  to  the  successful  partici- 
pants. 

To  me  personally  the  contest  has  brought  a 
wealth  of  suggestions  direct  from  the  motion 
picture  public  and  supporters,  together  with  ideas 
of  what  they  desire  and  expect  from  producers, 
which,  otherwise,  I  should  never  have  obtained  at 
first  hand. 

The  contest  as  no  other  medium  has  put  the 
audience  and  producer  in  close  touch.  The  sin- 
cerity of  the  contestants  is  appreciatively  acknowl- 
edged, and  the  freshness  and  brilliancy  of  some  of 
the  subjects  is  an  interesting  revelation. 


Eighth  Prize 

Hilda  M.  Riehl 
Pittsburgh,  Pa. 


Ninth  Prize 

Rose  Cour 
Chicago,  111. 


Fifth  Prize 

Lute  Johnson 
Denver,  Col. 


their  possibly  uncon- 
scious appropriation 
and  adaptation  by 
scenarists  and  fiction 
writers  generally.  Lat- 
er, where  it  is  possible. 
Photoplay  will  point 
out  the  winning  ideas 
when  and  if  they  are 
produced  by  the  Para- 
mount Famous-Lasky 
Corporation. 

Upon  the  final  de- 
cision by  the  board  of 
judges,  the  Paramount 
Famous-Lasky  Cor- 
poration turned  over 
to  Photoplay  Maga- 
zine a  check  for  $LS,- 
000,  co\'ering  the  fift>' 
prizes.  Checks  are  now 
being  mailed  to  the 
fifty  winners  by 
Photoplay  Maga- 
zine. 

The  winner  of  the  first 
prize  of  S5,000  is  Miss 
Rena  Vale,  whose  ad- 
dress is  Box  994,  Los 
Angeles,  Cal.  Here  is 
how  Miss  Vale  describes 
herself: 

"  I  was  born  about  the 
time  the  neighbors  be- 
gan leaving  to  join  the 
Rough  Riders.  My  birth- 
place was  a  three-room 
adobe  house  on  the  fa- 
mous 'Diamond-S' 
Ranch,  where  the  jolly 
old  Pancho  Villa  used  to 
spend     his     week-ends, 

[  CONTINUED 
ON  PAGE  114] 

2  49 


^]\4^vie 


The  story  of  a  film 

struck  mutt  and  a 

hilariously  funny 

dog  yarn 


The  comedy  cream  puff  all  over 
his  face  terrified  the  actors  who 
ran  through  the  studio  scream- 
ing "Mad  Dog" 


thecanine  neighborhood  gossiped  contemptuously  about 
the  police  dog's  baths,  oil  rubs  and  dog  dentists,  Beansy 
lost  all  interest.  Rajah  must  certainly  be  more  or  less 
of  a  "wet  smack,"  not  a  he-dog  at  any  rate. 

npHEN  suddenly  everything  changed.  Sylvia  was  the 
-*-  reason.  Sylvia  was  a  goddess  to  Beansy.  He  con- 
sidered her  perfect  from  head  to  toe.  Her  graceful  little 
figure  that  could  rough-house  so  gloriously  at  moments, 
or  rise  to  dignified  heights  when  it  came  to  discipline! 
Her  little  blonde  bobbed  head,  that,  every  morn- 
ing, nodded  at  him  in  such  a  friendly  fashion  from  the 
bedclothes,  when  on  being  admitted  by  the  cook,  he 
tore  up  to  wake  his  mistress  with  joyful  barkings!  Her 
childish,  long-nailed  fingers  that  caressed  him  or  laid  a 
restraining  hand  on  his  collar  or  fed  him  forbidden 
sweetmeats  at  the  table.  She  was  the  Divine  Adored 
Ruler  of  Beansy 's  destiny. 

But  she  had  one  habit  Beansy  never  quite  approved 
of.  Several  days  a  week,  she  cruelly  barricaded  him  in 
the  back  garden,  jumped  into  her  sporty  little  roadster 
and  drove  off  alone.  Beansy  wondered  what  she  did  on 
those  mysterious  journeys.  How  could  she  have  a  good 
time  without  him? 

Then  one  day,  Sylvia  carelessly  let  the  hook  slip  on 
the  garden  gate  and  it  SAVung  open,  allowing  Beansy  to 
escape.  He  followed  her  craftily,  keeping  right  behind 
her  and  walking  on  the  soft  grass  so  she  would  not  hear 
the  pad  of  his  feet.  » When  she  stepped  into  her  car,  he 
jumped  into  the  rumble  seat  and  crouched  there,  all  the 
way  downtown.  He  was  puzzled  when  she  parked  half 
a  block  below  a  large  glittering  building  decorated  in 
bright  colors  with  pictures  on  sign  boards  all  around  the 
outside.  There  Sylvia  turned  and  discovered  Beansy, 
who  leaped  out  to  lick  her  face,  with  waggy  enthusiasm. 

"  f^H,  Beansy,  you  bad  dog  to  sneak  along!  Now  I've 
^^got  to  take  you  home  and  I'll  miss  half  of  the 
picture!"  she  pouted. 

Beansy  whined  and  pretended  to  be  very  repentant. 
He  wasn't.  He  was  jubilant.  For  she  wasn't  taking 
him  home  at  all.  She  was  walking  up  to  read  the  bulle- 
tin board  in  front  of  the  theater. 

"The  feature's  on  now  and  I  just  can't  miss  any  of  it. 
I'll  just  have  to  take  a  chance,"  she  said  and  picking 
Beansy  up  in  her  arms,  she  flung  her  sports  coat  over 

Every  dog  has  his  day — and  Beansy  had  his 

50 


JUST  another  example  of  the  demoralizing  effects  of 
Hollywood!  Once  Beansy  had  been  a  simple  soul — 
innocent — young — carefree — unspoiled — . 

Of  course,  Sylvia  should  never  have  let  him  devil 
her  into  taking  him  to  the  movies  that  fatal  afternoon. 
She  should  have  known  that  home,  a  beautiful  walled- 
in  garden,  an  occasional  game  of  ball,  with  just  enough 
stray  cats  to  give  life  a  little  fillip,  was  all  that  is  neces- 
sary to  any  dog.  Especially  to  a  dog  like  Beansy,  whose 
breed  could  only  be  designated  as  inconsistent.  For 
though  he  started  out  at  the  nose,  as  one  of  those  ador- 
able, wistful-eyed  Irish  terriers,  he  reverted  at  the  neck- 
line to  a  half  long,  half  short-haired  body  that  suggested 
a  mixture  of  Collie  and  Boston  Bull  and  continued  to  a 
tail  that  waved  in  impudent  defiance  of  every  law  of 
heredity. 

It  all  began  when  Rajah,  the  big  police  dog,  came  to 
live  in  the  Spanish  villa  across  the  street.  Rajah 
brought  his  master  along,  the  two  of  them  driving  up  in 
a  big  sport  roadster,  one  afternoon,  when  Sylvia  and 
Beansy  were  playing  ball  on  the  front  lawn.  Sylvia  saw 
them  coming  and  gurgled  with  excitement. 

"  It's  Jack  Claibourne — the  movie  star,  who  plays  in 
pictures,  with  his  police  dog!  And,  oh,  they're  going  to 
live  across  the  street  from  us,  Beansie !" 

Beansy,  with  the  usual  superior  aloof  attitude  he  took 
to  any  dog  in  which  Sylvia  showed  an  interest,  pre- 
tended to  be  completely  indifferent,  and  went  on 
snarling  and  growling  at  the  ball.  But  he  took  a  rapid 
glance  over  his  shoulder  that  Sylvia  didn't  notice  and 
mentally  catalogued  Rajah  as  "  nothing  much." 

Beansy  became  more  tolerant,  when  he  saw  that 
•Sylvia  did  not  pay  any  attention  to  the  big  police  dog, 
but  confined  her  remarks  to  the  subject  of  Claibourne. 
Beansy  even  felt  obligated  to  take  a  neighborly  inter- 
est in  the  newcomer.  After  all  he  owed  it  to  the  canine 
community  to  give  a  stranger  a  chance.  Rajah  was 
reticent  at  first  and  that  was  perfectly  all  right.  Beansy 
had  no  use  for  the  "pushy"  kind  who  get  too  friendly, 
too  quickly.  But  when  he  observed  that  Rajah  never 
went  out  except  in  the  company  of  his  servant  or 
master  and  then  was  led  on  a  leash  or  driven  in  a  high 
powered  motor  car;  when  the  more  virile  members  of 


J-Jound 


By 
Agnes   Christine  Johnston 


"^.rfsSC 


■  at e d  by  Robert  Dickey 


him,  slipped  smilingly  past  a  man  in  uniform  at  the 
door  and  walked  into  a  large  dark  room  filled  with 
people.  That  was  how  Beansy  saw  his  first  movie — 
the  movie  that  changed  his  life.  That  was  how  he  dis- 
covered what  it  meant  to  have  a  career. 

At  first,  he  thought  it  really  was  Rajah,  who  bounded 
before  him,  suddenly  grown  three  times  his  own  size. 
Excitedly  starting  up  from  Sylvia's  lap,  Beansy  began 
to  bark.  Quickly  Sylvia  pulled  him  down  and  threw 
her  coat  over  him.  Then  she  looked  up  at  the  suspi- 
cious usher  with  such  a  sweet  smile  that  this  mere  man 
apologized  and  went  on  up  the  aisle.  After  a  while,  she 
allowed  Beansy  to  nose  a  little  way  out  from 
under  the  coat  and  watch  some  more. 

At  first,  he  tried  to  be  scornful,  tried  to 
say  to   himself  that   Rajah  was  only  a 
sissy,  making  himself  ridiculous.     But  as 


Beansy,    the  little  mutt,  was 
awed  by  the  movie  dog  star. 
Suddenly  Rajah  looked  puzzled 
and  started  to  scratch  him- 
self.      Beansy   had    slipped 
him  a  flea 


Beansy  was  cured  of  his  movie  ambitions. 

A  good  old  buried  bone  was  better  than  a 

career.     Why  not  enjoy  life? 


he  watched,  he  soon  forgot  these  petty  emotions.  The 
things  Rajah  did!  Why  they  were  thrilling!  His  life 
as  the  companion  of  a  cowboy  on  the  Western  plains 
was  full  of  excitement.  He  chased  wild  cattle,  corralled 
stampeding  horses,  fought  wicked  villains  and  rescued 
a  lady — almost  as  fair  as  Sylvia — in  a  last  desperate 
race  with  death.  And  then  what  attention  and  adula- 
tion he  received,  not  only  from  the  people  on  the  screen, 
but  from  the  whole  audience !  [  continued  ON  PAGE  1 28  ] 


Bl 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


The 


STREET  ANGEL— Fox 

COXTIXUIXG  the  adventures  of  those  Babes  in  the 
Wood — Janet  Gaynor  and  Charles  Farrell.  Thanks 
again  to  the  sympathetic  direction  of  Frank  Borzage,  here  is 
a  picture  that  is  as  human  and  as  appeaHng  as  "Seventh 
Heaven."  *  Miss  Gaynor  plays  a  little  Italian  circus  per- 
former, whose  innocence  and  poverty  force  her  to  attempt 
the  last  resources  of  desperate  girls.  How  a  tramp  artist, 
played  by  Farrell,  rescues  her;  how  they  are  separated  and 
reunited,  forms  the  basis  of  a  tear-wringing  romance. 

You'll  like  the  simple,  sincere  playing  of  these  two 
youngsters,  the  picturesque  backgrounds  and  the  fantasy- 
like  treatment  of  the  story.  These  two  kids  strike  a  fresh, 
new  note  on  the  screen.  Natalie  Kingston  and  Henry 
.\rmetta  give  good  performances.     Don't  miss  this  one. 


SADIE  THOMPSON—United  Artists 

HOW  Gloria  Swanson  beat  the  censors  is  being  demon- 
strated in  her  newest  and  raciest  picture.  For  "Rain" 
has  come  to  the  screen  almost  intact.  Those  portions  ob- 
jectionable to  the  purity  leagues  have  been  glossed  over,  but 
all  the  implications  of  the  story  are  the  same.  And  it  is  a 
great  story.  All  normal  people  should  be  able  to  work  up  at 
least  a  mild  frenzy  over  the  battle  between  Sadie  and  the 
fanatical  reformer  of  the  South  Seas.  Raoul  Walsh  directs 
with  speed  and  vigor,  and  acts  very  capably  as  Handsome, 
the  marine.  And  Lionel  Barrymore  is  almost  perfect.  But 
Gloria  Swanson  dominates  the  picture,  with  a  flashing  per- 
formance. 

You  will  like  ".Sadie Thompson."     It's  stirring  and  ironic 
and  funny,    ^■ou  couldn't  ask  more. 


Shadow 
Stage 

A  Review  of  the  New  Pictures 


THE  TRAIL  OF  '98—M.-G.-M. 

THIS  is  the  picture  that  lifted  Clarence  Brown  into  the 
position  of  highest  paid  director  in  Hollywood.  As  the 
result  of  "The  Trail  of  '98"  Brown  will  get  sS300,000  a  year 
whether  or  not  he  works. 

Probably  Brown  is  worth  it.  He  has  not  made  a  boxofifice 
flop  in  his  whole  career.  This,  in  particular,  is  a  mighty 
panorama  of  the  Alaskan  gold  rush.  You  will  find  every- 
thing here:  greed,  love,  pathos,  humor,  famine  and  wealth. 

In  a  way  "The  Trail  of  '98"  has  the  sweep  of  "The 
Co^'ered  Wagon."  You  follow  Brown's  fortune  seekers  with 
breathless  interest  from  the  moment  their  steamboat  puffs 
its  way  out  of  the  Golden  Gate,  laden  with  gold  maddened 
humans  from  c^'ery  corner  of  the  globe,  until  the  last  fade- 
out  after  the  burning  of  Dawson  City. 

The  whole  gold  rush  trail  is  here — over  the  snowy  perils  of 
Chilkoot  Pass  and  through  the  river  rapids.  The  big 
menace  is  always  Old  Man  Mercury,  hovering  at  forty  or  so 
below  zero. 

"The  Trail  of  '98"  is  that  dream  of  all  megaphone 
wiclders:  a  purely  director's  picture.  Still,  the  story  of  the 
six  principal  protagonists — played  by  Dolores  Del  Ric, 
Ralph  Forbes,  Karl  Dane,  Harry  Carey,  Tully  Marshall  and 
George  Cooper — ^is  never  lost.  Basically,  it  is  the  romance 
of  two  adventurers  in  the  Yukon,  one  a  young  Scotchman, 
the  other  the  granddaughter  of  an  old  Jew  making  a  last 
quest  for  a  fortune. 

It  has  tremendous  interest  as  Brown  pictures  it,  this 
last  stand  of  roystering,  hard-fisted  pioneer  America. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 


THE  TRAIL  OF  '98 
STREET  ANGEL 
DOOMSDAY  CZAR 


ABIE'S  IRISH  ROSE 

SADIE  THOMPSON 

IVAN  THE  TERRIBLE 


The  Best  Performances  of  the  Month 

L.  M.  LeonidofF  in  "Czar  Ivan  the  Terrible" 

Janet  Gay  nor  in  "Street  Angel" 

Charles  Farrell  in  "Street  Angel" 

Lionel  Barrymore  in  "Sadie  Thompson" 

Louise  Dresser  in  "His  Country" 

Jean  Hersholt  in  "Abie's  Irish  Rose" 

Gloria  Swanson  in  "Sadie  Thompson" 

Florence  Vidor  in  "Doomsday" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  146 


ABIE'S  IRISH  ROSE— Paramount 

AXXE  NICHOLS'  famous  play.  "Abie's  Irish  Rose," 
was  no  mere  success.  It  ran  four  years  in  New  York. 
It  had  remarkable  runs  everywhere  else.  The  natives  of 
Abyssinia  and  points  East  have  gone  wild  over  it. 

In  brief,  "Abie's  Irish  Rose"  was  not  just  a  play.  It  was 
not  just  a  hit.  It  was  an  epidemic.  They  had  to  burn  down 
theaters  to  get  it  out.  It  wore  out  a  score  or  so  playhouses 
during  its  long  runs.  In  New  York  the  wisecrackers  said 
that  the  original  cast  had  to  have  a  vacation  in  order  to  get 
its  collective  face  lifted. 

If  you  liked  "Abie's  Irish  Rose"  as  a  spoken  play,  you 
will  surely  like  it  as  a  shadow  drama.  It  has  all  the  tears 
and  laughter  of  the  original,  plys  the  usual  Hollywood 
elaboration. 

"Abie's  Irish  Rose"  concerns  the  serio-comic  marital 
problems  of  a  Jewish  bo\'  and  an  Irish  girl,  with  the  inevi- 
table racial  clashes  of  the  young  people's  families.  Holly- 
wood had  embroidered  the  war  into  an  elaborate  sequence. 
The  sub-titles  are  snappy.    U'hat  more  could  }ou  ask? 

True,  we  have  had  a  lot  of  Irish-Hebrew  comedies  during 
the  past  year  or  so  but  NOT  "Abie's  Irish  Rose." 

Charles  RogerS  is  a  likeable  Abie  and  Nanc>'  Carroll  is  an 
appealing  Rose.  Bernard  Gorcey  and  Ida  Kramer,  who 
jjlayed  Mr.  and  Mrs.  Isaac  Cnhen  2,327  times  behind  the 
footlights,  ha\-e  almost  perfected  their  roles.  J.  Farrell 
MacDonald  is  excellent,  but  the  outstanding  performance  is 
that  of  Jean  Hersholt  as  the  Jewish  father.  If  the  film  \ersion 
doesn't  amuse  you,  you  are  in  the  minority. 


DOOMSDA  Y—Paramount 

AT  last  Florence  Vidor  shakes  off  the  great  lady  manner, 
the  coy  sophistication,  the  tea-and-toast  comedy  tricks. 
Miss  Vidor  emerges  as  an  artist  and  proves  that  she  has 
something  real  to  give  to  the  screen.  In  this  fine,  intelligent 
story,  she  plays  a  household  drudge.  Although  she  loves 
Arnold  Furze,  played  by  Gary  Cooper,  he  can  only  offer 
her  the  further  drudgery  of  a  farmer's  wife.  So  she  marries 
a  rich  neighbor.     And  then  comes  the  drama. 

Rowland  V.  Lee  has  made  an  absorbing  picture.  Women, 
especially,  will  like  it  because  they  will  see  in  it  their  own 
problems,  their  own  mistakes.  And  admirers  of  Miss  Vidor, 
who  have  seen  her  fading  into  a  genteel  feminine  version  of 
Adolphe  Menjou,  will  be  glad  to  know  that  being  a  star 
hasn't  made  her  forget  how  to  act. 


CZAR  IVAN  THE  TERRIBLE— Sovkino 

MADE  in  and  about  the  mediexal  palaces  of  the  czars 
this  picture  has  never  been  surpassed  in  technical 
excellence,  direction,  and  superb  performances.  A  grue- 
some tale  of  life  in  Russia  of  the  sixteenth  centurj',  it 
would  perhaps  fail  in  popular  appeal  to  American  audiences, 
but  it  has  recei\ed  unstinted  praise  and  financial  success 
in  Russia.  Germany  and  France.  Ivan,  as  portrayed  by 
L.  M.  Leonidoff,  is  one  of  the  outstanding  characteriza- 
tions of  screen  history.  The  direction  of  Tarisch  is  flawless. 
It  is  one  of  the  few  excuses  for  the  existence  of  little  "art" 
film  theaters.  The  \icious  and  ignorant  and  unexcusable 
butchering  it  received  at  the  hands  of  the  New  ^'ork  State 
Board  of  Censorship  is  an  indictment  of  all  official  censor- 
ing bodies.     You  should  walk  a  mile  to  see  it. 


Photoplay  Gets  Its  Reviews  Months  Ahead 


SIMBA— 

Martin 

Johnson 

Corp. 


HIS 
COUNTRY- 

Pathe- 
De  Mille 


THE  Martin  Johnsons,  with  their  flair  for  getting  intimate 
with  \nld  animals,  have  made  another  jungle  picture. 
Really  just  a  travelogue,  but  far  more  entertaining  than  the 
a\^erage  movie.  Ferocious  beasts  allow  themselves  to  be 
photographed  in  the  most  disarming  poses.  The  climax  is  an 
exciting  battle  on  the  open  \'eldt  between  a  handful  of  natives 
and  a  Hon.     Be  sure  to  see  this.     It's  amusing,  and  beautiful. 


FROM  the  time  that  Peter  Plecznik  and  his  little  family  run 
the  gamut  at  Ellis  Island,  their  problems  become  yours.  As 
the  kindly,  trusting  Peter,  the  work  of  Rudolph  Schildkraut  is 
flawless.  Through  all  his  sorrows,  even  to  the  death  of  his  only 
son,  he  displays  a  sublime  patriotism  nothing  can  destroy. 
Louise  Dresser,  as  Ma  Plecznik,  has  her  best  opportunity  since 
"The  Goose  Woman. "    Her  characterization  is  deeply  moving. 


THE  SMART 

SET— 

M.-G.-M. 


THE 

FOREIGN 
LEGION— 
Universal 


WILLIAM  HAINES  is  a  brash  youth  a-ain.  This  time  he 
plays  a  lad  born  with  a  gold  spoon  in  his  mouth.  Polo 
and  flappers  are  his  chief  interests.  He  is  kicked  off  the  polo 
team  for  being  too  fresh.  Then  father  decides  to  make  a  man 
of  the  boy.  There  is  an  exciting  polo  game.  Probably  you  will 
like  Haines.  He  is  amusing.  And  Alice  Day,  Hobart  Bosworth 
and  Jack  Holt  lend  good  support. 


YOU  may  be  tired  of  Legionnaire  pictures  but  j'ou  will  like 
this  one.  After  all,  "  Beau  Geste"  said  it  all.  But  Director 
Edward  Sloman  has  devised  some  new  angles  from  Miss  I.  A.  R. 
While's  stor^'.  Once  again  a  heroic  young  man  takes  over  the 
burden  of  another's  guilt.  He  enlists  in  the  Foreign  Legion. 
Norman  Kerry  is  the  brave  hero,  Lewis  Stone  is  good  as  a 
legion  colonel  and  there's  an  effective  sandstorm. 


SKYSCRAPER 
—Pathe- 
De  Mille 


THE  COHENS 
AND  KELLYS 
IN  PARIS— 

Universal 


THIS  story  is  a  natural.  It  concerns  the  feud  between  two 
rival  riveters  in  the  raw  skeleton  of  a  metropolitan  sky- 
scraper. The  noisy  boys  are  William  Boyd  and  Alan  Hale  and 
they  both  love  Sue  Carol.  Laugiis,  some  hackneyed  plot  de- 
velopment— but,  on  tl'.e  whole,  a  novel  comedy  melodrama.  A 
bit  breathless  part  of  the  time,  when  you  consider  the  ozone 
that  is  below  our  rival  lovers.     It's  a  novelty. 

5J^ 


THIS  is  an  attempt  to  cash  in  on  the  great  popularity  of  "The 
Cohens  and  the  Kellys."  But  it  was  funnier  the  first  time. 
The  rival  families  now  disport  themselves  in  a  movie  director's 
grotesque  dream  of  Paris,  ending  up  with  the  inevitable  aero- 
plane and  some  wisecracks  about  Levine  and  Lindy.  Al  Cohn 
wrote  a  good  comedy  story  and  a  few  glimpses  of  Sue  Carol 
help.    Universal  should  not  let  this  sort  of  thing  become  a  habit. 


of  All  Other  Magazines.    Check  Up  and  See 


DRUMS  OF 
LOVE— 
United 
Artists 


A  BLONDE 
FOR  A 
NIGHT— 
Pathe- 
De  Mille 


THIS  is  D.  W.  Griffith's  long  awaited  retelling  of  the  Paolo 
and  Francesca  legend.  Now  it's  laid  in  the  South  America 
of  a  centurj'  ago  for  some  strange  reason.  Very  turgid,  with  too 
much  pageantry.  Mary  Philbin  flashes  a  lot  of  new  IT  and 
Don  Alvarado's  performance  will  add  to  his  fan  mail.  Too  bad. 
This  isn't  the  sort  of  picture  we  had  hoped  Griffith  would  give 
us.    The  old  master  can  do  better  bv  miles. 


DO  you  remember  "Up  in  Malicl's  Room"?  Again  we  have 
a  domestic  comedy,  starring  Marie  Pre^ost  and  Harrison 
Ford,  directed  by  E.  Mason  Hopper.  Added  to  this,  we  ha\e 
T.  Roy  Barnes  (delightful  as  e\er)  and  Franklin  Pangborn, 
doing  all  the  mischief  possible,  with  some  of  their  antics  verging 
on  to  slapstick.  Lucien  Littlefield  enjoys  "Learning  about 
marriage  through  a  keyhole"  and  you  will  like  Marie. 


BURNING 
DAYLIGHT— 

First  National 


SOFT  LIVING 
—Fox 


AN  interesting  tale  of  a  virile  he-man  who  refuses  to  have  the 
millions  he  made  in  the  Yukon  gold  rush  snatched  away  by 
San  Francisco  gentlemen  crooks.  Milton  Sills  digs  his  gold, 
manhandles  his  enemies  and  holds  a  gun  as  Jack  London, 
the  author,  would  have  had  him  do  it.  Doris  Kenyon  is  ador- 
able as  the  faithful  sweetheart.  Jane  Winton  makes  a  stunning 
vamp.     Splendid  everyday  entertainment.     Worth  seeing. 


MADGE  BELLAMY,  stenographer,  gets  $35  per  week  for 
making  good  while  her  much-alimonied  friend,  Mary 
Duncan,  gets  thousands  per  week  for  failing.  Why  not  try 
alimony?  Madge  marries  Johnny  Mack  Brown  with  only  this 
in  view,  and  discovers  she  doesn't  want  alimony  at  all.  Henry 
Kolker,  Thomas  Jefferson  and  others  help  in  this  venture. 
You'll  like  the  way  Madge  and  Johnny  work  out  their  problems. 


FEEL  MY 

PULSE— 

Paramount 


LOVE  ME 
AND  THE 
WORLD  IS 
MINE— 
Universal 


RUM  runners  seize  Barbara  Banning's  sanitarium.  A  wise 
young  newspaper  man  is  assigned  to  the  story.  Naturally, 
Richard  Arlen,  as  the  reporter,  falls  in  love  with  Barbara,  who  is 
Bebe  Daniels.  William  Powell  makes  it  exciting  as  the  head  of 
the  rum  gang.  There  are  dull  moments  as  it  switches  suddenly 
from  slapstick  to  sentiment  and  back  again.  Not  as  good  as 
some  of  Bebe's  recent  ones,  but  quite  entertaining  at  that. 


A  STORY  of  war-time  Vienna,  conspicuously  lacking  in  the 
gayety  and  romance  it  advertises,  and  with  practically  no 
plot.  It's  mostly  a  sort  of  Daddy  Browning  affair  between  Mary 
Philbin  and  Henry  Walthall.  The  general  effect  is  dowdy,  old- 
fashioned,  and  tiresome,  in  spite  of  a  few  spirited  scenes  with 
Betty  Compson.  This  was  done  by  the  director  of  "Variety, "but 
don't  let  that  fool  you  into  going.  [Additional reviewso7ipagel47] 

55 


<ife 


TN  this  final  in- 
stallment Miss 
Bow  tells  about 
her  first  success, 
her  loves  and  her 
philosophy  of 
living 


"I  am  happy — as  happy  as  anyone  can  be  who  believes  that  life  isn't 

quite  to  be  trusted.    I  give  everything  I  can  to  my  pictures,  and  the  rest 

to  being  young  and  trying  to  make  father  happy.    I  don't  think  I'm  very 

different  from  any  other  girl" 


T.V  the  previous  installments  of  this  engrossing  storv,  Clara  Bow 
-*■  told  of  her  early  life  in  Brooklyn;  of  her  love  for  her  father;  of 
her  devotion  to  her  pathetic  mother.  Clara  was  the  tomboy  of  the 
neighborhood— a  strange,  vivid  but  far  from  pretty  child. 

She  entered  a  motion  picture  contest  and  won  a  prize.  But 
when  she  tried  to  find  work  in  the  studios,  she  ivas  snubbed  and 
ignored.  Iler  mother,  desperately  ill,  fought  against  Clara's 
career.  One  night,  in  a  fit  of  insanity,  she  tried  to  kill  Clara. 
After  getting  her  first  chance  in  "Down  to  the  Sea  in  Ships," 
Clara  decided  to  give  up  pictures,  for  her  mother's  sake.     The, 


Mother  was  on  a  couch 
in  the  living  room.  She  was 
white  and  still.  She  did  not 
know  me.  She  never  knew 
me  again,  though  I  used  to 
try  so  hard  to  make  her. 
For  days  she  lay  like  that 
and  I  cared  for  her,  trying  to 
ease  the  paroxysms  of  pain 
when  they  came. 

And  just  then,  with  the 
peculiar  way  fate  has  of  al- 
ways bringing  extremes  into 
my  life,  my  first  chance  in 
pictures  came.  They  sent 
for  me  to  play  a  little  danc- 
ing girl  in  "Enemies  of 
Women."  At  first  I  didn't 
want  to  do  it.  I  didn't 
think  I  could,  my  heart  was 
so  heavy.  But  there  was 
nothing  I  could  do  for  motherand  Dad  insisted  that  I  go 
ahead.  He  saw  that  I  was  breaking  down  under  those 
days  of  silent  grief,  of  being  shut  up  all  the  time  in  one 
room  with  mother  like  she  was. 

It  was  only  a  bit  in  the  picture.  I  danced  on  a  table. 
All  the  time  I  had  to  be  laughing,  romping  wildly,  dis- 
playing nothing  for  the  camera  but  pleasure  and  the  joy 
of  life.  As  I  say,  it  was  only  a  bit,  but  no  matter  what 
parts  I  have  been  called  upon  to  play  as  a  star,  or  ever 


from&Mei'  ''"^^^^  ^^me  from  a  party  by  an  urgent  message      will  be,  notone  of  them  could  compare  in  difficulty  to 
Now  go  on  with  the  concluding  installment. 

THAT  night,  after  my  father  called  me  on  the 
telephone  at  the  party  and  told  me  to  come  home, 
we  went  through  the  dark  streets  in  silence.  All 
the  laughter  and  gaiety  had  fled.  We  were  just 
scared  kids.  I  remember  thinking  then  that  fun  didn't 
seem  to  last  very  long,  that  something  terrible  always 
happened,  and  maybe  it  was  best  to  get  all  you  could 
out  of  it  when  you  could. 

50 


that  role.  I'd  go  home  at  night  and  help  take  care  of 
mother;  I'd  cry  my  eyes  out  when  I  left  her  in  the 
morning — and  then  go  and  dance  on  a  table.  I  think 
I  used  to  be  half-hysterical,  but  the  director  thought  it 
was  wonderful. 

One  day  when  I  was  on  the  set  working,  in  some  sort 
of  a  little  scanty  costume,  I  looked  up  and  saw  father 
standing  there.  One  look  at  his  face  told  me  that  the 
end  had  come.  I  walked  over  to  him  and  just  stood 
staring.  I  was  paralyzed.  I  don't  think  I  had  realized 
until  that  moment  that  mother  was  really  going  to  die. 


s 


tory 


By  CLARA  BOW 

as  told  to 

Adela  Rogers  St.  Johns 
Clara's  Three  Engagements 


And  I  don't  think  I  had 
ever  realized  how 
much    I    loved    her. 

Looking  back  on  it 
now,  it  seems  tome  that 
the  day  of  my  mother's 
funeral  was  the  be- 
ginning of  a  new  life  for 
me.  Perhaps  it  was  the 
birthday  of  the  Clara 
Bow  that  you  know. 
The  end  of  my  kid  life 
had  come.  Sorrow  and 
disappointment  had 
been  my  lot  so  much 
that  I  didn't  believe  in 
anything  but  trying  to 
get  what  you  could  out 
of  life.  I've  come  to  a 
saner  philosophy  now, 
but  then  I  was  just 
hard  and  bitter. 

On  that  day,  we 
went  across  to  Staten 
Island  on  the  ferry,  and 
I  sat  absolutely  motion- 
less all  the  way,  my 
hand  cold  and  frozen 
in  my  dad's.  All  feel- 
ing had  left  me.  Lone- 
liness engulfed  me. 
Even  during  the  serv- 
ices, in  the  church 
and    at    the    grave,    I 

didn't  cry.  Dad  said  my  face  was  like  a  piece  of  marble. 
Poor  dear,  he  was  weeping  enough  for  two  of  us,  but 
I  couldn't  cry.  When  they  started  to  lower  the  coffin  in- 
to the  ground,  my  heart  began  to  beat  again.  Then 
the  clergyman  turned  and  told  me  to  throw  the  first 
pieces  of  earth  down  upon  her  I  had  so  greatly  loved. 

A  T  that,  I  came  to  life  and  went  crazy.  I  tried  to 
-^*-jump  into  the  open  grave  after  her.  I  screamed  and 
cried  out  that  they  were  all  hypocrites,  they  hadn't 
loved  her  when  she  was  alive,  or  cared  for  her,  or  done 
anything  to  make  life  easier.  I  raved  and  fought  like 
a  little  wildcat.  The  thought  of  leaving  her  there  in 
that  hard,  cold  ground  tortured  my  imagination  be- 
yond bearing. 

And  then  I  was  overcome  with  remorse.  Just  think, 
when  she  felt  the  way  she  did  about  pictures,  I'd 
actually  laeen  working,  dancing  on  a  table  with  just  a 
few  clothes  on,  when  she  left  me  for  good.  A  deep 
knowledge,  perhaps  the  deepest  emotion  I  had  ever  had 
in  my  life,  came  to  me  then  of  how  much  she  had  loved 
me.  I'd  been  the  only  thing  she'd  ever  had  to  love, 
she'd  poured  all  the  frustration  of  her  soul  out  upon  me. 
And  I'd  disappointed  her,  gone  against  her  wishes. 

I  felt  that  I  never  wanted  to  see  another  motion 
picture.  I  was  very  ill  again  after  that.  And  for  a 
while  I  stuck  to  my  resolution  about  motion  pictures. 
But  Dad — who  is   so   very  sensible,  who  knows  the 


Gilbert  Roland 


"When  I  met  Gilbert 
Roland  I'd  never  been  in 
love  in  my  life.  We  used 
to  sit  and  just  look  at  each 
other.  I  think  we  might 
have  been  happy  together 
if  outside  things  hadn't 
interfered  so  dreadfully.  I 
look  back  on  my  first  love 
story  with  tender  memo- 
ries and  maybe  a  tear, 
though  I  know  it  can  never 
come  again" 


Clara  Bow  and 

Victor  Fleming 

"Victor  Fleming  is  a  won- 
derful man  and  he  had  a 
tremendous  and  very  fine 
influence  on  my  life.  He 
showed  me  that  life  must 
be  lived,  not  just  for  the 
moment,  but  for  the  years. 
Our  feeling  for  each  other 
became  more  that  of  close 
friendship  than  that  of 
lovers.  ...  I  was  young  and 
I  needed  romance" 


"While  I  was  making 
'Children  of  Divorce,'  I 
met  a  young  man  named 
Gary  Cooper.  He  was  new 
to  the  screen.  I  always 
like  to  help  anyone  who  is 
new.  Well,  we  fell  in  love. 
It  was  very  wonderful 
while  it  lasted.  It's  very 
difficult  to  be  a  motion 
picture  star  and  be  mar- 
ried. So  many  fail  at  it. 
Gary  was — so  jealous" 


world  well  and  understands  so  much — talked  it  all  over 
with  me.  I  remember  he  came  in  and  sat  on  the  end 
of  my  bed  one  night  and  looked  down  at  me. 

"Little  daughter,"  he  said,  "you're  making  a  big 
mistake.  You're  very  young  and  I  know  you  think 
your  heart  is  broken.  But  it  isn't.  You  mustn't  allow 
it  to  be.  You  have  a  long  life  ahead  of  you,  and  your 
mother — as  she  was  before  her  illness  changed  her — 
would  want  you  to  go  on  and  live  it  to  the  fullest.  She 
was  a  very  wonderful  woman  and  she  expected  a  great  deal 
of  you.  It  would  make  her  so  unhappy  to  know  that 
your  grief  is  ruining  your  life.  And  at  the  time  when 
she  was  herself,  she  would  have  understood  your  am- 
bition, your  desire  to  be  in  pictures.  She  loved  beauty 
and  all  expressions  of  it.  So  you  must,  for  her  sake  and 
your  own  and  mine — because  after  all,  Clara  darling, 
I'm  still  here  and  I  need  you,  too — you  must  pull  your- 
self together  and  do  your  work.  " 

npHAT  woke  me  up.  I  hate  a  quitter  and  I  saw  that 
-*-  I  was  quitting.  And  I  knew  he  was  right,  that  if 
mother  had  been  herself  she  would  ha\e  understood 
my  picture  work.  So  I  started  in  again  looking  for 
work.  I  don't  believe  anybody  ever  had  a  harder 
time  getting  started  in  pictures  than  I  did. 

You  see,  I  had  to  make  a  niche  for  myself.  If  I  am 
different,  if  I'm  the  "super-flapper"  and  "jazz-baby" 
of  pictures,  it's  because  I  had  [continued  on  page  108] 

57 


From  her  early  babyhood,  Jobyna  was  at  home  before 
the  camera.  Her  mother  was  Mrs.  Kemp-Raulston, 
South  Pittsburg's  only  photographer,  and  in  her  little 
studio,  she  trained  her  daughter  for  a  movie  career. 
Here  is  one  of  the  pictures  that  the  mother  took  of  her 
little  girl 


THERE  are  always  plenty  of  pretty  stories  to  be 
picked  up  in  southern  Tennessee,  that  magic  land 
of  wild  honeysuckle,  roses  and  magnolia  where 
even  in  winter  the  sky  hangs,  fragrant,  balmy, 
above  purple-topped  mountains  and  pale  green  valleys. 
And  now  since  visiting  the  little  mountain  town  of 
South  Pittsburg,  not  more  than  forty  miles  from  the 
Georgia  line  in  Tennessee,  I  shall  never  see  white  roses 
without  thinking  of  a  little  girl  reared  in  that  place. 
The  little  girl  grew  up  in  a  rose  garden,  so  to  speak, 
which  formed  the  side  yard  of  the  old  fashioned  red 
frame  house  with  galleries  running  along  one  side  both 
upstairs  and  down.  The  house  stands  on  the  main 
business  street  and  stores  have  grown  up  all  around  it. 
But  the  garden  with  its  great  bushes  of  white,  fragrant 
roses  remained  intact  through  the  years  and  came  to 
play  an  important  part  in  this  little  girl's  life. 

The  little  girl  is  Jobyna  Ralston,  a  favorite  with 
thousands  of  film  fans,  a  fact  which  Jobyna  appreciates 
very  much,  but  no  more,  I  believe,  than  the  fact  that 
all  her  life  she  was  a  favorite  in  her  old  home  town. 

Jobyna's  mother  was  the  town's  only  photographer 
and  a  good  one.  There  were  two  children,  Jobyna  and 
her  younger  brother  who  is  with  her  in  Hollywood. 

58 


Just  a 

Small 
Town 

Girl 

By 

Catherine  S.  Prosser 


What  the  folks  in 
Tennessee  remember 
about  the  childhood 
of  their  own  Jobyna 
Ralston,  now  Mrs. 
Richard  Arlen 


When  there  was  spare  time  she  was  making  pretty 
dresses  for  Jobyna,  curling  her  long  curls  over  her  finger 
about  the  little  girl's  face  and  often  posing  her  for  hours 
before  her  best  camera. 

"Not  that  you  are  so  pretty  at  all,  Jobyna.  But  all 
this  will  help  you  later,"  the  practical-minded  mother 
said. 

And  all  the  time  Mrs.  Kemp-Ralston  had  plans  for 
herdaughterinthebackof  her  alert  mind.  From  the  first 
she  ever  heard  of  motion  pictures  she  was  interested. 
The  magic  photography  of  the  cameras  thrilled  her. 
She  bought  every  movie  magazine  available,  learned  of 
the  stars  and  the  directors,  kept  up  with  producers  and 
their  latest  releases. 

Jobyna  photographed  well ;  Mrs.  Ralston  decided  she 
would  screen  well.  She  had  always  had  some  dramatic 
talent.  If  she  could  teach  her  poise  before  the  camera, 
how  to  lose  that  self-consciousness  that  was  so  fatal  to 
some  screen  players,  she  knew  that  she  would  have 
started  Jobyna  in  the  right  direction  when  the  time 
came  to  seek  the  opportunity  to  get  into  films. 

Jobyna  was  sixteen  when  she  had  her  first  serious  love 
affair.  Then  as  she  sat  in  the  rose  garden  it  was  always 
in  company  with  a  hand-       [continued  ON  page  111] 


LJAVt    y.u 

-*-  -^evcr  nuticed 
that  most  of  the 
alluring  screen 
beauties  are  small- 
town girls?  Jean- 
ette  Loff  comes 
from  Wadena, 
Canada.  Try  to 
find  it  on  the  jnap. 
But  you'll  have  no 
trouble  finding 
Jeanette  in  "Hold 
'Em,  Yale." 


A  NNOUNCING  two  new  screen  duos  now  singing 
*-love's  old  sweet  song.  Here  are  John  Barrymore  and 
Camilla  Horn  in  a  scene  from  "The  Tempest."  The  suc- 
cess of  Gilbert  and  Garbo  and  of  Colman  and  Banky  has  sent 
all  the  men  stars  on  a  search  for  congenial  ladies  to  share 
their  close-ups.  Fraulein  Horn  was  imported  from 
Germany,  after  a  succession  of  local  beauties  had  failed 
to  supply  that  certain  something  to  the  romantic  scenes 
of  the  film.     Do  you  like  the  team? 


OR  do  you  prefer  the  strictly  American  team  of  Fay  Wray  and  Gary  Cooper?    In  "The 
Leoion  of  the  Condemned,"  Fay  and  Gary  worked  together  so  sympathetically  that 
Paramount  has  decided  to  co-star  them  in  a  series  of- light  romances  of  the  younger  gener- 
ation. 


^n7HAT  has  happened  to  D.  W.  Griffith?    Has  he  lost  interest  in  the  Ehie  Dinsmore 
^^  heroine  whose  only  playmate  was  her  canary  bird?  Anyway,  he  has  chosen  Lupe 
Vele?,  Mexico's  IT  girl,  for  the  leading  role  in  "The  Battle  of  the  Sexes." 


More  Luck  O'  the  Irish 


Little  Hoosier  with  long  hair 
selected  as  Harold  Lloyd's 
next  leading  woman  because 
she's  a  typical  Irish  girl  of 
New  York's  East  Side 

By  Frances  Denton 


GIRLS,  girls,  maybe,  after  all,  you  may  have  been 
too  swift  with  the  shears. 
Maybe,  when  that  bob,  bob,  bobbin'  came 
bob,  bob,  bobbin'  along,  you  should  have  ignored 
the  new  fashion,  kept  your  heads — and  on  your  heads 
kept  all  your  hair. 

Ann  Christy  did. 

And  now  she's  Harold  Lloyd's  leading  woman,  the 
fourth  leading  woman  he's  had  since  he's  been  making 
pictures  for  himself. 

And  she's  his  fourth  leading  woman  with  long  hair. 

His  first  was  Bebe  Daniels.  She  was  fifteen  when  she 
got  the  job,  and  her  hair  was  hanging  down  her  back  in 
braids.  His  second  was  Mildred  Davis,  then  seventeen, 
and  her  hair  was  hanging  down  her  back. 

His  third  was  Jobyna  Ralston,  then  eighteen,  and  her 
hair  was  hanging  down  her  back. 

His  fourth  is  Ann  Christ}',  once  of  Logansport,  Ind. 
She's  nineteen — and  just  look  at  her  hair. 

It's  worth  looking  at,  because  there  aren't  many 
other  woman's  crowning  glory  like  it  in  Hollywood. 
There,  as  elsewhere,  everybody's  bobbing  it. 

Ann  Christy — she's  exactly  five  feet  tall — went  to 


Hollywood  four  years 
intention  of  going  into 
pictures. 

Born  in  Logansport, 
she'd  lived  in  Indianap- 
olis, and  came  to  Holly- 
wood  to  enter  the 
business  world. 
In  Hollywood  she 
studied  bookkeeping.  In 
Hollywood  she  got  a  job 
as  bookkeeper  in  the 
office  of  a  finance  com- 
pany, and  she's  held 
that  job  for  over  two 
years. 

But,  although  she  was 
keeping  books,  she  also 
was  keeping  her  blue 
eyes  open.  Seeing  a 
chance  to  pick  up  more 
money  in  pictures,  she 
took  it.  But  hair  or  no 
hair,  she  set  no  studios 
on  fire. 

Luckily  for  Ann,  she 
was  not  the  only  person 
in  the  picture  business 
whose  eyes  were  open. 


ago     without     the     slightest 


Think  before  you  bob!     Ann  Christy  got  her 
job  because  she  resisted  the  Great  Temptation 


One  other  was  Harold  Lloyd,  who,  even  when  he's  not 
wearing  his  spectacles,  can  see  pretty  well. 

He  was  looking  for  a  new  leading  woman.  He  needed 
her  for  his  new  picture  upon  which  he's  already 
spent  more  than  $100,000  for  sets  in  California  and 
upon  which  he'll  spend 
several  months  in  New 
York — the  picture  hav- 
ing a  New  York  back- 
ground. 

What  he  was  partic- 
ularly looking  for  was  an 
Irish  girl  typical  of  the 
East  Side. 

And  here's  where  Ann 
Christy  got  her  share  of 
the  luck  of  the  Irish — 
and  got  it  by  right  of 
birth,  her  real  name  be- 
ing Cronin,  and  if  Cro- 
nin  isn't  Irish,  what  is 
it? 

Her  picture  happened 
to  appear  in  a  Los  An- 
geles newspaper  as  illus- 
trative of  a  new  way  of 
wearing  clothes  —  not, 
mind  you,  a  new  way  of 
wearing  hair. 

Lloyd,  sitting  at 
breakfast  with  his  wife, 
Mildred  Davis,  was read- 
[CONTINUED  ON  PAGE  92] 

63 


'Still  in  negligee!    Don't  be  absolutely  silly,  my  dear. 
This  is  my  new  evening  outfit!" 


What  happens 

when  a 

Bill  Hart  film 

plays  the 

South  Seas 


Robert  Dean  Frisbie 


ILii^  ij^  ivi 


Mr.  Frisbie,  the  author  of  "  IVillianm  Cowboy,"  will  not  know 
until  May  that  his  story  has  been  accepted  and  published  bv 
Photoplay.  He  submitted  the  story  from  Penrhyn  in  the  South 
Seas  with  this  explanation:  "This  is  a  true  story  of  how  a 
Polynesian  village  goes  to  see  William  S.  Hart  in  the  viovies.  I 
think  it  is  the  best  thing  I  have  done  as  far  as  truthfully  depicting 
native  psychology  goes. 

"I  will  stop  here  in  Penrhyn  for  the  next  six  months  to  buy 
pearls  and  copra,  and  then  will  probably  return  to  my  trading 
station  at  Danger  Island.  No  mail  will  come  my  way  until  next 
May  and  you  will  not  hear  from  me  again  until  July  or  even 
August." 

— The  Editor. 

.•XCKED  to  the  big  mango  tree,  where  the  trail 
leading  from  my  house  on  the  beach  joins  the  main 
Tahiti  road,  was  a  glaring  vellowposter,  proclaim- 
ng: 

Big  TixMe  In  \'aiite 


T 


To  the  children  of  Tahiti,  every  last  mother's  son  of 
6i 


them,  listen  well  to  this  very  new  news.  Never  have 
you  seen  a  picture  as  thrilling  as  the  one  which  will  be 
exhibited  tonight  in  Abraham's  Cinema  Palace  and 
Dance  Hall.  If  you  wish  to  cry,  if  you  wish  to  laugh, 
come  tonight  and  see  the  spectacular,  blood-curdling, 
ferocious  heroic 

WiLLiAMu  Cowboy! 

the  great  hero  of  America!  A  hero  he  is,  wild-eyed  and 
terrible.  He  can  carry  more  fei  down  from  the  moun- 
tains than  any  three  sons  of  Tahiti,  and  can  throw  a 
spear  three  times  as  far  as  the  redoubtable  chief  of 
Papara! 

He's  a  horse-breaking,  Indian-killing,  card-shufifling, 
woman-winning,  son  of  a  gun  of  a  hero! 

Laugh  with  Williamu  Cowboy  as  he  single-handed  kills 
eighteen  sheep  herders! 

Weep  with  Williamu  Cowboy  over  the  trouble  he  has 
with  his  sweetheart! 


C.  A.  BRYSON 


The  ticket  window  was  open.  Tarva, 
the  school  teacher,  was  the  seller. 
"Well,  well,  Ropati,"  he  said.  "How 
glad  I  am  to  see  you  again!"  He 
politely  declined  to  hurry.  "What  is 
thenewsfromyourendofthedistrict.'" 


Nui-:  "Yes.  Where  are  you 
going?" 

Terii-:  "Nowhere.  Where  are 
you  going?" 

Nui-:  "I  am  just  going.  Where 
are  \ou  from?" 

Terii-:  "From  windward.  Where 
are  you  from?" 

Nui-:  "  From  nowhere.  What  is 
the  news  from  your  section?" 

Terii-:  "Nothing.  What  is  the 
news  from  your  section?" 

Nui-:    "Nothing." 

Now  that  they  have  agreed  that 
there  is  a  dearth  of  news,  Nui- 
woman  immediately  begins  teUing 
thenews:  "There  will  be  a  cinema 
tonight!" 


so.'' 


Come  Everybody  Tonight! 

Three  Francs  a  Ticket ! 

Let's  All  Go  Together  ! 

Early  in  the  morning,  before  sunrise,  I  walked  to  the 
big  mango  tree  to  await  the  Chinaman  who  would  bring 
my  morning  bread.  I  found  a  crowd  of  natives  gathered 
about  the  poster.  Among  them,  was  the  village  school- 
master with  his  bonysix  foot  four  inches  towering  above 
the  rest,  while  he  read  the  proclamation,  slowly, 
augustly,  magnanimously,  midst  the  accompanying  ahs 
of  natives. 

Rotund  Nui-woman  came  hobbling  down  the  road 
with  her  asthmatic  pant  and  great  bulging  eyes.  Shriv- 
eled little  Terii-woman  met  her  near  to  where  I  was 
standing.  Thus,  I  overheard  the  inxariable  exchange  of 
platitudes  that  such  a  meeting  must  beget. 

Nui-woman:   "laorana,  are  you  living?" 

Terii-woman:   "Yes,  and  are  you  living?" 


Terii-woman:     "Ah,    is    that 
Are  you  going?" 

Nui-:  "I  don't  know.  Are  you 
going?" 

Terii-:    "How  should  I  know?" 

With  that  they  hobbled  off  to  ex- 
change the  same  enlightening  con- 
versation with  some  other  neighbors, 
— or  perhaps  to  deliberate  on  wheth- 
er they  should  wear  their  green  silk 
frock  tonight,  or  the  yellow  and 
purple  one  with  its  trimmings  of 
Japanese  lace. 


■'  A  H,  a  cinema  tonight!"  Old 
■'■  *-Tuahu,  my  native  foster-father, 
spoke  reflectively,  yet  there  was  an 
unusual  tremor  in  his  tone  as  though 
even  lie,  the  district's  most  dignified  old  man,  could  be 
affected  by  the  general  excitement.  I  was  having 
breakfast  there  that  morning  for  I  had  arranged  to  stay 
there  while  a  new  roof  was  being  put  on  my  house. 

"My  son,"  he  went  on,  "you  ha\e  never  seen  a 
\'aiite  cinema,  so  tonight  I  am  going  to  take  you,  and 
you  can  explain  many  things  which  ha\e  long  been  a 
puzzle  to  me." 

Tuahu's  words  were  decisive,  for  when  my  old  foster- 
father  made  up  his  mind  to  a  thing  there  was  no  gain- 
saying him. 

I  don't  relish  these  island  shows.  I  saw  one  in  the 
more  pretentious  theater  in  Papeete,  and  remember  that 
it  was  photographed  when  the  industry  was  in  its  in- 
fancy. It  was  entitled  "The  American  Rose,"  and  I  had 
vaguely  remembered  seeing  it  some  twelve  or  fifteen 
>ears  before  while  attending  a  Connecticut  boarding 
school.  Upon  realizing  that  this  vestige  of  a  nascent 
industry  had  been  shown  in  Papeete,  I  wondered  what 
they  would  throw  on  the        [  continued  on  page  81  ] 

Q5 


lie  Makes  Good  at 

59 


''Mother'' 
Mann  has 
Scotch  thrift 
and  Scotch  de- 
termination , 
which  explains 
how  she  Hved 
for  so  long  on 
her  meagre 
earnings  from 
"extra"  parts 


"•yT  was  the  waitin',  the  waitin',  the  waitin'.     Just 

I  think  of  eleven  long  years  of  just  atmosphere  before 

1  a  chance  finally  came  along.     Once  I  thought  I 

almost  had  my  chance  within  my  grasp — that  was 

when  I  played  the  mother  in  'Hearts  of  Humanity'  for 

Alan  Holubar  at  Universal — then  came  the  finish  of  the 

war  and  that  killed  the  vogue  of  white-haired  mother. 

"  I  really  don't  know  what  it  was  that  made  me  want 
to  work  in  pictures,  except  possibly  the  fact  that  all  of 
my  friends  told  me  that  I  should.  Whenever  there  was 
a  snap-shot  picture  taken  of  any  of  us  I  always  photo- 
graphed very  well.  They  finally  had  their  way,  for 
eleven  years  ago  I  came  from  San  Diego  to  Hollywood 
and  tried  to  get  a  job  in  pictures  and  three  days  after 
I  got  here  they  put  me  to  work  at  Universal.  Only 
atmosphere  to  be  sure,  but  I  was  in  the  pictures  and  I 
was  working.  That  in  itself  was  something  of  an  ac- 
complishment, as  I  have  since  learned. 

"Today,  I  understand  from  those  that  have  seen  me 
in  'Four  Sons'  that  I  am  standing  on  the  edge  of  star- 
dom. I  don't  want  to  be  a  star,  but  I  do  want  to 
play  nice  parts  in  nice  pictures,  parts  in  which  the  pub- 
lic will  like  me,  parts  in  which  I  can  be  a  mother  to  a 
lot  of  children — children  that  I  might  have  had,  had 
they  lived  to  grow  up.  Unfortunately  those  that  I  bore 
all  died  at  birth.  And  I  was  the  fourth  of  a  family  of 
ten,  anfl  to  me,  as  a  little  girl,  fell  the  major  part  of  the 
task  of  bringing  up  the  six  that  came  after  I  did." 

There,  in  a  few  words,  you  have  the  story  of  Margaret 
Mann,  who  after  being  an  extra  for  eleven  years  finally 
has  taken  her  place  in  the  front  ranks  of  the  screen 
mothers  because  of  her  playing  in  "Four  Sons,"  which 
was  reviewed  by  Photoplay  under  its  original  title  of 
"Grandma  Bernle  Learns  Her  Letters." 

It  is  a  role  which  will  take  you  by  the  throat  and 
force  a  sob  from  \ou  no  matter  how  hard  boiled  you  are, 
a  role  that  is  going  to  cause  more  wet  handkerchiefs 
than  did  that  of  Belle  Bennett  in  ".Stella  Dallas,"  a  role 
that  is  going  down  into  screen  history  topping  that  of 
Mary  Carr'sin  "Over  the  Hill." 


Margaret  Mann 
waited  eleven  long 
years  for  the  role  of 
Grandma  Bernle 

By 

Frederic  H.  Schader 


All  Hollywood  knows  that  Margaret  Mann  has  ar- 
rived. Those  who  played  in  the  picture  with  her  have 
spread  her  fame.  She,  herself,  doesn't  realize  it  and 
she  probably  won't,  until  the  picture  is  released.  But 
even  now  they  are  negotiating  a  contract  with  her  for 
the  next  vear  at  the  Fox  Studios.  She  is  another  of 
those  "finds"  that  have  come  along  under  the  produc- 
tion regime  of  Winfield  R.      [  coxtixued  on  page  96  ] 


As  Grandma  Bernle,  she  plays  one  of  those  unforget- 
table r6!es  that  mark  thediflference  between  impecu- 
nious obscurity  and  comfort  and  security 


Sally  Phipps,  Fox's  fairest  and  newest  gift  to  the 
fans.  A  sure  cure  for  that  sluggish  box-office  state- 
ment and  the  right  answer  to  the  public's  demand 
for  youth,  personality  and  ability  among  the  leading 
roles 


Summary 
of 

Sally 


SURNAME  Phipps.  Ej-es  the  golden 
brown  color  of  the  real  old  stuff. 
Bobbed  hair  like  a  red-gold  autumn 
leaf.  Height,  five  feet  two  and  a  half. 
Weight  perfect.  Age  nothing  to  speak 
about.    Ambitions  plenty. 

Really  a  narrowly  averted  tragedy  be- 
cause of  once  almost  going  highbrow.   This 
induced  by  an  overdose  of  study  at  the  San 
Francisco  High  School.     Actually  believed 
for  a  while  she  wanted  to  become  a  lawyer 
or  a  doctor  or  something  very  professional. 
Fortunately    before    the    diplomas    came 
visited  Los  Angeles  and  went  swimming  at 
one  of  the  leading  beach  clubs.    After  that, 
only  a  matter  of  form.     Fox  Film  scouts 
who  unearthed  such  jewels  as  Janet  Gaynor, 
Olive  Borden  and  June  Collyer  induced  our 
heroine  to  take  a  film  test.     Cast  her  for  a  row  of 
flappers.     After   "The   High  School  Hero,"  Winfield 
Sheehan  gave  her  a  five-year  contract. 

Has  now  torn  up  sheepskin  degrees  for  pigskin  make- 
up case.  Heartwhole  but  very  provocative.  Baby  star 
of  Nineteen  Twenty-eight.  Dri\es  her  own  roadster  and 
looks  all  set  to  take  stardom  climb  in  high. 


Sally  had  aspired  to  a  sign  tacked  up  on  the  old  homestead  bearing  her  name  followed  by  M.  D.  or 

Attorney-at-Law.    But  a  visit  to  Hollywood  persuaded  her  that  beauty  is  more  valuable  than  brains 

and  that  a  shingle  on  the  head  is  worth  two  on  the  front  door 


Ql 


aking  A 


Illustrated    hy 
Russell   Patterson 


Tom  tries  to  throw 
the  bull  in  ''Quo 
Vadis,"  but  the  bull 
sees  him  first  and 
throws  the  whole 

company. 

Our  hero  loses  his 

youthful  faith  in 

history  and  dumb 

animals 


AFTER  I  had  been  paid  S500  by  a  movin  picture 
concern  for  bulldoggin'  a  buffalo  which  really 
buUdogged  himself  an'  which  I  wrote  about  in 
the  last  chapter,  the  million  dollars  I  was  a 
seekin'  didn't  seem  so  far  away. 

As  a  young  feller  I  used  to  hear  cattlemen  in  Texas  an' 
Oklahoma  talk  in  what  seemed  to  me  like  big  figures, 
but  they  were  a  bunch  of  handshakers  compared  to  the 
conversation  of  the  movin'  picture  folks  I  was  now  a 
stringin'  along  with.  An',  it's  the  same  way  yet — time 
hasn't  improved  'em  or  cut  down  the  verbal  overhead. 

George  Walwrath,  business  manager  of  the  concern, 
would  mention  875,000  or  vS100,000  in  the  same  tones  a 
coupl'a  cowhands  would  discuss  a  coupl'a  stray  steers. 
I  used  to  wonder,  an'  I  still  wonder,  where  the  movin' 
picture  folks  went  to  school  to  be  able  to  count  up  as 
high  as  they  can. 

I  got  to  thinkin'  along  this  line  an'  wondered  what  I'd 
do  if  someone  would  come  along  an'  pay  me  my  million 
— who'd  count  it  so  I'd  know  it  was  all  there?  I  just 
reckoned  I'd  better  keep  close  to  the  movie  people,  for 
if  anybody  could  count  it  they  could. 

One  day  I  got  to  estimatin'  how  much  a  million  dollars 
in  gold  would  weigh.  Without  slate  or  pencil,  Wal- 
wrath studied  a  moment  an'  told  me  it  would  be  about 
4000  pounds. 

"If,"  says  I,  "a  good  pack  horse  can  carry  250 
pounds  without  discomfort  or  gettin'  a  sore  back,  how 
many  horses  will  it  take  to  carry  a  miilion  dollars?" 

r>8 


Walwrath  slanted  his  eye  at  a  big  white  cloud  and 
figured.  "Tom,"  says  he,  "are  you  a  aimin'  to  freight 
your  million  back  toTexas  whenyougetit?"  "Sure,"  I 
told  him,  "that'll  be  the  only  safe  way."  "Well,"  he 
says,  "you  got  to  go  out  an'  buy  sixteen  horses  besides 
the  one  you're  ridin'.  Each  horse  can  carry  about 
vS60,000."  "That's  fine,"  I  told  him,  "then  I'd  only 
lose  ^S60,000  if  one  of  'em  got  away  or  twice  that  if 
they  stampeded." 

The  movie  man  advised  that  I  let  the  bank  transport 
the  million.  That  sounded  like  foolish  talk  to  me,  be- 
cause if  they  sent  it  to  Texas,  they'd  have  to  have 
guards  an'  I  felt  that  if  there  was  any  better  guard  for 
a  million  dollars  belongin'  to  me  than  me,  I  didn't 
know  his  name. 

I  might  say  at  this  point  that  freightin'  a  million  dol- 
lars in  gold  to  Texas  overland,  wouldn't  be  any  more 
dangerous  or  hazardous  than  tryin'  to  hang  on  to  a 
million  in  Hollywood,  once  you  got  it.  I  know,  because 
I  plead  guilty  to  havin'  one  an'  also  workin'  in  Holly- 
wood. 

A  man  today  with  a  million  has  a  lot  of  so-called 
friends  who  are  worse  than  the  worst  hold-up  men  that 
Texas  or  Oklahoma  ever  knew.  I've  been  offered  in- 
vestments on  more  ground  floors  than  there  are  acres  in 
Texas.     I  always  remembered  that  the  other  feller  had 


By 
Tom  Mix 


"As  Ursus  I  got  him  by  the  horns  an'  the  wrasslin' 

commenced.    About  this  time  the  old  black  bull 

came  bustin'  out  of  his  pen  with  the  spotted  bull 

behind" 


the  bargain  first,  an'  that's  why  I  still  got  my  million — • 
mebbe  a  little  more. 

In  the  meantime  "Dad"  Turner,  the  director,  the 
leadin'  woman,  leadin'  man  and  others  in  the  buffalo 
picture  had  gone  to  Chicago.  I  sure  hated  to  see  Miss 
Stedman  go.  She  promised  to  write,  although  now  I 
come  to  think  of  it,  she  never  did.  I  never  saw  the 
bufTalo  picture,  but  I  heard  the  bulldoggin'  scene  saved 
it. 

The  company  which  was  to  make  "Quo  Vadis"  an'  for 
which  I  was  hired  to  play  Ursus,  an'  rescue  the  maiden 
from  the  wild  bull!s  horns,  would  arrive  in  a  few  days, 
so  Walwrath,  the  business  manager,  said.  Meantime 
me  an'  him  rode  over  to  Ponca  City  an'  picked  up  four 
bulls.    He  said  we  must  have  fierce  ones. 

If  I  had  had  more  sense  an'  remembered  it  was  me 
who  was  a  goin'  to  wrassle  with  'em,  I'd  a  picked  a 
different  lot,  especially  a  big  black  one  I  bought,  yet  I 
rode  50  miles  out  of  my  way  just  to  buy  that  old  black 
bull  because  of  his  mean  reputation. 

We  dro%'e  the  four  bulls  over  to  Mike  Cunyan's  place, 
where  we  had  made  the  buffalo  picture,  havin'  rented 
it  for  the  new  film.  About  this  time  the  new  director 
arrived.     He  gave  me  his     [continued  on  p.a.ge  117] 


W/S{^om   Tom   Mix   Learned 
in  Making  His  Million 

"Freightin'  a  million  dollars  in  gold  to  Texas 
overland  wouldn't  be  any  more  dangerous  than 
trying  to  hang  on  to  a  million  in  Hollywood, 
once  you  got  it." 

"A  man  today  with  a  million  has  a  lot  of  so- 
called  friends  who  are  worse  than  the  toughest 
holdup  men  that  Texas  or  Oklahoma  ever  knew." 

"This  director  didn't  know  much,  which  rule, 
I  might  stick  in  about  here,  still  holds  good  with 
most  of  the  moving  picture  directors  at  the  pres- 
ent time — there  are  a  few  exceptions,  but  few. 
If  you  doubt  this,  talk  to  a  couple  of  'em." 

"There  ain't  no  million  in  pictures  with 
wolves,  buffalos  or  wild  bulls  any  more.  I  de- 
cided that  I  would  have  to  have  elephants, 
hippopotamuses  and  rhinoceroses  to  get  in  the 
Big  Money." 


What  One  Shopper  Says 

I  wish  to  thank  Photoplay  Shopping  Serv- 
ice for  their  very  excellent  service  in  send- 
ing my  recent  order  to  California.  I  was 
extremely  satisfied  with  all  the  articles, 
which  were  really  better  than  I  expected. 
Sincerely  yours, 

(MRS.)   ETHEL  DELRAI, 
Loam  Rica  Ranch, 

Grass  Valley,  Calif. 


Sh 


op 


Save  Your  Shoes  and 

Disposition  and  Shop 

Through  Photoplay 


Novelty  is  qirev  to  this 
sportswear  frock  of  flat 
crepe,  at  lejt,  by  the  printed 
handkerchief  trimming  the 
blouse.  The  skirt — pleated 
in  front — contributes  to  the 
ivell  groomed  appearance. 
The  colors  are  —  Copen- 
hagen, maize,  vile  green, 
orchid  or  navy.  Sizes  16  to 
42.    '§8.95 


Below — The  greatest  of 
necessities,  the  "make- 
up box."  This  Terri 
compact  is  a  tiny  book 
shape  and  will  fit  in  the 
smallest  purse.  In  red, 
black,  green,  yellow,  or 
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enamel  finish.  Powder — 
racket,  natural  or  while- 
Rouge  —  medium,  ms/;- 
berry  or  coral.  S3.d0 


g&4:  > 


The  tunic,  at  right, 
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h and  hemstitch ed 
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Inveited  plaits  at  .sw/cs 
add  uidth  to  sHil. 
St:es  16  to  4~-  ^" 
M  other  goo se-tav , 
white,  (dmoiid-grcen  or 
Liuei  ne-blne.     S10.95 


'^^J^ 


M  h ft— just  the  frock 
foi  Easter — so  smart 
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ftnnt  of  skirt  is  un- 
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peach-beige  and  namj. 
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priced  at  i8.95 


With  the  return  of  the  normal  waist-line,  belts  an  added  to  the  list  of 
ar(rnsories.  On  figure,  at  left,  is  one  of  suede,  2^2  inches  wide, 
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Necklace  and  bracelet,  at  left,  of  plated  gold  coil,  with  jade  green  or 
red  stones,  may  be  ordered  as  a  set,  or  separately.     SI. 25  each 


1  hrough 
r  hotoplay 


How  to  Order 


NOT  BE  ACCEPTED.  No  articles  will  be  sent  C.  O.  D.  If  you  are 
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which  they  were  sent. 


Weariness  u-ill  vanish 
when  you  don  pajaynas, 
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At  home  the  frock,  at 
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Hand  appligned  flowers 
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finish.  Colors  used  are 
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or  sweet  pea.  Sizes  36 
to  U-  S2.9S 


Another  Shopper  Writes 

I  want  to  thank  you  for  your  good  service. 
My  dress  arrived  and  it  is  perfect  in  size 
and  color.  You  may  be  sure  I  will  use 
your  service  again.    Yours  truly, 

Ruth  Fay  Stevens, 

Maryland  T.  Sanatorium, 
Sanatorium,  Maryland. 


Only  articles  shown  on 
these  pages  are  available 
through  this  service..  No 
catalogues    are   issued. 


For  April  Showers  —  at 
right  —  a  coat  of  Lhiro 
leatherette,  guaranteed 
rain  proof,  is  also  good 
for  a  knockabout  sports 
coat  as  it  is  ivnrmer  than 
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Si^es  14(04.-2.     $9.75 


.\^ 


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are  slip-on  rubber  sa7idals  to  match 
your  new  Spring  shoes — tan,  grey  or 
sauterne.  And,  a  neat  envelope  case 
of  plaid  rubberized  silk  to  carry  them 
in.  Sizes  A  (for  2]^  to  4  shoe),  B  (414 
to  6  shoe),  C  {6}4  to  8  shoe).     SI. 00 


Amateur  Movies 

By  Frederick  James  Smith 

Judges  Considering  Contest  Films — Special  Showing 
for  New  York  Critics — Amateur  Club  Activities 


PHOTOPLAY  hopes  to 
be  able  to  present 
the  winners  of  its 
82,000  Amateur  Movie 
Contest  in  the  May  is- 
sue. The  contest  films 
are  now  being  studied 
and  a  special  showing  is 
being  arranged  for  the 
leading  New  York 
motion  picture  critics 
and  amateur  enthusi- 
asts. 

This  showing  will  re- 
veal, for  the  first  time, 
a  comprehensive  view 
of  the  amateur  film 
movement.  All  the  bet- 
ter films  of  the  contest 
will  be  presented  and  it 
is  hoped  that  the  show- 
ing will  be  a  pioneer 
landmark  in  the  prog- 
ress of  amateur  cinema- 
tography. 


Between  scenes  of  "The  Sporting  Chance,"  filmed  by 
University  of  Southern  California  students 


T^HE  contest  films  have  disclosed  a  surprising  amount 
-*-  of  amateur  interest  and  study.  There  are  crudities 
— largely  those  brought  about  by  equipment  limita- 
tions— but  the  spirit  behind  the  films  is  little  short  of 
startling. 


The  amateurs  reveal 
a  surprising  apprecia- 
tion of  tempo.  In  the 
main  they  have  told 
their  stories  with  fresh- 
ness and  directness,  de- 
void of  conventional 
movie  tricks.  One  16 
mm.  study  of  a  South 
Sea  burial  ceremony  is 
as  well  done,  in  choice 
of  shots  and  in  editing, 
as  any  professional 
travel  film. 

A  Canadian  entry 
presents  "The  Dream 
of  Eugene  Aram," 
based  upon  Hood's 
poem.  This  is  superbly 
photographed  without 
special  lights  and  with- 
out special  lenses.  The 
choice  of  background, 
the  graceful  handling  of 
the  principal  player 
and  the  grouping  and 
photography  of  the  naturally  lighted  interiors  will  giv^e 
this  entry  a  high  rating. 

Still  another  amateur  tells  the  simple  melodramatic 
story  of  the  chase  and  capture  of  an  escaped  convict  with- 
out a  single  title  and  with    [continued  on  page  137] 


The  boy  grows  older.  Johnny 
Mack  Brown  builds  nose  putty 
bags  under  eyes.  These  are  of 
moon  shaped  cotton,  stuck  on 
with  thinned  glue 

•72 


Coating  of  blue  under  eyes,  S'i 
yellow  grease  paint  shadows  on 
forehead  and  cheeks.  Light 
brown  lines  blended  with  fingers 


High  light  with  4,4  light  yellow 
grease  paint.  Lines  drawn  with 
brown  dermatograph  pencil. 
Blend.  Du  st  with  powder. 
Apply  crepe  hair 


Photoplay  Magazine — Advertising  Section 

Lovely 


73 


Mrs  Richai^d  Porter  Davidson 

oj  WasfilnatoTL  ^  ^ 


GRAND  DAUGHTER. 
OF 
MARK     HANNA 


Mrs.  Davidson's  unusual  beauty 
always  finds  its  perfect  setting  in 
an  exquisite  taste  and  smartness 
that  seem  to  be  her  heaven-sent  gifts. 
The  contrast  of  this  smartly  tail- 
ored trotteur  and  her  own  stirring 
beauty  is  characteristic  of  the  lovely 
subtle  effects  she  achieves  in  dress. 


MRS.  Richard  Porter  Davi 
daughterof  cherenowned  1 
Daisy  Gordon  of  Cleveland  and 
daughter  of  Mark  Hanna,  the  famous 
"Senator  from  Ohio" — is  young  and 
beautiful. 

With  chestnut-tinted  hair  and  great 
brown  eyes,  she  is  a  glowing  figure  in 
the  more  exclusive  salons  of  the  Capi- 
tal and  the  brilliant  international  assem- 
blies for  which  Washington  is  famed. 

A  strictly  modern  young  woman 
with  that  urge  toward  achievement 
which  is  characteristic  of  women  to- 
day, Mrs.  Davidson  has  accepted  the 
challenge  of  business  and  has  proven 
her  ability  in  this  field. 

But  in  spite  of  varied  interests  and 
days  crowded  with  action,  Mrs. 
Davidson's  beauty  is  as  fresh  and 
undimmed  as  the  day  she  came  out: 
For  she  learned  long  since  the  value 
of  Pond's  Two  Creams  for  the  care 
and  protection  of  her  lovely  skin. 

"Of  course  Pond's  Creams  aren't 
new  to  me"- — she  declares  —  "I've 
adored  them  for  years — their  match- 
less snowy  texture,  their  intriguing 
fragrance,  the  prompt  magic  of  their 
effect  upon  the  skin! 


A  portrait  of  the  beautiful  Mrs.  David- 
son,   painted   by    the  famous   English 
artist,  Olive  Snell. 


On  Mrs.  Davidson's  dressing  table — 
exquisite  in  rose  and  green  taffeta — 
lamps  of  delicate  glass  shed  their  soft 
rays  over  jade  green  jars  of  Pond's  Two 
Creams  and  the  tonic  Skin  Freshener. 


In  this  evening  gown  of  white  satin 
by  J'ionnet,  the  warm,  rich  tones  of 
Mrs.  Richard  Porter  Davidson's 
lovely  skin  and  hair,  her  great 
brown  eyes,  and  her  charm,  are 
happily  accented.  Her  radiant 
loveliness  richly  carries  on  the 
traditional  beauty  of  her  family. 


itful,  too,  are  the  new  Pond's  Skin 
ner  and  Tissues — to  complete  the 
method  of  keeping  the  skin  young!" 
To  guard  the  skin  of  youth,  or  to  restore 
its  fragile  beauty,  use  these  four  enchant- 
ing preparations: 

FIRST— as  always,  cleanse  your  skin  with 
Pond's    light    and    fragrant    Cold    Cream. 

THEN— with  Pond's CleansingTissues, softer 
than  fine  old  linen,  wipe  away  gently  and 
completely  every  trace  of  oil  and  dust. 

NEXT— tone  and  firm  the  skin  with  Pond's 
Skin  Freshener.  It  closes  the  pores, 
leaves  your  skin  refreshed  and  fine, 
without  a  trace  of  oiliness. 
LAST — for  a  final  touch  of  loveliness 
apply  the  merest  breath  of  Pond's 
Vanishing  Cream. 

Do  this  during  the  day.  And  al- 
ways before  retiring  use  again  the 
Coid  Cream  and  Freshener. 

Netv  10c  Offer:   Mail  this  coupon 

and  10c  for  trial  tubes  of  Pond's  Two  Creams 
and  enough  of  Pond's  Skin  Freshener  and 
Cleansing  Tissues  to  last  a  week. 
lY,  Dept.  D 
York,  N.  Y. 


^^^     ThKv  n''"  ^*  '}^>  ^"'"f"  '^^"^^^  Talmadge  is  now  making 

n..H.  h'  ^^^^,^^"1^"  Disputed,"  there's  no  dispute  about  it.  Norma  Taf 
ni^rn  ft'l"^  J-"^  ^"  arguments  by  deciding  that  Gilbert  Roland  is  ^st  the 
hT^l^i^^^!"^^  """."k"  ^"  her  pictures.  Vou  will  notice  that  Mr.  Roland 
John  a^^rt  '^"™'  '"^  "^°P'^^  *^^  ^"'^-^"^  «-^  "-d-  P«P"1-  b> 


Photoplay  Magazine — Advertising  Section 


75 


J^ooA    at    Uour   oilver  . — ,  your  guests   do 


'That's  what  makes  Pamela's  table  so 
perfectly  divine...  she's  as  careful 
about  DETAILS  as  she  is  about  her 
manicure  or  her  hair-cut . . ." 


Women  who  care  to  do  things  in  a  way  that  estab- 
lishes them  as  part  of  the  'great'  world . . .  assured,  cos- 
mopolitan, 'chic' . . .  turn  to  community  plate, 
with  its  wide  assortment  of  'correct  service  pieces' 
to  help  them  serve,  impeccably,  every  course,  every 
dish,  every  sauce,  every  savory,  of  every  meal  .  .  . 


You  will  find  aU  the  exquisite  special  pieces  that  are 
to  a  table  what  jewels  are  to  a  gown,  in  community 
plate's  five  luminous  patterns . . .  Salad  forks  are  $7.50 
for  six,  for  instance  .  .  .  Tiny,  charming  spoons  for 
'demi-tasses'  are  $4.00  for  six  .  .  .  Pierced  servers  are 
only  $3.50  each  ...  At  your  jeweler's. 


COMMUNITY      PLATE 

Q^dAbo  niakcj-s  of  TUDOR   PLATE  ^§^ 


the  bird  of  paradise  design 

Whfii  vera  write  to  adrertisets  please  nKntion  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


The  13  Wampas'  Baby  Stars 

for  their 


36  Hollywood  Directors 
say  smooth  skin  is  girl's 
most  compelling  charm! 


Lupe  Velez  —  Pathe  DeMille.     "The 

lights  of  the  close-up  mean  you  must 

have  smooth  skin — Lux  Toilet  Soap 

certainly  keeps  mine  like  velvet." 


'-iM^ii 


Molly  O'Day — First  National.  "Lux 
Toilet  Soap  is  the  perfect  soap  to 
keep  my  skin  always  at  its  best!" 


Sue  Carol— Independent.  "Lux 
Toilet  Soap  leaves  my  skin  glori- 
ously smooth." 


13  IV  >\l  J 

Sally  filers— Scnnett  Pathe  de 
Mille.  "Lux  Toilet  Soap  gives 
my  skin  velvety  smoothness." 


Lina  Basquette— Pathe 
DeMille.  "Lux  Toilet 
Soap  has  all  the  charm 
of  an  imported  French 
soap,  it's  so  fine — and 
leaves  my  skin  beauti- 
fully smooth." 


Audrey  Ferris— Warner 
Bros.  "I  love  the  Pari- 
sian smoothness  Lux 
Toilet  Soap  gives  my 
skin!" 


Lux  Toilet  Soap 


Erery  a(]verHm>mpi 


In  riir)T()rT..\y  m.\g.\/,i 


Photoplay  Magazine — Advertising  Section 


17 


all  use  Lux  Toilet  Soap 
Lovely  Skin 


THE  13  Baby  Wampas  Stars  are 
of  widely  different  types,  blonde, 
brunette,  piquant,  demure,  but 
one  thing  they  all  have  in  common — 
their  exquisitely  smooth  skin!  Wise, 
talented,  ambitious,  they  knew  that 
first  of  all  they  had  to  have  smooth, 
flawless  skin  to  meet  successfully  the 
merciless  glare  of  the  great  lights  in  the 
close-up.  They  have  carefully  guarded 
their  smooth  skin  as  their  most  price- 
less possession. 

Nine  out  of  ten  screen  stars  use  Lux 
Toilet  Soap!  It  cares  for  their  skin  the 
true  French  way.  For  this  lovely,  white 
soap  is  made  by  the  method  France 
developed  and  uses  for  her  finest  toilet 
soaps. 

All  the  great  film  studios,  following 
their  stars'  e.xample,  have  made  Lux 
Toilet  Soap  the  official  soap  in  their 
dressing  rooms.  So  important  is  beauty 
in  Hollywood! 

Order  some  today.  Enjoy  the  in- 
stant fragrant  lather  that  even  hard 
water  can't  quell.  Lever  Bros.  Co., 
Cambridge,  Massachusetts. 

*The  Wampas,  an  organization  of  Hollywood 
press  agents,  annually  selects  the  girls  to  be 
singled  out  for  special  honors  in  the  coming  year. 


Gwen  Lee— M.  G.  M.  "Smooth 

as  dew-washed  lotus  blossoms 

—that's  how  my  skin  feels  after 

using  Lux  Toilet  Soap." 


10. 


Alice  Day— Independent.    "Lux 

Toilet  Soap  is  wonderful  for  my 

skin!" 


Luxury  hitherto  found 

only  in  French  soaps  at  50^ 

or  $1.00  a  cake 


Flora  Bramley— Independent. 

find  LuxToilet  Soapalovelysoap- 

it  leaves  my  skin  so  very  smooth ! 


Wlien  you  write  to  advertisers  please 


tlon  PHOTOPLAY   M.^GAZINE. 


THE  STORY   OF  GRETA  GARBO 


[  CONTINUED  FROM  PAGE  31 


Oh,   I  almost 
"I  couldn't  see  a  person.     They  were 


Asked  him  whv  he  was  doing  it.  He  it  was  right  after  noon.  I  was  just 
looked  down  on  me.  I  was  eight  years  seventeen.  And  I  was  frightened.  My 
old knees  shook. 

"  'That's  all  right.  You  can  go  home  "I  trembled  al: 
now.  Here's  your  little  daughter.'  Then  fainted  afterwards 
I  ran  away.    I  wasn't  his  little  daughter. 

"It's  just  the  same  to- 
day. If  I  see  an  accident 
or  hear  two  people  quar- 
n.-lling,  I  am  just  sick  all 
over.  I  ne\er  fight  myself 
and  I  won't  do  any  fight- 
ing in  pictures. 

"I  hated  school.  I 
hated  the  bonds  they  put 
on  me.  There  were  so 
many  things  outside.  I 
liked  history  best.  But  I 
was  afraid  of  the  map — 
geography  you  call  it.  But 
I  had  to  go  to  school  like 
other  children.  The  pub- 
lic school,  just  as  you  have 
in  this  country. 

"And  I  went  to  the 
movies,  just  like  other 
children.  I  didn't  see  a 
regular  theater— inside — 
until  I  was  twelve.  But  I 
went  to  the  movies  often. 
I  usually  paid  for  my  tick- 
ets, but  sometimes,  just 
sometimes,  the  man  at  the 
door  could  be  persuaded  to 
be  kind,  and  money 
wasn't  necessar>'. 

AND  that's  all  I 
knew  of  the  stage 
until  I  was  si.xteen.  Then 
I  met  an  actor.  And  I 
told  him,  just  like  millions 
tell  actors,  that  I  wanted 
to  go  on  the  stage.  Asked 
him,  just  like  all  the 
others,  how  I  could  do  it. 
He  called  upon  another 
actor,  better  known,  and 
sent  me  to  him. 

"It  was  Franz  Envall. 
He  is  dead  now,  but  he  has 
a  daughter  on  the  stage  in 
Sweden.  He  said  he 
would  ask  if  they  would 
let  me  try  to  get  into  the 
Dramatic  School  of  the 
Royal  Theater  in  Stock- 
holm. 

"The  School  is  a  part  of 
the  Royal  Theater  of  the 
King  and  Queen  of  Swc- 
fleii.  No,  it  doesn't  cost 
anything  to  go  there,  but 
you  are  not  paid  for  your 
work  either. 

"You  take  a  test  to  get 

in.     There   is   a   jury   of 

about     20     people.        Newspapermen—     d„wn  in  front.    All  I  could  see  was  that 

critics;  theatrical  people,  actors,  the  heads     black  pit— that  black  open  space.    All  I 

of  Uie  School   and  others.  could  hear  was  whispering.    I  was  so  shy ! 

I  studied  for  si.x  months.    They  gave     I  had  never  tried  to  act.     The  one-year 

'"^l^^.  ^'i    '    c'^^^r^  ''''^'■"^  I-agerlov,     pupils  were  on   the  stage.     They   read 

and    Madam  Sans  Gene,'  a  French  one.     the  lines  of  the  parts  which   were  not 

My  test  came  on  a  beautiful  day  in     mine.    I  said  my  speech,  all  right.    Then 

August.    .It  wasn  t  cold,  but  it  wasn't  hot     I  jusl  ran  off.     I  forgot  to  say  good-bye. 

cither,  as  It  is  in  this  country.    I  remenilK-r     And  1  was  so  frightened.     I  thought  they 

78 


would  think  I  had  not  been  polite  because  I 
had  forgotten.  In  a  couple  of  days,  they 
telephoned  that  I  had  been  admitted." 
Greta  Garbo  stopped  talking,  drew  in 
three  deep  breaths,  flung  her  arms  out — 
above  her.     Then  went  on: 

"Oh,  God,  I  was  happy! 
I  almost  died.  Oh,  now, 
e\en  now,  I  can  hardly 
breathe  when  I  remember. 
For  now,  pretty  soon,  I 
knew  I  was  to  be  a  real 
actress ! 

"But,"  her  voice  be- 
came wistful,  perhaps,  a 
little  regretful.  Then  she 
laughed  and  her  eyes 
twinkled.  People  do  not 
often  see  Greta  Garbo's 
eyes  twinkle. 

"But  I  was  a  very  bad 
child.  I  upset  the  whole 
school.  I  liked  to  go  out 
at  night.  We  lived  right 
in  Stockholm  and  dis- 
tances are  not  as  far  there, 
you  know.  You  can  take 
a  taxi  and  be  almost  any- 
where in  five  minutes. 
Any  theater  in  the  cit}'.  I 
liked  to  go  to  the  theater 
in  the  evening. 


"S, 


The  first  photograph  taken  of  Greta  Garbo  upon  her 

arrival  in  this  country.     She  was  shy,  lonely  and 

strange.    Notice,  please,  the  simplicity  of  her  clothes, 

her  unstudied  pose 


O  I  was  late  almost 
e\ei-y  morning!  Ex- 
ercises came  first — and  I  al- 
most always  missed  them. 
The  other  pupils  were 
charming,  lo\'ely  girls  who 
were  always  on  time. 
Then,  in  would  come  Gar- 
bo, late  as  usual. 

"I'd  come  in  the  door 
and  say,  'There's  a  rumor 
about  that  this  school  is 
still  here.  But  I'm  so 
tired;  Garbo's  so  tired — •' 
"And  nobody  would 
say  a  word  to  me ! 

"Then  it  became  seri- 
ous. I  started  being  late. 
If  one  had  the  privilege, 
you  know.  No,  they  did  n't 
scold  me.  If  I  had  been 
scolded,  I'd  have  been 
there.  I  cannot  stand  to 
be  scolded.  Usually,  we'd 
go  out  and  drink  coffee,  all 
together,  when  I  finally 
got  there.  Yes,  they 
taught  us  dancing.  But 
I  can't  dance.  I  was 
ashamed  to  dance.  I  was 
so  big.  Oh,  yes,  I  was  big. 
I  was  just  the  same  size  I 
am  now  when  I  was  twelve 
3'earsold.    Ihaven'tgrown 

a  bit  since  then.     Isn't  that  lucky? 
"Everywhere  I  went  as  a  child,  I  was 

pointed  at  because  I  was  so  big — so  very 

big. 

"The  school  was  wonderful.     We  had 

the  very  best  teachers.     We  were  given 

plays  to  study.    Two  pupils  and  a  teacher 

would  study  together. 

[continued  on  page  102] 


^'"^Z'^''?//''^''!^ 
"^^Z^"^/- 


Thc  Sa„cJal  'Preftrr,,! 
h  Ruth  Taylor, 

Paramount  \tar 


DAL5 

tliat  tKe  Blonde  Preferred  inte 


uidrole  ot  .SWISH  SandaL 


li^ 


Witl.  tl.at  look  in  Ker  eye,  It  is  ol-vio, 
to  wheedle  out  of  Ker  next  vie  tim  a  wlio 

color,  to  match  every  frock.   For  girls  who  I.uy  ti.eir  own  ,t  ..s  .ome  conso 
lation  to  learn  that  these  Heirs -Apparent  to  last  season  .  Deauv.lle  sandal 
co.t  only  $8.60  a  pair.  CThe  reaso,.  SWISH  Sandals  are  pre- 
ferred hy  Ruth  Taylor,  and  n,any   other  hlonde.s  in  : 
Hollywood,  i.s  that  they  ,//f-as  only  Body  Balanced  .hoe.  1 

SWISH  follav.,s  the  natu,.,!  ...rves  of  you,  foot.  Its  heel 
;.s  lianc)  -  mouhletl,  to  the   l.muan   l.eel  tapers  ,o   the   top. 


This  mark  on  the  soles 
identifies  shoes  made  by  th^ 
lm[troved  McKay  process 


One  of  lifers  great  pleasures 
is  smoking 

Camels  give  you  all  of  the  enjoyment 
of  choice  tobaccos*  Is  enjoyment 
good  for  you?    You  just  bet  it  is* 


©  1928.  R.  I.  Rcvnolds  Tobacco 
Company,  VVinaton-iialem,  N.  C 


Williamu   Cowboy 


[  CONTINUED  FROM  PAGE  65  ] 


Vaiite  screen— surely  one  of  first  experi-  seat    behind   Williamu    Cowboy;    he    is  Rotund  Kui-woman  had  wabbled  down 

mental  one-reelers.  Glorious    Bill,    the    supreme    American,  with  Terii-woman  to  exchange  their  lively 

"Lordy!    It  will  be  as  bad  as  old  Wil-  When  one  of  his  pictures  comes  to  a  Poly-  conversation  with  my  foster-father.  Also 

kinson's  movmg  picture  up  in  Whycoco-  nesian  village,   Charlie  Chaplin  with  all  Tuahu's  relatives,  Pautoand  Toto,  were 

magh,"  I  thought.    That  took  me  back  to  his  pies,  Mary  Pickford  with  her  enviable  sitting  nearby.    Pauto  lit  a  pandanu's  leaf 

childhood    days    when   my   mother   and  curls,   and   Douglas   Fairbanks  with   his  cigarette  he  had  been  fashioning,  tapped 

brother  had  lugged  me  north  to  this  pic-  ear-to-ear  smile,  together  with  the  few  the  smouldering  end  on  a  match  box  so  ?= 

turesque    Breton   Island  village.     While  other  really  notable  foreigners  fade  into 

there  we  attended  a  magic  lantern  enter-  dim  recollections  while  Hart  lopes  wild- 

tainment  at  the  local  school  house,  where  eyed  to  the  front. 

old  Wilkinson  for  the  ?th  time  projected  I  agreed  to  go  with  Tuahu,  but  to  ascer- 

scenes  of  Iceland's  greeny  mountains  and  tain  that  I  would  not  change  my  mind  he  everyone  looked  to  Tuahu  in  a  troubled 

Greenland's  icy  shores.    After  he  had  ex-  told  me  what  the  picture  would  be  like:  manner  as  though  to  say:  "Aue,  then  the 

hausted  the  usual  views  of  the  leaning  "It  will  be  a  great  spectacle,"  he  said,  picture  will  be  a  poor  one." 

tower  of  wherever-it-is,  etc.,  and  slipped  "In   the    advertisement    tacked            '  —       •                 —     ■ 
on  the  flowers-in- 


to  form  an  e\en  coal,  relit  it,  and  then 
naively  asked:  "But  are  you  sure  they 
will  bury  the  dead  man?" 

As  Pauto  inhaled  a  cloud  of  smoke, 


the 


water-colors  slide 
with  Good-night 
painted  thereon 
in  six  colors,  he 
made  us  a  little 
speech,  explain- 
ing that  moving 
pictures  had 
lately  been  in- 
vented and  that 
tonight  he  would 
demonstrate 
them  for  the  first 
time  in  Whyco- 
comagh. 

Needless  to 
say,  the  audience 
buzzed  with  ex- 
citement. Cough- 
ing ominously, 
Wilkinson 
slipped  in  a  slide 
of  a  letter  of 
marque  brig  that 
we  had  seen  a 
few  moments  be- 
fore. A  cackling 
laugh  came  from 
him  as  he  picked 
up  his  magic  lan- 
ternandturnedit 
slowly  round  so 

the  brig  appeared  to  be  sailing  around 
the  wails  of  the  school  room  without  re- 
gard ior  maps,  blackboards  and  a  picture 
of  the  King  and  Queen. 

Some  of  the  audience  laughed,  but  I 
was  greatly  disappointed.  I  whispered 
to  my  mother:  "Gee,  if  that's  all  movin' 
pictures  is  I  don't  think  much  of  'em." 

Later,  when  riding  the  Sierra  ranges, 
movingpictureactingbecamemysupreme     drooping  mustaches.     There  will  be  an 
ambition;    to  ride  with  William  S.  Hart     other  bad  man  who  is  fat-faced,  has  bulg- 
was  tiie  only  thing  worth  living  for.     So     ing  eyes,   and  a  short  coat  with  sih-er 


Turning  to  me  Tuahu  asked:  "Ropati, 
tell   us   why  the 


one  day,  with  a  saddle  over  my  shoulder, 
chaps  flung  with  studied  carelessness 
across  my  left  arm,  and  long-shanked 
spurs  jingling  on  my  boots,  I  walked  the 
long  four  miles  from  Santa  Monica  to 


white  men  often 
leave  their  dead 
unburied?" 

"I  do  not  un- 
derstand, Tuahu. 
As  far  as  I  know, 
we  foreigners  al- 
ways bury  our 
dead." 

The  natives 
glancedquestion- 
ingly  at  one  an- 
other as   Tuahu 
informed   me  : 
"Many    times    I 
have  seen  it  oth- 
erwise.     In  one 
picture     we     all 
saw  a  bad  man 
thrown  off  a  cliff. 
Later    we    were 
shown  his  body 
lying  below,  and 
as  it  was  as  high 
a  cliff  as  the  cliff 
of  Autara  where 
you    get    your 
plantains,    wc 
knew    the    man 
was    \ery   dead. 
But,  Ropati, they 
did  not  bury  him. 
mango  tree  he  is  called  an  aito  taehac.     We  children  of  Tahiti  belie\e  this  was 
which,  as  you  know,  is  a  fierce  warrior,     wrong.     E\en  a  bad  man  should  be  bur- 
It  says  he  will  have  much  trouble  with  his     ied.      That  was  indeed  a  poor  picture, 
sweetheart,  which  means  that  there  will     They  should  ha\e  put  the  bad  man  in  a 
be  much  fighting.     No,  Ropati,  not  with     coffin  and  buried  him  while  the  preacher 
his  wife.     You  speak  foolishness.    There     said  the  prayers.     Then,  some  little  chil- 
will  be  much  fighting  with  the  men  who     dren   should  have  brought  flowers,   the 
try  to  steal  her  from  him.    There  will  be     relatives  wept,  and  everything  would  ha\e 
horses  and  guns,  and  a  bad  man  with  long     ended  fine.     But  instead  of  this  they  just 

left  the  bad  man  lying  there  at  the  base 
of  the  cliff.  Aue,  that  was  a  bad  picture 
indeed. 

"Another  thing.    At  the  end  the  hero 
and  his  sweetheart  met  and  their  mamas 


The  fierce  Williamu  Cowboy  as  the  South  Sea  audiences  still  view 

him.     Here's  how  the  interpreter  sees  it:     "There's   the  villain 

drinking  rum  punch  at  the  bar.    Whoop!   He  sees  WilHamu!" 


buttons.     He 
with   marbles 


sit  at  a  table  playing 
a  big  bowl,   and   take 


people's  money  away  from  them  for  no  and  papas  told  them  they  could  get  mar- 
reason  at  all  so  far  as  I  ha\e  been  able  to  ried.  They  kissed  each  other  in  the  moon- 
make  out.     He  always  does  this  and  the     lit  glade  by  the  lagoon,  and  there  the  pic- 


Ince\ille  and  went  to  riding  for  the  great     people    never   learn   to    beware   of   him.     ture  ended.     Now,   Ropati,    I_  ask  you, 


cowpuncher. 

I  remembered  those  former  days  when 
Tuahu  said  that  I  must  accompany  him 
to  the  cinema,  for  the  ferocious  hero, 
Williamu  Cowboy,  is  no  less  than  William 
S.  Hart,  the  Vaiitean's  conception  of  the 
most  illustrious  American.  Presidents, 
millionaires,  scientists,  artists,  all  take  a 


And,  ah,  Ropati,  there  will  be  a  beautiful     alter  the  hero  had  risked  his  life  for  the 
white  woman  who  will  make  you  weep     girl,  killing  highway  robbers  and  Indians 


when  you  see  all  the  trouble  she  has  with 
the  bad  man  with  drooping  mustaches. 
But  Williamu  Cowboy  will  save  her  and 
marry  her  in  the  end,  and  everything  will 
be  fine  with  the  bad  man  killed  and  buried 
and  flowers  put  on  his  g'-ave." 


and  sheep  herders,  and  after  the  girl  had 
stayed  true  to  him  in  spite  of  the  hand- 
some Easterner  with  flash  clothes  who 
tried  to  win  her,  should  not  they  ha\e 
married,  instead  of  just  kissing  and  leav- 

[  CONTINUED  ON  P.\GE  132  ] 

SI 


Photoplay  Magazine — Advertising  Section 


your  mirror  says 
"Coated  Tongue  * 

..there's  trouble  ahead! 

You  remember  the  physician's  first  words 
when  you  call  him  in  — "Let  me  see  your 
tongue." 

He  knows  that  almost  invariably  the  furry 
tongue,  and  the  unpleasant  breath  that  go  with 
it,  warn  of  intestinal  stoppage,  the  real  cause 
of  many,  many  ills. 

People  who  want  to  keep  fit  know  this  too. 
So  there's  a  fine  health  habit  growing  up 
among  them— each  morning  they  look  at  the 
tell-tale  tongue.  When  it  is  coated  they  take  a 
refreshing,  sparkling  draft  of  Sal  Hepatica,  the 
approved  effervescent  saline. 

Sal  Hepatica  promptly  and  gently  rids  the  in- 
testines of  the  products  of  waste  the  natural 
way  —  by  releasing  the  secretions  of  water  in 
the  intestines. 

When  you  take  Sal  Hepatica,  gone  are  the 
headaches  —  the  feeling  of  fatigue,  —  and  all 
the  other  enervating  symptoms  of  intestinal 
sluggishness. 

Sal  Hepatica  not  only  correas  intestinal  stop- 
page— it  is  beneficial,  too,  in  the  treatment  of 
rheumatism,  hyper-acidity,  colds,  biliousness, 
and  disorders  of  the  liver  and  kidneys. 

For  Sal  Hepatica  contains  the  same  health- 
giving  salines  as  the  waters  of  the  famous 
European  spas  where  so  many  people  yearly 
go  to  "take  the  cure." 

And  just  as  you  drink  the  waters  at  the  spas, 
you  take  Sal  Hepatica  half  an  hour  before 
your  meals.  Simply  dissolve  it  in  a  glass  of 
water — you  will  like  its  bubbling,  sparkling 
qualities — its  bracing  tang. 

Take  Sal  Hepatica  when  you  need  it.  It 
is  helping  to  keep  millions  of  people  inter- 
nally clean  and  free  of  the  poisons  of  waste. 

Send  for  our  free  booklet  that  explains  more 
fully  how  Sal  Hepatica  corrects  intestinal 
stoppage  and  relieves  other  common  ills. 


PUauaJdrtu  BRISTOL-MYERS  CO. 
Dept.  G-48.  71  West  St..  N.  Y.  C. 


Sal  „^ 
Hepatica 


Brickbats  and  Bouquets 


1  CONTINUED  FROM   PAGE   10  \ 


Prejudiced  in  Favor  of  Greta 

Rainelle,  W.  Va. 
Here  I  come  with  a  load  of  brickbats  for 
Jeanne  Eagels.  I  have  just  seen  "Man, 
Woman  and  Sin,"  and  by  all  the  shades  of 
Will  Hays,  I  think  I've  seen  better  two-reel 
Westerns!  John  Gilbert  has  never  done 
anything  to"deser^-e  a  punk  co-star,  has  he? 
Let  well  enough  alone.  John  Gilbert  and 
Greta  Garbo  will  suit  an^'one. 

Gilbert  F.\n. 

A  Boy's  Perfect  Mother 

New  York,  N.  Y. 

.\  friend  said  to  me  not  long  ago,  "I'm  sur- 
prised that  you  encourage  your  son  to  go  to 
the  movies  so  much.  It  seems  such  a  waste 
of  time  and  money  that  he  could  be  using 
to  his  advantage." 

Well,  it's  all  in  the  point  of  view,  I  guess. 
I  would  as  soon  try  to  keep  my  son  from 
church  as  from  the  movies.  I  would  rather 
have  my  boy  find  his  amusement  in  the 
movies  than  most  any  place,  other  than  his 
outdoor  sports. 

Ella  M.  Griffin. 

There  Were  Plenty  Like  This 

Peoria,  111. 

I  have  never  written  before  to  your  mag- 
azine, but  the  caption  written  beneath  the 
picture  of  Betty  Bronson  in  the  February 
issue  is  the  cause  of  this  outburst. 

"Say  you  believe  in  her!" 

I  do  believe  in  her,  just  as  I  believed  in 
"Peter  Pan,"  "A  Kiss  for  Cinderella,"  and 
the  little  girl  in  "Are  Parents  People?" 
H.  J.  Shea. 

A  Trouper  Advises  Betty 

St.  Cloud,  Minn. 

I  notice  that  Betty  Bronson's  contract 
was  not  renewed  because  she  refused  to  pla}' 
a  scene  she  considered  suggestive.  And 
being  the  sole  support  of  a  family  of  four,  I 
am  asked  to  believe  in  her! 

I  believe  that  she  is  very  silly.  To  the 
pure  all  things  are  pure.  I  am  a  stock  com- 
pany actress  and  I  have  to  play  many  parts 
I  am  not  in  sympathy  with,  but  I  must  eat 


and  I  am  not  in  a  position  to  tell  the  pro- 
ducer what  /  think.  I  realize  that  if  I  re- 
fused to  play  parts  assigned  to  me,  there 
would  be  a  line-up  waiting  to  jump  in  my 
place.  Margaret  O'Brien. 

The  Prince  Agreed  With  Us 

London,  England. 
I  am  greatly  pleased  to  find  Charlie 
Chaplin's  "The  Circus"  among  Photo- 
pl.\y's  Best  Pictures  of  the  Month.  The 
Prince  of  Wales  witnessed  this  picture  re- 
cently and  expressed  himself  as  having 
greatly  enjoj'ed  it.  Cecil  A.  Kitson. 

Be  Fair  to  the  Students 

Madison,  Wis. 
I  often  wonder  if  parents  who  see  college 
pictures  hesitate  to  send  their  children  to 
college.  If  they  could  only  really  know  that 
at  a  real  university  there  is  little  time  for 
play  when  the  students  are  seriously  prepar- 
ing themselves  for  life  careers.  "Play  boys" 
who  come  to  school  with  a  cash  background 
to  act  out  ideas  they  may  have  gathered  in 
college  pictures  rarely  last  a  year.  Wouldn't 
a  serious,  honest-to-goodness  college  picture 
have  any  box-oflSce  value? 

Conrad  Jaeger. 

Clara  as  a  Golden  Example 

Chase  City,  Va. 
Being  a  special  Clara  Bow  "fan"  I  read 
with  avidity  the  first  installment  of  her  life 
story.  Who  can  doubt  or  hesitate  to  say 
that  Clara  is  indeed  pure  gold,  and  a  more 
worthy  example  to  be  copied  than  is  found 
in  many  of  our  best  church  audiences ! 

E.  P.  Sheldon. 

How  Many  Agree? 

New  York,  N.  Y. 

I  have  recently  readthe article, "Dodging 
the  Wedding  Ring."  I  agree  with  Greta 
Garbo.  She  is  absolutely  right.  What  busi- 
ness is  it  of  the  public  whether  or  not  an 
actress  is  in  love  or  wants  to  marry?  Actors 
are  human  beings. 

Their  personal  affairs  should  not  be  made 
public. 

Miss  Terry  Blumenkoff. 


Grand  Rapids,  Mich. 

Eight  years  ago,  a  young  man  stood 
at  the  cross-roads  of  life.  Mentally 
and  physically  equipped  for  success, 
the  handicap  of  an  inferiority  complex 
threatened  his  goal.  He  was  the  victim 
of  pure  imagination ;  yet  it  was  exerting 
a  destructive  influence  on  his  life. 

I  decided  that  the  bonds  of  friend- 
ship obligated  me  to  restore  confidence 
and  faith  in  himself  and  his  friends,  but 
I  could  not  accomplish  this  in  an  obvi- 
ously personal  manner. 

A  movie  fan  since  early  days,  I  had 
benefited  by  the  object  lessons  they 
taught  and  I  valued  the  potential  in- 


fluence they  possessed.  With  confi- 
dence, I  enlisted  their  aid. 

The  movies  unfolded  pictorial  reflec- 
tions of  his  own  problems  before  him 
and  he  could  not  ignore  the  significance 
of  the  logical  solution.  Vividly  and 
clearly,  they  put  across  the  message 
that  I  was  unable  to,  and  his  really  fine 
intellect  assimilated  the  lesson  of  true 
proportions  in  life.  Satisfactory  reac- 
tion was  evident  in  a  new  outlook  on 
Ufe. 

A  successful  man  stands  where  a 
failure  might  have  stood;  needless  to 
add,  another  movie  fan  has  joined  the 
ranks.  K.  F.  J. 


Every  aiivertlscmcnl  In  PlJOTorLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Sore  throat* s  easiest  victims- 
reducing  women! 


Neglecting  a  cold  or  sore  throat  is 
dangerous  business  for  anyone — 
doubly  dangerous  for  reducing  wonT 
en  weakened  by  strenuous  exercises 
and  "canary  bird"  diets. 

For  both  colds  and  sore  throats  of- 
ten lead  to  serious  complications  if 
not  treated  immediately. 


Look  upon  throat  irritation  as  a 
warning,  and  at  the  first  sign  of  it 
gargle  repeatedly  with  Listerine,  the 
safe  antiseptic,  used  full  strength. 

If  rapid  improvement  is  not  ap' 
parent,  consult  your  physician. 

Time  and  time  again,  however, 
Listerine  has  checked  colds  and  sore 


throats  before  they  had  a  chance  to 
become  serious. 

Certainly,  this  pleasant  precaution 
is  worth  taking  during  winter  and 
early  spring  weather  when  grippe, 
"flu,"  and  pneumonia  are  a  constant 
threat.  Lambert  Pharmacal  Co.,  St. 
Louis,  Mo.,  U.  S.  A. 


THE    NEXT    TIME 

The  next  time  you  buy  a  dentifrice  ask  for 

Listerine  Tooth  Paste  at  25*  the  large  tube. 

It  has  halved  the  tooth  paste  bill  of  more 

than  two  million  people. 


LI    STERINE 

'the  safe  antisepiic 


PHOTOPLAY    M.VGAZINE. 


84 


Photoplay  Magazine — Advertising  Section 


Your  Beauty  In 
the  Morning 

<00K  at  your  skin  first  thing  in 
the  morning.  See  it,  as  it  really 
is,  without  "makeup"  or  powder 
-  to  hide  the  defects.  Perhaps 
-^you  may  notice  the  soft, 
smooth  skill  you  once  knew  is  giving  place 
to  a  dull,  ordinan.'  appearance  with  signs  of 
wrinkles  and  flaijblness  creeping  in.  Or, 
your  complexion  may  be  slowly  acquiring 
that  listless,  parched  look  that  tells  of  neg- 
lect or  ill-advised  attention. 


Now  is  the  time  to  realize  that  you  must 
give  serious  thought  to  your  appearance. 
We  wish  you  could  read  the  thousands  of 
letters  we  receive  from  grateful  women 
telling  us  how  much  Gouraud's  Oriental 
Cream  means  to  their  skin  and  com- 
plexion. How  the  pure,  soft  alluring  beauty 
it  renders  instantly  has  added  years  of 
youth  to  their  appearance. 

A  Gouraud's  Oriental  Cream  complexion 
remains  unaltered  throughout  the  day  with- 
out rubbing  off,  streaking  or  spotting  and 
still  with  an  effect  that  is  of  far  greater 
beauty  than  you  could  obtain  through  face 
powders.  Start  its  use  to  day.  It  will 
beautify,  preserve  and  protect  your  appear- 
ance over  the  years  to  come.  Made  in 
White,  Flesh  and  Rachel. 

GOURAUDS 

CREAM  ^ 

"Beauty's   Master    Touch" 

SendlOc.  for  Trial  Size 

FERD.  T.  HOPKINS    &.  SON 

430  Lafayette  Street  New  York  City 


Check,  shade  desired  : 

Name. 

Street . 

City 


White  a    Flesh  D    Rache 


Box  Office  Love 


[  CONTINUED  FRO-M  PAGE  37 


monej-making  picture  ever  released  has 
violated  one  or  more  of  the  sure-tire  rules. 

Just  to  prove  the  fallacy  of  the  "love 
and  kisses"  system  of  selecting  main 
titles,  we  will  take  the  seven  winners  of 
Photoplay  Gold  Medals.  Each  of  these 
pictures  was  voted  the  most  popular  pro- 
duction of  its  year  of  release. 

And  yet,  according  to  the  Master  Mind 
system,  these  films  should  have  died  the 
death  of  a  dog. 

1.  "Humoresque,"  the  1920  winner, 
had  an  unpronounceable  title,  without 
the  slightest  sex  implication.  Further- 
more, it  suggests  comedy,  not  tragedy 
and,  moreover,  few  people  have  any  idea 
what  it  means. 

2.  "Tol'able  David,"  the  1921  winner, 
contains  no  reference  to  sex.  It  is  a  lazy, 
colloquial,  slow  sort  of  title  without  the 
faintest  hint  of  dramatic  suspense. 

3.  "  Robin  Hood  "  was  the  Gold  Medal 
picture  of  1922.  This  title,  being  histor- 
ical, should  have  been  absolutely  poison- 


4.  "The  Covered  Wagon,"  the  winner 
of  1923,  means  nothing  at  all  as  a  main 
title,  by  all  the  rules.  It  has  no  sex,  no 
color,  no  dramatic  implication.  It  might 
mean  a  horse  and  buggy  or  it  might  mean 
a  furniture  van. 

5.  "Abraham  Lincoln"  was  voted  the 
best  picture  of  1924.  Not  only  does  this 
suggest  history,  but  it  also  suggests  biog- 
raphy, school  lessons,  high  ideals  and  all 
sorts  of  other  things  fatal  to  success. 

6.  "The  Big  Parade,"  the  Gold  Medal 
feature  of  1925,  might  be  about  a  circus 
or  it  might  be  about  anything.  Accord- 
ing to  all  the  superstitions,  "French 
Passion"  would  have  made  this  one  a 
bigger  attraction  at  the  box-ofifice. 

7.  Last,  consider  "Beau  Geste,"  the 
1926  winner.  Here  is  a  foreign  title,  an 
unpronounceable  one,  a  title  without  any 
sex  and  one  that  doesn't  mean  a  thing  to 
the  so-called  average  mo\-ie  fan. 

The  sure-fire  rule  for  picking  box-ofifice 
titles  is  a  great  one.  The  only  trouble  is 
that  it  doesn't  work. 


Proving  that  all  girls  named  Phyllis  are  pretty.    The  Phyllis  to  the 

left  is  Phyllis  Gibbs — "Miss  Australasia" — voted  the  prettiest  girl 

in  the  Antipodes.    And,  of  course,  you  recognize  the  other  Phyllis 

as  our  own  Phyllis  Haver 


TMIOT()rr,.\Y  M.\0.\ZIXB 


Photoplay  Magazine — Advertising  Section 


8s 


Kotex  Reduces 
Prices 


A  few  months  ago,  as  a  means  of  quickly  relieving  shelves  of  the  old- 
style  Kotex  so  as  to  expedite  nation-wide  distribution  of  the  new 
Improved  Kotex,  we  made  a  special  offer  of  one  box  of  Kotex  free 
with  every  two  boxes  purchased  for  98c.  This  sale  is  now  ended. 
So  overwhelming  was  the  response  to  this  offer  that  we  doubled 
our  output  and  are  thereby  now  able  to  announce  a  permanent  30  c^ 
reduction    in   the   regular   price   of   Kotex  when  sold  by  the  box. 

These  2  exclusive  new  features  have  doubled  Kotex  sales: 


To  meet  the  im-  ">»  » 
mediate  and 
overwhelming  response  of 
v/omen  to  the  two  exclusive 
new  features  of  Kotex  we 
have  been  obliged  to  double 
our  manufacturing  facilities. 

This  fact  and  the  intro- 
duction in  our  plants  of  our 
new,  patented  machinery 
enables  us  to  announce  a 
reduction  of  30%  in  the 
regular  price  at  which  Kotex  vi'ill  be 
sold  to  all  drug  and  dry  goods  stores. 

Were  it  not  for  the  fact  of  our  be- 
ing assured  of  a  doubled  demand  for 
the  new  Kotex  it  would  have  to  be  sold 
at  higher  rather  than  lower  prices. 


Rarely  is  a  manufacturer  able  to 
offer  better  goods  and  lower  prices  at 
the  same  time. 

Two  years  of  exacting  work  in  our 
laboratories  by  designers  and  chemists 
(in  cooperation  with  women  doctors) 
led  to  the  perfection  of  the  Improved 
Kotex. 

With  the  presentation  of  the  new 
style  Kotex,  exclusive  in  design,  comes 
the  most  radical  development  in  inti- 
mate feminine  hygiene  since  the  inven- 
tion of  Kotex  itself. 


A  neiv,  skilfully  devised  cut,  tvith  cor- 
ners scientifically  rounded  .  .  .  worn 
under  the  most  clinging  gowns,  the  Im- 
proved Kotex  remains  non-detectable. 

Softer  gauze,  fluffier  filler  end  the  dis- 
comforts of  chafing  and  binding. 

RETAINING  ALL  THE  FEATURES  AND 
PROTECTION  OF  THE  KOTEX  YOU 
HAVE  ALWAYS  KNOWN. 


What  the  new  features  mean 

By  a  unique  process,  developed  only 
after  months  of  experiment,  corners  are 
now  scientifically  rounded  and  tapered 
so  that  the  pad  fits  snugly,  comfortably, 
securely.  Closest-fitting  gowns  retain 
slim,  smooth  lines.  This  brings  a  com- 
posure heretofore  impossible. 

Now,  exclusive  methods  have  been 
found  for  making  the  absorbent  filler  j//// 
softer.  Chafing  and  binding  are  elimi- 
nated. 

27  women  doctors,  83  nurses 
cooperated  enthusiastically 

During  the  past  two  years,  27  women 
doctors,  83  nurses  and  six  specialists  in 
feminine  hygiene  suggested  and  ap- 
proved ideas.  They  know  your  problems 
not  only  professionally  but  also  from  a 
woman's  point  of  view. 

lou  write  to  advertisers  lilease  mention  PnOTOPLAY  .MA( 


t~^^^     Kotex  features  are 
exclusive 

Added  to  these  two  exclusive 
new  features,   the   remark- 
ably absorbent  powers  of 
Kotex  remain;  the  same  pro- 
tective area  is  there.     Cel- 
lucotton  wadding  which   is 
exclusive  to   Kotex   has   all 
the  advantages  of  any  water- 
proofed absorbent,  plus  its 
own  unique    qualities  —  5 
times  more  absorbent  than  cotton  — 
discards  like  tissue— you  simply  follow 
directions;  it  deodorizes  thoroughly. 

You  buy  Kotex  by  name,  without 
embarrassment,  without  delay  ...  in 
two  sizes,  Regular  and  Kotex-Super. 
Remember,  nothing  else  is  remotely 
like  the  new  Improved  Kotex.  Buy 
a  box  today  to  learn  our  latest  and 
greatest  contribution  to  woman's  hy- 
gienic comfort.  Supplied  also  through 
vending  cabinets  in  rest-rooms  by 
West  Disinfecting  Co.  Kotex  Com- 
pany, 180  North  Michigan  Avenue, 
Chicago. 

"Asifor  them  by  name" 

KOTGX 

PROTECTS— DEODORIZES 


Photoplay  Magazine— Adn-ertising  Section 


M 


Qomphte  your 

Easter  Ensemble 

With  a 

EEKED 
MADElX 

Smart,  Stylish  Ha?idbag 

IX  Meeker  Made,  finest  quality 
leather  goods,  you  are  con- 
stantly offered  everything  of  re- 
cent mode.  Newest  of  the  new  de- 
signs— always  a  jump  ahead  of  the 
fashion — keeps  any  Meeker  Made 
number  ultra-smart  and  stylish. 
You  can  be  sure  of  costume  har- 
mony because  the  neutral  colors 
of  Meeker  Made  bags  harmonize 
with  any  outfit.  Beautiful,  rich 
imported  leathers,  artistically  de- 
signed and  hand-colored,  plain  or 
leather-laced  edges,  in  many  styles 
— a  style  to  suit  your  fancy  and 
to  echo  your  own  individual  per- 
sonality. 

You  can  have  a  Meeker  purse, 
envelope  or  vanity  that  will  com- 
plete your  Easter  ensemble  and 
yet  harmonize  with  any  other  out- 
fit you  choose  to  wear.  For  this 
reason,  you  will  find  Meeker  Made 
leather  goods  very  practical,  and 
further  practical  because  of  their 
lifetime  of  long  wear. 

biiflcyid  hj  htlltr  Dialrr,  T.virywhtre 

The  MEEKER  COMPANY,  Inc. 
Joplin,  Missouri 


At  home,   he's  the  head  of  the  household.     At  the  studio,  he's 

merely  a  luncheon  guest.  Laura  La  Plante  entertains  her  husband, 

William  Seiter,  the  director,  in  her  new  dressing  room  bungalow  at 

Universal  City 


Girl's  Problems 


[  CONTINUED  FROM  PAGE  16  ] 


her  skin  is  luminous,  her  eyes  are  bright. 
She  has  a  make-up  on  that  will  last  for 
hours,  yet  it  doesn't  show  at  all. 

Time  and  tints  are  the  secrets  of  a  perfect 
make-up,  and  perfect  make-up  is  an  art  that 
every  girl  should  know. 

Suzanne  B.,  England: 

Welcome  to  the  family,  little  British  girl. 
Of  course,  I'm  glad  to  answer  your  ques- 
tions. Your  reply  is  really  in  the  afcove 
editorial.  1  do  not  think  seventeen  too 
young  to  powder,  though  I  realize  your 
country  has  a  slightly  different  attitude 
toward  make-up  than  that  of  the  United 
States.     Write  again. 

Mildred  G.,  Minn.: 

In  the  March  Photoplay  I  wrote  an 
editorial  concerning  the  choice  of  a  career. 
I  hope  you  read  it.  You've  talent  for  acting 
and  you  like  to  write,  you  tell  me,  but 
nothing  more.  I  know  nothing  of  your  age, 
your  environment,  your  true  ambitions. 
You  must  assemble  your  talents,  my  dear, 
grow  up  a  bit  and  get  a  real  ^•iewpoint. 
Knowing  so  little  about  you  makes  it  diffi- 
cult for  me  to  advise  you.  Won't  you  write 
me  more  about  yourself? 

Unhappy  F.: 

Poor  child!  You  are  very,  very  shy  and 
your  stuttering  is  an  expression  of  that  shy- 
ness. But  cheer  up!  It  isn't  hopeless. 
It  can  be  cured.  Can  you  afford  to  take 
singing  lessons?  This  is  the  most  helpful 
thing  for  stammering.  If  that  is  impossible 
to  you,  try  very  hard  to  get  over  feeling  so 
timid.  Do  take  the  singing  lessons  if  you 
possibly  can.  They  will  give  you  poise,  an 
outside  interest,  happiness  and  they  go 
right  to  the  root  of  your  trouble.  As  for 
the  expression  class  in  your  school,  isn't  it 
possilile  to  go  to  the  principal  and  explain 
your  position  in  this  matter?  Try  it,  at 
least.    I  think  he'll  let  you  off. 

Peggy,  Nebr.: 

It  isn't  color  advice  you  need  but  diet  and 
exercise  advice.  You  don't  need  to  spend 
money  on  your  face  and  figure  but  vou  must 

•n  adviTllseraint  In  PHOTOPLAY  ^L^G.\ZINE  Is  guarant 


expend  some  care.  If  you  will  send  me  a 
stamped,  addressed  envelope  and  ten  cents, 
I  will  post  you  instructions  for  clearing  your 
skin  and  improving  your  figure. 

Bitter  Bess: 

"Shy,  sensitive,  indifferent  and  unsophis- 
ticated" you  call  yourself.  Mercy,  what  a 
list.  You  are  going  through  that  hard  period 
all  girls  experience,  growing  away  from  your 
family,  feeling  lonely,  growing  up.  I  wish 
I  could  reach  over  the  distance  and  give  you 
comfort  and  assurance.  You  need  them. 
This  isn't  anything  more,  Bess,  than  a 
growing  period.  You  are  changing  from  a 
girl  into  a  woman.  Don't  make  it  hard  for 
yourself.  It's  glorious.  Don't  stay  by 
yourself  too  much,  or  brood.  Older  girls, 
books,  exercise  will  all  help  you. 

Glee  Louise: 

The  boy  has  just  outgrown  his  love  for 
you,  I'm  afraid,  but  you  are  a  lucky  girl  to 
find  this  out  before  you  two  became  en- 
gaged or,  worse  still,  married.  I  see  nothing 
for  you  to  do  but  forget  him.  That  is  hard, 
I  know,  and  the  whole  affair  is  unfortunate. 
But  you  attract  boys  easily,  you  have 
parents  who  indulge  you,  you'\e  your  own 
car.    Surely  you  can  be  happy  again ! 

J.  M.: 

Several  good  preparations  are  advertised 
in  Photopl.\y.  And  the  directions  for  their 
use  come  with  each  package.  If  neither  of 
the  boys  writes  an  answer  to  your  letter  tell- 
ing them  of  your  bereavement,  I  do  not 
think  I  would  bother  to  write  again.  I 
think  that  a  failure  to  answer  your  letters 
showed  extreme  unkindness  and  thought- 
lessness in  this  case. 

Puzzled: 

_  The  only  thing  for  you  to  do  is  to  mark 
time  in  this  strange  romance  that  began  in 
so  unconventional  a  way.  I  doubt  if  you 
really  love  "Jack" — probably  his  present 
inaccessibility  is  the  thing  that  interests  and 
fascinates  you.  At  any  rate — do  not  be  the 
aggressor.  Let  him  make  all  of  the  advances. 
[  continued  on  page  94  ] 


Photoplay  Magazine — Advertising  Section 


'aj,no  woman 


ARES 


to  wear  ordinary  hosiery 
if  she  would  attain  slender 
Shapeliness  of  ankle  and 
leg'\  . .  says  MARY  ASTOR 


fJMAKY'^SrOK  favors  the  modish 

Allen- A  Picot  Edge  .  .  .  filmy 

sheer  from  top  to  toe* 

Famous  movie  stars  and  directors  now  fully  recognize  the 
important  part  hosiery  plays  in  accentuating  shapeliness 
of  ankle  and  leg. 

For  they  found  that  hosiery  of  exactly  the  same  xieight  often 
created  a  vastly  different  effect  when  worn.  One  pair  caus- 
ing the  ankle  and  leg  to  appear  slightly  thicker;  another 
giving  youthful  slenderness.  That  is  why  such  stars' as 
Mary  Astor  now  wear  a  certain  type  of  hosiery.* 

Her  favorite  is  this  lovely  Allen-A  Picot  Edge  style.  It  ii 
all-silk,  of  filmiest,  sheerest  weave.  Full-fashioned  to  cling 
tightly  to  the  ankle  and  mold  softly  to  the  knee  in  a  most 
engaging  manner.  Around  the  top  is  an  adorable  Picot 
Edge  in  contrasting  color. 

The  silken  foot  has  an  extra  narrow  sole  (invisible  e^•en 
when  worn  with  "cut-out"  slippers).  The  heel  reinforce- 
ment and  the  new  Allen-A  side  and  top  toe  guards  cushion 
and  strengthen  the  foot  at  all  points  of  wear.  Thus  service 
and  beauty  are  ideally  combined. 

You  will  find  this  lovely  Allen-A  hose  at  your  dealer's  in 
all  of  the  newest  shades.  Ask  for  it  by  style  number — 3710. 
$2.50  the  pair.  If  you  prefer  a  slightly  heavier  weight 
chiffon,  ask  for  style  number— 3712.  $1.95  the  pair.  Both 
■with  the  Picot  Edge.  If  your  dealer  does  not  carry  cither  of 
these  styles  simply  send  us  his  name — a  post  card  will  do 
— and  we  will  see  that  you  are  promptly  supplied. 

THE  ALLEN-A  COMPANY,  Kenosha,  Wisconsin 

Allen-A  Hosiery 


When  you  write  to  advertisers  iileaso 


mention  PHOTOPLAY   M.\G.\ZINE. 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  47  ] 


practically  negligible.  In  other  years 
girls  have  mobbed  HoIK'^vood,  most  of 
them  without  any  qualities  for  screen 
success  and  many  of  them  without  any 
means  of  support.  But  in  the  last  few- 
years  national  publicity  has  been  given 
to  the  situation — ^in  which  Photopl.w 
played  its  part — and  the  result  has  been 
that  the  fame  seekers  now  reaching  the 
cinematropolis  usually  have  siifificient 
fundsforfood.  AccordingtotheHolh'wood 
Studio  Club,  where  many  of  these  fledgling 
filmsters  stay,  about  fix'e  per  cent  of  the 
girls  get  work  in  studios  in  one  capacity 
or  another.  The  other  ninety-five  per 
cent  go  back  home. 

MARION   DAVIES  had   a  birthday 
recently.  Of  course  there  was  a  party. 
Enter:    The  cake  co\-ered  with  candles. 
Not  a  smile  from   Marion  as  it   was 
placed  before  her.     Slowly  she  counted 
each  one  then  broke  into  joyful  laughter. 
There  were  sixteen  tapers  burning. 

VILMA  BANKY  went  east  on  the  first 
lap  of  her  European  trip  on  the  same 
train  as  William  Sistrom,  general  mana- 
ger of  the  C.  B.  De  Mille  studio. 

As   the   train   pulled   out   of   the   Los 
Angeles  station,  Sistrom  thought  the  little 


Thrown  to  the  goldfish  with  noth- 
ing to  wear  but  water-lilies. 
Scenes  like  this  make  Clara  Bow 
feel  that  she  is  earning  her 
money 


bride  would  be  lonesome  so  went  to  her 
drawing  room  to  offer  greetings.  He 
pushed  open  the  door  and  found  Rod  La 
Rocque  sitting  with  his  wife. 

"My  God — "  Sistrom  was  dumfound- 
ed.  He  pictured  "Hold  'Em  Yale" 
standing  still  on  the  lot,  until  Rod 
should  return  from  Europe. 

When  Rod  got  off  the  train  at  Pasa- 
dena,  Sistrom  was  relieved. 

SPEAKING  of  Rod,  one  of  the  most 
wistful  bits  of  news  in  the  Cinema  City 
is  the  fact  that  Rod  is  spending  his  e\e- 
nings,  having  Vilma's  films  flashed  before 
him  in  his  home,  where  he  had  a  special 
screen  installed  the  day  after  her  de- 
parture. 

AND  three  days  after  her  departure,  a 
radio  announcer  of  a  mo^■ie  program 
in  Los  Angeles  stated  that  Rod  La 
Rocque,  now  known  as  Mr.  Vilma  Banky, 
was  to  be  seen  in  his  latest  picture  at  a 
well    known   local   theater. 

RAMON  NOVARRO  has  learned  the 
new  "Five  Step."  Between  scenes 
of  his  new  picture,  "China  Bound,"  he 
entertains  by  dancing  to  his  own  singing, 

[  CONTINUED  ON  PAGE  98  ] 


During  lulls  in  his  Biblical  movies,  Cecil  De  Mille  keeps  up  the  good  work  by  posing  tableaux  for  "The 

Godless  Girl.        This  is  "The  Spirit  of  Religion."    It  might  also  be  "The  Spirit  of  Tiffany's."    The  girls 

are  Seena  Owen,  Sally  Rand  and  Jeanette  Loff 


88 


OWT 


©  1928,  LlCl.LTI   i  M-i  hRS  TOBXCCO 


II  he  call 


for  Fatitna  comes  from 
those  smokers  who  are  glad  to  pay  for  "the  difference"  — 
who  are  glad  that  there  is  a  difference  to  pay  for.  And  what 
a  whale  of  a  difference  it  is!  i^  ^  ^ 


IF  A  T  I  Pyi  A 

Outstanding    favorite   among    higher   priced    cigarettes 


When  Laura  La  Plante  dances  across  the 
screen,  or  Reginald  Denny  whizzes  through 
a  picture — the  most  serious  person  in  the 
audience  can't  keep  back  the  laughs.  What 
joyous  fun  these  two  do  radiate!  What 
rollicking,    contagious    pep! 


Made  in  the  famous  Kellogg 
Kitchens  at  Battle  Creek  by  the 
Kellogg  Company,  world's  larg- 
est producers  of  ready  -to -eat 
cereals.  Makers  also  of  Kellogg's 
ALL-BRAN.  Corn  Flakes, 
Krumbles.  Kellogg's  Shredded 
Whole  Wheat  Biscuit,  and 
Kaffee  Hag  —  "the  coffee  that 
lets  you  sleep."  Other  plants  at 
Cleveland.  Ohio;  London. 
Canada  ;  Sydney.  Australia.  Dis- 
tributed in  the  United  Kingdom 
by  the  Kellogg  Company  ol 
Great  Britain.  Sold  by  Kellogg 
agencies  throughout   the  world. 


^W^^^fcl.^ 


Here's  the 

cereal  thousands  are 

enthusiastic  about! 


Just  imagine  a  dish  of  crisp, 
crackly  flakes.  Full  of  the  won- 
derful flavor  of  PEP  plus  the 
added  healthfulness  of  BRAN. 
That's  Kellogg's  PEP  BRAN 
FLAKES. 

You'll  say  you  never  knew  a 
cereal  could  be  so  good!  And 
healthful.  All  the  valuable 
food  elements  of  whole  wheat. 
With  enough  bran  to  be  mildly 
laxative. 

Kellogg's  PEP  BRAN  FLAKES 
add  bulk  and  health  to  any  meal. 
Especially  fine  for  children.  With 
milk  or  cream — practically  a  per- 
fect food!  Delicious  with  fruits 
or  honey  added. 

Look  for  the  red-and-green 
package.  At  your  grocer's. 

Important — Kellogg's  pep  bran 
FLAKES  contain  enough  bran  to  be 
mildly  laxative.  .  .  .  all-BRAN — an- 
other Kellogg  product — is  100%  bran 
and  guaranteed  to  relieve  constipation. 


BRAN 

I  FLAKES 


'^ood 


The  luncheons 
dinner 
parties  of  Holly- 
wood, as  well  as 
its  movies,  are 
acquiring  that 
international 
flavor 


Emil  Jannings'  cook, 
whom  he  brought  with 
him  from  Germany, 
teaches  him  how  to 
make  Kartoffel  Kloese, 
his  favorite  dish.  And 
she's  an  artist  in  her 
line,  too 


WHEN  the  foreign  stars  come  to  Hollywood, 
they  bring  their  own   "home  cooking"  with 
them.     And  sometimes  they  bring  their  own 
home  cooks. 

In  Holh-^vood,  there  are  French  dinners,  Italian 
dinners,  German  dinners,  Spanish  dinners,  Swedish 
dinners  and  even  Chinese  dinners  to  vary  the  routine  of 
social  life.  From  Holl\Tvood's  little  colony  of  foreign 
stars  and  foreign  cooks,  Photoplay's  Cook  Book  has 
collected  a  wide  variety  of  recipes  from  different  lands 
which  you,  too,  may  use  to  give  a  distinctive  touch  to 
your  menus. 

Here,  for  instance,  is  the  favorite  recipe  of  Emil 
Jannings — Kartoffel    Kloese.      In    plain    English,    this 

.Q.   


Photoplay  Magazlne 

7.50  X.  Michigan  Ave.,  Chicago,  III. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  100  fa\orite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


means  potato  dumphngs  and  you  serve  them  with  any 
sort  of  stew,  fricassee  or  pot  roast. 

To  make  them,  take  six  potatoes,  three  eggs,  one  cup 
of  flour  and  one  teaspoon  of  salt.  Boil  the  potatoes, 
peel  and  grate  them.  Add  to  this  the  three  eggs 
slightly  beaten.  Stir  in  flour  and  salt.  Then  mix 
thoroughly,  just  as  you  see  Mr.  Jannings  doing  in  the 
picture  at  the  top  of  the  page. 

Mold  into  small  balls  and  boil  for  fifteen  minutes  in- 
left-over  meat  or  chicken  gravy  or  in  water.  Or  cook 
them  in  with  the  stew. 

But  if  you  love  your  Art  and  your  health,  keep  the 
cover  on  the  kettle  while  they  are  boiling.  If  you  don't 
the  dumplings  will  fall  and  the  whole  meal  will  come 
to  a  morbidly  unhappy  ending. 

Photoplay's  Cook  Book  contains  many  other 
foreign  recipes  that  are  probably  new  to  you  and  to  your 
friends.  Some  of  them  are  more  elaborate  but  none  of 
them  contain  ingredients  that  aren't  in  your  own 
kitchen  or  that  cannot  be  purchased  at  your  corner 
grocery. 

If  you  will  print  your  name  and  address  plainly  in 
the  little  coupon  to  your  left  and  enclose  a  quarter, 
Photoplay  will  send  you  its  Cook  Book.  It  is  espe- 
cially valuable  to  the  woman  who  wants  to  make  her 
luncheons  and  dinner  parties  distinctive  and  fascinat- 
ingly different. 

These  recipes  represent  the  tastes  of  the  men  and 

women  who  have  the  best  cooks  in  the  world  at  their 

command  and  one  hundred  of  the  very  best  dishes  have 

been  compiled  for  your  enjoyment  in  your  own  home. 

Carolyn  Van  Wyck. 

91 


Photoplay  Magazine — Advertising  Section 


Style  Secrets  for  Every  Woman 

Our  Spring  Style  Boo\  brings  Fi/th  Avenue  to 
\ou!  Tou  will  find  in  our  new  Style 
'Boo}{,  which  is  just  ojf  the  press,  the  smart- 
est styles  of  Hew  Tor\  and  Paris — youth- 
ful, gay,  bewitching.  Send  for  our  Spring 
Style  Bool{  today ! 


Molly 

Medium  Vamp  and  Heel 

All  Patent  Leather $12.50 

White  Kid  Quarter 

Black  and  White  Woven  Vamp 14.00 

Honey  Beige  Kid  Quarter 

Beige  and  Tan  Woven  Vamp 14.00 

White  Kid  Quarter 

White  and  Green  Woven  Vamp 14.00 


Rosalie 

Round  Toe — Short  Vamp 
Patent  Leather 

'Fancy  Calf  Trim $12.50 

Honey  Beige  Kid 

Darker  Kid  Trim 12.50 

White  Kid 
PcUent  Trim 12.50 


Vassar 

Parchment  Calf 

Tan  Calf  Trim $8.85 

White  Calf 

While  Lizard  Calf  Trim 8.85 

WRITE  FOR  YOUR  NEW  BOOKLET  OF 
SPRING  STYLES 

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I  WEST  42nd  at  5th  Ave.  New  i  ork 

Please  send  my  copy  ol  your  Style  Book 


More  Luck  o'  the  Irish 


[  CONTINUED  FRO-M  PAGE  63  ] 


ing  the  paper.  His  eyes,  traveling  from 
the  theatrical  pages  where  they  had  rested 
on  the  names  of  his  two  other  leading 
women,  Bebe  Daniels  and  Jobyna  Ralston, 
fell  upon  a  news  page. 

And  upon  that  page  was  the  picture  of 
Ann  Christy. 

"Eureka!"  exclaimed  Harold,  meaning, 
of  course,  not  the  California  town  of  that 
name,  but  the  Greek  equivalent  for  "  I've 
found  it." 


So  he  had.  Because,  after  Ann  Christy 
had  been  located,  interviewed,  and  film- 
tested,  it  was  discovered  she  was  the 
typical  East  Side  Irish  girl  of  whom  he 
was  in  search. 

And  this  in  spite  of  the  fact  that  the  little 
Hoosier  has  ne\er  even  visited  New  York. 

Yet,  if  Ann  Christy's  hair  had  been 
bobbed,  Harold  Lloyd  would  not  have 
wasted  upon  her  his  Greek  \ocabulary. 

What  price  scissors  now? 


Olympus  Moves  to  Hollywood 


[  CONTINUED  FROJl  PAGE  36  ] 


in  cameraland  is  less  than  120  pounds,  with 
Mary  Philbin,  five  and  one-half  inches 
tall,  the  lightweight  champion  with  her 
ninety-nine  pounds. 

Now  here  are  the  figures  of  the  nine  in 
the  Venus'  height  class,  revealing  Joan 
Crawford's  supremacy.  Joan  \aries 
from  Venus  by  a  one-quarter  inch  loss 
around  the  chest,  an  inch  loss  through  the 
hips,  a  half-inch  loss  in  both  ankle  and 
calf. 

But  remember  this.  The  camera  has 
a  trick  of  making  everyone  look  ten 
pounds    heavier    than    they    really    are. 

Thus  it  does  not  permit  Joan  to  weigh 
the  125  to  135  pounds  correct  for  her 
height.  If  she  did  weigh  that  instead 
of  the  110  pounds  she  maintains  for  screen 
beauty  she  would  undoubtedly  be  exactly 
the  size  of  the  lady  from  Alelos. 

THE  other  eight  vary  much  more  than 
Joan.  Leatrice  Joy's  ankles  and  legs  are 
out  of  proportion  to  her  very  slender  chest 
and  hips — il  chest  and  36  hips.  Elinor 
Fair  has  the  same  chest  measurement  as 
Leatrice  but  her  hips  are  37  inches. 
Billie  Dove  is  both  too  hea\y  in  the  bust 
and  too  slender  in  the  calf.  Yola  D'A\ril 
is  hippy — 39  inches.  Colleen  Moore  is  al- 
together too  thin.  Pola  Negri's  lower 
body,  hips,  calves  and  ankles  are  too 
heavy.  Thelma  Todd's  chest  is  too  nar- 
row, her  hips  just  right,  her  calves  too 
small,  her  ankles  right,  which  is  not  so 
good. 

Aileen  Pringle  would  delight  the  cloak 
and  suiters  if  not  the  Greeks.  Aileen  is  a 
perfect  thirty-six,  bust  and  hips. 

Compare  the  figures  in  the  box  beside 
Richard  Arlen's  photograph  and  you  find 
that  the  men  are  as  close  to  Apollo's 
standard  as  the  girls  to  Venus'. 

Sixty-nine  male  stars  made  that  com- 
posite star.  Of  them  thirty-one  are 
taller  than  Apollo,  thirty-five  shorter,  and 
three  his  exact  height. 

The  tallest  is  John  Philip  Kolb,  six  feet 
seven,  yet  he  is  not  the  only  stellar  sky- 
scraper. Rod  La  Rocque,  Monte  Blue, 
Victor  McLaglan,  and  Karl  Dane  are  six 
feet  three;  Lane  Chandler  and  Gary 
Cooper,  six  feet  two.  There's  a  mob  of 
six-footers  including  Lloyd  Hughes,  Ben 
Lyon,  Lucian  Prival,  Charlie  Murray, 
Donald  Reed,  William  Boyd,  Tom  Tyler, 

ry  ^ilvcrtlsemont  in  PIIOTOrLAT  MAO.iZINE  is  guaranK 


Wallace  Beery,  Richard  Dix,  Charles 
Rogers,  Fred  Thomson,  Conrad  Nagel 
and  H.  B.  Warner. 

Ken  Maynard,  Clive  Brook,  \\'illiam 
Haines,  John  Mack  Brown,  James  Mur- 
ray, Owen  Moore  and  Ralph  Forbes  lack 
only  a  half  inch  of  Apollo's  height.  They 
are  five  feet  eleven.  The  ^•ery  shorts  are 
three  and  all  of  them  funny — Chester 
Conklin,  George  Sydney  and  Raymond 
Hatton,  these  cut-ups  being  fi\e  feet  five. 
The  three  true  to  Apollo's  height  are 
Richard  Aden,  Paul  Vincenti  and  Jack 
Mulhall. 

But  Jack  Mulhall  is  otherwise  under 
the  standard;  too  slender  through  chest, 
hips,  calf  and  ankle,  and  Paul  Vincenti's 
proportions  are  too  ^•arying.  Dick  Arlen 
outclasses  the  other  two  quite  thoroughly. 
He  has  a  383^2-inch  chest,  39j.'2-inch  hips, 
14-inch  calf,  Sj^-inch  ankle  and  weighs 
one-hundred  and  fifty-fi^■e. 

The  boys  have  the  same  need  to  be 
slim  as  the  girls.  There  are  five  very 
husky  boys  prominent  in  the  casting 
ofiice  but  weight  in  their  cases  is  an  asset. 
Kolb  scales  243  pounds,  Tenen  Holtz 
225,  Fred  Kohler  209,  Vic  McLaglan  215, 
Emil  Jannings212. 

Tyler  Brook  is  the  flyweight  —  one 
hundred  and  twenty-fi\e. 

McLaglan  outchests  all.  His  chest  is 
46  inches,  that  of  his  nearest  competitor, 
Fred  Thomson,  45  inches — and  that 
above  a  32-inch  waist.  Lucian  Prival 
scores  oppositely — 30  inches.  There  are 
no  particularly  large  feet  among  the  boys, 
the  average  is  size  8J  2  C,  while  the  average 
above  is  an  8,  but  Tyler  Brook  has  partic- 
ularly small  ones,  two  sizes  smaller  than 
Madame  Corda's — size  six. 

THUS  do  the  gods  of  the  new  Olympus 
compare  with  those  of  the  old.  • 

Centuries  ago  the  Greeks  knew  how  to 
be  healthy,  wealthy  and  wise.  Then  the 
world  forgot  so  thoroughly  that  thirty 
years  ago  Oscar  Wilde  got  by  with  the 
remark  that  all  art  was  unhealthy.  The 
senseless  censors  still  think  so. 

The  Greeks  knew  better. 

Hollywood  knows  better.  Its  artists 
with  their  work,  its  figures  with  their 
beauty,  glowing  with  the  vitality  of  sun, . 
sea  and  sports,  pro\'e  it. 

Art  often  lies  but  figures  don't. 


Photoplay  Magazine — Advertising  Section 


93 


My  Most  Precious  beauty  Secret 


^y^stelle  'J alitor 


/T  FASCINATING  revelation  by  one  of 
G/X  the  screen's  most  talented  and  beautiful 
actresses — a  frank  disclosure  of  the  methods 
she  uses  for  achieving  loveliness — methods 
which  you,  too,  in  the  privacy  of  your  home, 
may  use  with  surprising  results. 

Let  Miss  Taylor  tell  you  of  the  short-cuts  to 
beauty  and  skin  loveliness  she  has  found. 
Tricks  of  make-up  that  enable  you  to  apply 
cosmetics  with  the  skill  of  an  artist— that 
enable  you  to  emphasize  the  attractiveness  of 
vour  features — and  almost  instantly  seem  to 
change  the  very  contour  of  your  face! 

Yet  this  is  but  a  part  of  a  unique  and  priceless 
volume  written  by  20  of  the  most  noted,  most 
beautiful  women  of  the  screen — and  a  book 
which  you  may  have  for  fractkally  NOTHING. 

Here  is  advice  you  know  is  invaluable.  One  star 
talks  to  you  on  the  care  of  the  skm;  another 
discusses  perfumes,  their  mys- 
tery, personalities  and  effective- 
ness. Another  explains  the  de- 
velopment and  care  of  gloriously 
beautiful  hair;  still  another  dis- 
closes her  marvclously  effective 
massage  methods,  new  ways  to 
relax,  to  banish  "nerves";  how 
to  enhance  the  beauty  of  your 
eyes,  hands,  arms,  etc. 

If  sold  in  the  usual  manner,  this 
book,  profusely  illustrated,  at- 


tractively bound,  would  cost  a  dollar  or  more. 
Cheramy,  parfumeur,  offers  it  to  you  together 
with  a  generous  container  of  April  Showers 
Talc,  the  finest,  most  fragrant,  most  refreshmg 
of  all  talcs,  for  25c  (to  cover  the  mere  cost  of 
mailing,  etc.)- 


m 


^x 


April  Showers  Perfume — J 
f,lortous  bouquet— the  fra- 
granc,  of  a  jiower-filUd 
springtime — S4 ,  $2 .50 ,  $1 . 


AprilSllowirsToi/etU  ^ 
dilicately  though  Ujfn 

fragrj/It  utth  ex  ,ut 
April  Showers  —  uan 

fully  refreshing,     4  K  , 


0^^*^ 


Apnl  Showers,  as  you  know,  gayest  and  most 
youthful  of  all  fragrances,  favorite  of  Paris, 
smartest  of  continental  odeurs,  is  the  perfume 
motif  of  a  group  of  exquisite 
toiletries  known  by  the 
same  name.  To  know  them  is 
to  adopt  them  as  your  own, 
which  is  frankly  why  the 
t  lie  is  sent  to  you. 

But  .  .  mail  the  coupon  now, 
for  this  attr.active  offer  is 
limited.  You  must  act  quick- 
h         .  write  today. 

CHERAMY,  INC. 

P\RIS  NEW  YORK 


'ir^ 


AprilShow 
fragrant  r, 


Prices  quoted  apply  to  U.  S.  A.  only 


CHEKAMY 

PAKIS  -  MEW  YOBJ< 


ccious  Beauty  Secrets"  hy  20  famous 
nd  large  size  concaincr  of  April  Sho 
[  cDclosc25c  to  covLT  postage,  packing,  c 


PUOTOPLAY   MAGAZINE. 


94 


Photoplay  Magazine — Advebtising  Section 


I'irginia Lee Corbm,  the  beautiful  star 
playing  under  the  First  National  ban- 
ner has  eyes  no  one  can  forget.  They're 
so  utterly  beautiful. 


Are  Your  Eyes 
as  Beautiful? 

A  quick  flick  . . .  and  wonderful 
Winx  weaves  its  magic  spell.  With 
a  naturalness  that  is  supremely 
individual,  this  modish  liquid  lash 
dressing  bestows  on  the  eyes  di- 
vine loveliness.  It  makes  them 
seem  larger  and  more  expressive, 
by  framing  them  in  a  shadowy 
fringe  of  luxuriant  lashes. 
Now  arouse  the  beauty  that  slum- 
bers in  your  eyes.  Apply  Winx, 
the  original  liquid  lash  dressing 
which  is  an  indispensable  part  of 
the  smart  toilette. 

Neither  fragile  nor  transient,  the 
loveliness  Winx  gives  tothelashes 
remains  undimmed.  A  tear  ...  a 
stray  cinder  ...  a  day  in  the  surf, 
nothing  can  harm  it  or  cause  it 
to  run.  Winx  is  steadfast.  Just 
apply  it  in  the  morning,  and  re- 
move it  before  retiring. 
To  be  absolutely  sure  that  your 
lashes  are  fashionable  and  fair  in- 
sist upon  Winx.  And  toinsurethe 
loveliest  effect  apply  and  remove 
Winx  according  to  the  directions 
in  the  booklet  that  comes  in  the 
dainty  package.  Your  choice  of 
black  or  brown.  ..  75c  complete. 
At  all  toilet  goods  counters.  At 
all  drug  stores. 

ROSS  COMPANY 

243  Wtit  17th  Street,  New  York  City 


WllHX 


Mai  St.  Clair  and  his  "Gentlemen  Prefer  Blondes"  family.  Alice 
White,  the  new  Dorothy,  is  at  the  left.  The  girl  in  the  center, 
showing  what  the  well-dressed  woman  is  wearing,  is  Anita  Loos,  who 
wrote  the  story.  And  the  blonde,  of  course,  is  Lorelei  Lee  in  the 
person  of  Ruth  Taylor 


Girl's  Problems 


[  CONTINUED  FROM  PAGE  86  ] 


Barbara  K.: 
A  famous  theatrical  producer 


that  a  girl  should  weigh  two  pounds  to  the 
inch.  This  is  a  good  rule  to  follow  on  deter- 
mining; weight.  Do  not  change  your  style 
of  hairdressing — and  do  not  cut  your  hair. 
It  suits  your  type  very  well,  just  as  it  is. 
Wear  bright  colors — red,  orange,  brown, 
flame,  coral.    Any  of  these  vivid  shades  will 


out  moving  the  body  turn  head  sharply  to 
has   said     the  left  five  times,  then  to  the  right   five 


times.  Next,  relax  head  and  neck  muscles 
completely  and  roll  head  around  in  a  circle, 
going  forward  and  back  as  far  as  possible. 
For  the  abdomen,  stand  erect  with  hands  on 
back  of  head.  Bend  from  side  to  side  as  deep 
down  as  possible  without  moving  lower 
body.     Next,  rise  on  toes  and  stretch  arms 


suit  you.  But  have  your  dresses  cut  along  overhead,  bend  body  at  trunk  and  try  to 
straight  lines.  If  the  men  and  girls  in  your  touch  fingertips  to  the  floor.  Return  to 
town  do  not  appeal  to  you,  you  are  silly  to     correct    standing    position    and    plant    the 


feel  that  you  must  spend  a  great  deal  of  time 
with  them.    Time  spent  with  people  who  do 
not  stimulate  you  mentally — who,  in  other 
words,  bore  you — is  wasted  time. 
J.  M.: 

Exercise  is  the  best  possible  reducing 
agency  when  combined  with  a  sane  diet. 
While  osteopathy  will  be  beneficial,  you  can 


feet  about  twenty-four  inches  from  each 
other.  Stretch  arms  to  their  fullest  length 
and  then  try  to  touch  the  finger  tips  of  the 
right  hand  to  the  toe  of  left  foot,  keeping 
abdomen  flat  and  knees  stiffs.  Reverse  with 
left  hand  and  right  foot.  Repeat  twelve  times. 
Charmaine: 
-        -  ,,        -    -  Thank  you  for  writing  me  again.    You  are 

reduce  any  part  of  your  figure  by  yourself     very  much  overweight.     You  should  lose  at 


>ou  will  exercise  regularly.  '  For  the 
ankles,  try  this:  Stand  erect  with  feet  close 
together  and  parallel.  Rest  hands  on  hips. 
Rise  to  tiptoe,  then  squat,  bending  knees 
sharply  outward  and  supporting  entire 
weight  of  the  body  on  the  balls  of  both  feet. 
I'e  sure  to  keep  upper  body  erect.  From 
squatting  position  rise  back  to  tiptoes,  then 
lower  heels  lu  floor.  Repeat  entire  exercise 
at  least  twelve  times  daily.     For  the  chin 


east  fifteen  pounds,  and  twenty  would  be 
better.  If  you  will  send  for  my  reducing 
booklet  you  will  find  in  it  both  the  diet  and 
exercises  you  need.  For  colors  5'ou  can 
wear  white,  when  trimmed  with  other  colors, 
golden  brown,  blue,  blue  gray,  pale  pink, 
soft  rose  and  bronze.  Wear  your  hair  very 
simply  dressed  and,  ifpossible,  brushed  back 
from  the  face.  Your  hats  should  be  small 
but  have  some  type  of  brim.   In  summer  you 


do  these  exercises.    Stand  with  chest  high]     can  wear  large,  shade  hats.    "OfT-the  face" 
abcioinen  flat,  head  nigh  and  chin  in.    With-     models  are  not  your  type, 

Every  aUvcrllscmont  In  rHOTOPLAY  JIAGAZINB  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


95 


"Hoot,  Mon,  Luckies  dinna  hurt  my  wind  or 
throat/'  says  Sir  Harry  Lauder,  celebrated  star 


/ 


Tve  smoked  Luckies  for  years  and  all  this  time  I've 
been  active  in  my  work  which  demands  a  clear  voice 
for  singing  and  good  wind  for  dancing.  And  so  I  say 
to  Sandy  McGregor,  'It's  always  a  bra  bricht  moon' 
lict  nicht  with  Luckies — Hoot,  Mon,  they  dinna  hurt 
my  wind  or  throat.'"       j  / 

1'  CJUl/k^ 


The  Cream  of  the  Tobacco  Crop 

In  my  business,  1  have  noticed  that  in  this  South- 
land where  tobacco  grows,The  AmericanTobacco 
Company  buys  'The  Cream  of  the  Crop'  for  their 
LUCKY  STRIKE  Cigarettes.  I  am  glad  to  testi- 
fy as  to  their  quahty."         J^  -_ 

Tobacco  Warehouseman 

It's  toasted" 

No  Throat  Irritation-No  Cough. 

When  you  write  to  adverUsers  please  mention  PHOTOPLAY  MAGAZINE. 


96 


Photoplay  Magazine — Advertising  Section 


Uiscouragd 

with  patchwork  treatments 
d' the  skin -^ 


Thousands  of  women 

are  turning  to  this 

new  method  of  care 

and  skin  health 

/\rE  you,  too,  one  of  those  who  have 
tried  treatment  after  treatment  for  the  skin, 
yet  without  any  visible  results?  Have  you 
perhaps  come  to  feel  that  nothing  can  give 
you  one  of  those  clear,  smooth,  glowing  com- 
plexions you  envy  in  some  of  your  friends? 

Yet  below  those  unsightly  blemishes,  deep 
down  where  patchwork  remedies  fail  even 
to  reach,  natural  forces  in  your  skin  are 
fighting  day  and  night  to  counteract  the 
harsh  conditions  of  daily  life.  Unaided, 
these  forces  fight  a  losing  battle.  A  little  help 
on  your  part,  and  the  balance  swings  toward 
the  unlocking  of  a  hidden  beauty. 

To  cleanse  the  pores,  to  carry  off  infection, 
end  then  to  stop  nena  infection  before  it  starts — 
thousands  of  women  have  learned  the  daily 
use  of  Resinol  Soap.  Often  in  a  few  days, 
blackheads,  blemishes,  and  even  infections 
that  appear  to  be  more  or  less  serious,  will 
yield  to  this  gentle  treatment. 

Also  as  a  general  toilet  soap— for  baby's 
tender  skin,  for  shampooing,  for  the  bathi 
Note  its  clean,  tonic  odor. 

Ointment  for  serious  affections 

Resinol  Ointment  has  for  years  been  suc- 
cessful in  relieving  even  stubborn  skin 
affections.  Rashes  and  eczema — often  itch- 
ing, unpleasant  and  embarrassing  —  will  in 
many  cases  vanish  promptly.  Thousands 
have  wondered  at  the  QUICKNESS  of  its 
action.  And  it  is  absolutely  harmless. 

FREE  TRIAL  OFFER 

L«.t.B.C.R..Inol.  n.ltlnnor-.  Hd. 
11.-M.  •and  m..  without  charn. 


City State f| 


She  Makes  Good  at  59 


[  CONTINUED  FROM  PAGE  66  ] 


Sheehan,  who  is  responsible  for  both  Janet 
Gaynor  and  Charles  Farrell.  On  asking 
who  she  was,  where  she  had  been,  what 
she  had  done  prior  to  this  picture,  John 
Ford  furnished  the  information  that  "She 
was  just  an  extra  woman  who  had  been 
trying  for  years.  We  ga\-e  her  a  bit  in 
'Mother  JNIachree'  and  she  looked  good 
enough  in  that  for  us  to  gi\&  her  a  chance 
in  this." 

MOTHER"  i\IA\N  lives  in  a  little 
house  of  her  own  architectural  de- 
signing. It  stands  in  the  rear  of  the  one 
that  she  first  built  and  which  she  now 
rents  out.  It  was  this  little  foresight  that 
made  it  possible  for  her  to  maintain  a 
rugged  front  in  the  face  of  ad\ersity  for 
the  ele\en  years  that  she  has  struggled  for 
her  place  in  pictures.  She  is  white  haired 
and  she  speaks  with  a  delightful  Scottish 
burr.  Her  story  is  one  that  pro\-es  that 
nothing  less  than  fortitude  and  determi- 
nation will  carry  one  along  in  this  field 
where  the  competition  is  so  great  and  the 
supply  so  far  in  excess  of  the  demand 
when  it  comes  to  players  for  minor  roles 
or  "atmosphere." 

"Mother"  Mann  originally  came  to 
Southern  California  from  the  State  of 
Washington.  That  was  almost  twenty 
years  ago.  She  did  not  come  to  Los  x^n- 
geles  or  Hollywood,  but  settled  in  San 
Diego.  When  the  Fair  came  along 
"Mother"  iMann  went  to  the  State  of 
Washington  Building  on  the  grounds 
prior  to  the  official  opening.  She  met  the 
Go\ernor  of  her  former  home  state.  He 
suggested  that  she  represent  Martha 
Washington  in  a  tableau  which  was  to 
form  part  of  the  opening  day  exercises  at 
the  fair.  "Mother"  Mann  consented, 
and  a  few  months  later  made  a  second  ap- 


pearance  at   the   Fair  on   Washington's 
Birthday. 

Naturally  she  was  photographed  in  the 
Martha  Washington  costume.  Friends  in- 
sisted that  her  place  was  before  the  mo- 
tion picture  camera.  Finally,  the  con- 
stant reiteration  of  the  motion  picture 
suggestion  had  its  effect,  and  "Mother" 
Mann  came  north  to  Los  Angeles.  She 
made  a  round  of  the  studio  casting  offices 
with  her  Martha  Washington  photographs 
and  when  she  reached  L'niversai,  she 
finally  was  asked  to  lea\e  a  photograph  of 
herself.  She  went  home  and  three  days 
later  she  was  "called"  to  the  studio. 

FROM  then  on  her  troubles  really  began. 
It  was  a  day  here  and  a  day  there. 
Sometimes  the  wage  was  $5  and  at  others 
$7.50,  but  there  was  no  regularity  to  the 
work.  She  would  work  a  day  and  then 
skip  a  week  before  there  was  another  call. 

Then  late  in  1917  along  came  what  she 
belie\ed  was  her  chance.  It  was  the 
mother  role  in  "Hearts  of  Humanity" 
which  Alan  Holubar  directed  for  L'ni- 
versal.  She  was  placed  under  contract 
for  the  picture.  Her  salary  was  $60 
weekly  and  she  managed  to  get  about  six 
weeks  out  of  the  production.  But  her 
elation  was  soon  dispelled  when  she 
learned  that  the  picture  would  not  be  re- 
leased for  months  afterward.  With  the 
ending  of  the  war  the  vogue  of  the  white 
haired  mother  waned. 

"Mother"  Mann  went  back  to  atmos- 
phere. There  were  no  parts  and  even  an 
old  lady  must  li\-e.  Today  she  is  fifty- 
nine.  She  started  looking  for  her  chance 
for  screen  fame  at  forty-eight,  and  it  took 
her  ele^•en  years  to  achieve  her  goal. 

Think  of  that  before  you  go  to  Holly- 
wood ! 


Margaret  Mann,  as  Grandma  Bernle  of  "Four  Sons,"  with  the  four 

sons:    Joseph,  played  by  James  Hall;  Franz,  Francis  X.  Bushman, 

Jr.;  Andres,  George  Meeker;  and  Johann,  Charles  Morton 


Every  ;ulvcTllscmeat 


PHOTOrLAY  .M.\GAZINK 


Photoplay  Magazine — Advertising  Section 


\ '- 

\  A 

A  remarJ^ahle 
heauty  aid! 

Tne  modern  vogue   for  natural  color  has 
brought   forward   a   new  kind   of  lipstick 
with  an  astonishing  property.  In  an  amaz- 
ing way  it  changes  color,  as  you  put  it  on, 
from  its  original  orange  to  olush-rose 
—  Nature's    own    shade  —  and 
blends   with   each   individual 
type  of  beauty. 

More    remarkable 
still,  this  won- 
derful lip- 


stick is  matched  in  a  color  magic  for  the 
cheeks.  A  rouge  which  changes  color  to 
blend  with  your  complexion  and  —  like  the 
lipstick  —  stays  on  all  day  without  lading 
or  rubbing  offl 

The  name  of  this  color  magic?  Tangee 
Lipstick  and  Tangee  Rouge. 

Be  sure  you  see  the  name  on  the  box 
and  gunmetal  case. 

PRICES— Tangee    Lipstick    $i,    Tangee  y. 

Rouge  Compact  75c, Tangee  Crcme  Rouge  / 

$1,    (and    for   complete  beauty    treat-  ^ 

ment:       Tangee    Day    Cream,  / 

Tangee    Nigtt    Cream,    and 
Tangee    Face    Powder 


0= 


$.  each) 
in  Cana< 


IJcliigKe 


/ 


/ 


MVV'^ 


.-'  ^^V'V^*'--!."    ^•'     I.' 


o  ailvertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Gossip  of  All  the  Studios 


IF  vou  think  these  falls  taken  at  the  risk 
of  your  neck  in  the  mo\ies  are  trick 
shots',  I  wish  you  had  been  with  me  on  the 
set  of  "The  Godless  Girl"  the  other  day. 

Mary  Jane  Irving,  a  plucky  little  stunt 
girl,  was  on  the  third  storj-  stair  landing. 
The  railing  was  to  break;  she  -was  to  go 
over. 

Standing  out  of  the  camera  range  was  a 
youth  on  crutches.  He  was  her  fiance, 
another  stunt  person,  who  will  walk  on 
crutches  indefinitely  because  of  his  last 
darede\il  gift  to  the  realism  of  pictures. 

"Remember,  Man,-,  if  you  feel  you 
mav  be  hurt,  don't  move!"  he  gave  the 
unwritten  law  of  all  doubles  as  the  last 
minute  warning. 

CHANGING  your  name  to  change 
your  luck  is  becoming  a  Hollywood 
habit.  Gretel  Yoltz — erstwhile  Eileen 
Sedgwick — is  the  latest. 

Eileen  went  to  inter\iew^  Howard 
Hawkes  concerning  a  part  in  a  picture. 


[  CONTINUED  FROM  P.A.GE  88  ] 

"I  want  a  girl  like  Eileen  Sedg\vick, 
only  not  so  heavy,"  he  stated.  "What's 
vour  name?" 

"Gretel  Yoltz,"  Eileen  answered.  She 
thought  Howard  was  kidding  and  gave 
the  first  name  that  flashed  before  her, 
that  of  a  former  maid. 

"Gretel"  got  the  part. 

Still  thinking  he  was  joking,  Eileen 
kidded  him  about  not  seeming  to  know 
her. 

Hawkes  was  amused,  but  seriouslj'  ad- 
^•ised  her  to  keep  the  new  name 

She  kept  it. 

DIRECTOR    Rupert    Julian    had 
missed  seeing  William  Hale  for 
two  weeks.    He  met  him  accidentally. 
"Where  in  thunder  have  you  been, 
Hale?"  Julian  inquired. 

"Oh,  I've  been  out  of  sight  for  a 
couple  of  weeks.  I've  been  pre- 
viewing Von  Stroheim's  latest  pic- 
ture," Hale  retorted. 


No,  not  sisters,  but  a  little  girl  with  a  blonde  mother  to  guide  her. 
Virginia  Kirtley  was  a  popular  star  with  Mutual.  She  retired  to 
raise  her  daughter,  Frankie,  while  husband  Eddie  Lyons  went  on 
as  director  and  comedian.  They  sent  Frankie  to  the  famous 
National  Park  Seminary,  at  Washington,  D.  C,  and  all  that. 
Frankie's  Lupine  Lane's  leading  lady  now,  and  Miss  Kirtley  is  play- 
ing parts  on  the  screen  again 


Map  this  out.  Emily  Chichester, 
playing  in  Italian  films  made  in 
New  York,  is  an  Englishwoman  out 
of  the  Follies  that  glorify  the 
American  girl.  Her  latest  film  is 
called  "A  Man  from  Manhattan." 
When  the  studios  went  West,  Emily 
became  one  of  the  few  movie  players 
in  the  East  and  so  fine  has  her  work 
been  in  thedomestic-madeforeign- 
released  Riviera  films,  they've 
bobbed  her  name  to  Chester  in 
Mussolini's  land  and  regard  her  as 
a  star 


TWO  more  final  fadeouts  in  the  film 
colony,  two  more  deaths  as  strangely 
tragic  as  many  film  deaths  seem  to  be. 
Both  were  armj'  officers  who  had  been 
decorated   for  bra^■er^•  in   battle. 

There  was  Earl  Metcalfe.  He  had  been 
generally  forgotten  though  he  was  one  of 
the  movies'  pioneers.  He  worked  steadily 
from  1912  when  he  started  with  the  old 
Lubin  company  until  1924.  But  the  last 
three  years  found  even  Po^•erty  Row 
practically  closed  to  him.  There  was  no 
real  reason  for  it.  Earl  was  a  good  actor. 
Once  he  w-as  a  star. 

He  was  passenger  in  an  airplane  just 
before  the  end  came.  The  plane  swerved 
and  Earl,  seated  in  the  rear  pit,  slipped 
out,  fell  2,000  feet  and  died  instantly. 
The  plane  and  pilot  were  unhurt. 

Ironically  enough,  his  death  occurred 
at  Burbank,  Calif.,  not  far  from  the 
First  National  Studios,  the  last  place 
Earl  ever  worked,  doing  a  bit  in  a  Ken 
Maynard  picture. 

THE  other  death  was  that  of  Wally 
McCutcheon.    It  was  suicide.    He  left 
a  note  beside  a  half  finished  bottle  of  gin, 

[  CONTINUED  ON  PAGE  112  ] 


many  of  Maniittlan's  moil  hriltiatit  utddingf. 


What  Will  the. 
I'uri^  of airlkood  sau 

THIS  RING  that  so  delights  her  heart  of  hearts  '  <  ' 
will  it  also  deserve  and  win  the  admiration  of  girlhood's 
jury?  Surely  they  will  thrill  to  the  beauty  of  any  Traub 
creation  '  »■  ^  sensing  the  faultJess  good  taste  which  links 
modish  ring  design  with  the  age-old  symbolism  of  the 
Orange  Blossom.  Or  judging,  humanly,  by  other  than 
sentimental  standards,  they  will  recognize  the  Traub 
trade-mark  '  '  ^  displayed  at  all  the  better  jewelers' 
'  *  '   as  a  guarantee  of  genuineness,  vogue  and  value. 

Our  delight ful  booklet,  "Wedding  Ring  Sentiment",  free  on  request 

TRAUB  MANUFACTURING  COMPANY 


DETROIT 


MICHIGAN 


TRAUB  (fenuine 

Orange  mossom 

t:ngu%emeni  unJ  WetWing  Kings 


T       R        A       U 


B 


ATS     AN 


SUITS 


Left— Doris  Kenyon,  First 
National  ttat,  featured  in 
"The  Valley  of  thcGiants." 

Ritjht  — Uura  Li  Plantc, 
starring  in  "Finders  Keep- 
ers," a  Universal  pro- 


"To  follow  the  stars"  is  wise  in  select- 
ing a  smart,  new  coat.  For  these  two 
famous  stars  will  lead  you  straight  to 
a  slim,  youthful  Printzess  model.  A 
leading  merchant  in  your  town  is  show- 
ing the  chic  Printzess  Coats  and  Suits 
worn  by  America's  best  dressed  women. 
Also  "Printzess  Petite"  for  the  shorter 
figure  —  "Printzess  Travelure"  for 
travel  and  sports  wear.  Ask  for 
Printzess  by  name.  Look  for  the  label. 
The  PrintZ'Biederman  Company, 
Cleveland,  New  York. 

Printiess   garments   cost    less   than    you    expect. 
Dress  Coals    -     -     -     S39.?0  to  S79.S0 
Travclures      .     -     .       2S.00  to     79. SO 
Suits 25.00  to     59.00 

Many  leading  merchants  are  featuring 
Printzess  Week  this  season. 


DISTINCTION     IN    DRESS-SINCE     1893 


QUESTIONS  &■  ANSWERS 


Read  This  Before 
Asking  Questions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  vnrit- 
ing,  or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address:  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  the  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  than  other  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
\our  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


C.  C.  C.  C,  Waco,  Te.x.— Just  to  settle 
the  argument  and  "do  the  whole  school  a 
favor,"  I'll  announce  here  and  now  that 
Gloria  Swanson  is  not  dead.  That  rumor 
crops  up  about  once  a  year  and  it  is  pretty 
tough  on  Gloria,  who  is  still  very  much  alive. 
So  go  back  to  your  studies  and  don't  worry 
any  more  about  it. 

W.  F.,  New  York,  N.Y.— June  Collyer's 
real  name  is  Dorothea  Heermance.  She  was 
born  in  New  York — Aug.  19,  1907.     Come 


CORRECTION— A  few  months  ago,  I 
said  that  Katherine  McDonald  was  once  the 
wife  of  the  late  Malcolm  Strauss.  A  thou- 
sand apologies  to  Mr.  Strauss  for  calling  him 
"late."  Mr.  Strauss  is  very  much  alive  and 
this  poor  old  man  is  so  ashamed  that  he  is 
blushing  to  the  roots  of  his  whiskers. 

M.  R.  L.,  Fernd.\le,  Md. — Valentino  was 
thirty-one  years  old  when  he  died.  Lois 
Moran  has  blonde  hair  and  blue-gray  e^-es. 
She  was  bom  March  11,  1909,  and  she  isn't 
married.  Write  to  her  at  the  William  Fox 
Studios,  Hollywood,  Calif.  Not  a  bit  of 
trouble! 

Miss  Sih-Lin-In,  Shanghai,  China. — 
That  is  a  pretty  name.  What  does  it  mean? 
Lillian  Gish  was  born  Oct.  14,  1896.  Anna 
May  Wong  is  not  under  contract  to  any  com- 
pany. She  is  a  freelance  player,  which 
means  that  she  is  engaged  by  any  producer 
who  needs  her  ser\'ices.  Certainly,  \'ilma 
Banky  is  going  to  continue  her  career.  Don't 
apologize  for  your  English.  There  wasn't 
a  single  mistake  in  your  letter. 

F.  D.  OF  Iowa. — Thelma  Todd  played 
opposite  Richard  Dix  in  "The  Gay  De- 
fender." Richard  has  dark  brown  hair  and 
dark  brown  eyes. 

Yes,  Ramon  Novarro  is  going  to  make 
more  pictures;  his  present  contract  still  has 
some  time  to  run.  Clara  Bow's  next  picture 
is  "Ladies  of  the  Mob." 

D.  N.,  Ilion,  N.  Y. — Betty  Bronson 
played  the  Madonna  in  "Ben-Hur"  and 
Francis  X.  Bushman  was  Messala. 

A.  K.,  St.  Louis,  Mo. — Thanks  for  the 
Leap  Year  advice.  I  am  a  pretty  wise  old 
man  and  I've  managed  to  escape  a  lot  of 
Leap  Years.  Bobby  Doyle  was  the  bov  you 
liked  in  "Johnny  Get  Your  Hair  Cut." 
Sorry  to  break  up  your  illusions,  but  it's  my 
duty  to  tell  you  that  Don  Alvarado  is 
married. 

To  Virginia  of  San  Diego  and  others. 
— Write  to  Gilbert  Roland  at  the  United 
Artists  Studio,  7200  Santa  Monica  Blvd., 
Hollywood,  Calif.    That's  that. 


M.  B.,  Hayward,  Calif. — I  don't  say 
"drat  the  women."  I  like  their  "everlasting 
questions."  It's  only  the  married  men  who 
object  to  their  questions.  Yep,  Thomas 
INIeighan  has  signed  up  with  Caddo  Pic- 
tures. I  don't  know  where  he's  going  to 
work.  And,  so  far  as  I  know,  his  brother  has 
no  intention  of  going  into  the  movies. 

Evelyn,  Kenosha,  Wis.— Hugh  Allan 
was  bom  Nov.  5,  1903.  Write  to  him  at  the 
Hollywood  Athletic  Club,  Hollywood,  Calif. 
He's  six  feet  tall.  John  Harron  is  another 
six  footer  and  William  Boyd  is  one  inch  over 
six  feet.  Don  Alvarado  misses  the  six-foot 
mark  by  just  one  inch.  Alvarado  was  born 
in  1903  and  Charles  Rogers  in  1905. 


"I17HO  started  the  rumor 
^^  that  Richard  Dix  had 
married  a  girl  named  Rolls? 
Letters  inquiring  about  Rich- 
ard's marriage  came  from  all 
parts  of  the  country. 

The  answer  is  that  Richard 
Dix  is  still  single. 

And  here  are  the  answers  to 
the  six  other  most  persistent 
questions  of  the  month  : 

Janet  Gaynor  was  born  in 
Philadelphia,  Pa.  She  is 
twenty-one  years  old  and  that 
is  her  real  name. 

Esther  Ralston  is  married  to 
George  Webb.  She  was  born 
on  September  17,  1902. 

Richard  Arlen  is  twenty- 
eight  years  old.  Married  to 
Jobyna  Ralston. 

Joan  Crawford  is  not 
married. 

Charles  Farrell  is  twenty- 
five  years  old  and  was  born  at 
Onset  Bay,  Mass. 

And — to  repeat  an  answer  of 
a  previous  month — John  Gil- 
bert was  bom  in  Logan,  Utah. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty- 
five  cents,  to  cover  the  cost  of 
the  picture  and  postage.  The 
stars  are  glad  to  mail  you 
their  pictures,  but  the  cost  is 
prohibitive  unless  your  quar- 
ters are  remitted. 


C.  P.,  Denver,  Colo. — You  have  a 
sympathetic  nature,  a  good  imagination  and 
plenty  of  force  of  character.  Do  all  those 
nice  compliments  make  up  for  my  neglect  of 
you?  Richard  Dix  was  bom  in  St.  Paul.. 
He's  six  feet  tall  and  weighs  184  pounds. 

P.  S.,  San  Diego,  Calif. — Right  you  are; 
Lon  Chaney  played  Fagin  with  Jackie 
Coogan  in  "Oliver  Twist." 

A  Lois  Wilson  Fan,  Yakima,  Wash. — 
Lois  was  born  June  28,  1896,  in  Pittsburgh, 
Pa.  She  is  five  feet,  five  and  one-half  inches 
tall  and  weighs  one  hundred  and  twenty 
pounds.    Brown  hair  and  hazel  eyes. 

M.  C  S.,  Norwood,  Pa. — Ronald  Colman 
enlisted  in  a  London  Scottish  Regiment  at 
the  beginning  of  the  War  and  was  wounded 
in  the  first  battle  of  Ypres.  But  he's  a 
modest  fellow  and  doesn't  talk  much  about 
it.  Write  to  Charles  Farrell  at  the  William 
Fox  Studios,  Hollywood,  Calif.  It's  spelled 
Barthelmess  and  Richard  may  be  reached  at 
the  First  National  Studios,  Burbank,  Calif. 
Don't  forget  that  promise  of  "eternal 
gratitude." 

E.  O'B.,  New  York,  N.  Y. — Since  I  am 
so  smart  I  can  tell  you  that  John  Mack 
Brown  is  six  feet  tall,  has  black  hair  and 
brown  eyes  and  may  be  addressed  at  the 
Metro-Goldwyn-Mayer  Studio,  Culver  City, 
Calif.    How's  that  for  being  clever? 

W.  L.  F.,  Dcnc.\n,  Okla.— Bebe  is 
pronounced  Bee-bee.  William  S.  Hart  is 
out  of  pictures,  temporarily  I  hope.  He 
lives  in  Hollywood.  Lewis  Stone  was  born 
Nov.  15, 1879,andCliveBrook,Junel,1891. 
Mr.  Brook  is  married  to  Mildred  Evel>Ti. 
Clive  is  pronounced  Cl-e\e-ve,  with  a  long 
"i."  Clara  Bow  has  brown  eyes  and  she  is 
five  feet,  three  and  one-half  inches  tall.  She 
weighs  one  hundred  and  fifteen  pounds. 
Just  seventeen  when  she  first  went  into 
pictures.  And  that's  her  real  name.  Can 
that  be  all? 

George  W.,  St.  Louis,  Mo. — Write  to 
William  Russell  at  the  William  Fox  Studios, 
Hollywood,  Calif. 

Miss  L.  D.,  Seattle,  Wash. — Colleen 
Moore  was  starred  in  "So  Big  "  and  other 
important  roles  were  pla\ed  by  John 
Bowers,  Ben  Lyon,  Wallace  Beery  and 
Rosemary  Theby. 

Pauline  G.,  New  York,  N.  Y. — Jetta 
Goudal  has  green  eyes  and  she  was  born  in 
1898.  Alice  Joyce's  hair  is  brown  and  her 
eyes  are  hazel.  Joan  Crawford  has  red  hair 
and  Jacqueline  Logan  has  auburn  hair  and 
grey  eyes.  Don't  ask  me  the  difference 
between  auburn  and  red  hair! 

[  CONTINUED  ON  PAGE  106  ] 

101 


I02 


Photoplay  Magazine — Advertising  Section 


hidividual  Expressio?i  in 
A.L'L'U'R'I'N'G 

HAIR^ 


I      ;  No  other  hair  is  just  like  Miss 

'  DelRio's — which  speaks  its  own 

,  /  charm-story   of  personal   good 

f/  taste  and  personal  supervision 

Vit  i  "f^li  of  course  it's  no  secret," 
yjL  ■  ^''>  says  Miss  Del  Rio.  "This 
hair  of  mine  which  so  many  folks 
talk  and  write  about  so  kindly.  I 
give  credit  to  real  fresh  lemon 
juice. 

"It's  so  simple  to  reason  it  out 
why  you,  too,  should  use  real  lemon 
juice.  You  see,  all  soaps  leave  a 
thin  'viscous'  curd  on  each  tiny 
strand  of  hair  after  a  shampoo.  No 
— you  can't  remove  it  with  water; 
no,  not  if  you  try  it  twenty  times. 
It  leaves  the  hair  like  a  mat! 
You  just  can't  arrange  it  properly! 

"  But— when  you  use  real  lemon 
juice,  the  mild,  harmless,  delicate 
lemon  acid  cuts  the  curd  away. 

■'  Then,  you  know  you  have  clean 
hair.  And,  rcrt/lemon  juicemakesit 
instantly  possible  to  regain  natural 
gloss;  pretty  color  is  undimmed." 

p.  S.— "  •Teli  them  lo  do  it  litis  way  ' 
my  hatrdrtsser  writes  me—'  Wash  your 

hair  thoroughly — at  least  two  soapings 

then  rinse  well  to  get  out  the  free  soap. 
Add  the  juice  of  two  California  Lemons 
lo  an  ordinary  wash  bowl  of  water  (nhout 
4  Quarts)  and  rinse  with  this,  following 
■with  rinse  in  plain  water.' 

"That's  the  way  he  rinses  my  hair  " 


£  VERY  modern  woman  should 
V*'  understand  the  value  of  real  fresh 
lemon  juice  as  a  toilet  requisite.  Send 
Uiday  for  our  informative  booklet, 
"Lemon,  the  Natural  Cosmetic,"  con- 
taining tributes  from  screen  stars. 
V/ulc  your  name  and  address  on  marRin 
of  this  page,  tear  off  and  mail  to 

California  Fruit  Growers  Exchange 


^ 


The  Story  of  Greta  Garbo 


[  CONTINUED  FROM  PAGE  78  ] 


"Xo,  we  were  never  on  the  stage.  Oh, 
we  were  on  the  background  of  the  Royal 
Theater. 

"We  never  said  anything. 

"Just  went  on  to  learn  what  you  call 
stage  presence. 

THE  usual  course  was  two  years.  But 
I  was  just  beginning  the  third,  when 
one  of  the  teachers  came  to  me  and  said 
Mauritz  Stiller  wanted  a  girl  to  play  in  a 
picture  for  him.  I  said,  'Ya?  I  will  go  and 
sec  him!'  I  didn't  think  much  about  it. 
I  ne\er  get  thrilled  about  anything  until  it 
happens.  It  hurts  too  much  to  be  dis- 
appointed. 

"That  day,  after  school,  I  went  up  to 
his  house  to  see  him.  I  had  ne\er  seen 
:\!r.  Stiller.  To  me  he  was  just  a  ^-ery  big 
man. 

"He  is  very  big  in  Europe,  you  know; 
one  of  the  biggest. 

"He  was  not  at  home.  So  I  sat  down 
and  waited.  Pretty  soon  he  came  in  with 
his  big  dog. 

"I  started  trembling  all  over. 

"He  seemed  such  a  funny  person.  He 
looked  at  me,  looked  me  up  and  down, 
looked  me  all  over. 

"He  has  told  me  since,  exactly  what  I 


had  on,  even  to  my  shoes  and  stockings. 
I  had  on  black,  low-heeled  low  shoes,  with 
black  stockings.  He  just  said  a  few 
words  about  the  weather  and  things  in 
general. 

"At  times  it  seemed  as  though  he 
looked  away,  but  I  know  he  was  really 
looking  at  me  every  moment.  After  quite 
a  few  moments,  he  said, 

"  'Well,  can't  you  take  oflf  your  coat 
and  hat?' — just  as  though  he  had  asked 
me  a  dozen  times  before,  when  he  had  said 
nothing  about  it. 

"npHEN  he  just  looked    at  me  some 
JL  more  and  said,    'What's  your  tele- 
phone number?' 

"Then  I  knew  it  was  all  over.  'He 
isn't  interested,'  I  thought.  'When 
they're  not  interested  they  always  ask 
your  telephone  number.'  So  I  put  on  my 
hat  and  coat  and  went  out.  No,  I  wasn't 
worried.  I  just  didn't  think  any  more 
about  it — " 

But  was  it  over?  Miss  Garbo,  said  by 
thousands  to  be  the  most  interesting  figure 
in  the  movies,  and  certainly  ihe  most 
mysterious,  •will  continue  the  story  of  her 
career  in  the  next  issue  of  Photoplay. 


Three  great  sportsmen  get  together  in  Los  Angeles.    Tom  Mix  and 

Jack  Dempsey  initiate  Sir  Thomas  Lipton,  British  yachtsman,  into 

a  Hollywood  club.    The  horse  that  you  see  was  part  of  the  initiation 

ceremonies 

somcnl   In  PnOTOPLAY  M.VGAZINE  )s  Buaranteed. 


Photoplay  Magazine — Ad\eivhsing  Section 


103 


RE-JUR'?  NEWODEUR 


C  liQ  rUQ,  1  is  the  name  of 
Tre-Jur's  new  odeur.  Promptly  preferred 
by  smart  women  who  assume  the  leader- 
ship in  perfumes  as  in  gowns.  And  no 
wonder  !  For  there  never  was  so  thrilling 
a  fragrance— subtle  as  a  fleeting  mood — 
with  an  exotic  lure  that  stresses  Charm. 
Like  Tre-Jur's  popular  odeur,  Joli  Mem- 
oire,  Charvat  is  obtainable  in  the  latest 
series  of  Tre-Jur  Compacts,  from  the  fa- 
mous "Little  One"  to  the  modern  size 
"Thinest".  And  may  we  add  that  the 
new  "Thinest"  is  a  revelation.  It  comes 
in  "single"  and  "double",  in  gun  metal 
and  exquisite  lacquered  finish,  variously 
colored  to  blend  with  every  costume. 

Did  you  know  that  Tre-Jur's  Face  Powder 
is  Pre-hlended?  A  carefully  developed  pro- 
cess of  blending  brings  you  the  smooth 
delight  of  a  light  powder  and  the  adher- 
ing loyalty  of  a  heavy  one.  The  result .  . . 
an  even,  satinizing  powder  that  remains 
flatteringly  steadfast  for  hours— that  veils 
sallowness,  blemishes  and  coarse  pores. 

Tre-Jur  To.ieirie.  are  soli  at  all  hading  stores! 
The  House  of  Tre-Jur.  Inc..  Pans  and  New  Yorkl 

TRE-JUR 

CHARVAI    AND    JOLI  -  MEMOIRE    FRAGRANCES 

When  you  write  to  advertisers  riease  mention  PHOTOPLAY 


Q 


I04 


"New  wonden'jl  MELLO-GLO  Face  Powder  stays  on 
lodger  and  the  youthful  bloom  it  besiows  does  not  wear 
off  ao  QuicklT-" 

Raciael  Chester,  301  W.  ICSth  St..  N.  Y.  C. 


Photopl.\y  M\GAzrsE — Ad\xrtising  Section 

WORRY 

"Have  You  Stopped  \\"orrying  Now 
That  You've  Arrived?" 

ijcas  asked  of  these  six  stars: 

BEBE  DANIELS 
RICHARD  DIX 
CLARA  BOW 
DICK  ARLEX 
COLLEEN  MOORE 
ADOLPHE  MENJOU 

— And  Here  Are  Their  Answers. 


"MELLO-GLO  Face  Powder  keeps  away  the  ugly  shine 
which  mars  that  soft  velvety  touch  so  essential  to  a 
youthful  complexion."  Berr^a  Deane  i.beautifiJ  prima 
donnan  243  West  End  Ave^  N.  Y.  C. 


BEBE  DANIELS 

Stopped  worrjing?  Heavens,  no!  The 
worning  I  did 
before  I  "land- 
ed" wouldn't 
hold  a  candle 
to  that  which 
I've  done  since. 

Ever\- picture 
is  a  gamble  with 
me.  I  do  my 
level  best  while 
I'm  working  on 
it,  and  then 
worr\',  worr\', 
worry  until  I 
find  out  it  has 
been  received. 

We  should 
just  begin  to 
worry  when 
we've  arrived. 
Otherwise  we 
might  let  down, 
and  if  one  does 
that  it  is  sure 
to  show  in  one's 
work. 


A  new  French  nrocess  helps  MELLO-GLO  Face 
Powder  to  keep  ugly  shine  away  without  drying  the  skin 

r^«  "  !».,.*  clI: l.,_v* V  ._l. 


The  Favorite  Powder 
of  New  York  Beauties 

'T^E  most  beautiful  women  in  a  city  of  beautiful 
i  women  prefer  MELLO^^LO  Face  Powder.  It 
•tayi  on  longer  and  its  exclusive  youth  shade 
•preads  to  smoothly  that  not  a  single  pore  is  visible. 
If  your  favorite  store  is  out,  ask  them  to  get 
MELLO-CLO  for  you  or  send  us  one  dollar  for  a 
full-size  box  and  Beauty  Booklet.  Just  address 
MELI-0-GLO.  Statler  Bldg.,  Boston.  Mas*. 


Won-}'  is  a  disease  that  bafiBes  the 
doctors.     It  is  incurable 


ago,  but  I  guess  I'd  rather  keep  on  living 

— and  worrj"ing. 

DICK 
ARLEN 

Unfortunate- 
ly. I  am  of  the 
temperament 
that  can't  take 
things  lightly. 
Little  things 
worry  me  as 
much  as  do  the 
big.  I  can't  jus- 
tify this  atti- 
tude. I  can't 
even  explain  it, 
but  the  fact  re- 
mains  I  am 
probably  the 
world's  most 
consistent 
worrier. 

I  worried  be- 
fore I  got  on  my 
feet,  and  I  con- 
tinue to  worr^' 
now  that  things 
are  going 
smoothly. 

Ridiculous, 
probably,  and 
yet  what  is  one 
to  do  about  it? 


-FREE  SAMPLE- 


neaie  send  me.  without  charge,  a  (ample  of  this 
rf?'.*.°Ji^"'  **"  powder  with  a  Beauty  Booklet. 
MELLO-GLO,  Statler  Bldg..  Boston.  Mass. 
Dept.  B 


rA^re  you  tuy  your 


RICHARD 
DIX 

I  never  could 
stop  worrying. 
When  a  picture 

of  mine  is  shown  for  the  first  time,  I  go 
with  the  idea  of  enjoying  it,  but  before  it 
has  gone  two  reels,  I'm  all  ready  for  the 
nuthouse. 

I  watch  the  faces  in  the  audience  and 
tremble  till  the  thing's  finished  and  I'm 
on  my  way  home. 

Anybody  will  tell  you  that  it's  silly  to     certainly  isn't  an  easy  "job. 
wony-,  but  then  anybody  will  tell  you         It  seems  to  me  that  doctors  should  con- 
anything  if  you'll  only  listen.  sider  worry  more  when  they  are  searching 

for  what  ails  us. 
CLARA  BOW 

\Vorr>?  Boy,  if  I  were  on  my  way  to    ADOLPHE  MENJOU 
heaven  I'd  worry  about  whether  or  not         Let's  see — I  once  heard  of  a  man  that 
my  wings  would  stand  the  strain.  There's     didn't  worr>-,  but  then  he  laterwent  crazy. 

The  truth  is,  I  think  the  question  a  little 
silly,  because  e\eryone  worries  in  this 
business. 

Possibly  one  should  know  better,  but 


COLLEEN  MOORE 

No,  I  certainly  have  not.  I  worry  ever>' 
bit  as  much  now  as  I  did  before — if  not 
more.  I  simply  can't  imagine  anyone  in 
this  work  being  free  from  worry. 

I  wish  I  knew  just  why  we  do  worry  sr) 
much.     I've  tried  to  figure  it  out,  but  it 


only  one  time  when  I  can  remember  I 
didn't  worry,  and  I  guess  I've  forgotten 
when  that  was. 

Uorr>''s  in  my  blood.     I  guess  it's  be-         , 

cause  my  mother  worried  so  long  over  then  as  I  see  it,  worry  is  just  one  of  those 
whether  or  not  I  would  ever  amount  to  things.  If  you  show  me  a  player  that 
anything.  doesn't  worry,  I'll  show  vou  one  whose 

I  could  have  saved  her  all  that  long     work  can  be  improved 

Brety  adTmlwnwnt  In  PHOTOPLAT  MAGAZINE  ii 


Photoplay  Magazine — Advertising  Section 


Names  you  should  kuow 

You  like  to  know  names  that  everybody  knows — 
name  of  the  man  who  tied  Hghtning  to  a  kite;  name 
of  the  man  who  watched  a  tea  kettle  and  went  out 
and  made  an  engine.  Just  knowing  such  names  gives 
you  pleasure. 

Yet  there  are  names  that  thousands  of  people  know 
that  can  give  you  much  more  pleasure  in  a  much 
more  personal  way.  Names  that  stand  for  the  best 
things  to  eat,  to  wear,  to  sleep  on,  you  can  buy.  Names 
that  if  connected  with  the  salad  dressing,  hat,  mat- 
tress you  select — or  any  other  desirable  thing  you 
select — means  it  is  most  desirable.  Names  written 
large  in  advertisements.  Advertisements  tell  why  those 
are  wise  names  for  you  to  know.  Why  such  names 
greet  you  in  the  best  groceries,  department  and  hard- 
ware stores.  Why  those  names  are  in  the  buying 
vocabulary  of  thousands  ...  are  believed  in  by  thou- 
sands .   .   .  justify  belief! 

Read  the  advertisements.  Don't  ask  vaguely  in 
a  store  for  "cold  cream,"  "a  skillet,"  "a  vacuum 
cleaner."  Ask  for  So-and-So's  Cold  Cream,  So-and- 
So's  Skillet.  So-and-So's  \'acuum  Cleaner.  Use  the 
names,  you  have  learned  through  advertisements,  that 
stand  for  the  product  that  means  most  to  you  and 
most  to  most  evervbodw 


Read  the  advertisements  to  kuow 


ontion  PHOTOPLAY   MAGAZIXB. 


[o6 


Photoplay  Magazine — Advertising  Section 


no 
more 

"YELLOW 
MASK!" 


HMMB 

r"'^ 

^B 

r^l 

^^pi^ 

>-*^  ^  ■ 

Here  is  a  Sure  Way  to  Banish 

that  Yellowish  Tinge  from  Your 

Teeth  and  Keep  them  Eternally 

White — Guaranteed! 

IF  your  teeth  have  a  yellowish  hue — (look 
now  and  see!) — there  is  a  safe,  scientific 
and  pleasant  vay  to  remove  that  unbecom- 
ing color.  Leading  dentists  recommend  it. 
The  foremost  movie  stars  and  stage  beauties 
use  it.  Hundreds  of  thousands  of  women 
and  men  have  accepted  it  and  testify  to  teeth 
whiter  and  prettier  than  ever  before. 

We  ask  only  that  you  try  it — for  twenty 
days.  We  know  that  this  method  will  so 
whiten  your  teeth  and  impart  such  dazzling 
beauty  effects  that  you  will  never  revert  to 
old-fashioned  dentifrices.  We'll  go  further 
— we'll  guarantee  it!  If  this  new  and  mar- 
velous means  fails — (and  it  won"t)  return 
the  unused  portion  of  the  tube  to  your 
druggist  and  get  the  full  purchase  price 
back.  Could  anything  be  fairer  than  this? 

This  way  to  white  teeth  beauty  is  ORPHOS 
TOOTH  PASTE.  And  the  reason  it  alone 
can  banish  that  stubborn,  unlovely  "Yellow 
Mask"  is  this:  ORPHOS  is  composed  of 
'Tri-Calcium  Phosphate."  This  is  a  magic 
white  powder  that  foremost  dentists  use  to 
clean  and  polish  teeth.  It  is  their  teeth 
beauty  secret.  The  makers  of  ORPHOS 
have  succeeded  in  composing  a  pleasant, 
tasty  tooth  paste  from  this  wonderful 
powder.  And  it's  so  safe — can't  harm  the 
Boftcst  enamel. 

Accept  now  this  marvelous  ORPHOS. 
Don't  keep  the  while  loveliness  of  your 
teeth  hidden  behind  that  "Yellow  Mask." 
Remember  our  guarantee.  Buy  a  tube  from 
your  druggist  today — without  fail. 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  101  ] 


W.  J.  S.,  London,  England. — Photo- 
play is  on  sale  at  the  principal  newsstands 
in  your  city.  But  if  you  want  to  be  sure  to 
get  it,  send  your  subscription  direct  to 
"Photopl.w  Publishing  Company,  750  N. 
Michigan  Avenue,  Chicago,  III. 

Peggy,  Rome,  N.  Y. — Mae  Murray  is  in 
vaudeville.  Maybe  she'll  come  your  way. 
Sue  Carol  mav  be  addressed  at  the  De  Mille 
Studios,  Culver  City,  Calif.  Bebe  Daniels 
and  Richard  Dix  get  their  mail  at  the 
Paramount-Famous-Lasky  Studio,  Holly- 
wood, Calif.  Write  to  Conrad  Nagel  at  the 
Metro-Goldwyn-Mayer  Studios,  Culver 
Citv,  Calif.  And  to  Lois  Moran  at  the 
William  Fox  Studios,  Hollywood. 

Elizabeth  L.,  Seneca,  S.  C. — The  "Q" 
in  Anna  Q.  Nilsson's  name  stands  for 
Querentia,  and  the  "X"  in  Bushman  means 
Xavier.  Jackie  Coogan  was  bom  Oct.  26, 
1914,  Llovd  Hughes,  Oct.  21,  1897,  and 
Colleen  Moore,  Aug.  19,  1902.  Mary  Brian 
is  just  twenty  years  old.  Oh,  yes,  Lloyd 
Hughes  is  married,  but  Clara  Bow  is  still 
single.    Those  are  their  real  names. 

V.  B.,  White  Plains,  N.  Y. — Economical 
girl!  "Please  use  my  initials  only;  it  will 
save  space."  Ken  Slaynard  was  born  in 
Mission,  Texas,  July  21,  1895.  He's  just 
one-quarter  inch  under  six  feet  tall  and 
weighs  one  hundred  and  eighty  pounds. 
Black  hair,  grey  eyes  and  married.  You 
have  simple  tastes  and  an  optimistic  nature. 
Am  I  right? 

Carlola,  Ossining,  N.  Y. — Let's  get  this 
straight:  Ronald  Colman  never  was  married 
to  Yilnia  Banky,  nor  were  they  ever  en- 
gaged, in  spite  of  all  those  lovely  romantic 
pictures.  Just  a  business  partnership. 
Ronald    has   a   wife    in    England — Thelma 


I  Ye  Towne  Gossip 


Raye.  No  children.  He  was  born  in  Rich- 
mond, Surrey,  England,  Feb.  9,  1891,  and 
has  black  hair  and  brown  eyes.  Also  five 
feet,  eleven  inches  tall  and  weighs  one 
hundred  and  sixty-five  pounds.  So  there, 
my  dear,  you  know  about  all  there  is  to 
know  about  Ronald. 

The  Red  Headed  Kid,  York,  Pa. — I 
rush  to  tell  you.  Red  Head,  that  Charles 
Rogers  and  Buddy  Rogers  are  one  and  the 
same  person.  Charles  was  bom  in  Olathe, 
Kansas,  in  1905,  and  he  was  a  member  of 
the  Paramount  School.  That  means  that 
he  has  been  in  pictures  since  1925,  unless 
my  poor  old  memory  is  failing  me.  Black 
hair,  brown  eyes  and  not  married. 

V.  L.  B.,  Toledo,  O. — I'll  have  to  cut 
down  on  some  of  your  questions.  You've 
exceeded  the  limit.  Sorry  I  can't  place  the 
handsome  unknown.  There  are  so  many 
handsome  Irishmen  with  dark  curly  hair, 
blue  eyes  and  dimples.  Mary  Pickford  is 
thirty-four  years  old  and  five  feet  tall. 
"Buddy"  Rogers  has  brown  eyes.  Francis 
X.  Bushman,  Jr.,  is  six  feet,  two  inches  tall 
and  twenty-five  years  old.  He's  married. 
Ronald  Colman  and  Gilbert  Roland  are 
both  five  feet,  eleven  inches  tall.  One 
glimpse  of  your  hand-writing  shows  me  that 
you  have  a  logical  mind  and  great  tenacity 
of  purpose.    Also  you  are  extremely  curious. 

W.  A.  B.,  Lincoln,  Me. — If  I  were  you, 
I'd  persuade  your  son  to  go  to  college  and 
forget  about  going  into  the  movies  for  four 
years.  If  he  has  a  college  education,  he'll 
have  a  better  opportunity  because  the 
movies  are  coming  to  prefer  boys  with  a 
college  education.  I  couldn't  conscien- 
tiously advise  you  to  send  your  boyto  Holly- 
wood because  the  chances  would  be  all 
against  him. 


By  K.  C  B. 


.ugh  the 


SOMEBODY  TOLD  1 

OF  A   splendid   plctur 

THAT   I   should  eee. 

AND   I  looked 

AND  FOUND  the  place. 

AND  AFTER   dinner. 

WE   HURRIED  away. 

AND  BOUGHT  our  tickets. 

AND   WENT  on  in. 

AND  FOUND  that  (he  picture. 

HAD   JUST   been   shown. 

AND    THAT    the    prologue. 

WAS    ABOUT  to  begin. 

AND   THE   or.hestra  came. 

ON   A^movable  stage. 

AND  A  spotlight  was  turned. 

ON  ONE  of  the  wings. 

AND  THE   leader  name  out. 

HOPPJNG   AND   Skipping. 

LIKE  A   h^.If.'wit  child. 

AND   HE],ad'a  Joke. 

HE  JUST  had  to  tell. 

AND  THE  whiskers  on  It. 

WERE  WHITE  as  snow. 

AND   A  woman  laughed. 

OR    PERHAPS    sho   .screamed. 


BUT  ANYWAY. 
THE  ORCHESTRA  leader. 
ANNOUNCED  THE  piece. 
THEY  WERE  to  play. 
AND  IT  nUght  have  been  good. 
IF   THE   leader   himself. 
HAD  ONLY  Kept  quiet. 
BUT  HE  didn't  do  that. 
HE  KEPT  leaping  about. 
AND  MAKING  faces. 
AND   THEN    he   sang. 
AND   AFTER   that. 
THER^E  WER^e  some  girls. 
AND  THE  leader  said. 
THAT   IT   was  dancing. 
THEY    WERE    to  do. 
AND    PERHAPS    It    -as. 
AND   HE  danced   with   them. 
TWO  STEPS  forward. 
SINE  Is  guaranteed. 


AND  TWO  steps  back. 
AND   THEY   kept  It  up. 
UNTIL   OUR   boy  said. 
"YOU    WAS    the   one. 
"THAT  PACKED  this  show." 
AND   I   didn't   answer. 
AND   AFTER   that. 
CAME  THE  weekly   news. 
CUT  AWAY  down. 
SO  IT  just  flashed  through. 
LIKE   A  cat  and  a  dog. 
ON  THEIR  way  somewhere. 
AND   FINALLY. 
THERE   CAME  the   picture. 
WE  WANTED  to  see. 
AND  I  guesa  It  was  good. 
BUT  ON  the  way  home. 
IN  DISCUSSING  the  evening. 
THE    BOY   expressed. 
THE   VIEWS  of  all. 
WHEN    HE   remarked. 
IN  THE  classic  language. 
OF  MORA^N  and  Mack. 
"I   WOULDN'T  a'  liked  It 
"EVEN   IF  It  was  good." 
I   THANK    you. 


"Red,"  Elkins,  W.  Va, 
not  Ian  Keith,  was  the  hero  of  "The  Plastic 
Age."    They  are  not  related. 

H.  McC,  Mercer,  Pa. — Ivan  Petrovich 
is  a  Serbian  and,  so  far  as  I  know,  he  has 
never  been  in  this  country.  "The  Garden  of 
Allah"  was  made  in  France  and  Northern 
Africa.  However,  if  you  write  to  Metro- 
Gold  wyn- Mayer,  1540  Broadway,  New  York 
City,  you  may  be  able  to  get  a  picture  of 
Ivan.  My  foreign  detectives  tell  me  that  he 
is  six  feet  tall,  thirty  years  old  and  weighs 
178  pounds. 

C.  W.,  Philadelphia,  Pa. — Will  Rogers' 
wife  is  non-profe.s,sional.  They  have  been 
married  for  years. 

Just  Frances,  Hillsdale,  Mich. — 
Ralph  Forbes  is  a  Britisher,  born  in  London 
on  September  30,  1901.  He  is  married  to 
Ruth  Chatterton,  the  stage  star,  and  has 
been  in  pictures  since  1921.  He  is  six  feet 
tall  and  weighs  168  pounds.  Blonde  hair 
and  blue  eyes.  His  ne.xt  film  will  be  "The 
Enemy." 

M.  G.,  RosLYN,  N.  Y.— William  Collier, 
Jr.,  is  playing  in  "The  College  Widow." 
Dolores  Costello  is  a  star  of  the  picture. 
Write  to  Buster  in  care  of  Warner 
Brothers,  5842  Sunset  Boulevard,  Holly- 
wood, Calif.  Buster  is  twenty-five  years 
old  and  five  feet  ten  inches  tall.  He  weighs 
150  pounds.  Black  hair  and  great,  big 
soulful  brown  eyes. 

B.  E.  J.,  DoRMONT,  Pa. — Yes,  the  same 
Charles  Rogers.  Syd  Chaplin  is  forty-two 
years  old — four  years  older  than  brother 
Charlie.  James  Hall  lives  in  Hollywood, 
naturally  enough.  He  was  born  in  Dallas, 
Tex. 

Miss  G.  V.  W.,  Seminole,  Okla.— 
Pauline  Frederick  starred  in  "Madame  X" 
in  1920. 

_  "Old  Timer,"  Bowie,  Md. — Greetings, 
sister!  Lillian  Rich  was  Violet  in  "Never 
Say  Die."  And  George  A.  Billings  played 
the  title  role  in  "Abraham  Lincoln." 

H.  McC,  Frankfort,  Ind. — There  was 
an  interview  with  Betty  Blythe  in  Photo- 
play's issue  of  January,  1921.  Write  to 
Photoplay  Publishing  Company,  750  N. 
Michigan  Avenue,  Chicago,  111.,  for  back 
issues.  Send  a  quarter  for  each  copy.  I 
thank  you. 

Pedro  Mello,  Rio  de  Janeiro. — My 
compliments  on  your  English.  The  correct 
spelling  is  "Samaniegos"  and  his  only 
christian  name  is  "Ramon."  I  don't  like 
to  contradict  the  Spanish  magazine,  but 
Mr.  Novarro's  birthdate  is  February  6, 
1899.  Photoplay  had  a  full  page  picture 
of  Mr.  Novarro  in  the  October,  1927,  issue. 

Felise,  Vancouver,  B.  C. — Joseph 
Striker  has  played  in  "The  King  of  Kings," 
"A  Harp  in  Hock,"  and  "The  Wise  Wife," 
besides  the  films  you  rnention.  He  is  twenty- 
seven  years  old  and  is  five  feet,  nine  and 
one-half  inches  tall.  Brown  hair,  brown 
eyes  and  not  married.  That's  his  real 
name. 

Gilbert  McDonoagh,  Baltimore,  Md. 
— There's  your  name,  Gilbert,  right  out  in 
print!  Joan  Crawford  and  William  Haines 
may  be  addressed  at  the  Metro-Goldwyn- 
Mayer  Studio,  Culver  City,  Calif.  Bebe 
Daniels,  Richard  Dix,  Richard  Arlen  and 
Gary  Cooper  may  be  reached  at  the  Para- 
mount-Famous-Lasky  Studio,  Hollywood, 
Calif.  Tom  Tyler  gets  his  mail  in  care  of 
FBO  Studios,  Hollywood,  Calif.  Write 
to  Charles  Farrell  at  the  Fox  Studios,  also  in 
Hollywood,  and  Colleen  Moore  at  the  First 
National  Studios,  Burbank,  Calif. 


Photopl.w  Mag.\zine— Advertising  Sfxtion 

Donald  Keith 


107 


Half 

moo  (IS 


and.  LoDelxj  odoIs 

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Northam  Warren,  Dept.QQ-4,114  West  lytli  St.,  New  York 


i-LAV   MAGAZINE. 


MY    LIFE    STORY 


By    Clara    Bo 


w 


to  create  a  character  for  myself.  Other- 
wise, I'd  probably  not  be  in  pictures  at 
all.     They  certainly  didn't  want  me. 

I  was  the  wrong  type  to  play  ingenues. 
I  was  too  small  for  a  leading  woman  and 
too  kiddish  for  heavies.  I  had  too  much 
of  what  my  wonderful  friend  Elinor  Glyn 
calls  "It,"  apparently,  for  the  average 
second  role  or  anything  of  that  sort.  I 
got  turned  down  for  more  jobs,  I  guess, 
than  any  other  girl  who  ever  tried  to 
break  into   pictures. 

FIN.ALLY  I  did  gee  a  lead  with  Glenn 
Hunter.  The  girl  was  a  little  rough- 
neck, and  somehow  they  thought  I  fitted 
into  it.  I  guess  I  did.  I'd  always  been  a 
tomboy,  and  at  heart  I  still  was.  I  worked 
in  a  few  pictures  around  New  York  and  by 
that  time  "Down  to  the  -Sea  in  Ships," 
which  had  been  held  up  for  sucli  a  long 
time,  was  released  and  that  helped  me. 

-•Mjout  this  time,  I  met  a  woman  in  New 
York  who  was  sort  of  a  casting  agent.  I 
am  not  going  to  mention  her  name  in  this 
story  because  I  am  trj'ing  to  be  truthful 
all  the  way  through  and  I  cannot  say 
anything  kind  about  her.  Perhaps  she 
did  try  to  help  me,  but  she  did  so  many 
things  that  didn't  help  and  while  I  try 
not  to  hold  any  hard  feelings  against 
anyone,  I  cannot  help  feeling  unhappy 
whenever  I  think  of  her. 

Anyway,  about  that  time  Air.  Bach- 
mann  saw  me  in  "Down  to  the  Sea  in 
Ships, "  and  he  liked  my  work.  He  came 
to  talk  to  me.  At  that  time,  he  was 
B.  P.  Sliulberg's  partner  and  he  wired 
Mr.  Shulberg,  who  was  in  Hollywood, 
that  he  thought  I  was  a  "bet."  He  sug- 
gested that  Mr.  Shulbcrg  give  me  a  three 
months'  contract  and  my  fare  to  Holly- 
wood, at  a  salary  of  fifty  dollars  a  week, 
and  give  me  a  chance. 

"It  can't  do  any  harm,"  he  said. 

So  this  agent— I'll  call  her  Mrs.  Smith, 
because  that  wasn't  her  name — and  I 
came  to  Hollywood. 

WE  left  my  Dad  in  New  York,  be- 
cause we  didn't  have  the  money  for 
railroad  fares  and  besides  he'd  gotten  a 
job  down  at  Coney  Island,  managing  a 
little  restaurant,  and  he  liked  it.  So  we 
thought  we  would  wait  and  see  how  I 
made  out. 

.Mrs.  Smith  and  I  took  a  little  apart- 
ment in  Hollywood  and  I  started  to  work. 
I  did  nothing  but  work.  I  worked  in  two 
and  even  three  pictures  at  once.  I  played 
all  sorts  of  parts  in  all  sorts  of  pictures.  In 
a  very  short  lime  I  had  acquired  the  ex- 
perience that  it  often  takes  years  and 
years  to  get.  It  was  very  hard  at  the 
time  and  I  used  to  be  worn  out  and  cry 
myself  to  sleep  from  sheer  fatigue  after 
eighteen  hours  a  day  on  different  sets, 
but  now  I  am  glad  I  had  it. 

The  stf)ry  of  my  career  from  there  on 
isn't  so  different  from  the  story  of  all  other 
motion  picture  careers.  I'll  wind  it  up 
later,  but  right  here  I'd  like  to  stop  and 
tell  you  something  of  my  personal  life  in 
Hollywood  and  the  three  love  affairs — or 
engagenunts— that  have  happened  to  me 

108 


[  CONTINUED  FROM  PAGE  57  ] 

since  I  came  and  that  have  been  so  much 
in  the  newspapers. 

You  know  enough  about  me  to  realize 
that  I'd  never  "had  things."  I'm  not 
going  to  pretend  that  I  had.  E^•e^ything 
was  new  and  wonderful  to  me.  It  was 
wonderful  to  ha\-e  the  things  I  wanted  to 
eat,  not  to  have  to  scrimp  on  dessert  and 
be  able  to  order  the  best  cuts  of  meat.    It 


Clara  Bow,  at  the  age  of  two  and  a 
half  years.  This  photograph  was 
taken  in  Brooklyn,  the  borough  of 
babies  and  churches.  And  Clara 
grew  up  to  be  one  of  its  most  fa- 
mous babies.  Somehow  or  other, 
the  church  influence  passed  her  by 

was  wonderful  to  have  silk  stockings,  and 
not  cry  if  they  happened  to  get  a  run  in 
them.  It  was  wonderful  to  ha^"e  a  few 
dollars  to  spend,  just  as  I  liked,  without 
ha\ing  to  worry  about  the  fact  that  they 
ought  to  be  used  to  pay  the  gas  bill. 

Maybe  other  people  don't  realize 
that,  don't  get  the  kick  out  of  those  things 
that  I  do.  Of  course  I  still  can't  exactly 
understand  the  money  that  is  coming  and 
is  going  to  make  my  Dad  and  me  com- 
fortable and  happy  all  the  rest  of  our  li\es. 
When  I  bought  my  first  home,  the  one  I 
still  live  in,  a  little  bungalow  in  Be\erly 
Hills,  when  I  signed  the  check,  I  couldn't 
possibly  appreciate  what  the  figures 
meant.  I  knew  I  had  that  much  in  the 
bank — me,  little  Clara  Bow — and  that 
the  home  was  mine  and  I'd  actually 
earned  it.  But  the  figures  were  just  too 
big  for  my  comprehension. 

13ut  I  do  know  what  a  hundred  dollars 
is.  That  used  to  be  a  dream  to  me — to 
have  a  hundred  dollars.    I  never  thought 


I  would,  not  all  at  once — have  a 
hundred  dollars,  and  certainly  not  to  do 
something  I  really  wanted  to  with.  So 
now  I  get  more  thrill  out  of  a  hundred 
dollars  that  I  can  go  and  buy  a  present  for 
a  friend  with,  or  do  something  for  Dad, 
or  get  myself  something  awfully  feminine 
and  pretty  with,  than  I  do  out  of  my 
salary  check. 

I  guess  I'm  still  just  Clara  Bow  at 
heart. 

I'm  getting  away  from  the  run  of  my 
story,  but  a  life  story  ought  to  tell  you  a 
little  about  how  a  person  feels,  and  that's 
how  I  feel  about  the  success  that  has 
come  to  me. 

Well,  a  short  time  after  I'd  come  to 
Hollywood  and  Mrs.  Smith  and  I  were 
li\'ing  in  a  little  apartment  and  I  was 
working  in  three  pictures  at  once  I  met 
Gilbert  Roland. 

I'D  never  been  in  love  in  all  my  life. 
Funny,  because  I  suppose  people  think 
I  was  born  being  in  love  with  somebody. 
But  Gilbert  was  the  first  man  I  e\er 
cared  about.  There  isn't  any  reason  why 
I  shouldn't  tell  it,  because  we  were  both 
kids,  and  we  were  engaged,  and  we  were 
very  happy.  Not  a  bit  in  the  modern, 
flapper  fashion,  but  rather  like  two 
youngsters  that  didn't  know  what  it  was 
all  about  and  were  scared  to  death  of  it. 

We  used  to  sit  and  just  look  at  each 
other,  hardly  breathing,  not  really  know- 
ing each  other  at  all.  He  called  me 
"Clarita" — he  still  spoke  with  a  good 
deal  of  Spanish  accent  in  those  days,  and 
I  used  to  lo%e  to  hear  him  saj'  my  name, 
it  was  so  soft  and  sweet.  Neither  of  us 
had  much  money,  and  we  used  to  do  all 
sorts  of  silly  little  things  to  haxe  a  good 
time,  and  we  used  to  think  it  was  won- 
derful when  we  could  go  out  to  dinner 
<nnd  to  a  theater. 

I  think  we  might  have  been  happy  to- 
gether if  outside  things  hadn't  inter- 
fered so  dreafully.  We  were  happy,  for  a 
year  and  a  half,  and  used  to  talk  about 
getting  married,  and  the  time  when  we'd 
both  be  stars. 

Well,  we're  both  stars  now,  but  the 
rest  of  the  dream  has  vanished,  and  like 
every  girl,  I  look  back  on  my  first  love 
with  tender  memories  and  maybe  a  tear, 
though  I  know  it  can  never  come  again. 

I  DON'T  know  just  what  separated  us, 
but  Gilbert  was  working  hard  on  one  lot 
and  I  on  another,  and  everyone  came 
between  us,  and  we  were  both  \ery 
jealous.  And  at  last  we  had  a  violent 
quarrel.  I  don't  think  either  of  us  meant 
it,  or  dreamed  it  would  be  final.  But  it 
went  on  and  on,  and  we  were  both  too 
proud  to  make  the  first  move,  so  the 
breach  finally  grew  so  wide  and  we  were 
so  far  apart  that  we  ne^•er  made  it  up. 

Mrs.  Smith  had  been  doing  a  lot  of  odd 
things  about  my  business  affairs.  She 
kept  trying  to  make  me  think  that  I 
wasn't  making  good  and  that  they  were 
going  to  send  me  back  to  New  "^'ork  very 
soon.     I  worried  about  that  all  the  time, 

[  CONTINUED  ON  PAGE  124  ] 


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MUIVAUKEE 

CHEWING  CUM 


A 


f^  I1ICIIU.NCI!!*#I& 


the  new  ODORONO  no. 5 


So|thiHticaU>«l  »oinen  have  always  rfependeil  on 
Otiorono.  The  more  hrilliant  the  pace,  the  more 
eullivated  the  social  stamlard,  the  more  ahsolute 
the  insistence,  on  complete  protection  aoainst 
even  the  most  fleeting  possihility  of  reproach. 

That  protection,  that  certainly  of  personal 
irreproachahleness.  the  entire  social  world  iden- 
tifies >»ith  Odorono.  It  is  a  regular  part  of  its 
toilette. 

Now.  u  new  Oilorono  takes  its  place  heside  the 
slender  hottle  of  rul>\ -colored  lic|uid  that  stands 
in  e\er%  toilet  cabinet. 

Odorono  No.  ^  is  exactly  the  same  as  ihe 
Odorono  y«m  have  always 
known  — hut  mihier,  espe- 
cialU    prepared    for    very 
sensiti%e  skins. 

It  dries  (|ui<-kly  enough 
t«>  he  used  in  the  morning 
w  hen  y«)U  get  up,  «)r  in  the 
evening  before  dressing  to 
go  out.  Applied  .3  or  \ 
times  a  week,  it  gives  the 
sam«*   protection  us   the 


Odorono  No.  5 
Milder  {color- 
Ipim),  for  expv- 
ritilly  nensitin- 
Mkiim  ami  tiiir- 
ried  une.  ei-fry 
otherda\,iiif(ht 
or  niorniiif! 


ruby-colored  Odorono.  Odorono  >o.  .i  <loes  not 
replace  the  regular  Odorono.  ^  ou  use  it  between 
times,  when  you  have  missed  your  regular 
Odorono  application  —  or  when  you  need  extra 
security  for  an  unexpecte*!  evening's  gavet\.  or 
if  you  use  it  in  the  morning  instead  of  at  night. 
Both  kinds  of  Odoron<i  cheek  perspiration  in 
any  small  area.  It  is  safe  and  healthy  to  use.  as  its 
action  is  what  doctors  call  "oeclusive"and  merelv 
temporary,  leaving  the  skin  dry.  smooth  and 
comfortable  for  a  few  davs. 

Odorono  was  first  made  by  a  physician.  Soon 
members  of  his  own  family  were  using  it  for  pro- 
tection against  perspira- 
tion offense.  Now  its 
regular  use  by  fastidious 
women  is  commonl>  ad- 
vised by  their  phvsicians. 
Regular  Odorono  (ruby- 
colored)  and  Odorono  No. 
.■>.  at  toilet  goods  counters 
:j.l^,  60(/'.  .S  I .— TluOdoroiio 
(^oiii|iuiiy.  2t"t  Blair  Av«miii«-. 
(!iii<-iniiati,  Ohio. 


Kr^ulur  O<l<irono 
(riih\-riflored)kffini 
ttif  undernrm  dry 
with  one  or  tivo 
€ii>itliratioiis  a  neek 
uxeil  till'  tiisl  lliin/i 
I  nifiln 


Just  a  Small  Town  Girl 


some  youth.  Johnny  Campbell's  people, 
who  had  a  farm  several  miles  from  South 
Pittsburg,  were  well  thought  of.  They 
and  the  Ralstons  were  friendly  but  neither 
family  approved  of  the  match.  The 
"kids"  were  entirely  too  young. 

"Jobyna  and  Johnny  steal  a  march  on 
friends."  the  town  paper  announced  and 
the  countryside  gave  them  an  ovation. 
They  were  leaders  at  all  the  parties, 
picnics  and  dances.  An  eas}',  lazy, 
dreamj'  life  but  gradually  as  the  weeks 
passed  it  irked  upon  the  spirited  Jobyna, 
ambitious  for  her  young  husband. 

Then  one  day  Jobyna  said,  "Another 
month  of  this,  Johnny,  and  I  go  to  work. 
If  I  do,  remember,  it's  all  o^•er  with  us." 

The  romance  that  had  flourished  in  the 
rose  garden  along  with  the  beautiful  white 
blossoms  withered  and  died.  Jobyna  goi 
a  divorce.  The  memon,'  of  those  dream 
days  left  a  sadness  in  Jobyna's  eyes  that 
has  not  passed  with  the  years. 

A  week  later  she  was  off  to  New  York 
determined  to  go  on  the  stage  or  mo\ies 
and  make  good.  She  had  displeased  her 
mother  by  marrj'ing  so  young.  She 
would  make  good  now. 

Some  in  South  Pittsburg  say  that  Mrs. 
Ralston  engineered  Jobyna's  entrance 
into  pictures.  That  she  went  to  New 
York,  hunted  up  certain  producers  and 
helped  Jobyna  obtain  her  first  minor  role. 
Eventually,  she  went  to  Hollywood  where 
she  struggled  along  from  one  minor  role 
to  another  until  good  luck  brought  her  one 
day  to  the  Lloyd  studio  and  Harold  Lloyd 
recognized  in  her  his  type  ideal  for  The 
Girl  in  a  series  of  pictures  which  kept  her 
engaged  for  several  years. 

Then  not  so  long  ago  Paramount  took 
Jobyna  away  from  Lloyd  and  she  is  to 
have  still  greater  opportunity. 


[  CONTINUED    FROM    PA(  .E    58  ] 

Tennessee  didn't  see  Jobyna  for  several 
years  and  then  one  day  a  year  ago  last 
summer  she  came  for  a  long  visit  and  to 
gather  comfort,  if  possible,  among  her 
flower  friends  as  well  as  her  real  friends. 


Jobyna  Ralston,  as  a  baby,  posed 
with  her  aunt.  This  picture,  too, 
was  taken  by  her  mother.  Jobyna 
is  wearing  a  sprig  of  honeysuckle 
and  her  aunt  has  a  rose  in  her  hair, 
two  typical  flowers  of  the  fragrant 
South 


Jobyna's  father,  mother  and  brother 
had  been  with  her  several  years  in  Cali- 
fornia previous  to  that  time  and  thev  had 
been  so  happy  in  a  bungalow,  with  Jobyna 
helping  her  mother  with  the  cooking  and 


house  work  when  she  was  not  at  the 
studio.  Then  two  years  ago  happiness 
fled  suddenly  when  a  doctor  called  to  see 
Mrs.  Ralston  and  found  her  seriously  ill 
with  no  hope  of  recovery. 

Jobyna  was  inconsolable  at  first  o\er 
this  parting  with  her  mother.  Then  with 
her  usual  fortitude  she  gathered  strength 
to  go  back  to  a  picture  Lloyd  was  making 
and  in  which  she  was  needed.  After  com- 
pleting it  she  went  back  home. 

That  first  evening  Jobyna  strolled 
down  to  the  old  house  to  view  her  roses 
growing  in  profuse  but  rather  unkempt 
fashion.  She  gathered  a  handful,  sat  a 
full  hour  in  the  old  swing  but  she  could 
not  bring  herself  to  go  inside  the  house. 
When  she  returned  to  the  hotel  her  eyes 
were  red. 

Jobyna  never  lacks  for  courage  long, 
however.  A  day  or  so  later  she  turned 
the  key  into  the  front  door  of  the  house 
and  went  into  those  nine  silent  rooms  so 
lull  of  their  memories  and  began  her 
packing  up.  The  dozens  and  dozens  of 
photographic  plates  which  Mrs.  Ralston 
had  made  were  packed  with  special  care. 

South  Pittsburgians  scented  another 
romance  but  Jobyna  had  already  given 
her  heart  to  another.  In  Hollywood,  the 
handsome  Richard  Arlen,  also  a  South- 
erner, was  counting  the  days  until  she 
returned. 

And  that  is  what  Jobyna  has  made 
promise  to  her  old  friends  to  do;  to  come 
back  once  in  awhile  to  South  Pittsburg 
to  see  them  and  not  make  it  too  long 
between  times. 

"And,"  she  wrote  to  one  friend  not 
long  ago,  "next  time  I'm  bringing 
South  Pittsburg  the  handsomest  man  in 
the  world  to  see.  My  husband,  if  you 
please!" 


D^emTnd:    "  "'""    ^ut  Picture  Puzzle  Contest 

$5,000   in    Cash    Prizes 


-'^ 


2  mSsm^ 


starts   in       T.,^^      D  T  T /^  ^T^r^  r>  T      WT      On   all    n  e  wss  t  a  n  ds 

the      June  JrHOTOPLAY         May  is 


111 


Photoplay  Magazine— Advertising  Section 


"Please,  pretty  lady,  tell  '^^..x 
me  true;  what  magic 
you  employ?  To  what 
most  wondrous  Art  is  due  the 
beauty  you  enjoy?  Your  skin's  as 
smooth  as  any  peach:  its  perfume 
is  divine.  Tell  me,  dear  lady,  I  be^ 
seech;    what  alchemy  is  thine?" 

"No  secret,  nor  a  magic  wash, 
gives  me  my  beauty  rare ;  I  simply 
powder  with  LABLACHE. 
On  sale  just  everywhere." 

j(^hlache  Face  Powder 

is  on  sale  in  both  the  50  cent  and 
dollar  sizes  (the  odeur  of  the  dollar 
size  is  slightly  more  pronounced) 
at  drug  and  department  stores. 

Or  send  ten  cents  to  us  for  a 
liberal  trial  box.  Mention 
shade  desired. 

BEN  LEVY  CO. 
Dept.  57  125  Kingston  St. 


Gossip  of  AH  the 
Studios 


[  CONTIXUED  FROM  PAGE  98  ] 

saving  "Have  a  drink"  and  put  a  bullet 
through  his  brain.  \\'ally  had  charm, 
he  had  personality,  he  had  friends. 

Early  in  the  World  War  he  enlisted 
under  the  English  colors  as  a  private. 
When  the  war  ended  he  was  a  Major  and 
had  recei^•ed  all  promotions  for  \alor  on 
the  field.  Besides  his  decorations,  \A'ally 
carried  many  permanent  war  mementos — 
a  sih-er  plate  in  his  head  and  se^•eral 
other  plates  on  his  body  that  covered 
wounds. 

The  police  found  his  body  in  an  obscure 
Los  Angeles  hotel.  There  were  two 
pennies  and  nine  clippings  about  Pearl 
White  in  his  pockets. 

LINA  BASQUETTE  was  describ- 
ing her  role  in  "The  Godless 
Girl." 

"It's  a  regular  female  John  Barry- 
more  part,"  she  stated. 

"Oh,  no,"  Dorothy  Herzog,  erst- 
while newspaper  columnist  and  now 
full-fledged  scenario  writer,  ex- 
claimed. "You  don't  wear  tights 
and  you  haven't  changed  your  lead- 
ing man  once  since  you  started  the 
production." 

TOAI  MIX  is  going  to  the  Argentine. 
It  is  not  definitely  settled  whether  he 
will  make  pictures  that  far  away  from 
home  or  not.  But  it  is  definitely  known 
that  he  will  fill  a  ten  weeks'  \-aude\-ille 
engagement  before  he  sails. 

Intimate  friends  of  Tom  report  that 
when  he  was  approached  by  the  vaudeville 
representatives  he  made  just  one  price 
stipulation;  one  thousand  more  a  week 
than  paid  any  previous  performer.  The 
same  friends  tell  in  strict  confidence  that 
the  figure  will  be  $8,500  a  week,  or  one 
thousand  more  than  the  price  paid 
Sarah  Bernhardt  for  her  ■\-aude\ille 
engagement. 

AND  now  the  Fox  Film  company  has 
signed  Rex  King,  a  real  cowboy  from 
the  wilds  of  Arizona,  as  their  new  \\'estern 
hero.  His  onh-  appearances  before  the 
public  have  been  riding,  lassoing,  and 
buUdogging  steers  in  local  rodeos. 

His  first  day  on  the  Fox  lot,  a  publicity 
man  thought  he  would  have  some  fun 
with  the  newcomer. 

"Going  to  work  soon?"  he  queried. 

"I  reckon  I'll  get  under  way  as  soon 
as  they  find  a  good  story. " 

"A  good  stor>-?  \Miat  do  you  mean, 
a  good  story?" 

"Wall,  I  reckon  the  story  don't  mean 
so  much  after  all.  It's  the  stunts  that 
put  over  a  guy's  pictures." 

"You're  right.  Rex.  Are  you  going  to 
use  a  double?" 

"  I  don't  reckon.  I  been  following 
Tom  Mix  all  my  life  and  he  don't  use  no 
double!" 

And  they  claim  it's  merely  coincidence 
tiiat  Rex  enters  the  front  door  of  this 
company  at  the  same  time  that  Tom 
makes  his  exit. 


ruOTOn.AT  MAGAZINE  is  guaranteed. 


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"Freezone"  ends  every  kind  of  corn  and  foot  callus, 
without  soreness  or  irritation.  Get  a  bottle  today 
at  your  druggist.. 


the 

HOLLYWOOD 

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stamps  you  .is  a  person 
of  rare  good  taste  in  the 
estimation  of  those  who  accept 
the  friendly  cigarette.  And  it 
Crocodile — Brown,  costs  so  little  Sent  on  a  money- 
Blue  Green  Red  S3  back  guarantee  if  not  satisfactory, 
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Photoplay  Magazine 

■DUT  that  doesn't  end  the  story! 
■'-'  The  next  day  Rex  encountered 
the  publicity  man  on  the  lot.  Rex 
stopped  him  and  asked  in  a  worried 
manner,  "Where  does  this  here 
Winfield   Sheehan  guy  camp  out?" 

"Why,  Rex?" 

"Wall,  I  reckon  I  just  got  to  locate 
him." 

"What's  the  idea,  boy?  Can't  I 
help  you?" 

"No.  I  just  heard  tell  that  this 
here  story's  got  some  love  business 
in  it.  If  there's  love  I  just  got  to  tell 
him  he's  got  to  git  me  a  double." 


LEFTY  HOUGH  and  Ed  O'Fearns 
(Jack  Ford's  brother)  are  going  to 
direct  Rex's  first  picture.  They  decided 
they  had  to  have  their  share  of  fun  with 
the  new  fellow.  So  they  called  him  be- 
fore them. 

"Now,  here's  the  idea,  Rex.  A  girl  is 
tied  on  a  railroad  track.  A  train  comes 
rumbling  between  you  and  your  horse. 
You  got  to  save  the  girl.  A  pole  is  lying 
by  handy.  You  grab  the  pole,  vault 
right  over  the  box  cars,  land  on  the  saddle 
of  3'our  horse,  beat  the  train  and  save  the 
girl.     Think  you  can  do  it?" 

"That's  all  right,  boys,"  Rex  answered 
in  a  most  serious  manner.  "But  what 
about  not  using  the  pole.  Don't  you 
think  it  would  go  better  to  just  jump 
over?" 

"  He  may  be  green,  but — "  is  how  these 
two  directors  describe  him. 

THERE'S  no  keeping  the  facts  about 
this  Jeanne  Williams,  who  hoaxed  all 
Hollywood  by  calling  herself  Sonya 
Karlof,  straight. 

In  February's  Photoplay,  writing  of 
this  smart  girl  who  got  a  contract  with 
De  Mille  by  acquiring  an  accent,  this 
family  paper  stated  in  the  best  of  faith 
that  Jeanne  was  a  New  York  girl. 

Now  comes  the  city  of  Syracuse,  New 
York,  protesting  that  Jeanne  hails  from 
that  thriving  metropolis  and  was  in  1924 
Miss  Syracuse  at  the  Atlantic  City 
beauty  parade. 

THE  facts  prove  that  it  was  the 
Syracuse  Herald  that  helped  Jeanne's 
career  considerably.  Give  the  girl 
credit.  She's  always  been  good.  When 
only  fifteen  she  nearly  won  the  Herald' ^ 
local  beauty  contest.  The  only  thing 
that  withheld  the  prize  from  her  was  her 
youth.  She  got  it  next  year  at  sixteen 
and  at  the  Herald's  expense  went  to  the 
Atlantic  City  Pageant.  There  a  Ziegfeld 
scout  saw  her  who  in  turn  got  her  glorified 
on  Broadway.  In  New  York  she  met  an 
ex-press  agent  for  the  late  Barbara  La 
Marr,  who  whispered  to  her  of  Holly- 
wood. Also  she  met  a  man  she  married. 
Jeanne  went  to  Hollywood.  Also  she  got 
divorced.  She  spent  a  year  in  Hollywood 
getting  nowhere.  Then  she  created 
"Sonya  Karlof"  and  fooled  even  Cecil 
De  Mille  with  the  story  of  her  Russian 
ancestry. 

Give  the  little  girl  a  hand.  She's  going 
to  get  ahead. 

BEFORE  every  picture  that  he  directs 
himself,   Cecil  B.   De  Mille  goes  into 
the  mountains  to  freshen  up  for  the  task. 
He  had  just  returned  from  his  lonely 
sojourn    to    start    "The    Godless    Girl" 


-Advertising  Section 


ii3 


MkMi 


Rock 
Island 


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*  California 


De  Luxe  California  Train 

There  is  a  statement  in  this  letter  that  should  make  the 
selection  of  a  train  for  your  transcontinental  trip  an  easy 
matter:  "No  iraiv.  on  the  American  Continent  equals  the 
Golden  State  Limited." 

63  hours  Chicago-Los  Angeles.  Shortest  and  quickest  to 
Phoenix  and  San  Diego. 

Tickets  and  reservations  at 
Hollywood   Ticket  ORce.  6768  Hollywood   Boulevard^  Pho 


Los  Angelei 


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1  Ticket  Office,  212  West  Seventh  Street,  Phone  Metropolitan  2000 

B.  F.  Coons,  General  Agent,  Rock  Island  Lines 

809  Van  Nuys  Building.  Phone  Trinity  4574,  Los  Angeles,  Calii 

Hugh  H.  Gray,  General  Agent  Passenger  Department 

Southern  Pacific  Lines,  165  Broadway,  Phone  Cortland  4800 

or  531  Fifth  Avenue  at  44th  Street,  Phone  Cortland  4800.  New  York  City 

P.  W.  Johnston,  General  Agent,  Passenger  Department,  Rock  Island  Lines 

723  Knickerbocker  Building.  Broadway  and  42nd  Street  ^^ 

Phones  Wisconsin  2515-6.  New  York  City  -^L 


."''S^^kS:; 


yjOOOjP 


The  Comfortable  Low  Attttude  Route 


you  write  to  advertisers  please  mention  PHOTOPLAY  IIAGAZIXB. 


114 


Photoplay  Magazine — Advertising  Section 


and  was  holding  his  first  story  conference 
with  the  writers  and  players. 

Came  an  animated  discussion  on  a 
certain  part.  Was  it  too  daring,  too 
different? 

When  the  decision  was  made  to  leave 
it  intact  in  the  picture,  brother  William 
de  Mille  summed  up  the  situation  with 
this  sentence: 

"Anyhow,  Cecil,  it's  better  to  be 
cussed  at  than  yawned  at  in  this  busi- 
ness." 


He  was 
balloon 


Invite  the    Olovnit    Style 
Counsellor  to  Your  Home 

Do  \ou  know  that  y 
Style    CounseUor 


ou  have  a 
in  your 
OloVnit 
who     is 

—at  your 


j  locality.3       She's     the 

'  direct    representative 

,  waiting  to  serve  you- 

I  request. 

You  wan  t  Paris-inspired  clothes 
before  your  neighbors  have  them .' 
What  woman  doesn't?  Then 
why  not  have  them?  Your  01o\- 
nit  representative  will  brinp 
them  to  you  before  they  are 
shown  through  any  other  source. 
And  you  buy  them  at  a  big  sa^- 
ing,  too,  because  you  deal  direct 
with  the  designers.  \ 

Shaughnessy       | 
GARMENTS  &  HOSIERY, 

Have  the  Olovnit  representative 
call.  Let  her  show  you  spring's 
latest  modes  in  lovely  dresses, 
chic  sports  jackets,  dainty  under-  ! 
things  and  hosiery  in  all  the  de- 
sirable shades.  Let  her  prove  to 
you  how  convenient  home  shop-  i 
ping  can  be! 


LOK  CHANEY  was  worried. 
running  around  the  set  in  a 
suit  blown  to  capacity. 

E\-eryone  was  secretly  laughing  at  his 
great  precautions  to  keep  it  from  bursting. 

Director  Herbert  Brenon  thought  to 
ha^■e  a  little  fun  with  him.  He  shot  off 
a  blank  pistol. 

Lon  gave  one  horrible  cry  and  dropped 
to  the  floor.    Yes, — the  suit  busted. 

TD  AOUL  WALSH  was  forced  to 
hold  up  the  production  of  "The 
Red  Dancer  From  Moscow"  nearly 
thirty  minutes  on  a  day  when  he  had 
hundreds  of  extras  working. 

He  had  lost  the  script  out  of  his 
vest  pocket. 


S\\  EET  are  the  uses  of  publicity  when 
a   picture   is   poor.      When   it's  good, 
nothing  else  matters. 

Emil  Jannings'  "The  Last  Command" 
illustrates.  It  came  into  New  York 
without  any  preliminary  ballvhoo  and 
quietly  set  at  work  breaking 'the  box- 
office  record  of  the  Rialto  Theater.  In 
one  week  it  took  in  851,000.  The  most 
successful  picture  this  theater  had  ever 
hadpreviousiv, "  We'reintheNavyNow  " 
only  did  $49,600  a  week. 

A  few  blocks  a^\'ay,  another  foreigner 
was  upsetting  statistics.  Greta  Garbo, 
going  it  alone  as  a  star  for  the  first  time, 
took  in  $77,700  in  a  week  at  the  Capitol 
for  her  "Divine  Woman." 

"T^HOSE  of  you  who  cried  o-ver  Emil 
J- Jannings  in  "The  Last  Command" 
may  squeeze  a  few  more  tears  from  the 
fact  that  the  story  of  the  picture  was 
based  on  an  actual  occurrence.  The  real 
hero  of  the  story  was  not,  of  course,  the 
Czar's  cousin,  but  he  was  a  general  high 
in  command  in  the  Imperial  Russian 
Army.  The  ex-Russian  general  went  to 
Holljavood  and  tried  to  get  work  as  a 
movie  extra.  When  he  failed,  just  as 
any  other  poor  old  man  might  have 
failed,  he  committed  suicide. 


$15,000  in  Prizes  Awarded  for  Ideas 


[  CONTINUED  FROM  PAGE  49  ] 


In  the  comfort  of  your  I 


--  ., .' you  look 

over  her  tempting  array.  You  are  un- 
hurried. There  is  no  crowd,  no  bu.sile 
nothing  to  distract  you.  You  ask  the 
advice  of  the  counsellor  who  krio«3 
style— and  you  can  trust  Imr  m.Iv;,,. 
Olovnit  style  counsellors  I,, v..  h,„,  „ 
selected  for  their  personal  tr....!  t.si,. 
and.  in  advising  you,  their  rcpiii  .licn,  i 
atstakcl 

Your  purchase  comes  to  y,,n  fr."<h 
and  untouched  from  the  Rrcii  ,Sh  lufh 
nessy  dcsigiiinn  plant.  And  c,„u;u\x-t 
— this  personalized,  exclusive-  sirviic 
costs,  not  more,  but  actually  less! 

If  you  do  not  know  the  local  Olovnit 
blylc  Counsellor  write  direct  to  us  and 
have  her  call.  You  don't  hmc 
to  buy— if  you  can  possibly  resist! 


i  -this 

jl  costs,  n 
I  Ifyc 

i|  Style  C 

I  we  will 

1,  tobuy- 


THE  SHAUGIINESSY  KNITTING  CO. 

Walerlown,  New  York 


when  he  was  able  to  sneak  across  the 
border  into  Arizona." 

Miss  Vale  grew  up  on  the  range.  At 
six  she  could  ride  as  well  as  any  cowboy-; 
at  twelve  she  was  proficient  at  lassoing 
and  shooting.  At  si.xteen  she  became  a 
student  of  the  Northern  Arizona  Normal 
School.  After  graduation  in  1918,  she 
taught  school  in  Holbrook,  Arizona. 

"T  WAS  utterly  unfit  for  the  life  of  a 
_  J- quiet  schoolma'am,  "writes  Miss  Vale. 
"I  craved  freedom  and  adventure.  I 
bought  an  old  Buick  and  dro\-e  a  stage 
line  until  the  Buick  followed  the  example 
of  the  one  hoss  shay.  Then  I  went  to  the 
army  post  at  Fort  Apache.  There  I 
taught  \-ocational  school  and  at  the  same 
tmie  operated  the  canteen  restaurant. 

"Always  I  was  seeking  the  pot  of  gold 
at  the  end  of  the  rainbow.  My  next 
jump  was  to  San  Francisco,  where  I  worked 
and  studied  stenography.  From  San 
Francisco  to  Los  Angeles  and  Long  Beach, 
where  I  taught  ball  room  dancing  to 
sailors.  I  spent  a  year  in  Texas  where  I 
tasted  a  Httle  of  the  honey  of  success,  but 
I  couldn't  remain  on  account  of  that  old 
adventurous  spirit.  Los  Angeles  again; 
working  at  stenography  and  then  selling 
hosiery.  Shortly  after  New  Year's  I  gave 
up  the  hosiery  route  on  account  of  illness 
and  am  not,  at  the  present  time,  occupied 
at  anything.  I  am  investigating  new 
lines  of  endeavor,  trying  to  find  something 
interesting  and  remunerative." 

Howe\er,  Miss  Vale  need  not  worry 
now.  She  has  found  her  pot  of  gold  at  the 
end  of  the  rainbow. 

Incidentally,  it  should  be  added  that 
Miss  Vale  has  not 
for  pictures. 


itten  professionally 
She  says  she  tried  many 


Every  odvcrllscmcnt  in  PnOTOPLAT  MAGAZINE  I 


times  but  gathered  only  a  mass  of  re- 
jection slips.  She  sold  just  one  stor%%  to 
the  old  Lubin  company  years  ago^  re- 
ceiving a  small  check.  Her  professional 
writing  is  limited  to  a  few  published 
sketches  and  a  series  of  impressions  pre- 
sented by  a  Texas  newspaper.  The 
Independent'.  Oil  and  Financial  Reporter. 

MRS.  M.  CAROLI,  of  227  Audubon 
Avenue,  New  York  Citv,  is  the  win- 
ner of  the  second  prize  of  $2,000. 

Mrs.  Caroli  was  born  thirt\--nine  \ears 
ago  in  Corfu,  Greece,  of  Italian  parents. 
Her  mother  was  a  singer  and  her  father 
conductor  of  an  opera  companv  orchestra. 
She  was  brought  to  America  a't  the  age  of 
S1.X,  her  parents  being  attached  to  an 
opera  company  touring  the  Southern 
states. 

Mrs.  Caroli  is  a  High  School  graduate, 
finances  preventing  a  college  education. 
Before  her  marriage  she  was  cmploA-ed 
as  a  French,  Italian  and  Spanish  ste- 
nographer. Mrs.  Caroli  has  two  children, 
one  a  daughter  of  nineteen  and  the  other 
a  boy  of  eighteen.  Mrs.  Caroli  explains 
that  she  is  the  silent  partner  in  an 
embroidery  firm. 

Third  prize,  of  $1,000,  goes  toY^•onne 
Corrneaii,  of  833  Main  Street,  Pa\nucket, 
R.  I.  Miss  Corri\eau  is  sixteen,  a  student 
of  the  Central  Falls  Facultv  High  School. 

The  fourth  prize,  also  of  $1,000.  was 
awarded  to  Mar^-el  Kingslev,  of  512  East 
Main  Street,  Madison,  Wisconsin.  Miss 
Kingsley  is  also  a  High  School  student,  in 
her  senior  year. 

Fifth  prize,  of  $500,  was  captured  by 
Lute  Johnson,  of  Denver,  Col.,  but  at 
present  of  201  Masonic  Temple,  New 
Orleans,   La.     Mr.   Johnson   writes:   "I 


guaranteed. 


Photoplay  Maga/jne — Advehtising  Section 


have  been  making  a  living  writing  for 
newspapers  since  I  was  fourteen  years  old. 
Am  now  half  a  century  beyond  that. 
Have  been  out  of  the  game  for  the  past 
year,  although  The  Denver  Post  rather 
counts  me  one  of  them  and  treats  me  as 
'on  vacation.'  On  the  side,  like  most 
newspapermen,  I  have  all  my  life  been 
doing  creative  work — stories,  plays,  songs, 
verse.  Have  had  three  plays  produced, 
but  without  success.  Have  a  trunkful 
on  hand,  but  nothing  doing.  Had  thought 
after  quitting  newspaper  work  to  make 
some  effort  to  get  on  with  the  plays,  but 
lacked  encouragement.  If  I  am  reallya 
winner  in  the  contest  it  will  help  a  lot  in 
that  way. 

"School  experience  has  been  sketchy. 
Left  common  school  as  a  boy  to  go  to 
work.  Picked  up  some  education  at  the 
printer's  case,  from  much  reading,  news- 
paper work  and  late  in  life  took  a  course 
with  Prof.  Baker  in  his  EnglisTi  47  at 
Harvard  in  the  hope  of  finding  what  was 
wrong  with  that  trunkful  of  plays." 

THE  sixth  prize,  of  $500,  was  sub- 
mitted by  Fred  L.  Freitas,  who  failed 
to  give  a  complete  address.  If  Mr.  Freitas 
will  get  in  touch  with  Photoplay  im- 
mediately, identifying  himself  by  gi\ing 
a  copy  of  the  submitted  idea  or  an  outline 
of  it,  together  with  the  street  address 
which  was  attached,  a  check  will  be 
forwarded  to  him. 

Se\-enth,  eighth,  ninth  and  tenth  prizes, 
of  s'5250  each,  go  to  May  L.  Brown,  1237 
East  46th  Street,  Chicago,  111.,  Hilda  M. 
Riehl,  21  Greenbush  Street,  Mt.  Washing- 
ton, Pittsburgh,  Pa.,  Rose  Cour,  of  5728 
Blackstone  Ave.,  Chicago,  111.,  and  Miss 
Lucile  Hayum,  La  Neptune  Apt.,  Redon- 
do  Beach,  Calif. 

Miss  Brown  is  twenty-two  years  old 
and  a  high  school  graduate.  She  was 
born  in  Iowa  and  she  submitted  her  idea 
from  South  Sioux,  Neb.,  although  she  is 
now  a  resident  of  Chicago. 

Miss  Riehl  is  twenty-seven  years  old 
and  at  present  employed  as  a  bookkeeper. 
She  has  a  public  school  and  business 
college  education. 

Mrs.  Cour  is  thirty-two  years  old  and 
the  mother  of  a  small  daughter.  She 
describes  herself  as  "the  cook  and  general 
manager  of  a  three  room  trick  apart- 
ment." She  has  a  high  school  education 
and  has  some  newspaper  experience. 

Miss  Hayum  is  thirty-five  years  old. 
She  has  had  thirty  magazine  stories  pub- 
lished and  se\eral  one  act  sketches  pro- 
duced by  the  Hollywood  Drama  Club  and 
others.  Miss  Hayum  claims  two  homes: 
one  in  Boston  and  the  other  at  Redondo 
Beach,  Calif.,  with  her  sister,  Mrs.  A. 
Charles  Burns. 

The  forty  winners  of  SlOO  each  follow: 
Dorothy  Carneal  Love,  1312  Fernside 
Blvd.,  Alameda,  Calif. 

Mrs.  Martin  Woodworth,  Main  St., 
Palestine,  111. 

Solon  S.  Bloom,  3503  Morris  Ave., 
Baltimore,  Md. 

Louis  Henry  Buckner,  Box  221,  Frum, 
West  Virginia. 

Madge  O'Farrell,  1804  Exchange  Ave., 
Oklahoma  City,  Okla. 

Raymond  Goforth,  P.  O.  Box  97, 
Lancaster,  Texas. 

Thomas  J.  Mannix,  207  North  Annex, 
City  Hall,  Los  Angeles,  Calif. 


Zfhls  JYeH^ 


is  astoniskinjg  .In  instant  results 


(T'^HE  Linit  Batk  is  an  out- 
\Jy  standing  teauty  secret  — 
teca-ise  not  only  is  it  amazingly 
economical,  but  the  soothing, 
luxurious  results  are  immediate. 
M-erely  dissolve  halt  a  pack- 
age of  Linit  (tlie  remarkable 
starcli  sold  by  grocers)  in  a 
lialf  tutful  of  warm  water  — 
tathe  in  tne  usual  way,  using 
your  favorite  soap^ — and  then 
feel  your  skin — soft  and  satiny 
smootk! 

Tkis    soft,    velvety    "finish 
comes    from    a    thin    coating    ol 
Linit  left  on  tne  skin  wiiich  is 
invisible  to  the  naked  eye. 

You   will   notice   that   Linit 

adkeres  well  —  never   comes   oil 

on   tlie    clotking  —  eliminates 

"skine"  and  atsorts  perspiration. 

Com  Products  Refining  Co..  Departme 


Otarcn  Ii 


tarcli  Irom  corn 


is  the 


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a  pure  vegetable  product,  is 
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most  sensitive  skin.  In  lact, 
doctors  recommend  starch  Irom 
corn  to  sootke  tke  tender  skin 
ol  young  oaoies. 

You  May  Not  Believe 
tnat  a  fine  laundry  starch   like 
Linit    also    makes    a    marvelous 
keauty  katk.  iSo  we  suggest  tkat 
you  make  tkis  simple  test: 

After  dissolving  a  handful  or  so 
of  Linit  in  a  Lasin  of  varm  water, 
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hands  come  in  contact  with  the 
■water  you  are  a\care  ol  a  smoothness 
like  rich  cream — and  after  you  dry 
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p.,  17  Battery  Place,  Ninv  York  City. 


picas©  mention  PHOTOPLAY   MAGAZINE. 


ii6 


Photoplw  Magazine — Advertising  Section 

M 


SPIRIN 


The  whole  world  knows  Aspirin  as  an  effective  antidote  for  pain. 
But  it's  just  as  important  to  knozv  that  there  is  only  one  genuine 
Ba\er  Aspirin.  The  name  Bayer  is  on  every  tablet,  and  on  the 
box.  If  it  says  Bayer,  it's  genuine;  and  if  it  doesn't,  it  is  not! 
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proven  directions. 

Physicians  prescribe  Bayer  Aspirin; 
it  does  NOT  affect  the  heart 


DO  EDITORS  BUY 
YOUR    STORIES? 


Gertrude  Atherton,  author  of 
"The  Immortal  Marriage,*' 
••Black  Oxen."  and  many 
other  successful  novels,  says 
of  the  Palmer  short*story 
course,  ••The  subject  is  about 
as  fully  covered  as  is  within 
mortal  achievement." 


With  Palmer  help  you  can  leam  to  write 
stories  that  reach  a  definite  market — a  profit- 
able market.  The  Palmer  Institute  lakes  your 
talent  as  it  is  and,  sizing  it  up  from  the  start, 
gives  you  that  "professional  touch"  that  makes 
the  difference  between  rejection  slips  and  tangi- 
ble checks. 

Palmer  training  is  uniquely  personal.  The 
sympathetic  criticism  of  experienced  writers 
will  help  you  to  produce  either  short  stories  or 
photoplays  that  editors  need  and  buy.  The 
coupon  below  brings  you  complete  details. 


PALMER   INSTITUTE  OF  AUTHORSHIP 
Dept.  12.D,  Palmer  Buildin,!,  Hollywood,  Cal. 
I'lMM  wnd  me.  without  otUKatioo,  details  about 
the  course  1  have  checked. 

g  Short  Story  Writing 
Encllih  and  Sclf-Eipresslon 
Photoplay  Writing 


irwfg^ifflgwm 


There  where  the 

big  fish  strike 


YouE  favorite  fly  ilicks  for  a  second  on  the 
quiet  water.  .  .  .  Twice,  three  times  you  cast. 
.  .  .  Then    whirrl   .  .  .  You've    hooked    a    big 


for  the  battle. 

"Old  Towns"  respond  instantly  to  every  dip 
of  the  blade.  Sturdy  in  construction  and  light 
in  weight  too.  When  you  go  out  where  the  big 
ones  strike,  be  sure  that  you  go  in  an  "Old 
Town."  Prices  as  low  as  $67.  From  dealer  or 
factory. 

New  catalog  pives  prices  and  complete  infor- 
mation about  sailing  canoes,  square-stem  canoes, 
dinghies,  etc.  Also  fast,  seaworthy  boats  for 
Outboard  Motors.  Write  for  free  copy  today. 
Canoe  Co.,  824   Main  Street,  Old 


Ma 


OM  Town  Canoes 


Anna  M.  Fankhauser,  103  Plaza 
Drive,  Berkeley,  Calif. 

Mildred  Seday,  1020  Fifth  St.,  Muske- 
gon Hts.,  Mich. 

Mrs.  Charles  R.  Craig,  Box  66,  Lebanon 
Rd.,  Nashville,  Tenn. 

Leo  Hofeller,  104-106th  St.,  Richmond 
Hill,  N.  Y. 

John  Craig,  24  E.  8th  St.,  New  York, 
N.  Y. 

L.  V.  Spencer,  Ascot  Ridge,  Great 
Neck,  L.  L,  N.  Y. 

Catherine  Clara  Crews,  509  Berkshire 
Ave.,  San  Antonio,  Tex. 

Rafael  Fuentes,  fr.,  c/o  Mexican  Lega- 
tion, P.  O.  Box  220.  Panama,  R.  P. 

Ruth  Robbins,  Box  246,  Tempe,  Ariz. 

Mildred  Thompson,  3600  Chestnut  St.. 
Philadelphia,  Pa. 

Anna  T.  Harding,  100  E.  2nd  St., 
Frederick,  Md. 

William  Lowell  Clements,  Black  ]\Ioun- 
tain,  N.  C. 

Dana  Reed,  1228  Pacific  St.,  Brooklvn, 
N.  Y. 


kele 


Georgea   A.   \\"iseman.    Be 
Berkeley,  Calif. 

Regina  Strauss,  12  Pine  St.,  Danville, 
Illinois. 

C.  H.  Ussery,  Box  24,  Tuscaloosa,  Ala. 

Elizabeth  Hamilton  Kirkpatrick,   Box 
171,  Indiana,  Pa. 

Laura     Kienlen,     284    \V.     15th    St., 
Oklahoma  Cit}-,  Okla. 

Mrs.   Jessie  Kenvon,  308  Lovell  A\-e.. 
I\Iill   Vallev,    Cal. 

Alfred    ]\IcRobbins,    Northbrook    Ct., 
Washington,  D.  C. 

Mrs.  Henry  George,  R.  F.  D.  2,  West 
Union,  Iowa. 

Esther  Erickson  Young,  Hotel  Gayoso, 
Memphis,  Tenn. 

Fred  C.  Race,  135  WilsonSt., Hamilton, 
Ont.,  Canada. 

Miss  Lounette  Kennedy,  Box  209,  Cor- 
sicana,  Texas. 

E.  Irvine  Haines,  452  77th  St.,  Brook- 
lyn, N.  Y. 

Mrs.   Carroll   Stein,    343  S.   Lorimier, 
Cape  Girardeau.  Mo. 

]\I.  D.  Goodrich,  720  Lexington  Ave., 
New  York  Citv. 

Eraser  P.  M'acdonald.  8609  111th  St., 
Edmonton,  Alberta,  Canada. 

Jocelyn     Paul     Yoder,     520     Avenue 
Altara,  Coral  Gables,  Fla. 

Mrs.  Fenwick  \A"illiams.  624  St.  Cath- 
erine St.,  W.,  Montreal,  Canada. 

Rose  Esther  Weld,  1531  B  Ave.,  Cedar 
Rapids,  la. 

Sirs.  Louise  Sparks  Flewellen,  Eufaula, 
Barbour  County,  Ala. 

W.    J.    Taylor,    667    \A'ashington   St., 
Atlanta,  Ga. ' 


To  Unsuccessful 
Idea  Contestants 

If  you  have  not  received  the 
return  manuscript  of  your  idea 
or  if  you  do  not  receive  it  within 
a  reasonable  time  after  this 
notice  appears,  it  is  because  it 
was  not  accompanied  by  return 
postage.  If  you  wish  it  back, 
send  postage  before  April  15th. 
After  that  date  no  unsuccessful 
manuscript  can  be  returned. 


Every  adrertlscmcnt  In  rilOTOPLAY  M.VO.VZIXE  is  guar; 


Photoplay  Magazine — Advertising  Section 


Making  a  Million 


[  CONTINUED  FROM  PAGE  69  ] 

card.     It  read: 

Air.  A.  B.  Chatsworth  Macaulay, 

Piccadilly  Club,  London. 
This  gent  was  the  Englishie^t  English- 
man I  have  e\-er  seen,  even  up  to  now  an' 
I've  been  in  England.  He  had  words 
which  no  one  could  understand,  an'  accent 
that  no  one  could  imitate,  an'  clothes 
which  no  one  else  would  wear.  He  ar- 
rived in  the  first  pair  of  English  ridin' 
breeches  any  of  us  had  ever  seen,  flappy 
an'  baggy  at  the  sides. 

Whether  the  public  knows  it  or  not, 
strange  as  it  may  seem,  there  isn't  a  thing 
about  a  cowpuncher's  clothes  that  hasn't 
some  use — everything  he  wears  is  there 
for  a  purpose.  You  can  tell  from  his 
clothes  where  a  cowhand  is  from,  as  each 
cattle  section  from  the  bleak  ranges  of 
Alberta  an'  Saskatchewan,  the  Montanas 
an'  Dakotas,  on  down  into  Colorado, 
Oklahoma  an'  Texas,  has  hats,  shirts, 
coats,  chaps,  boots  an'  even  saddles,  par- 
ticularly adaptable  to  that  section. 

THE  new  director's  clothes  was  some- 
thin'  wonderful  to  behold  an'  me  an' 
a  lot  of  the  other  cowboys  wasted  a  lot  of 
time  a  arguin'  about  'em  an'  why. 

Mr.  Macaulay,  of  London,  lost  no  time 
in  tellin'  us  that  he  was  a  nephew  of  a 
bird  named  Macaulay  who,  he  said,  was 
a  great  essayist  an'  who  had  wrote  the 
most  used  an'  most  popular  guide  book 
about  England.  He  seemed  surprised 
when  he  found  none  of  us  had  ever  read  it 
which  wasn't  surprisin'  when  none  of  us 
had  any  idea  of  goin'  there.  I  slipped  it  to 
him  as  funny  that  a  grown  up  man  would 
be  a  writin'  essays,  since  my  sister  started 
to  write  'em  when  she  was  only  eleven 
years  old  while  attendin'  district  school  in 
Texas. 

One  day  we  went  to  the  depot  an'  met 
the  members  of  the  company  just  arri^-ed 
from  Chicago.  The  new  girl  was  Miss 
Peggy  Blevins,  black  haired,  black  eyed, 
trim  figure  an'  quite  nifty  lookin'.  She 
got  my  vote  from  the  start.  Two  days 
after  she  got  in  I  quit  watchin'  the  post- 
office  for  the  letter  from  Miss  Stedman. 

THE  leadin'  gent  signed  F.  Frank 
Frayne  on  the  hotel  register  an'  with 
him  was  a  nice,  fine  lookin'  middle  aged 
man  who  wrote  down  George  W.  Coul- 
dock,  an'  who,  Ifound.camefromafamily 
of  great  actors. 

Frayne  was  a  good  lookin'  chap  but 
seemed  terribly  out  of  place  in  Oklahoma, 
while  old  man  Couldock  fitted  in  an'  in  a 
week  could  borrow  cigaret  papers  an' 
tobacco  from  anyone. 

Miss  Peggy  Ble\ins  didn't  know  much 
about  horseback  ridin',  but  in  a  week  I 
had  her  a  gallopin'  around  with  the  best 
of  'em. 

Before  I  get  any  further,  I'd  like  to  put 
in  an'  say  that  Miss  Blevins  today  is  the 
wife  of  a  prominent  lawyer  in  Twin  Falls, 
Montana. 

I  still  hear  from  her  an'  we  have  always 
exchanged  Christmas  cards. 

A  recent  picture  shows  she's  a  keepin' 
her  good  looks  an'  nifty  style.  The 
mo\"ies  lost  a  fine  girl  when  she  got  mar- 


H.  B.  Warner,  featured  in  Cecil  B.  De  Mille  Productions 

The  ^^Silent  Drama" 

The  cinema  is  often  referred  to  as  the  "silent 
drama." 

The  actors  must  get  along  without  the  pow- 
erful influence  of  the  "spoken  word." 

They  are  forced  to  substitute  eye  appeal 
for  ear  appeal.  This  includes  physical  actions, 
facial  expressions — and  DRESS. 

The  leading  actors  of  the  screen  are  careful 
to  obey  the  dictates  of  fashion  and  good 
taste.  In  scenes  depicting  business  or  social 
life — wherever  the  occasion  demands — they 
invariably  wear  STARCHED  COLLARS. 

Arrow  starched  Collars 

Cluett,  Peabody  &  Co.,  Inc. 
ARROW  SHIRTS,  COLLARS,  UNDERWEAR,  HANDKERCHIEFS 


Wben  jou  Hrilc  to  advertisers  please  mention  niOTOPI-AY  MAG.VZIXE. 


ii8 


Photoplay  Magazine — Advertising  Section 


mscmafe  MEK" 


\^at  is  their 

dangerous  power? 


THE  siren  type — the  woman  who  fascinates 
men  at  wUl.  One  ^voman  in  a  hundred  pos- 
sesses this  dangerous  power.  She  is  envied, 
hated,  feared — by  other  women.  And  she  has 
always  been  a  mysterj-.  You  study  her — and  are 
amazed,  bewildered.  For  you  can  truthfully  say 
"I  don't  understand  what  men  see  in  her." 
But  you  'diant  to  know  the  secret — with  all  your 
heart.  You  want  the  "dangerous  power."  It  is 
not  that  you  desire  to  be  the  siren  type.  If  j  ou 
could  fascinate  men  at  will,  you  would  use  your 
power  viilhin  reason.  Well,  then,  you  may;  for  at 
last  thesecretisknown.  Lucille  Young,  the  world's 
foremost  beauty  expert,  will  give  you  the  "dan- 
gerous power" — give  it  to  jou  free. 

Nature's  Greatest  Mystery  Unveiled 
All  your  unavailing  study  of  fascinating  women, 
your  failure  to  succeed  by  like  methods  is  easily 
explained.  Nature  has  never  desired  a  race  of 
women,  all  fascinating.  Her  plan  is  for  limited 
charm.  She  has  said,  "I'll  give  women  just  enough 
attraction  to  marry,  and  mate."  But  to  a  few 
women  she  has  said,  "I  '11  give  the  dangerous  power 
of  complete  fascination." 

You  know  that  this  is  nature's  plan — though  you 
may  never  have  thought  of  it  in  just  this  way. 
Instead  you  have  been  puzzled.  You  have  seen 
fascinating  women  possessed  of  no  more  than  aver- 
age looks— some  that  you  may  have  considered 
homely.  You  have  seen  women  with  poor  figures 
outshine  women  with  perfect  figures.  You  have 
seen  women  of  refinement  cast  into  the  shadow  by 
coarser  women.  You  have  heard  of  "sex  appeal," 
yet  you  know  that  thousands  of  women  have  re- 
sorted to  physical  charms  as  the  main  reliance — 
with  inevitable  failure. 

Strangest  of  all,  you  may  have  known  some  dan- 
gerously fascinating  woman  as  a  friend — known 
that  she  was  willing  to  give  you  her  secrets.  Bui 
she  could  not.  For  Nature,  most  cleverly,  has  made 
her  natural  sirens  blind  to  their  awn  melhods. 

One  Woman  in  All  the  World  Can  Tell  You 
Amazing,  perhaps,  but— so  far  as  it  is  known — 
Lucille  \  oung  is  theone  woman  in  all  the  world  who 
knows  the  complete  secret  of  fascination.  A  certain 
amount  of  beauty  is  indispensable.  This  beauty 
Lucille  Young  gives  you  through  her  methods— 
admittedly  the  most  effective  in  the  world— used  by 
scores  of  thousands  of  women. 

But  more  than  beauty  is  absolutely  necessary. 
Countless  beautiful  women  are  not  fascinating — 
hardly  attractive — as  every  woman  knows. 
So  Lucille  Young  gives  you  also  the  very  inmost  of 
Nature  s  secrets  of  fascination.  These  secrets  have 
been  disclosed  by  nearly  twenty  years  of  study  by 
,  gleaning  from  countless  patrons  the  hidden  ways  of 
fascination,  by  analyzing  and  putting  together. 
The  revelations  are  startling,  mysterious,  strange^ 
things  you  would  never  discover  yourself. 
Women  are  thrilled  as  never  before — because  they  in- 
suntly  recogni/.c  that  all  the  secrets  they  have  longed 
to  know  arc  revealed— that  an  amazing  new  life  has 
been  opened  up  to  them.  No  woman  who  reads  will 
again  fear  the  siren  tvpe.  She  will  meet  her  on  her  own 
ground— be  as  irresiaiible  as  any  woman  living.  And 
vZT  if'.lC  ^"■■'■'^n  ^■""'  PJ'^sent  appearance.  Lucille 
Xoung  Methods  will  give  the  necessary  beauty. 
Find  Out  Free  of  All  Cost  or  Obligation.  So  mar- 
velous are  the  promises  of  complete  fascination,  that 
Lucille  Young  is  willing  to  convince  you  at  her  oun 
rut.  Simply  mail  the  coupon  for  her  booklet — the  most 
"  ""'"    "■■  have  ever  read— and  it  will  be  sent 


FREE 


CLm.^"^ 


ng  Rid 
Chicago,  Illinoli, 


LUCILI.E  YOU.\ 

1964  Lucille  Young  I „ .„ .„.„ 

I   without  coat  or  obligation  of  any  kind,  mnd 
:  your  free  book.     1  want  to  read  and  iindii 
■   Lucille   Young's  Dlscovcrlfs.     The  ixwtaiie 
I  be  prepaid  by  LuciUc  Young. 
I 


I 
I 

I 
I 
j  1J^■^■■^■^. ^..^„...„..^_.^ta te _ _  I 


ried  an'  started  housekeepin'  an'  I  hope 
she  reads  what  I'm  a  writin'  about  her. 
Old  man  Couldock  an'  me  became  great 
friends.  Once  in  New  York,  a  few  years 
before  he  died,  Mr.  Couldock  took  me 
over  to  the  Players  Club,  in  Gramercy 
Square,  an'  introduced  me  to  John  Drew, 
Francis  Wilson,  Da\id  Belasco,  Steel 
Mackaye,  William  Fa\ersham  an'  a  lot 
of  actor  folks.  In  those  days  stage  play- 
ers didn't  think  much  of  us  mo\ie  folks — 
I  reckon  they  don't  now — an'  I  suppose 
my  callin'  didn't  make  much  impression 
on  them,  but  I've  sure  remembered  'em 
an'  what  a  fine  lot  of  gentlemen  they  was 
an'  how  nice  they  treated  me. 


ONE  day  up  comes  Mr.  A.  B.  Chats- 
worth  Macaulay  an'  says,  "So  you're 
Vrstis?" 

"No,"  says  I,  "you've  got  me  wrong — 
I'm  Tom  ^Iix."  He  said  I  didn't  under- 
stand. He  looked  o\er  my  arms  an' 
shoulders. 

".•\n'  you  think  you  can  throw  a  bull?" 
says  he. 

"I  don't  think  anything  about  it,"  I 
told  him,  "since  I've  throwed  more  of  'em 
than  you  an'  your  folks'  neighbors  over 
in  London  will  ever  see." 

"But,"  he  kept  on,  "you  got  to  break 
this  bull's  neck,  did  any  one  tell  you  about 
that?"  That  made  laugh  since  in  bull- 
doggin'  contests  it's  against  the  rule  to 
break  the  animal's  neck — it's  a  heap 
easier  to  break  the  steer's  neck  than  not 
to — only  I  didn't  tell  him  that. 

"Well,"  he  says,  "you  got  a  great  part 
in  this  picture — best  in  the  story.  You 
break  this  bull's  neck  an'  do  it  right  an' 
there's  millions  for  you  in  the  mo\-in'  pic- 
ture business."  That  sounded  good, 
since  I  was  only  a  needin' one. 

Macaulay  wasn't  a  bad  sort  of  gent  as 
gents  go,  only  he  didn't  know  much — 
which  rule,  I  might  stick  in  about  here, 
still  holds  good  with  most  of  the  movin' 
picture  directors  at  the  present  time — 
there  are  some  exceptions,  but  few. 

If  you  doubt  this  talk  to  a  couple  of  'em 
sometime.  Get  'em  off  pictures  an'  see 
what  they  know  about  things  in  general. 
Their  talk  on  anything  except  mo\in'  pic- 
tures is  just  about  as  ^■aluable  as  the  ad- 
vice that  comes  from  a  gent  who  has 
stood  the  raise  and  then  drawed  one  too 
many  cards. 

BECAUSE  of  the  way  it  started  out,  we 
soon  switched  Mr.  A.  B.  Chatsworth 
Macaulay's  name  in  "A. B.C.,"  an' 
finally  it  drifted  into  "Alphabet"  an'  he 
didn't  seem  to  mind. 

It  was  about  this  time  that  old  man 
Couldock  gave  me  a  book  to  read.  It  was 
"Quo  Vadis,"  the  picture  we  was  to  make. 
The  book  was  wrote  by  a  gent  whose  name 
no  one  in  the  outfit  could  pronounce  ex- 
cept Mr.  Couldock  an'  the  director.  I 
tried  to  read  the  book  but  it  was  too 
tough  for  me.  The  names  of  the  people 
in  it  were  worse  than  the  author's. 

I  got  morc'n  a  hundred  pages  in  it  an' 
when  Vrms  hadn't  showed  up  yet,  I 
commenced  to  doubt  that  he  meant  much 
to  the  picture,  but  Mr.  Couldock  turned 
o\er  the  pages  an'  read  me  the  chapter 
where  Ur%us  rescues  Ly»ia,  who  was  to 
be  Miss  Blevins,  from  the  horns  of  the 
wild  bull  while  Nero  looked  on,  an'  it 
sure  sounded  great. 


I  told  him  that  the  bull  was  just  as  good 
as  dead. 

Mr.  Couldock  said  he  was  to  be 
Petronius  an'  young  Mr.  Frayne  the 
Viniciiis  of  the  story — the  girl's  sweet- 
heart, while  I  was  Ursus,  the  real  bull- 
doggin'  an'  rescuin'  gent  of  the  outfit. 
Later,  a  few  of  the  cowhands  around  there 
got  picked  for  small  parts  an'  lots  more  of 
'em  were  used  in  the  big  scenes  as 
populace. 

MR.  COULDOCK  said  that  notwith- 
standin'  the  fact  the  other  bird  was 
the  sweetheart,  e\erything  depended  on 
me — if  I  let  the  bull  get  the  best  of  it,  the 
play  was  shot. 

"No  matter  what  the  rest  of  us  play," 
my  old  friend  told  me,  "you're  the  big 
show  an'  don't  let  anyone  kid  you  that 
you're  not.  I  don't  know  what  money 
you're  gettin'  but  nail  all  you  can — it's 
worth  a  lot  to  do  what  you're  a  plannin'." 

"If  I  succeed  I  suppose  there's  millions 
in  the  game  for  me?"    I  wanted  to  know. 

"Sure,"  says  he,  "it's  the  greatest 
chance  a  man  ever  had  in  the  pictures." 

So  by  this  time  they  had  me  pretty  well 
steamed  up,  an'  I  was  buzzin'  around  like 
a  side-winder  rattlesnake  in  the  desert. 

I've  alwajs  been  one  of  those  fellers 
that  tries  to  think  things  out  in  advance, 
an'  so  I  got  an  idea.  I  told  Mr.  Wal- 
wrath,  the  business  man,  that  if  he  didn't 
mind  I'd  like  to  drive  the  four  bulls  o^■er 
on  another  pasture  where  they'd  get 
better  grazin'  an'  be  wilder  when  the 
time  came  as  it  wasn't  doin'  'em  any  good 
ha\in'  so  many  folks  around.  You  see, 
we'd  bought  four  bulls  to  get  one  good 
one. 

My  real  idea  in  gettin'  the  bulls  out  of 
the  way  was  to  do  a  little  rehearsin'  on 
my  own  account  an'  find  out  which  of  'em 
was  the  real  mean  one — that  bein'  the  one 
that  wasn't  goin'  to  get  his  neck  broke. 
The  bull  that  was  goin'  to  make  up  with 
me  was  the  bull  selected  for  the  great 
honor. 


A  LP 
plained  tomethey  wasagoin' to  put  a 
dumni)'  on  the  bull's  horns,  only  a  usin' 
the  girl  for  some  close-up  shots,  so  I  hunt- 
ed up  some  old  clothes,  stuffed  'em  with 
straw  an'  made  me  a  dummy.  Next  morn- 
in',  before  sunup,  I  roped  the  old  black 
bull  an'  after  much  effort  managed  to  get 
the  dummy  strapped  on  his  neck.  He  got 
up,  lookin'  kind  of  dazed,  shook  the 
dummy  a  little  an'  then  calmly  resumed 
grazin'.  Plainly,  he  didn't  propose  to  be 
annoyed. 

Next  mornin',  I  tried  the  red  an'  white 
spotted  bull  with  the  dummy.  The  way 
he  cut  up  was  somethin'  awful  an'  which, 
I  figured,  would  earn  him  a  ticket  to  the 
stockyards  in  Kansas  City,  so  far  as  I  was 
concerned.  I  watched  my  chance,  how- 
ever, an'  grabbed  him  by  the  horns  to  see 
how  he'd  turn  out.  I  wrassled  around  for 
a  time  an'  decided  if  the  worst  came  to  the 
worst,  I  could  throw  him,  although  it 
would  be  a  tough  job.  But  the  lettin'  go 
wasn't  so  easy,  so  I  decided  that  in  the 
next  rehearsal,  I'd  better  ha\-e  help. 

So  it  was  that  next  mornin',  I  took  with 
me  Colorado  Cotton,  one  of  the  best 
ropers  that  ever  hoolied  a  steer  in  any 
man's  cow  country.  Incidental,  I  might 
say.  Cotton  is  one  of  the  cowhands  who  is 


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goin'  with  me  this  summer  to  the  Argen- 
tine, to  make  some  pictures.  Someone 
told  Cotton  he  couldn't  rope  a  llama,  an' 
he  don't  believe  it.  Cotton's  part  of  the 
wild  bull  rehearsin'  was  to  step  in  at  any 
time  I  needed  help  an'  rope  the  bull  so  I 
could  get  away. 

THE  white  bull  didn't  make  half  the 
fuss  we  expected.  But  the  red  bull  was 
the  boy.  Him  an'  the  dummy  just 
couldn't  get  along.  He  wasn't  interested 
in  movin'  pictures  or  the  folks  who  made 
'em,  had  ne^•er  heard  of  Nero  or  Caesar 
an'  didn't  want  to  know  'em.  I  felt  it 
in  my  bones  he  was  goin'  to  hate  Mr.  A.  B. 
Chatsworth  Macaulay.  I  was  the  Nine- 
teenth Amendment  in  cowland  with  that 
bull. 

"Cotton,"  says  I,  "which  one  of  these 
Oklahoma  critters  would  you  pick  to 
bulldog?"  He  allowed  he'd  choose  the 
white  an'  lay  ofT  the  black  an'  the  spotted 
one.  "That  black  bull  is  a  actin'  simple 
to  throw  you  off,"  ad\ised  Cotton,  "black 
cattle  is  always  treacherous,  an'  that  there 
black  bull  will  think  up  some  way  to  do 
you  a  heap  of  dirt."  Anyway,  I  had  a 
feelin'  by  this  time  that  when  Mr. 
UrsMS,  of  Rome,  got  into  the  ring  an'  was 
introduced  by  the  announcer,  e\erything 
would  be  okey. 

About  this  time  a  coupl'a  movin'  pic- 
ture carpenters  came  in  from  Chicago  an' 
started  to  build  the  sets.  They  put  up 
long  rows  of  houses  with  funny  columns 
in  front  of  'em,  which  they  said  were 
Roman  residences  an'  one  the  Forum. 
Then  they  built  a  big  corral  with  high 
tiers  of  seats  which  Alphabet  told  me  was 
the  Roman  Circus,  an'  where  me  an'  the 
bull  would  have  our  dispute. 

TH  E  day  before  the  shootin'  was  to  com- 
mence, my  old  friend  Mike  Cunyan 
rode  o\er  from  Ponca  City.  "Tom,"  says 
he,  "you  ain't  aimin'  to  let  'em  start  this 
picture  in  the  dark  of  the  moon,  are  you? 
Vou  ought  to  know  that  it's  the  worst 
kind  of  bad  luck."  If  a  man  ever  uttered 
a  prophecy,  it  was  Mike  Cunyan,  only 
none  of  us  knew  it.  We  went  o\er  and 
drawed  Alphabet  Macaulay's  attention  to 
the  situation,  but  he  said  the  dark  of  the 
moon  talk  was  foolish  an'  the  picture 
would  start  accordin'  to  schedule. 

The  first  trouble  came  when  the  ward- 
robe boss  started  to  dress  up  a  lot  of  cow- 
hands who'd  been  hired  at  S3  a  day,  as 
Roman  soldiers  an'  citizens.  He  gi\e  'em 
some  funny  clothes  which  he  said  were 
togas,  loose  and  roomy  kind  of  garments. 
No  one  could  tell  which  was  front  or  back. 
Ail  came  out  in  'em  a  wearin'  their  boots, 
spurs  and  Stetson  hats.  The  wardrobe 
man  said  that  wouldn't  do.  Buster 
Gardner,  an  old  time  cowhand,  put  his  on 
over  his  chaps  an'  refused  to  take  off  the 
chaps,  exen  if  he  lost  the  job.  They  put 
sjandals  on  the  men  an'  women,  some- 
thing like  a  Injun's  moccasin.  Around  the 
men's  heads,  they  tied  bands,  about  like 
the  Apaches  an'  Arapahoes  wear.  About 
noon,  after  much  argument  an'  two  fights, 
they  got  the  clothes  question  straightened 
out. 

The  first  scene  was  where  a  lot  of 
Roman  soldiers  was  to  ride  in,  a  bcarin' 
of  bad  news — what  the  bad  news  was, 
none  of  us  could  find  out. 

"You  gentlemen  go  down  there  behind 


119 


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those  cottonwoods,"  yelled  Alphabet, 
"an'  come  in  toward  the  camera,  where 
you  meet  the  Centurion,  an'  tell  him  the 
bad  news." 

_  "But  I  ain't  got  no  bad  news  to  tell 
him,"  e.xplained  Buster,  who  was  leader 
of  the  bunch,  "unless  you  want  me  to 
tell  him" — Herman  Nolan  a  bein'  the 
Centurion — "that  they  got  out  a  warrant 
for  him  today  in  Guthrie  for  disturbin' 
the  peace,  an'  which  is  a  fact,  the  deputy 
sheriff  a  comin'  up  in  the  mornin'  after 
him— shall  I  tell  him  that?  If  I  do,  he'll 
light  out,   pronto." 

^_  "All  right,  tell  him,"  says  Alphabet, 
"an'  be  sure  when  you  come  in  to  ride 
pell  mell,"  only  he  pronounced  it  pall  mall. 

"D  USTER,  Cotton,  Slim  Johnson  an'  Tex 
-L'rode  away  for  about  a  hundred  yards. 
Then  they  stopped  an'  huddled  like  a 
bunch  of  football  players.  Leavin'  the 
rest,  Buster  an'  Cotton  rode  slowly  back, 
an'  called  Mike  Cunyan  over. 

"Mike,"  says  Buster,  "you  been  a 
livin'  in  Oklahoma  a  long  time  an'  what's 
this  pall  mall  style  of  ridin'?  I  kin  ride  a 
cow  pony  or  a  buckin'  horse;  I  kin  ride 
bareback  an'  me  an'  Cotton  kin  ride 
double,  as  his  horse  is  broke  to  it  an' 
mine  ain't.  If  anybody's  been  a  ridin' this 
pall  mall  way  down  here  in  Oklahoma  or 
in  Te.xas,  where  I  come  from,  I  ain't  see 
him  to  do  it.  Us  boys  is  willin'  to  try  it, 
but  some  bird's  got  to  show  us  how  it 
goes,  first." 

Mike  an'  me  went  over  to  Alphabet, 
who  says,  "for  one  to  ride  pell  mell,  one 
rnust  ride  dashingly."  "All  right,"  saj's  I, 
"aslongasone must  ridethatawav.  Cotton 
can  do  it,  but  how'll  the  rest  ride?"  "The 
same  way,"  says  he. 

Mike  Cunyan  went  back  an'  acted  as 
interpreter.  "What  the  gent  wants,"  says 
Mike,  "is  for  you  boys  to  come  in  like 
you're  on  your  last  mile  to  Curley  Mc- 
Bride's  saloon,  that  bein'  the  place  you're 
aheadin'  for."  The  boys  went  down  be- 
hind the  cottonwoods  an'  rode  back 
whoopin'  as  loud  as  they  could  whoop. 
.-Mphabet  saj-'s  it  won't  do  as  they  must 
come  in  solemn  like,  since  they're  a 
bearin'  bad  news. 

"How  the  hell  can  a  man  ride  the  last 
mile  to  Curley's  place  without  whoopin'?" 
Tex  Riley  wanted  to  know,  "I  been  down 
here  a  long  time  an'  I  ain't  seen  it  done 
yet." 

npHE  scene  was  finally  made.  Then  a 
-L  row  broke  out  between  R.  Frank 
Frayne,  the  leadin'  gent,  and  E.  Burdette 
Boardman,  the  deputy  assistant  villain,  as 
to  who  had  the  right  to  wear  the  biggest 
wreath.  Alphabet  settled  that  by  makin' 
them  both  the  same  size.  At  this  point  a 
cowhand  rode  up  with  a  telegram  for 
Alphabet  Macaulay.  It  was  from  the 
town  marshal  in  Ponca,  who  said  he  had 
just  locked  up  a  bird  named  William 
Ellis,  who  said  he'd  been  fetched  from 
Kansas  City  to  play  Nero.  Nero,  the 
marshal  said,  was  drunk  an'  disorderlv, 
an'  was  bail  a  comin'  for  him?  "De- 
cidedly not,"  declares  Alphabet  after 
talkin'  to  Walwrath.  "Ellis  got  hisself  in, 
let  Ellis  get  hisself  out."  Then  thev 
drafted  Buster  Gardner  in  to  p!a^•  Nero, 
but  they  had  to  promise  him  $1.50  a  da\' 
extra  to  take  off  his  chaps,  wear  the  purple- 
an'  wreath  an'  sit  in  the  grand 


clothes 


Photoplay  Magazine — Advertising  Section 


stand  box.  He  kept  on  his  boots  an' 
spurs.  They  started  Buster  in  with  a 
close-up. 

"Look  out  there,  Nero,"  yells  Alphabet, 
"look  out  there,  an'  you  see  a  lot  of  wild 
beasts  a  eatin'  up  Christians — do  you  see 
'em." 

"No,  I  don't  see  'em,  an'  what's  more," 
says  Buster  a  declarin'  himself,  "they 
ain't  a  goin'  to  be  no  Christians  et  up 
with  me  a  sittin'  here.  Besides  you  ain't 
got  no  wild  beasts  an'  there  ain't  no 
Christians  nearer  than  Ponca  City."  Al- 
phabet finally  got  Buster  agreein'  to  see 
things  an'  we  was  gettin'  along  great. 
Day  by  day  we  made  scenes,  hoppin' 
first  to  one  place  an'  then  another.  It 
was  so  mixed  up  I  didn't  think  anyone 
knew  how  anything  was,  but  Chuck 
Hartman,  the  cameraman,  said  he  did 
and  everything  was  okey. 

THE  next  day  we  had  a  scene  where  a 
lot  of  cowboys  an'  ranch  women  were 
in  the  circus  grand  stand  all  dressed  up 
like  they  was  Romans  an'  Augustans, 
whoever  they  were.  They  was  supposed  to 
be  a  seein'  me  a  fightin'  the  bull  with  JMiss 
Peggy  Blevins  tied  to  its  horns  an'  settin' 
the  girl  free.  That  eminent  citizen  of 
Great  Britain,  Mr.  A.  B.  Chatsworth 
Macaulay,  had  distributed  little  type 
written  strips  of  paper  among  the  folks  in 
the  grand  stand  an'  which  they  was  sup- 
posed to  shout  as  a  protest  to  Nero 
Gardner,  who  it  seems  wanted  the  girl 
killed.  The  three  words  they  had  to 
shout,  as  written  on  the  slips  were: 

Ahenobarbus  !  —  Matricide  ! 
— Incendiary! 

Well,  sir,  what  those  cowhands  an' 
ranch  folks  called  those  words  was  just 
somethin'  awful.  The  nearest  anyone 
knew  about  what  the  words  meant  was 
when  Hank  Emrick  got  arrested  for 
settin'  fire  to  John  Porter's  hay  ricks, 
south  of  Ponca,  an'  he  was  charged  with 
bein'  one  of  those  words.  So  far  as  we 
knew  there  was  nothin'  about  Nero's 
settin'  fire  to  hay  ricks.  Later,  I  learned 
that  this  Nero  gent  had  got  on  a  drunk  an' 
set  fire  to  the  town.  In  view  of  the  way 
they  called  those  three  words,  it's  a 
mighty  good  thing  they  didn't  ha\-e  no 
vitaphone  in  those  days  to  record   the 


THAT  same  day  Alphabet  made  four 
close-ups  of  Peggy  Ble\-ins  an' one  of 
R.  Frank  Frayne,  the  leadin'  man.  That 
same  night  Frayne  gi-\e  in  his  notice  an' 
announced  himself  a  lea\in'  for  Chicago  in 
the  mornin'.  By  promisin'  Mr.  Frayne 
five  close-ups  the  next  day  and  buc  one  for 
Miss  Blevins,  the  leadin'  gene  recon- 
sidered an'  stayed  in  the  cast.  For  four 
days  we  had  to  lay  off  because  the  war 
film  didn't  get  in.  Later  I  learned  it  had 
come  C.O.D.,  an'  W'alwrath  had  trouble 
in  raisin'  the  money.  After  one  day  of 
shootin',  it  started  an'  rained  steady  for 
seven  days.  As  soon  as  it  dried  up  a 
little,  me  an'  Cotton  slipped  oxer  to  re- 
hearse the  bulls  once  more  an'  finally  de- 
cided on  the  white  boy  for  the  sacrifice. 
The  night  before  the  great  scene,  me  an' 
Cotton  give  him  his  last  rehearsal.  It 
didn't  come  out  so  good.  I  couldn't  find 
my  dummy  an'  had  to  make  another  out 
of  an  old  suit  of  red  flannel  underwear  left 
behind  in  the  bunkhouse  by  Gus  Hender- 


cc 


the  Helen  Brown 
I  used  to  know?" 


"Hard  to  believe  —  but  there's 
the  announcement  in  the  paper! 
. .  .A  millionaire — think  of  it!  And 
she  used  to  be  the  drabbest,  plain- 
est girl  in  our  set .  .  ." 


IT  happens  so  often  these  days !  One 
day — plainness,  drabness,  obscurity 
—  then  suddenly  —  a  discovery !  Some 
little  neglect  —  some  slight  unaccented 
feature !  She  corrects  it.  Then  —  popu- 
larity —  romance  —  happiness!  Just 
like  a  story  in  the  magazines. 

Take  Dull  Hair,  for  instance !  Noth- 
ing so  dims  a  pretty  face  —  or  spoils  a 
woman's  charm!  Yet  how  easily  it  is 
corrected — just  one  shampooing  will  do 
it  —  tonight!  —  if  you  use  Golden 
Glint. 

Rich  copious  lather  —  faintly  fra- 
grant —  removes  the  film  that  hides  the 
natural  color  of  )our  hair.  Tzlo  lathers 
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maculate. 

You  rinse — remove  all  trace  of  soap 
and  your  hair  will  be  shades  lighter. 

u   urilc   to  lulvcirlsiis  lilias.'   mention    IMIOTOPL.W   M.VG.VZr 


she  be 


Then  you  apply  the  extra 
touch  —  a  special  rinse  —  the 
"plus"  that  makes  this  sham- 
poo different.  Your  hair  takes 
on  new  gloss — new  finish.  Its 
natural  color,  now  revealed,  is 
enhanced  by  sparkling  lights ! 
You  are  reminded  faintly  of 
your  childhood's  tresses — soft, 
silky  —  exquisitely  fragrant 
and  lustrous.  Now  your  hair 
is  icorthy  of  the  face  it  frames! 
Millions  today  use  this  mod- 
ern "shampoo-plus."  It  brings  much  of 
the  skill  of  the  master  hairdresser  to 
your  own  boudoir.  No  harsh  chemicals 
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plus  an  extra  touch  that  brings  back 
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can  supply  you.  Money  back  if  not  de- 
lighted. ■ 


Golden  Glint 

"t.  SHAMPOO/" 

MAGIC    KEY  TO   YOUTHFUL  "LOCKS" 


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— arulyour  dealer  cannot  supply  it — send  25c 
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— and  if  you  choose,  mention  also  color  and 
texture  (or  send  sample)  of  your  /lair,  and 
a  letter  of  valuable  advice  will  be  sent  you. 


Photoplay  Magazine— Advertising  Section 


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Shin  Lotion. 


son,  a  cowhand  just  then  a  doin'  a  three 
month's  sojourn  in  the  county  jail  for 
figlitin'  with  a  squaw.  The  way  the  white 
Inill  acted  with  the  red  dummy  was  some- 
tliin'  terrible,  but  I  figured  as  the  girl 
wasn't  supposed  to  have  any  clothes  at 
all  it  would  be  all  right  next  day. 

Early,  Cotton  an'  me  dro\e  the  four 
bulls  over  to  a  little  pen  on  one  side  of  the 
set.  I  told  Alphabet  we'd  use  the  white 
one.  Peggy  was  on  hand  to  see  the 
scene  an'  slip  me  a  little  encouragement 
an'  hoped  I  wouldn't  get  hurt.  I  didn't 
till  her  that  bulldoggin'  a  steer  meant 
nothin'  more  to  me  than  a  little  exercise, 
an'  not  an  awful  lot  at  that.  I  wanted 
them  to  think  I  had  a  tough  job. 

THE  first  shock  I  got  was  when  they 
handed  me  my  costume.  It  was  a  piece 
c  .1  ( )ld  red  blanket  to  go  over  one  shoulder. 
It  had  been  daubed  here  an'  there  with 
whice  paint  in  spots.  Chuck,  the  camera- 
man, said  it  would  photograph  like  a 
leopard  skin.  I  had  a  little  pair  of  trunks 
an'  wrapped  about  my  waist  was  a  wide, 
red  sash.  I  told  A. B.C.  that  the  red 
sash  wasn't  goin'  to  help  any,  but  he  in- 
sisted it  go  thataway,  as  red  photo- 
graphed black  an'  it  was  what  they 
wanted. 

Up  to  now  me  an'  the  white  bull  was  on 
good  terms.  I'd  got  him  pretty  well 
gentled  an'  he  discovered  gettin'  throwed 
didn't  mean  much.  Of  course,  I  was 
aimin'  to  break  his  neck  in  the  scene  an' 
thought  he  didn't  know  it,  but  it  seems  if 
he  didn't  know  it,  he  at  least  had 
suspicions. 

Cotton  an'  Buster  strapped  the  dummy 
they  brought  on  the  bull.  It  was  a  pretty 
nifty  dummy.  Alphabet  an'  Walwrath 
bought  it  from  the  New  York  Dry  Goods 
Emporium  in  Dewey,  where  it  had  been 
used  in  the  window  to  put  women's 
clothes  on.  The  white  bull  didn't  make 
much  objection  to  the  dummy,  bein' 
used  to  one  by  now,  but  when  he  saw  me 
in  my  clothes — he  started  an'  what  he 
didn't  try  to  do. 

Everything  was  set.  The  big  scene  was 
on. 

In  the  middle  of  the  circus  arena 
marched  the  bull.    He  stood  for  a  moment 


an'  pawed  the  ground.  Old  man  Nero 
was  in  his  royal  box  an'  all  Rome  was  a 
watchin'  as  I  walked  out  in  my  funny 
clothes.  I  was  probabh'  fifty  yards  awa}- 
when  the  bull  ga\-e  a  snort  an'  started 
for  me.  Whatever  friendship  we  might 
have  once  had,  was  gone.  He  made  that 
plain.  In  a  minute  I  saw  what  was 
wrong.  From  my  dress  he  thought  I  was 
an  Indian. 

Down  in  Oklahoma,  all  cattle  grow  up 
a  knowin'  that  if  they  ain't  careful,  some 
dark  night  a  coupl'a  of  our  native  red 
men  is  a  goin'  to  Injun  up  on  him,  an'  the 
next  day  there's  goin'  to  be  beef  stew  in 
a  near-by  tepee.  Oklahoma  cattle  keep 
an  eye  on  Indians,  just  the  same  as  cats 
watch  dogs.  You  see,  I'd  always  played 
around  this  old  bull  in  cowboy  clothes  an' 
now  he  didn't  know  me — took  me  for  an 
Indian. 

I  got  him  by  the  horns  an'  the  WTasslin' 
commenced.  I  was  a  doin'  good  an'  the 
populace  was  a  yellin'  as  ordered  by 
Alphabet.  About  this  time  the  old  black 
bull  in  the  pen  saw  my  red  outfit  an'  me. 
With  one  bust,  he  came  on  through  the 
pine  board  fence  of  the  pen  an'  headed  for 
me.  Right  behind  him  followed  the  red 
an'  white  spotted  bull,  also  a  snortin'. 

Nero  Gardner,  in  the  royal  box,  stood 
up  an'  yelled,  "Tom,  the  black  bull  is  a 
comin' — get  out  of  the  corral  if  3'ou  can." 
Seein'  my  danger,  Cotton,  who  was  a 
wearin'  a  toga,  chaps,  boots  an'  spurs  an' 
a  wreath,  grabbed  a  rope  an'  jumped  into 
the  arena,  aimin'  to  rope  the  black  bull. 

KEEP  out  of  there,"  yelled  Mr.  A.  B. 
Chatsworth  Macaulay,  "you're 
spoilin'  the  scene — get  out  of  there!"  But 
Cotton  was  my  friend,  an'  made  a  throw 
for  the  black  bull  an'  missed.  By  that 
time  I  had  the  white  bull  on  his  knees  an' 
in  a  minute  more  it  would  ha\e  been  all 
over.  Cotton  yelled.  I  let  go  an' beat  it  for 
the  fence  with  the  white  bull  not  more'n 
a  foot  behind  me. 

At  this  moment,  Chuck  Hartman  made 
the  mistake  of  his  young  life  b^'  a  j-ellin' 
at  the  black  bull  an'  wa\in'  his  hat. 
Well,  sir,  that  Oklahoma  bull  made  two 
jumps,  stuck  his  horns  under  Chuck's 
camera   an'    with   the   tripod   a   hangin' 


Natchitoches,  La. 
It  is  not  often  that  a  woman  in  her 
seventy-fifth  year  gives  expression  to 
her  feeUng  and  writes  about  the  movies. 
For  the  first  time  in  his  life,  my  husband 
had  bad  health  about  sixteen  years  ago. 
He  became  very  despondent  which 
naturally  reflected  upon  me.  We 
rarely  left  home  after  his  business 
hours.  My  pleasure  was  to  be  with 
and  entertain  him.  My  children  sug- 
gested we  attend  the  movies.  It 
worked  like  a  charm.  I,  too,  began  to 
enjoy  myself.     Until  a  month  before 

I'llOToPI.AY  MAO.VZINB  Is  guaranteed. 


his  death,  we  rarely  missed  a  night. 
We  would  return  home  and  discuss 
the  pictures  which  gave  us  so  much 
pleasure  and  so  many  new  thoughts. 

For  some  time  after  his  death,  I 
would  not  hear  of  returning  to  the 
movies.  But  eventually  I  did  and  now 
I  get  as  much  pleasure  from  them  as 
I  used  to.  I  see  at  least  three  pictures 
a  week.  I  have  really  become  a  movie 
fan  and,  as  old  as  I  am,  I  get  many 
thrills  from  the  fine  acting  of  the  hand- 
some young  men  and  women. 

Mrs.  J.  P. 


Photoplay  Magazine 

around  his  neck  started  for  Oklahoma 
City  by  the  way  of  Bartlesville  and  Ponca. 
Two  hundred  feet  away,  he  throwed  that 
camera  a  hundred  feet  in  the  air.  When 
it  came  down  on  the  hard  sod  ground, 
what  happened  to  it  was  terrible.  Brass 
parts  an'  glass  lenses  were  just  scattered 
all  o\-er  the  prairie.  Some  of  the  parts  we 
never  did  find.  The  camera  was  a  wreck. 
Miles  of  film  was  blowin'  around  between 
the  arena  of  the  great  Roman  Circus  an' 
the  Salt  Fork  of  the  Canadian  River. 

An'  that,  ladies  an'  gentlemen,  was  the 
end  of  "Quo  Vadis"! 

If  it  had  been  ended  as  planned  an' 
hoped,  the  name  of  Tom  Mix  might  have 
been  seen  in  electric  lights  eight  or  nine 
years  before  it  finally  reached  that  dig- 
nity. It  was  mj'  great  chance.  A  red 
sash  spoiled  it.  Still,  I  like  red.  Almost 
everything  I  own  is  painted  red. 

OUR  troupe  ended  up  much  like  an 
Uncle  Tom's  company  that  went  broke 
in  Dewey  when  I  was  marshalin'  there  an' 
it  got  attached.  Little  E\-a  married  the 
sheriff;  Topsy  got  a  job  in  McGurk's 
restaurant;  Marks,  the  lawyer,  worked  as 
a  clerk  in  the  town's  best  hotel  an'  Uncle 
Tom,  who  was  a  colored  man,  was  porter 
in  the  same  place.  The  only  man  in  the 
troupe  who  couldn't  find  something  to  do 
was  Simon  Legree.  He  got  out  of  the 
state  in  a  box  car  an'  my  assistant  shot 
the  bloodhound. 

I  had  a  little  money  left  an'  helped  Miss 
Blevins  get  a  ticket  to  Chicago.  I'd  like 
to  add  in  here  some  place  that  she  paid  it 
back,-  pronto.  \\'hat  I  lent  to  that  am- 
bassador of  good  will  from  England,  Mr. 
A.  B.  Chatsworth  Macaulay,  is  still  a 
owin'.  Old  man  Couldock  had  money  of 
his  own  to  get  away  with.  Chuck  Hart- 
man  got  as  far  as  Oklahoma  City  where 
he  opened  a  photograph  galler>',  got 
married  an'  has  since  become  a  very  rich 
man  in  the  oil  business. 

THEN  came  sad  news  forme.  I  got  sued 
for  two  of  the  bulls  I  had  bought  an'  for 
which  Mr.  Walwrath  departed  without 
settlin'  for,  so  I  had  to  pay.  One  of  'em 
was  the  black  bull  an'  so  far  as  I  know, 
he's  still  at  large,  somewhere  in  the 
State  of  Oklahoma.  I  never  could  find 
him.  The  red  one  I  sold  to  a  butcher.  By 
the  time  I  got  straightened  around,  my 
monev  was  all  gone  an'  I  owed  Mike 
Cunyan  $140. 

"Tom,  didn't  this  movie  man  tell  you 
there  was  millions  in  the  picture  busi- 
ness?"    Buster  Gardner  asked  next  day. 

"He  sure  did,"  I  replied,  "but  there 
ain't  no  million  in  pictures  with  wolves, 
buffalos  or  wild  bulls  in  'em.  You  got  to 
have  elephants,  hippopotamuses  an' 
rhinoceroses  to  get  in  the  big  money." 

That  gave  me  an  idea. 

[to  be  COxXTINUED] 


-Advertising  Section 


NEXT  MONTH: 
Through  joining  up  with  a  big 
animal  picture  in  Florida  where  he 
was  employed  to  protect  Kathlyn 
Williams  from  wild  jungle  beasts, 
Tom  finally  reaches  Hollywood  and 
at  last  gets  into  the  "Big  Money." 
He  foimd  the  human  sharks  of  Holly- 
wood worse  than  the  denizens  of  the 
jxmgle  he  had  been  fighting  in  Florida, 
and  is  greatly  amazed  thereat. 


Jeaves 
your  Hair 
Radiant  with  loveliness 


brings  Out  All  the  Natural  Life,  Wave  and 
Lustre.  Qives  that  Wonderful  Qloss  and  Silky 
Sheen  which  makes  Your  Hair  so  much  admired. 


THE  attractiveness  of  even  the  most 
beautiful  women  depends  upon  the 
loveliness  of  their  hair. 

The  simple,  modem  styles  of  today  are 
efifective  ONLY  when  the  hair  itself  is 
beautiful. 

Luckily,  beautiful  hair  is  now  easily  ob- 
tained. It  is  simply  a  matter  of  shampooing. 

Proper  shampooing  makes  it  soft  and 
silky.  It  brings  out  all  the  real  life  and 
lustre,  all  the  natural  wave  and  color  and 
leaves  it  fresh-looking,  glossy  and  bright. 

When  your  hair  is  dry,  dull  and  heavy, 
lifeless,  stiff  and  gummy,  and  the  strands 
cling  together,  and  it  feels  harsh  and  dis- 
agreeable to  the  touch,  it  is  because  your 
hair  has  not  been  shampooed  properly. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it 
cannot  stand  the  harsh  effect  of  ordinary 
soaps.  The  free  alkali  in  ordinary  soaps 
soon  dries  the  scalp,  makes  the  hair  brittle 
and  ruins  it. 

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TWO  or  three  teaspoonfuls  make  an 
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It  keeps  the  scalp  soft  and  the  hair  fine 
and  silky,  bright,  glossy,  fresh-looking  and 
easy  to  manage,  and  makes  it  fairly  sparkle 
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You  can  get  Mulsified  cocoanut  oil  sham- 
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A  4-ounce  bottle  should  last  for  months. 

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Ph.  4-28 


My  Life  Story 


[  CONTINUED  FROM  PAtiE   108  ] 

and  gave  her  more  and  more  authority 
and  power,  because  I  thought  she  might 
keep  them  from  doing  that. 

Finally,  my  Dad  came  West.  Mrs. 
Smith  had  done  a  lot  ofthingsto  makeme 
think  that  Dad  wasn't  what  he  should  be 
and  that  he  would  handicap  me  in  a 
business  way.  She  said  relatives  always 
did  and  that  it  would  make  the  bosses  sore 
around  the  studios  if  my  father  came 
interfering.  I  believed  her.  I  knew  so 
little  about  things,  and  what  with  working 
the  whole  time  and  trying  to  enjoy  my- 
self in  spare  moments  I  was — just  dumb, 
I  guess. 

WHEN  Daddy  arrived  I  had  quite 
made  up  my  mind  to  leave  him  out 
of  things  and  to  show  him  at  once  that  he 
must  not  interfere  with  this  great  "career" 
that  seemed  opening  up  before  me.  I 
felt  that  perhaps  he  actually  would  be 
out  of  the  picture  and — oh,  I  am  ashamed 
to  tell  this,  but  it  came  out  all  right  and 
perhaps  will  make  you  understand  a  little 
of  what  I  went  through — when  he  ar- 
rived I  was  going  to  be  very  cool  and 
aloof  with  him.  I  was  now  a  successful 
motion  picture  actress  and  I  intended  to 
keep  my  new  position  and  put  him  in  his 
place. 

When  we  met  I  just  said,  "Hello, Dad," 
and  looked  at  him.  I  had  on  a  new  frock 
and,  maybe,  a  new  personality.  I  had 
learned  so  much  about  personality  in  the 
months  I  had  been  in  Hollywood.  I  had 
been  seeing  the  world  and  getting  my  first 
taste  of  success  and  admiration  and 
money.  I  had  begun  to  stand  out  a 
little,  to  hear  people  say,  "That'sClara 
Bow.     They  say  she's  \ery  clever." 

Dad  just  stood  and  looked  at  me.  He 
looked  a  little  tired  and  worn,  as  though 
he  had  been  working  very  hard.  But  as 
he  looked  the  lieht  wen  tout  of  his  face,  the 
light  and  joy  and  welcome  that  had  been 
his  at  seeing  his  little  daughter  again. 

And  suddenly  I  couldn't  do  it.  I 
didn't  care  a — a  rap,  for  Mrs.  Smith, 
nor  B.  P.  Shulberg,  nor  my  motion 
picture  career,  nor  Clara  Bow.  I  just 
threw  myself  into  his  arms  and  kissed 
and  kissed  him,  and  we  both  cried  like  a 
couple  of  fool  kids.  Oh,  it  was  wonderful. 
I  knew  then  how  lonely  I  had  been  for 
someone  of  my  own,  someone  who  be- 
longed to  me  and  really  loved  me. 

WE  sat  down  and  had  a  long  talk,  and 
right  away  Dad  started  looking  into 
all  these  things.  And  soon  I  knew  that 
Mrs.  Smith  hadn't  told  me  the  truth  at 
all.  She  knew  that  the  work  I  had  done 
was  very  successful  and  that  they  liked 
me  very  much.  But  she  wanted  to  keep 
a  hold  on  me  so  she  made  me  think  I 
wasn't  getting  over  and  that  nothing  but 
her  clever  management  kept  me  going. 
About  this  time  Frank  Lloyd,  the  great 
director,  was  looking  for  a  girl  to  play  the 
flapper  in  "Black  0.\en.  "  He  had  looked 
at  everybody  almost  on  the  screen  and 
tested  them,  but  he  had  not  found 
exactly  what  he  wanted  and  finally  some- 
one suggested  me  to  him.     I  shall  never 


Every  lulvertiHcmvi 


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forget  the  kind  way  he  received  me.  He 
didn't  do  as  most  people  had  done  in 
Hollywood,  try  to  make  me  think  I 
didn't  have  a  chance  and  that  they  were 
doing  me  a  favor  when  they  let  me  work 
in  their  pictures.  When  I  came  into  his 
office  a  big  smile  came  over  his  face  and 
he  looked  just  tickled  to  death.  And  he 
told  me  instantly  that  I  was  just  what 
he  wanted. 

Of  all  the  people  in  motion  pictures  I 
owe  the  most  to  Frank  Lloyd,  for  the 
chance  he  gave  me  to  establish  myself  as 
the  screen  flapper  in  "Black  O.xen,"  for 
the  direction  he  gave  me  which  showed  me 
entirely  new  vistas  in  screen  acting — and 
to  Elinor  Glyn,  for  the  way  she  taught 
me  to  bring  out  my  personality,  and  the 
way  she  concentrated  her  great  word 
"It"  upon  me. 

ALL  this  time  I  was  "running  wild," 
I  guess,  in  the  sense  of  tr>'ing  to 
ha\-e  a  good  time.  I'd  never  had  any 
fun  in  my  life,  as  you  know.  And  I  was 
just  a  kid,  under  twenty,  wich  a  back- 
ground of  grief  and  po\erty  that  I've 
tried  to  make  you  understand,  even 
though  I've  had  to  bare  my  whole  soul 
to  do  it.  Why,  I'd  ne^er  been  to  a  real 
party,  a  real  dance.  I'd  ne^er  had  a 
beautiful  dress  to  wear,  ne^-er  had  any- 
one send  me  flowers.  It  Avas  like  a  new 
world  to  me,  and  I  just  drank  it  all  in  and 
with  that  immense  capacity  of  youth  for 
understanding  and  loving  excitement,  I 
tried  to  make  up  for  all  my  barren, 
hungry,  starved-for-beauty  years  in  no 
time  at  all. 

Maybe  this  was  a  good  thing,  because  I 
suppose  a  lot  of  that  excitement,  that  joy 
of  life,  got  onto  the  screen,  and  was  the 
sort  of  flame  of  j'outh  that  made  people 
enjoy  seeing  me.  A  philospher  might  call 
it  the  swing  of  the  pendulum,  from  my 
early  years  of  terror  and  lack,  to  this 
time  when  all  the  pleasures  of  the  world 
opened  before  me. 

Just  about  this  time  I  met  Victor 
Fleming,  who  directed  me  in  several 
pictures. 

Victor  Fleming  is  a  wonderful  man. 
You  have  no  idea  how  wonderful  he  is 
because  the  public  scarcely  knows  about 
directors  at  all.  But  he  is  a  man,  older  a 
great  deal  than  I  am,  and  very  strong. 
He  knows  the  world,  he  has  cultiAated  a 
great  sense  of  \-alues  through  living,  and 
he  is  deeply  cultured.  I  liked  him  at 
once,  though  I  didn't  feel  in  the  least 
romantic  about  him. 

BUT  soon  webecamegreatfriendsandhe 
had  a  tremendous  and  very  fine  in- 
fluence on  my  life.  He  grew  fond  of  me 
at  once.  And  he  began,  with  his  strong 
intellect  and  understanding  of  life,  to 
guide  me  in  little  ways.  He  showed  me 
that  life  must  be  lived,  not  just  for  the 
moment,  but  for  the  years.  He  showed 
me  what  a  future  I  might  have  as  an 
actress,  because  I  had  made  a  place  for 
myself  that  people  seemed  to  want.  He 
was  very  patient,  and  he  taught  me  a 
great  deal.  He  formed  a  lot  of  ideas  that 
were  running  around  in  my  mind. 

Mr.  Shulberg  had  gone  into  Paramount 
and  taken  my  contract,  which  he  had 
signed  a  while  before,  with  him.  So  I  was 
working  for  Paramount,  and  they  were 
beginning   to   do   things    for    me    and    I 


X>ays  that  Would  be 

Cjone  rorever 

had  I  not  taken  the  one  precau- 
tion that  keeps  them  alive  today  How  is  your  youngster  going  to  feel  later 

on  when  his  friends  proudly  display  snap- 

"  V\7HAT  a  thrill  I  got  as  I  watched  shots  of  their  childhood — will  he  have  to 

'^  '^  my   two    boys    play   their    first  make  excuses  for  you? 
games  of  baseball.  As  for  not  owning  a  Kodak  .  .  .  really, 

"Whenever    they'd    hit    the    ball,    or  there's  no  excuse  for  it.    Every  day  of 

catch  a  fly,  or  fan  a  batter,  I  was  so  proud  your  life,  probably,  you  pass  stores  that 

I  wished  the  whole  world  could  be  there  sell  them.     The   cost   is  whatever  you 

to  see  them.  Those  were  the  happy  days.  want  to  pay.    There's  a  genuine  East- 

"  But  how  quickly  they  passed.  Over-  man  camera,  the  Brownie,  as  low  as  ?2, 

night  my  boys  became  'young  men.'    It  and  Kodaks  from  35  up. 
was  no  longer  baseball — it  was  golf  and  And    every   Eastman    camera    makes 

tennis.    I  watched  them  still  .  .  .  with  all  excellent    snapshots.      Particularly    the 

the  intense  interest  of  a  father  .  .  .  but  Modern  Kodaks.   Their  lenses  are  so  fast 

it  just  wasn't  the  same.  that  you  don't  have  to  wait  for  sunshine. 

"I  began  to  realize  then  how  wonder-  Rain  or  shine,  winter  or  summer,  indoors 
ful  those  baseball  days  had  been  ...  the  or  out,  everyone  can  take  good  pictures 
days  when  they  were  'just  kids.'   And  I  with  these  marvelous  new  Kodaks, 
realized  another  thing  also:  those  snap-  In  addition,  Kodak  Film  in  the  familiar 
shots  I  had  taken  were  now  more  pre-  yellow  box  is  dependably  uniform.   It  has 
cious  than  rubies.    Year  after  year  they  speed  and  wide  latitude.     Which  simply 
keep  the  old  days  alive.    Incidents  that  means  that  it  reduces  the  danger  of  under- 
otherwise  would   have   faded   from    my  and  over-exposure.    It  gets  the  picture, 
memory,  I  am  now  able  to  recall  clearly  ,     <     r 
and  joyfully." 

'    ^         ^  ,       ,       ,  EASTMANKODAK:CO.,Dcpt.PP-4,  Rochester,  N.Y. 

.  Please  send   me.   FREE   and   without  obllKation,  the 

Some    day    you    Wdl    want    to    remember  booklet  telling  me  about  the  Modem  Kodaks 

your  children  as  they  used  to  be.    When 

that  day  comes  are  you  going  to  regret  tN^mt 

that   you  didn't  take  more  snapshots? 

Are  you  going  to  be  one  of  the  unfortu-  ^ddrcu 

nate  few  who  have  no  pictures  to  remind 

them  of  life's  most  precious  moments?  euy 

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Photoplay  Magazine— Advertising  Section 


HELP 

for  Fagged  Eyes 

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Used  night  and  morning,  Murine  will 
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this  harmless  lotion  costs  but  6oc. 


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And  to  the  one  man  in  all 
rid  that  she  really 
wanted  !  It  had  been  love 
at  first  sight  with  her, 
but  he  just  couldn't  seem 
to  "see"  her  at  all,  that 
is  until  she  read  an  ad- 
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are  now  reading  this  one, 
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etandmsr  certain  little  peculiarities  of  man's 
psychology.  She  had  sent  for  "Fascinating 
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Latest  Style  Wrist  Watch 


could  see  that  I  was  important  to  them. 
It  looked  as  though  if  I  made  good  in  the 
chances  they  ga\e  me  I  would  be  a  big 
star.  So  I  began  at  that  time  to  be  sub- 
jected to  flattery,  to  people  who  had  never 
paid  any  attention  to  me  coming  around 
lo  tell  me  how  wonderful  I  was,  to  getting 
a  salary  that  I  didn't  in  the  least  know 
how  to  spend  or  invest. 

Under  all  this  I  used  to  feel  a  little  losr. 
I'd  wake  up  in  the  morning  and  like  the 
old  woman  in  the  nursey  rhyme  I'd 
wonder  if  this  "could  be  really  I."  I 
think  that  sense  of  things  kept  me  from 
c\-er  getting  fatheaded,  as  the  youngsters 
I  know  say.  But  it  all  had  to  be  coped 
with. 

AND  in  this  crisis  I  learned  to  find  the 
ad\"ice  and  companionship  of  a  man 
like  Mctor  Fleming  in\aluable.  You 
couldn'i:  deceiAe  him  with  any  false  glit- 
ter. He  steered  me  straight  a  lot  of  times 
when  I  was  going  "haywire." 

And  gradually  our  friendship  seemed 
to  deepen  until  it  became  the  great  thing 
in  both  our  lives.  I  think  he  cared  for 
me  because  he  knew  how  much  I  wanted 
to  get  happiness  out  of  life,  and  yet  how 
frightened,  in  a  way,  I  was  of  it, — and 
still  am  for  that  matter.  Life  has  been 
so  good  to  me.  And  yet,  even  now,  with 
all  I  see  before  me,  I  cannot  quite  trust 
life.  It  did  too  many  awful  things  to  me 
in  my  youth.  I  still  feel  that  I  must  beat 
it,  grab  everything  quickly,  enjoy  the 
moment    to    the    utmost,     because    to- 


morrow, life  may  bludgeon  me  down,  as 
it  did  my  mother,  as  it  used  to  do  the 
people  I  lived  with  in  Brooklyn  when  I 
was  a  kid. 

I  had  had  a  pretty  good  education,  iri 
spite  of  lacks  in  other  waj's,  and  white 
Victor  Fleming  and  I  were  engaged — we 
became  engaged  about  that  time — I  be- 
gan to  read  again,  and  to  enjoy  music; 
and  to  grow  calmer  about  many  things. 

I  was  very  happy.  I  was  gradually 
growing  more  and  more  successful  in  my 
work.  I  loved  it.  There  is  one  thing  I 
must  say  about  my  work  as  a  picture  star. 
I  have  worked  ^•ery  hard.  r\e  been  at 
the  studio  terribly  long  hours.  I've  had 
Acry  little  time  between  pictures.  It 
would  probably  amaze  anyone  to  see  how 
much  of  my  life  the  last  four  years  has 
been  spent  on  a  motion  picture  set.  But 
V\e  lov-ed  it. 

Perhaps  the  difference  in  age  brought 
about  the  se^•ering  of  the  tie  between 
Victor  Fleming  and  me,  though  we  are 
still  the  best  of  friends.  Perhaps  the  feel- 
ing had  grown  so  gradually  and  under 
such  circumstances  that  there  wasn't 
quite  enough  romance  in  it.  I  was  young 
and  I  needed  romance.  Perhaps  even  he 
found  that  I  didn't  give  him  the  sort  of 
companionship  he  needed. 

ANYWAY,  our  feeling  for  each  other 
became  more  and  more  that  of  close 
friendship  and  less  and  less  that  of  lovers. 
Until  finally  we  agreed  that  it  would  be 
best  that  way,  to  be  friends,  nothing  more. 


The  leopard  is  giving  Rupert  Julian  a  hard  look.  Julian  had  to 
direct  the  animal  in  Jacqueline  Logan's  picture,  "The  Leopard 
Lady,"  and  the  leopard  doesn't  think  his  director  gave  him  enough 
footage.  This  photograph  was  taken  at  the  special  request  of 
Count  Felix  von  Luckner,  German  sea  raider.  The  Count  is  on  the 
extreme  left.  Captain  Louderback,  of  the  U-boat  Emden  stands 
directly  back  of  Miss  Logan  and  the  Countess  von  Luckner  is  stand- 
ing next  to  her 

illseiucnt  In  rnOTOrLAY  MAG.VZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Right  after  that,  while  I  was  making  a 
picture  once  more  with  my  dear  Frank 
Lloyd,  a  picture  called  "Children  of 
Di\'orce, "  I  met  a  young  man  named 
Gary  Cooper.  It  was  his  first  big  part — 
he'd  been  a  cowboy  up  in  Ne\ada  or 
something  and  played  a  small  part  in 
some  Western  picture.  He  was  to  play 
the  lead.  Of  course  he  was  new  to  the 
screen  and  didn't  know  exactly  how  to  do 
things,  though  he  was  wonderful  and 
photographed  mar\-elously.  I  always 
like  to  help  anyone  who  is  new,  so  I  was 
willing  to  go  over  and  over  scenes  with 
him,  in  rehearsal,  to  help  him  out. 

WHILE  we  were  doing  that,  we  fell  in 
love.  If  I  wanted  to  be  the  Clara 
Bow  of  the  screen,  I'd  say — and  how!  It 
was  very  wonderful  and  beautiful  while  it 
lasted.  But — I  can't  altogether  explain. 
It's  very  difficult  to  be  a  motion  picture 
star  and  be  married.  .So  many  fail  at  it. 
I  have  made  up  my  mind  that  I  shan't 
fail  when  I  do  marry.  I  shall  wait  until 
I  am  sure.  Gary  was — so  jealous.  I  know 
he  wouldn't  mind  my  saying  that.  Any- 
way, we  parred. 

Is  that  so  many  romances  for  a  girl  of 
twenty-two?  Ha^■en't  most  girls  been 
engaged  two  or  three  times,  before  they're 
twenty-two?  Yet  just  because  I  am 
Clara  Bow  and  it  is  always  printed,  it 
sounds  as  though  I  were  a  regular  flapper 
vamp.    And  I'm  not  at  all. 

It  seems  to  me  I've  said  very  little 
about  my  career,  after  I  became  suc- 
cessful. But  the  story  of  e\-ery  success  is 
much  the  same,  ^'ou  work  and  sufTer 
and  battle  and  starxe,  and  then  you  get 
your  nose  in  a  little  way  and  then — you 
get  the  break.  And  if  you  ha\"e  it  in  you, 
3'ou  make  good.  And  then  you  just  go  on 
working,  getting  more  money  and  lo\ing 
the  fame  and  the  admiration  of  the  public. 

Somehow,  I  had  managed  to  make  a 
niche  for  myself.  I'd  created  a  Clara 
Bow,  by  being  myself  largely  I  guess, 
who  fitted  the  public  desire  and  the  public 
imagination.  I  hope  they'll  go  on  loving 
me  a  long  time.     I  don't  know. 

I  live  in  my  little  bungalow  in  Beverly 
Hills  with  my  father.  I  work  Aery,  \-ery 
hard.  I  like  young  people  and  gaiety, 
and  have  a  lot  of  both  around  me  when- 
ever  I  have  time.  I  like  to  swim  and  ride 
and  play  tennis.  I  have  a  few  close 
friends,  but  not  many  acquaintances.  I 
don't  have  time.  I  am  happy — as  happy 
as  anyone  can  be  who  belie\es  that  life 
isn't  quite  to  be  trusted.  I  gi\e  every- 
thing I  can  to  my  pictures  and  the  rest 
to  being  young  and  trying  to  make  my 
father  happy,  and  filling  up  the  gaps  in 
my  education. 

I  DON'T  think  I'm  \ery  different  from 
any  other  girl — except  that  I  work 
harder  and  have  suffered  more.  And  I 
ha\e  red  hair. 

All  in  all,  I  guess  I'm  just  Clara  Bow. 
And  Clara  Bow  is  just  what  life  made  her. 
That's  what  I've  tried  to  tell  you  in  this 
story.  I'm  terribly  grateful  and  still  a 
little  incredulous  of  my  success.  It 
seems  like  a  dream.  But — I'm  willing 
to  work  just  as  hard  as  ever  to  go  on 
ha\ing  it.  Beyond  that,  I  haven't  yet 
evohed  any  plans  or  desires. 

After  all,  I'm  still  only  twenty-two. 
That  isn't  so  very  old,  is  it? 


27 


\ 


JXZO 


i^X 


Us  ][  ir 


ofaime 


*un}t 


In  3  Brief  Steps  .  .  .  This  Marvelous  Glazo  Method  Bestows  on 
Hands  The  Enchanting  Lovehness  I   Have  Sought  for  15  Years 


TPHE    smartest   ^vomen    m   New  York's 
-*-  social  group  have  adopted  me  as  their 

solution    of   my   problem.     At   last    I 

found  the  perfect  polish  for  the  nails. 

personal  manicurist.     Naturally  I  am  jeal- 
ous of  this  reputation.    And  to  aid  me  in 

Glazo  has  IT. 

mjr  work  I  use  onlj:  the  finest  accessories 
monejr  can  buj. 

Until  recently,  m_y  one  despair  has  been 
polishes.  I  think  I  can  truthfully  saj  I 
have  experimented  -with  every  one  that 
has  come  to  mv  attention.  I  had  even  vain- 


b't 

rled  to  produce  the  perfe 

ct  pol 

shtha 

I  had  looked  to  others 

for,  s 

jmanj^ears 

When    Paris    usher 

ed    in 

the    s 

ensibl 

vog 

ue  of  liquid  polishes,  I  breathed  a  sigl 

ofr 

elief.    But  even  the 

most 

expen 

iveim 

por 

ted  polishes  failed 

to  live 

up  to 

mjex 

I  began  to  believe  1  was  looking  for  the 
impossible,  that  I  had  an  ideal  too  high  ever 
to  be  realized  —  when  I  discovered  Glazo 
Manicure. 

Perfection  at  last! 
Imagine  m_y  delight  when  I  found  the  lovelj 


Glazo  package — two  phi, 


[ng  the 


Every  qualitj-  that  I  have  sought,  it  has 
in  abundance.  It  is  lasting.  Its  tint  is 
that  of  beautiful,  health_y  nails.  And  from 
one  appointment  to  the  next,  it  holds  its 
soft  patina,  its  perfect  lustre. 

Then  there  is  Glazo  Cuticle  Oil  to  frame 
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marvelouslj-  healing  preparation. 

I  would  like  to  show  jou  how  I  keep  the 
nails  of  vay  patrons  forever  smart  and  cor- 
rectly manicured. 

The  coupon  will  bring  you  the  lesson 
book  I  have  prepared.  It  tells  you  how  to 
keep  busy  hands  young. 

Of  course  you  can  obtain  Glazo  at  all 
the  better  shops  and  stores.  Its  price  in- 
cluding the  Remover  50c. 


L, 

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■:l,UI,U-nl 
3  BruJ 

Shy 

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the  cutlc 

e  and  keeps  It 

self  a 

id  clean. 

kLSt 

»s  the 
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cuticle  ci 
nail  surf 

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■           isK.  Ever  so  qu 
:          ,^;U  a   lovely 

7fas' 

■  '1 

a  wbole 

i,eek. 

#-' 

-?-. 

W/ 

■ 

M.«  Ro-..lln,.   D„n„ 
UOf  BU.rAve. 

Pkase  send  me  you,  booUet  and  miniature 
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B\   Street                                                  

« 

1 

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The  Movie  Hound 


[  CONTINUED  FROM  PAGE  51  ] 


They  watched  breathlessly,  all  the  way 
through  and  at  the  end,  burst  into  wild 
applause.     It  was  mar\elousI 

Beansy  sat  there  panting  with  excite- 
ment. Of  course,  Rajah's  master  was  in 
the  picture  too.  Syhia  said  something 
about  him  being  the  hero,  but  Beansy 
paid  little  attention.  Rajah  was  really 
the  most  important  character.  To  think 
that  Beansy  could  have  considered  him  a 
"wet  smack"!  Here  was  a  he-dog  of 
he-dogs — truly  representati^-e  of  the 
highest  t3pe  of  canine.  Into  Beansy's 
scornful  little  soul  came  en^•y  and  awe. 

WHEN  they  reached  home  that  night, 
Beansy  jumped  out  of  the  roadster, 
almost  before  Sylvia  put  on  the  brakes. 
He  raced  across  the  street,  worried  his 
way  under  the  hedge  that  surrounded  the 
Spanish  villa  and  trotted  across  a  plot  of 
newly  planted  lawn  that  Rajah's  gardener 
had  been  sheltering  with  great  care.  To 
his  delight.  Rajah  was  at  home  and  for 
the  moment,  alone,  chewing  busily  on  a 
sterilized  bone  in  the  small  wire-enclosed 
yard  that  was  his  particular  domain. 
Beansy  could  not  reach  him,  but  he  could 
talk  through  the  fence. 

At  first.  Rajah  was  inclined  to  be  dis- 
tant in  his  reception — to  bristle  the  hair 
along  the  top  of  his  neck  in  a  most  unin- 
\-iting  manner — and,  for  a  moment,  it 
looked  as  if  he  were  going  to  say  insniff^-, 
dogg\'  language,  "You'll  have  to  see  my 
secretary."  Then  something  in  Beansy's 
big  brown  hero-worshipping  eyes  stirred 
the  vanity  of  the  star.  In  a  few  minutes, 
the  two  dogs  were  nosing  each  other 
through  the  wire  and  Beansy  was  getting 
an  earful  about  the  magic  life  of  the 
studios. 

Beansy  was  not  the  only  one  who  "got 
something"  from  the  meeting.  A  few 
minutes  later.  Rajah  suddenly  looked 
puzzled  and  then  awkwardly  raised  his 
hind  foot  and  started  to  scratch  himself. 
In  all  his  well  ordered  life,  Rajah  had 
never  before  felt  the  need  of  scratching. 
From  early  puppyhood,  his  thoroughbred 
iron  gray  coat  had  been  daih'  fine-combed 
and  scrubbed  with  odorous  dog-soap. 
And  it  had  taken  much  patient  endea\or 
to  train  him  to  scratch  on  command,  so 
that  he  could  portray  with  sufficient 
realism,  his  cle\-er  characterizations  of  the 
lower  levels  of  dug  liffe. 

NOW"  Rajah's  valet  obser\ed  the  police 
dog's  u  nusual  actions  from  the  kitchen 
window  and  horrified,  rushed  out  swear- 
ing, to  thrust  Beansy  back  from  the  wire 
netting  with  a  well  placed  kick.  Beansy 
ga\e  such  a  yelp  that  Claibourne  himself 
came  out  to  see  what  was  the  matter. 

"That  ridiculous  little  mutt's  given 
Rajah  a.  flea!"  the  \alet  explained. 

Rajah's  master  knitted  his  handsome 
brow — but  only  for  a  moment.  "Oh,  he's 
the  dog  from  across  the  street — belongs 
to  that  cute  little  blonde.  I'll  take  him 
home.  I  was  just  going  over  that  way, 
anyhow." 

He  gave  Beansy  a  kindly  pat  on  the 
head,   as  he  spoke,   and   Beansy  trium- 

Every  advertlscmeni  In  I'HOTOPI.AY  MAG.VZIXB  U  suarantecd, 


phanth'  wa\'ed  his  tail  in  the  valet's  face 
and  trotted  oft"  in  rare  good  hunor.  Could 
it  be  possible  that  Claibourne  was '  so 
interested  because  Beansy  had  that  essen- 
tial ingredient  for  a  dog  star,  who  wishes 
to  be  popular  with  his  public — that  mys- 
terious something  called  Personality? 

IT  certainly  looked  that  way,  judging 
from  Claibourne's  actions  afterwards. 
Not  only  did  he  take  Beansy  home  and 
spend  two  hours  talking  about  him  with 
Syhia,  but  he  came  again  and  again. 
Every  day,  in  fact.  He  formed  the  habit 
of  walking  past  Beans>'s  house  with 
Rajah  each  morning  on  his  way  to  the 
studio,  explaining  to  Sylvia,  who  by  some 
strange  coincidence  always  happened  to 
be  out  pruning  the  roses  at  that  hour,  that 
the  dog  star  needed  a  morning  walk  for 
exercise.  Claibourne  took  an  unusual  in- 
terest in  Beansy,  too,  lingering  to  romp 
with  him,  while  Rajah  looked  on  with 
tolerant  amusement.  Beansy  had  to 
hand  it  to  him  for  not  being  jealous. 

The  one  thing  Beansy  couldn't  under- 
stand was,  why  Claibourne  never  sug- 
gested his  coming  to  the  studio  for  a 
screen  test.  Perhaps  he  thought  that 
Beansy  still  considered  acting  beneath 
him — a  ridiculous  work  which  did  not 
properly  belong  in  a  real  he-dog's  life. 
Beansy  made  up  his  mind  to  show  him 
the  error  of  his  ways.  E\ery  morning,  he 
practised  standing  on  his  hind  feet,  leap- 
ing up  and  grabbing  things  and  all  the 
high  and  broad  jumps  he  had  seen  Rajah 
do  on  the  screen. 

One  day  he  leaped  at  the  collar  of 
Syhia's  dad,  pretending  he  was  attacking 
the  \illain.  Dad  was  a  stupid  man.  He 
didn't  get  Beansy's  idea  at  all.  He  wasn't 
e\en  scared  of  the  dog's  fierceness.  He 
playfully  tossed  him  aside  and  exclaimed, 
"Gosh,  Beansy  old  boy,  you're  playful 
this  morning!" 

AND,  when  the  ambitious  young  dog 
tried  to  drag  Sylvia  to  safety  from  the 
path  of  her  brother's  tricycle,  she  scolded 
him  for  tearing  her  dress.  Xor  did  the 
cook  relish  his  attempts  to  take  a  running 
jump  into  the  kitchen  window,  which  he 
pretended  was  his  only  way  of  entrance 
into  the  hut  in  time  to  pre\-ent  a  wicked 
^■illain  from  choking  the  heroine.  Cook 
had  set  out  a  row  of  custards  to  cool  on 
the  sill  and  Beansy,  missing  his  foothold, 
knocked  them  all  o\-er  and  fell  on  his  side, 
in  a  geranium  bed,  from  which  he  was 
ignominiously  banished  with  a  broom.  But 
there  are  sacrifices  and  suffering  en- 
tailed in  e\ery  career — Rajah  had  told 
him  there  were,  so  Beansy  suffered,  joy- 
fully. 

The  delay  in  his  becoming  a  star  was 
really  S>hia's  fault.  Lovely  and  sweet 
as  she  was,  she  didn't  help  him  in  the 
least.  Many  times  .Mr.  Claibourne  hinted 
that  he  would  like  to  take  Syhia  and 
Beansy  through  the  studio,  but  she  al- 
ways refused  with  an  indifference  that 
made  the  ambitious  young  dog  furious. 
Perhaps  she  thought  Claibourne  might 
wean   Beansy  away  from   her.     Foolish 


Photoplay  Magazine — Advertising  Section 


129 


girl.  For  loyalty  to  her,  he  would  give  up 
the  most  promising  career  in  the  world, 
bitter  though  the  sacrifice  might  be.  But 
after  all,  why  might  not  a  level  headed 
dog  serve  two  goddesses — Fame  and 
Sylvia? 

Finally  the  time  came  when  Beansy's 
pent-up  urge  mastered  him.  In  despera- 
tion, one  day,  when  Sylvia  had  for  the 
tenth  time  refused  to  visit  the  studio, 
Beansy  dashed  across  the  street,  and 
plumped  himself  into  the  big  morocco 
leather  seat  of  Claibourne's  car.  When 
Sylvia  called  to  him,  he  refused  to  get  out. 
Claibourne  couldn't  help  laughing,  and 
for  some  reason  it  seemed  to  make  her 
furious.  She  rushed  across  the  street  and 
grabbed  Beansy  out  of  the  car  by  the 
collar.  Claibourne  laughed  again,  only 
louder,  and  Syhia  turned  on  him  angrily. 
It  all  ended  in  a  violent  quarrel.  .Sylvia 
fied  to  her  room,  weeping.  Claibourne 
frowned  and  puffed  furiously  at  a  cigar- 
ette he  had  forgotten  to  light. 

Beansy,  the  cause  of  it  all,  should  have 
followed  Sylvia  to  her  room,  comforted 
her,  licked  her  face  if  possible,  and  begged 
forgi\eness.  But  Beansy,  as  has  been  re- 
marked, was  a  changed  dog.  Hard!  The 
spirit  of  the  Kleig  lights  had  "got  him." 

TAKING  advantage  of  her  absence 
from  the  garden,  he  tore  down  the 
street  after  Claibourne's  car.  Yelping 
and  barking,  he  followed  it  se\-eral  blocks, 
until  Claibourne  finally  was  forced  to 
stop.  Leaping  up  on  the  running  board, 
with  excited  yelps  of  jo>-,  Beansy  pro- 
claimed the  actor  King  of  the  World. 
Claibourne  was  touched.  If  Sylvia  de- 
spised him,  at  least  her  dog  regarded  him 
with  favor.    He  turned  to  his  valet. 

"  Do  you  know  this  is  really  a  cute  little 
rascal.  I  bet  he'd  screen.  How  about 
taking  him  with  us  and  giving  him  a  part 
in  the  picture  today?  I  know  just  where 
we  can  use  him.  How  about  it,  Beansy, 
old  scout?" 

"Beansy,  old  scout,"  became  a  wrig- 
gling bundle  of  J03'.  Then  he  remembered 
various  hints  from  Rajah  and  controlling 
himself  with  great  effort,  he  put  up  his 
head  and  pretended  to  be  very  blase  about 
it. 

He  looked  so  cute  that  Claibourne 
spoiled  his  dignity  by  hugging  him. 

What  a  day  for  Beansy!  First  he  made 
a  triumphal  entrance  through  the  great 
palace-like  gates  of  the  studio.  Then 
Claibourne  introduced  him  to  the  director 
who  regarded  Beansy  with  a  critical  in- 
terest, that  was  highly  flattering  and 
finally  nodded  approval.  An  assistant 
director  now  took  charge  and  Beansy  was 
scrubbed  and  combed  and  thoroughly 
de-flea-ed. 

THFX  came  a  long,  long  period  of  wait- 
ing. Beansy  didn't  mind  that.  He 
strutted  about  with  a  superior  air,  re- 
garding the  other  actresses  and  actors 
with  much  condescension.  He  was 
tempted  to  chase  a  large  Angora  cat,  one 
of  the  cast  in  Rajah's  picture,  but  re- 
frained, feeling  it  was  beneath  his  dignity 
as  a  dog  star. 

At    last,    the    great    moment    arrived, 

when  he  was  to  begin  acting.     He  was  a 

little  disappointed  when  he  found  they 

■   didn't  want  him  to  do  any  of  the  fine 

jumps  he  had  practised  up  so  conscien- 


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tiouslv.  They  didn't  even  ask  him  to 
break' down  a  door  and  leap  at  a  \-illain's 
throat.  Instead  they  took  him  into  what 
appeared  to  be  a  restaurant  cut  in  half. 
The  director  pointed  to  a  large  plateful 
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HE  went  after  the  cream-puffs,  with 
such  vim  and  gusto,  expecting  every 
moment  that  the  villain  of  the  piece  would 
rush  into  the  scene  and  attempt  to  choke 
him,  the  wa}'  Rajah  had  been  choked  in 
his  picture.  Then  for  a  real  fight!  But  no 
\illain  came.  At  least  not  an  e.xciting 
one.  Only  a  large  fat  man,  with  a  silly 
baby  face!  who  wore  a  big  store-keeper's 
apron  and  entered  with  a  most  undignified 
waddle. 

However,  a  fat  villain  is  better  than 
none,  so  as  the  man  advanced,  Beansy 
rushed  in  a  wild  fury  for  his  throat.  The 
actor  not  having  been  informed  of  Bean- 
sy's  encounter  with  the  cream-puffs  and 
seeing  a  foam^'-mouthed  dog  coming  at 
him,  flung  up  his  hands  in  horror  and 
screaming  "Mad  dog!"  went  tearing 
wildly  around  the  set. 

Beansy  didn't  quite  reach  the  man's 
throat,  but  he  got  a  good  grip  on  the  back 
of  his  pants  and  clung  like  a  burr,  even 
when  they  ripped  half  off  as  the  villain 
finally  rushed  to  the  only  clear  avenue  of 
escape — the  open  space  where  the  clicking 
camera  stood. 

For  a  moment,  everything  was  a  melee 
of  falling  men  and  tripods  wild  curses 
and  screams. 

Then    the   camera    man    emerged    tri- 


umphantly with  the  camera,  which  he  had 
protected  in  the  fall.  As  it  was  unhurt, 
and  they  could  use  the  film  that  regis- 
tered the  scene,  the  director  declared  it 
was  all  a  lucky  accident  that  would  be  a 
"wow"  on  the  screen.  Beansy  received 
extravagant  praise  and  felt  quite  a  hero. 
Not  half  bad — an  actor's  life! 

He  was  tired  after  that  and  didn't  pay 
much  attention  to  the  other  shots  they 
took  of  him  and  refused  to  take  a  big 
jump  over  a  couple  of  chairs,  crawling 
under  them,  on  his  stomach  instead.  But 
the  stupid  people  even  praised  him  for 
that! 

And  once  Beansy  had  thought  it  hard 
to  be  an  actor. 

ON  the  way  home,  Beansy  nosed  Rajah 
in  a  very  chummy  way,  feeling  on 
terms  of  complete  equality  with  the  big 
police  dog  now.  Rajah  received  this  at- 
tention with  a  faintly  superior  smile, 
which  Beansy  promptly  attributed  to 
professional  jealousy. 

When  they  reached  the  Spanish  villa, 
Claibourne  was  so  fearful  something 
might  happen  to  his  new  star,  that  he  in- 
sisted on  returning  Beansy  to  Sylvia  in 
person.  Beansy  was  touched  to  obser\-e 
traces  of  tears  in  his  goddess'  eyes.  She 
was  so  glad  to  get  him  back  again  that  she 
forgot  to  scold  him,  but  instead  received 
him  with  open  arms,  hugging  him  so 
tight  it  hurt.  She  strangely  forgot  the 
quarrel  with  Claibourne  in  her  gratitude 
to  him  for  bringing  back  her  pet.  Clai- 
bourne confessed  to  "borrowing"  Beansy 
for  his  picture. 

"We're  rushing  it  through  and  we'll 
preview  it  Saturday,  so  if  you  want  to 
bring  Beansy — we  might  all  run  down  in 
my  car  together?"  he  suggested.  Sylvia 
did  want  to. 


Sadie  Thompson  is  such  a  (iood  girl  in  the  movies  that  she  drinks  tea. 

"Sadie  Thompson"  is  reviewed  in  The  Shadow  Stage  in  this  issue. 

The  good-looking  Irish  lad  is  Gloria's  director,  Raoul  Walsh 

«imcnt  In  PJIOTorl-AY  M.\0.\ZI.\E  Is  guaranteed. 


WHEN  the  day  came  for  the  preview, 
he  submitted  to  a  bath  and  brush- 
ing so  eagerly  that  Syh  ia  thought  he  must 
be  sick.  They  went  to  the  picture  with 
Rajah  and  his  master  and  in  view  of  the 
fact  that  they  were  with  Claibourne,  he 
did  not  have  to  be  smuggled  into  the 
theater,  but  walked  along  boldly  with 
Rajah,  tail  high  in  the  air. 

Beansy  watched  the  first  part  of  the 
picture  with  a  bored  air.  He  wasn't  in  it. 
But  finally,  there  flashed  on  the  screen, 
the  restaurant  where  he  had  his  great 
scene  with  the  cream-pufTs.  Beansy  sat 
up,  eagerly,  watching  his  shadow  self  as  he 
attacked  the  cakes.  In  a  moment,  would 
come  his  struggle  with  the  fat  villain  and 
then  the  audience  would  burst  into  ap- 
plause at  his  heroism  and  another  dog 
star  would  be  made. 

But  what  was  happening  in  the  theater? 
That  strange  rippling  sound?  It  couldn't 
be!— alas— it  was!  Giggles!  More  than 
that — laughter!  The  audience  were  ac- 
tually laughing  at  his  struggles  with  the 
cream-puffs!  \\'hen  the  fat  villain  entered 
and  Beansy  attacked  him,  the  audience 
shrieked  and  rocked  with  hilarity.  And 
to  cap  the  climax,  Beansy  turned  and  saw 
that  Sylvia  was  simply  consumed  with 
wild  and  unrestrained  mirth. 

It  was  more  than  Beansy  could  bear. 
They  had  made  of  him  no  hero — only  a 
clown!  They  had  tricked  him  outra- 
geously. He  crept  surreptitiously  from  the 
theater,  his  tail  between  his  legs.  They 
would  make  fun  of  him,  would  the>  ! 
He'd  show  'em. 

HE  didn't  go  home — ^not  for  an  hour  at 
least.  And  then  he  stalked  into  the 
garden,  his  nose  in  the  air,  and  a  bitter 
look  in  his  eyes,  so  Syhia  and  Claibourne 
could  make  no  mistake.  They  would 
know  instantly,  by  his  attitude,  that  he 
was  wounded  beyond  reparation.  But 
they  didn't  even  see  him. 

They  were  sitting  in  the  rose  arbor, 
wrapped  in  each  other's  arms,  while 
Rajah  stood  on  guard. 

Beansy  gave  the  three  of  them  one  long 
contemptuous  look — which  they  didn't 
notice.  Then  he  turned  his  back  and 
trotted  off.  Where  had  he  buried  that 
bone?  It  would  be  just  nice  and  mellow 
now. 

He  dug  excitedly  in  the  corner  of  the 
garden.  Ah,  there  it  was!  He  growled 
and  snarled  over  it  with  complete  aban- 
donment. 

After  all  being  a  dog  star  entails 
too    many    sacrifices. 

Why  not  enjoy  life,  when  it  comes  as 
sweet  as  this? 


cmi 


Photoplay  Magazine 

It  was  a  hard  few  days  for  Beansy.  He 
could  scarcely  wait  until  Saturday.  He 
became  quite  obnoxious  around  the  neigh- 
borhood, boasting  of  contracts  and  salary 
to  the  other  dogs  and  refusing  to  romp 
or  play  tag.  The  onh'  thing  he  regretted 
in  his  exalted  position  was  a  large  ham 
bone,  donated  by  cook  a  week  before  and 
buried  in  the  back  of  the  garden.  It  ought 
to  be  sufficiently  mellowed  by  now — in 
just  the  right  state  of  juicy  softness.  But 
much  as  he  longed  to  sink  his  teeth  into  it, 
he  felt  it  beneath  his  dignity  to  gro\el 
about  in  the  dirt  after  bones  like  a  com- 
mon dog.  So  he  munched  dog  biscuits 
and  tried  to  pretend  that  he  liked  them. 


-Advertising  Section 


13^ 


iiJ  /i. 


i(Zi  came 


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For  an  oily  skin  Russian  Astringent 
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132 


Photoplay  Magazine — Advertising  Section 


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[  CONTINUED  FROM  PAGE  81 


iiig  one  another,  for  all  I  know,  for  the 
picture  ended  there?  How  much  better 
if  the  hero  and  the  girl  had  gone  to  church 
with  all  their  relatives  and  friends  and 
had  a  beautiful  marriage,  then  a  great 
feast  with  a  dozen  suckling  pigs,  and 
bunches  of  mountain  plantain,  and  a 
dance,  and  a  himene,  and  settled  down  in 
a  nice  galvanized  iron  roofed  house. 
Aue,  but  that  is  the  way  with  the  for- 
eigners; we  never  know  what  they  will  do 
next. 

"They  are  a  strange  people  indeed." 

I  TRIED  to  explain  that  in  reality  the 
villain  was  properly  interred,  and  the 
hero  and  girl  married;  but  they  doubted 
it.  "If  so,"  Nui-woman  asked,  "why 
were  they  ashamed  for  us  to  know  it?  Per- 
sonally I  believe  thattheyvverenotnearly  .  

as  fine  people  as  was  made  out.  I  shouldn't  to  the  barren  unpainted  building.  It  was 
wonder  but  the  hero  took  the  girl  for  his  ^  hundred  yards  or  so  from  the  road  be- 
mistress."  tween  a  Chinaman's  shop  and  the  school 

It  was  beyond  them  to  understand  that     house, 
one  is  supposed  to  imagine  certain  parts         Across    the    road    lay   the    Protestant 
of  a  picture.     When   I   mentioned  this     church,   and   beyond   lay  two   thatched 


"Mackerel,  mackerel,  '" 

Umph,  Umph,  Umph,  Umph, 
A  nickel  a  string,  '* 

Umph,  Umph,  Umph, 
Napoleon  is  selling  them, 
Umph,  Umph,  Umph." 

Enough  to  make  the  great  French 
general  turn  over  in  his  tomb.  But  Timi 
puts  all  his  young  spirit  into  the  song, 
which  in  a  way  compensates  for  its  un- 
complimentary sense. 

Thus  we  proceeded  to  the  Vaiite  cinema 
house,  our  group  being  augmented ateach 
house  we  passed.  Seen  by  daylight, 
Theaham's  Cinema  Palace  and  Dance 
Hall  would  hardly  have  done  credit  to  a 
cow-shed;  but  a  moonlight  night  and  an 
excited  crowd  in  their  green  and  purple 
dresses  and  stiff  starched  drill  lent  charm 


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Mention  any  other ! 

I 


'---:j 


BEAUTIFUL  SKIN 


IN  lO  DAYS 

OR  MONEY  BACK 


Pauto  ingenuously  commented:  "But 
suppose  we  imagine  the  wrong  thing, 
what  then?" 


church, 

houses  and  the  Catholic  mission. 

made  up  the  Village  of  Vaiite. 


This 


OLD  TOTO  could  not  join  us  at  the 
cinema  for  he  was  ill.  Leaving  him 
with  a  lamp  burning  in  the  house  to  keep 
away  the  evil  spirits,  we  strolled  down  the 
road.    It  was  just  dark  with  a  fine  half 


THERE  is  a  natural  lawn  around  the 
cinema  house  where  some  great  shade 
trees  join  their  arms  in  arches.  Beyond, 
toward  the  mountains  lie  the  straight 
avenues  of  Charlie's  coconut  grove.  To- 
night the  green  arches  were  shimmering 

___  ^ „  ..._ with  the  light  of  a  score  or  more  lanterns 

moon  directly' overhead,  while  the  cool     where  some  of  the  older  and  more  thrifty 

women  were  seated  crosslegged  before 
white  napkins  upon  which  were  stacked 
rubbery  pancakes,  and  strings  of  island 
chestnuts.  They  were  being  sold  for  a 
mere  trifle,  but  still  I  wondered  that  any- 
one would  buy  them,  the  cakes,  at  least. 
Being  made  of  flour,  water  and  sugar, 
boiled  in  grease,  and  without  leaven  of 
any  kind,  they  have  the  elastic  resilience 
of  chewing  gum.  Once  I  foolishly  tried  to 
eat  one;  it  was  impossible, — and  yet,  I 
have  seen  little  tots  no  bigger  than  Timi 
gobble  down  two  or  three  without  the 
slightest  sign  of  moribund  pangs.  The 
island  chestnuts  are  better. 

After  being  boiled  they  are  strung  on 
coconut  leaf  ribs  and  sold  for  ten  sous  a 
string. 

Feeling  that  I  should  patronize  home 
industry  I  decided  to  purchase  some  of 
the  nuts.  "I  will  take  two  strings  of 
mapes,"  I  said  to  Faaipo-woman  who 
was  among  the  thrifty. 


mountain  breeze  wandered  down  from 
Vaiite  valley  suffused  with  a  peculiarly 
soothing  redolence. 

Tuahu  and  the  other  older  folks  walked 
ahead  carrying  a  lighted  lantern.  There 
was  no  call  for  the  light,  but  a  lantern 
adds  a  certain  amount  of  respect,  or  an 
air  of  affluence,  to  a  native  group,  so  it 
could  not  be  omitted.  Timi,  Tio,  and 
some  other  nondescript  children  followed 
behind. 

I  joined  these,  and  singing  and  dancing 
we  made  for  the  cinema  house. 

Tio  had  a  mouth  organ  which  he  played 
well,  afid  Timi  had  a  voice  of  which  he 
was  unashamed.  This  latter  youngster 
is  very  young  indeed  and  small  for  his 
years;  but  nevertheless  he  is  capable  of 
ha\ing  a  good  time.  As  Tio  played  a 
little  refrain  Timi  would  stop  shamelessly 
'n  the  middle  of  the  road,  stretch  out  his 
arms,  and  execute  a  voluptuous  enough 
luila-hula  dance  to  shame  many  a  pro- 
fessional.    Then  unconcernedly  hopping 

down  the  road  he  would  chirp,  while  the     Q^^  ^^^®  dressed  in  a  blazing  red  split 
other  children  joined  in  the  chorus  of     '^Pongee  robe,  a  blue  Chinese  shawl  laid 


'umphs: 

"0-ra-ra,  o-ra-ra, 

Umph,  Umph,  Umph,  Umph 

E  pae  peni  te  tui', 

Umph,  umph,  umph,  umph, 

Napoleamu  te  ho-o', 

Umph,  umph,  umph,  umph," 


gracefully   across   her   shoulders,    and 
white  flower  was  stuck  coquettishly  in  her 
hair  in  spite  of  her  fifty  summers.     She 
handed  the  nuts  to  me,  and  thoughtlessly, 
I  asked  the  price. 

Faaipo-woman  seemed  \ery  much  em- 
barrassed at  this. 


ot.'l 
1  tMprvmouV  rafUQiU^.^l 

HUmOOD  LABORATORIES. 


"They  are  nothing,"  she  said.    "I  give 
to  you,  for  they  are  but  the  food  of 


Its  subtle  meaning  does  not  surpass,  for     then,  .u  yuu,  lor  iney  art 
trLZ  °:;^A'"'-'"^^"  P°P"'a'-  3ongs,     Tahiti,  and  of  whatTab:  is  it?' 
for^  the  translation  goes  something  like         Realizing  that  I  had  acted  with  flagrant 

indelicacy,  I  cried :  "Then  I  will  give  you 

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a  franc,  for  it  is  only  the  money  of  France, 
and  of  what  value  is  it?"  ! 

Faaipo-woman  was  pleased  to  accept 
the  money,  for,  of  course,  she  had  ex- 
pected it,  but  in  her  courteous  Tahitian 
fashion  had  first  wished  to  offer  me  the 
nuts  as  a  present. 

I  walked  to  a  small  opening  in  the  side 
of  tiie  cinema  palace  through  which 
Taroa  the  six  foot  four  school-master 
would  soon  sell  tickets.  There  I  watched 
and  listened  to  my  neighbors  who  were 
seriously  discussing  the  probable  events 
in  the  night's  picture.  The  preacher  of 
Vaiite  and  Tuahu  stood  near  me.  They 
are  leaders  in  the  district,  and  the  dignity 
with  which  they  bear  themselves  is  almost 
incredible.  When  they  speak  to  one  an- 
other it  is  with  much  the  same  clear  unin- 
terrupted flow  as  one  of  Landor's  imagi- 
nary conversations — impassive  though 
argumentative. 

They  speak  slowly,  accenting  each  syl- 
lable, and  expressing  themselves  in  perfect 
Tahitian. 

TONIGHT,  of  course,  they  are  speak- 
ing of  the  cinema.  Tuahu  said:  "  Mr. 
Preacher,  these  are  my  thoughts  concern- 
ing the  work  of  the  cinema:  some  say  the 
cinema  is  truth  and  some  say  it  is  lies;  but 
I  believe  it  is  truth,  for  no  man  could  make 
these  pictures  with  paint  or  pencil.  They 
must  be  made  the  same  as  photographer 
ill  Papeete  makes  our  pictures.  These 
latter  are  truth  and  therefore  the  moving 
pictures  must  likewise  be  truth." 

The  preacher  straightened,  retucked 
his  black  pareu,  coughed,  and  replied: 
"Tuahu-man,  you  say  they  are  truth,  and 
that  all  these  things  we  see  in  the  cinema 
palace  are  actual  happenings.  Perhaps 
they  are,  for  we  know  little  of  the  works 
of  the  white  men.  But  I  believe  they  are 
lies,  for  one  time  I  saw  a  picture  in  which 
a  man  lay  dying  on  a  great  tract  of  land 
which  was  just  like  the  beach  in  front  of 
my  house,  for  strange  to  say  there  were  no 
trees,  no  river,  nor  e\'en  any  grass,  in 
sight.    He  rose  to  his  knees  and  raised  his 


The  proudest  Mammy  in  the 
world,  Mrs.  Florence  Hoskins.  Her 
little  pickaninny  is  Farina,  the 
black  diamond  of  the  "Our  Gang" 
comedies,  whose  natural  clowning 
has  made  him  one  of  the  real 
comedy  favorites  of  the  screen 


J^ 


In  the  ^^Close-up 

— know  that  your  personal 
daintiness  is  above  reproach 


DANCES,  theatres,  parties  or  very 
private  tete-a-tetes — in  all  the 
"close-ups"  of  one's  many  social 
contacts— remember, nothing  detracts 
so  much  from  one's  attractiveness  as 
the  unpleasant  odor  of  perspiration. 

Yet  we  are  all  subject  to  it.  We 
have  to  be,  for  without  perspiration  we 
could  not  live,  and  perspiration  in- 
variably has  an  odor — heavy,  unpleas- 
ant, unfeminine.  We  become  all  too 
easily  accustomed  to  it  ourselves,  but 
others  notice  it  and  have  their  own 
private  opinions. 

The  thing  to  do  is  to  prevent  the 
odor.  And  the  convenient,  easy  and 
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bodily  daintiness  is  sweet  and  fresh, 
alluringly  attractive. 

Perspiration  odor  is  too  grave  a 
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is  so  sure  and  so  easy  to  use. 

Another  important  use 

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p%  (Harming 

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Eyelash  Hieautifier 


tihmi 


Name 

[Instn 

i-ncnt] 

dw 

<:>.>» 

"Don't  Shout" 

I  heat  you.  1  can  hear 
)W  at  well  as  anybody. 
How>  Wilb  Ibe  MORLEV 
PHONE.  I»r  a  p.ic  in  mv  . 
tiDW.   but  ihfy  •ic 


The  MORtEV  PHONE 


Two  stars  meet  one  of  their  severest  critics.  Douglas  Fairbanks 
and  John  Barrymore  have  their  pictures  taken  with  Welford 
Beaton,  fiery  editor  of  the  Film  Spectator,  a  Hollywood  publication. 
Beaton  is  the  brother  of  the  beloved  K.  C.  B.,  of  newspaper  fame. 


hands  to  God,  when  suddenly  the  sand}' 
country  faded  away  and  in  its  place  was  a 
beautiful  house  where  people  were  eating 
and  drinking.  Strange  to  say,  the  dying 
man  was  there,  dressed  in  his  Sunday 
clothes,  talking  to  a  beautiful  3'oung  white 
woman  as  he  drank  wine  and  ate  corned 
beef.  Later  that  scene  faded  away  and  the 
man  was  again  in  the  sandy  country.  Now, 
Tuahu-man,  if  he  could  so  easily  shift 
himself  from  the  bad  land  to  the  beautiful 
house,  I  ask  you,  why  did  he  return  to  the 
bad  land? 

"For  this  reason  I  think  that  the  pictures 
are  a  lie,  a  crazy  work  of  the  foreigner,  and 
next  Sunday  perhaps  I  will  preach  against 
them,  that  is,  if  tonight's  picture  is  not  a 
very  good  one." 

AFTER  the  proper  moment's  silence 
to  assure  himself  that  the  Rev.  Mr. 
Preacher  had  finished,  Tuahu  replied:  "I, 
too,  ha\-e  seen  strange  things  in  the  cin- 
emas which  I  could  not  account  for;  but  I 
am  only  a  child  of  Tahiti,  and  do  not  pre- 
tend to  understand  the  ways  of  the 
foreigner.  However,  one  thing  which 
makes  me  believe  the  cinemas  are  truth  is 
that  I  once  saw  a  picture  in  which  many 
spirits  of  the  dead  walked  through  an  old 
forsaken  house,  just  as  they  do  in  Tahiti. 
When  I  saw  this  picture  I  knew  the 
cinemas  were  truth,  because  I,  too,  have 
seen  the  spirits  of  my  ancestors  on  dark 
nights  when  the  moon  is  dead." 

Tuahu  and  tlie  preacher  both  turned  to 
me  to  settle  the  argument:  "Some  pic- 
tures depict  things  that  have  happened 
while  other  pictures  depict  things  which 
might  have  happened.  E^■erything  you 
see  really  occurred,  but  only  for  the  pur- 
pose of  photographing  them."  I,  too, 
straightened  up,  feeling  that  I  had 
liandled  tlie  matter  with  considerable 
tact. 

Tuahu  turned  to  the  preacher  a  trifle 


diffidently  and  said:  "There,  I  told  you 
so;  I  knew  they  were  the  truth."  But  at 
the  same  instant  the  preacher  said  to 
Tuahu:  "There,  I  told  you  so;  I  knew 
they  were  lies." 

Just  then  a  stream  of  light  was  thrown 
over  my  shoulder.  Turning,  I  found  that 
the  ticket  window  was  open,  and  Taroa, 
the  school-master,  was  ready  to  do 
business. 

Taroa  stretched  out  a  long  bony  hand 
to  grasp  mine:  "Well,  well,  Ropati,  how 
glad  I  am  to  see  aou  again!"  he  cried. 
He  had  seen  me  and  spoken  to  me  but  a 
few  hours  since,  but  then,  you  know, 
sociability.  He  went  on:  "What  is  the 
news,  Ropati,  from  your  end  of  the  dis- 
trict?" 

I  assured  him  that  nothing  of  note  had 
happened  and  asked  for  my  tickets. 

He  did  not  pay  the  least  attention  to 
me,  but  went  on  with  the  inevitable 
native  conversation:  "Where  are  you 
from?"  "Where  are  you  going?"  "Are 
you  alive?"  "What  is  the  news?" 
"  Have  you  any  tobacco?  "  "Thank  you." 

AS  a  long  line  of  natives  were  waiting  I 
thought  it  no  more  than  considerate 
to  procure  my  tickets  and  make  room  for 
the  next  man. 

Again  I  asked  of  them. 

"Oh,  3'es,  by  and  b\-,"  Taroa  answered, 
continuing:  "By  the  b3%  have  you  heard 
about  the  trouble  Araitongatabu-woman 
had  with  her  husband  in  the  district  of 
Mahina  on  the  other  side  of  the  island? 
Ah,  it  was  a  great  scandal.  Now  that  we 
ha\-e  plenty  of  time  on  our  hands  I  will 
tell  you  the  whole  story  in  detail."  With 
that  he  gave  me  a  long  account  of  the  con- 
nubial troubles  of  Araitongatabu-woman 
and  her  swain,  ending  with  an  apostrophe 
on  the  felicity  of  celibacy.  Then,  for  an 
instant,  I  thought  him  out  of  breath,  and 
so  was  about  to  repeat  my  request  for 


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tickets,  when  with  remarkable  versatility 
he  changed  the  subject  to  the  high  price 
of  vanilla,  and  then  branched  off  on  the 
failure  of  the  French  government  to  raise 
the  wages  of  school-masters  in  exact  ratio 
with  the  depreciation  of  the  franc. 

Breaking  in  on  his  next  harangue, 
which  related  to  an  extra  large  coconut 
from  a  neighbor's  tree,  I  emphatically  de- 
manded my  tickets.  I  imagined  the 
people  behind  me  on  the  point  of  exasper- 
ation, and  had  fleeting  doubts  as  to  the 
sanity  of  this  emaciated  Ichabod. 
Fumbling  about  for  a  moment  Taroa 
counted  my  tickets,  and  then  holding 
them  spread  out  in  one  hand  like  a  hand 
of  cards,  he  explained  that  the  school 
house  needed  repairs,  that  the  fishing  was 
poorer  than  it  had  been  in  forty  years,  and 
that  one,  Teriihoaterai-woman  was  ex- 
pected soon  to  enlarge  her  family. 

BT'T  all  things  come  to  an  end;  at  last  he 
ga\e  me  my  tickets,  reluctantly,  and 
quite  as  reluctantly  took  my  money,  hav- 
ing first  offered  me  free  admittance,  rriuch 
as  Faaipo-woman  had  offered  me  the 
mape  nuts. 

"  Aue,  things  are  very  dear  now-adays, 
Ropati, "  he  cried,  thrusting  his  head  from 
the  window  to  enjoy  a  few  more  sociable 
moments.  "It's  all  due  to  this  terrible 
trouble  in  France.  Did  you  hear  about 
it?  Ah,  well,  I  will  tell  you  the  whole 
story  in  detail — " 

Unceremoniously  I  left  him,  realizing 
that  in  another  half  hour  he  would  be  on 
his  favorite  subject  of  the  copra  tax.  But 
what  was  my  surprise  to  hear  the  same 
conversation  pass  between  Taroa  and  the 
preacher  who  was  next  behind  me;  nor 
did  they  stop  until  the  copra  tax  had  been 
settled  for  all  time.  The  preacher  entered 
into  the  spirit  of  the  thing,  prolonging  the 
matter  by  lengthily  expressing  his  own 
opinions  before  he  moved  on  to  make 
room  for  Tuahu. 

We  had  arrived  at  the  cinema  at  about 
half  past  seven,  but  it  was  ten  before  we 
had  our  seats  inside.  Apparently  this 
was  nothing  unusual,  for  no  one  com- 
plained. 

In  the  back  of  the  room,  on  a  platform, 
stood  Rahia,  the  village  dandy,  dressed  to 
kill,  and  beaming  with  pride  over  his  job 
of  turning  the  ancient  projector's  crank. 
Abraham  himself  stood  beside  his  ma- 
chine, busying  himself  with  numerous 
minor  details  such  as  tying  various  broken 
parts  with  pieces  of  rusty  wire,  stuffing 
rags  in  divers  holes,  and  other  mechanical 
things  which  were  a  mystery  to  me. 

The  grown-up  audience  sat  on  benches, 
but  half  the  room  was  taken  up  by  chil- 
dren who  sat  on  the  floor  directly  in  front 
of  the  screen,  and  who  shook  the  old 
worm-eaten  Cinema  Palace  and  Dance 
Hall  with  native  songs  screeched  to  the 
utmost  capacity  of  their  lungs. 

ABRUPTLY  the  singing  stopped. 
There  was  a  clank  and  rattle  of  de- 
crepit machinery  behind  me,  and  then  the 
children  broke  into  yells  of  joy  as  first  a 
white  light  was  thrown  on  the  screen,  and 
then — I  presume — the  picture  started! 

The  oldest  picture  ever  projected  in  the 
most  ne'er-do-well  nickelodeon  must 
have  been  fine  in  comparison  to  this  one. 
It  was  so  venerable  that  for  long  I  could 
make  nothing  out  of  it  except  a  tremen- 
dous   downpour    of    rain.      I    wondered 

When 


^35 


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Almond  in  Princess  Pat  face  powder  has  the  self- 
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Many  women  will  uncloubtcdlj-  be  glad  to  know 
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when  the  rain  would  stop  and  the  picture 
begin. 

Then  for  an  instant  I  thought  I  could 
make  out  a  figure  drifting  like  a  phantom 
through  the  storm. 

Then  came  more  rain,  a  hlur  of  light,  a 
smudge  of  black,  and   a   flare   of  white 


"It  is  finished,  then." 

"No,  only  just  started." 

"Ah-  ah-  ah-  then-  then  why  have  you 
come  back?" 

"I  felt  sleepy." 

"Aue,  aue,  aue,  do  not  lie  to  me,  you 
are  sick;   you  must  be  very  sick  indeed, 


light  during  one  of  the  numerous  breaks     and  when  Tuahu  returns  I  shall  send  him 
'     "'  to  the  other  side  of  the  island  to  bring 

Tiurai,  the  doctor." 

Again  I  assured  him  that  I  was  well,, 
but  that  was  beyond  Toto's  conception. 
How  could  a  well  man  leave  the  cinema 
in  the  midst  of  VVilliamu  Cowboy's  hair- 
raising  exploits. 


in  the  him. 

FINALLY  the  rain  stopped;  the  first 
reel  had  come  to  an  end.  The  audience 
was  genuinely  e.xcited ;  speaking  about  the 
beautiful  white  girl  and  the  kind  of  dress 
she  wore,  the  fierce  Williamu  Cowboy, 
and  the  bad  man  with  drooping  mus- 
taches. 

But  I  had  seen  none  of  these  things, 
and  could  only  follow  the  sense  of  the 
picture  by  listening  to  Abraham. 

This  Papeete  half-caste  interpreted  the 
pictures.  He  could  not  read  the  English 
printed  inserts,  but  he  had  shown  the 
picture  so  many  times  he  knew  the  story 
by  heart.  Throughout  it  all,  or  as  much 
as  I  stayed  to  sec,  he  told  the  audience 
all  about  it,  shouting  his  orders  in  a  voice 
which  would  do  credit  to  a  bully  mate, 
and  at  times  joking  with  some  of  the 
audience. 

It  was  something  like  this: 

"Aue!  here  comes  the  fierce  warrior! 
Look  out!  It's  VVilliamu  Cowboy  with 
two  guns  on  his  hips,  and  he'll  use  them! 
too,  in  the  next  reel.  Ah  Nui-woman,  if 
you  had  a  husband  like  Williamu  Cowboy 
you'd  ne\'er  look  at  Nui-man  again. 
There's  the  villain  drinking  rum  punch  at 
the  bar.  Whoop.  He  sees  Williamu !  He 
puts  his  hand  on  his  gun  and  there  is  an 
e\il  look  in  his  eye  because  he  knows  that 
in  the  fourth  reel  he  will  fight  the  hero  and 
be  thrown  over  a  precipice! 

"How  terrible!  Will  he  really?"  Terii- 
woman  cried.  "And  will  they  leave  him 
there  like  they  did  the  last  picture,  and 
not  gi\e  him  a  Christian  burial?" 

"He'll  be  buried  all  right!"  Abraham 
cried, ' '  only  I 've  lost  that  part  of  the  reel, 
but  ne\er  you  mind  I'll  tell  you  about  it 
when  the  time  comes.  Ha,  there's  the 
hero's  friend;  the  man  with  the  long  nose, 
small  eyes  and  crooked  mustache.  Look 
at  the  shoulders  on  him.  When  he  goes  up 
the  valley  for  plantains  I  bet  he  brings 
down  a  big  load.  Ah,  Nui-woman,  if  you 
had  a  husband  like  him  you  wouldn't  get 
thin  for  lack  of  plantains." 

A  warbling  laugh  came  from  the  great 
rotundity  of  Nui-woman  as  Abraham 
went  on:  "The  villain  is  ashamed;  he  is 
thinking  about  how  the  heroine  is  going  to 
slap  his  face  in  that  last  part  of  the  third 
reel!  See,  Ropati-man,  if  you  had  a 
woman  like  that  white  girl  you'd  never 
have  come  to  Tahiti !  Whoop!  Look  out 
for  Williamu,  there,  Nui-woman,  he's 
getting  so  fierce  he's  biting  his  cigar  in 
two.    Whoop!    End  of  the  first  reel!" 

The  audience  was  hilarious  with  de- 
light. I  enjoyed  the  spirit  of  the  thingbut 
the  continual  downpour  of  rain  was  hurt- 
ing my  eyes,  so  quietly  I  left  and  walked 
back  to  Tuahu's  house. 

THE  old  man,  Toto,  was  wide  awake. 
"Arc  you  sick?"  he  asked  as  soon  as 
I  had  entered. 
"No,  quite  well." 

"Then  there  is  no  cinema  tonight." 
"There  is  a  cinema." 


IT  was  inconceivable;  Toto  simply  could 
not  understand. 

I  lay  on  a  mat,  and  as  Toto  had  decided 
I  certainly  must  be  very  ill,  he  let  me  go  to 
sleep.  In  an  hour  or  so  I  was  awakened 
by  Tuahu  and  the  others  who  had  re- 
turned. As  they  entered,  old  Toto  whis- 
pered: "Sh,  make  no  noise.  Ropati 
must  be  very  ill  for  he  returned  long  be- 
fore the  picture  was  finished." 

Realizing  the  futility  of  further  ex- 
planation I  said:  "Yes,  I  was  a  trifle  ill, 
but  am  quite  well  now.  How  was  the 
picture?" 

"Eiahaeru — wait,"  said  Tuahu  as  he 
slowly  replaced  his  Sunday  clothes  with  a 
pareu,  and  then  settled  on  the  floor  near 
Toto.  Tuahu's  wife,  Reretu,  squatted  in 
a  dim  corner,  while  Timi  and  Tio  sat 
close  by  the  lamp.  Then  Tuahu  com- 
menced : 

"First,  Toto,  my  relative,  I  will  tell 
you  that  there  was  a  scene  in  a  rum  house 
where  white  women  and  cowboys  were 
dancing,  drinking,  playing  cards,  and 
having  a  fine  time — "  Tuahu  then  de- 
scribed in  detail  every  part  of  the  picture 
from  beginning  to  end,  together  with  the 
comments  and  jokes  of  Abraham.  He 
often  dwelt  at  length  on  such  minor  de- 
tails as  the  furnishing  of  a  room,  or  the 
way  a  cowboy  tied  his  horse,  while  he 
sometimes  passed  lightly  over  parts  which 
at  home  would  be  considered  of  major  im- 
portance. It  was  marvelous  the  way  he 
remembered  such  small  details  as  the  bar- 
tender's clothes,  the  fact  that  one  of  the 
performer's  shoe  became  untied,  how  the 
bar-room  pianist  didn't  drink,  or  how  one 
of  the  cowboys  shot  his  six  shooters  seven 
times  without  reloading. 

BUT  I  was  asleep  long  before  he  had 
finished.  When  I  awoke  the  first  light 
of  morning  was  seeping  through  the 
wattled  sides  of  the  house. 

Reretu  and  the  children  were  asleep, 
but  still  Tuahu  was  telling  old  Toto  about 
the  picture: 

"  But  you  know,  Toto,  my  relative,"  he 
was  saying,  "the  picture  was  not  all  it 
might  have  been,  for  again  the  bad  man 
was  left  without  burial,  though  it  is  true 
that  Abraham  told  us  he  was  buried.  And 
again,  Oh  Toto,  I  blush  to  say,  the  chil- 
drenbeing  present, — that  Williamu  didn't 
marry  his  girl  in  the  end.  He  just  put  her 
on  the  horse  behind  him  and  ride  oft  into 
the  mountains  in  the  most  shameless 
manner.  Ah,  these  white  men,  these 
white  men! —  But  itis  getting  late,  Toto, 
my  relative,  and  so  we  must  sleep.  To- 
morrow I  shall  again  tell  jou  of  the  pic- 
ture, for  perhaps  I  have  forgotten  some  of 
the  details." 


IIOT(IPI-AY  MAGAZINE  Is  Euarantoed. 


Amateur  Movies 


Photoplay  Magazine — Advertising  Section  137 


[  CONTINUED  FROM  PAGE  72  ] 

only  a  single  actor  in  nine-tenths  of  the 
scenes. 

These  films  may  or  may  not  be  among 
the  winners. 

That  rests  with  the  judges.  But  they 
are  examples  of  the  astonishing  ingenuity 
and  skill  of  our  amateurs. 

JUST  now  the  motion  picture  business  is 
worried  greatly  over  the  fact  that  the 
productions  of  most  of  the  big  film  mak- 
ers are  available — in  16  mm.  film — for 
home  projectors. 

Exhibitors  seem  to  view  this  home 
movie  movement  as  a  blow  to  the  pro- 
fessional theater.  This  fear  appears  to 
be  based  upon  the  theory  that  every  film 
fan  goes  to  his  favorite  movie  house  every 
night. 

Thus,  any  home  entertainment  keeps 
one  or  more  customers  away  from  the 
boxoffice. 

Of  course,  this  theory  is  false.  Other- 
wise exhibitors  could  stop  advertising 
and  they  could  anticipate  a  permanent 
capacity  audience. 

In  point  of  fact,  the  home  mo\ie  builds 
up  interest  in  motion  pictures. 

It  continually  creates  new  film  en- 
thusiasts. 

Imagine,  for  instance,  how  the  Photo- 
PL.'VY  contest  entrants  must  have  studied 
professional  films  night  after  night. 
Imagine,  too,  how  every  amateur  film 
maker  goes  to  the  theater  lo  watch  and 
analyse  professional  effects. 

Exhibitors  should  forget  their  fears 
about  home  screen  entertainment.  The 
home  movie  is  a  salesman  for  the  pro- 
fessional photoplay. 

ADD  Richard  Rowland,  general  and 
production  manager  of  First  Nation 
al  Pictures,  to  your  list  of  amateur  mo\-ie 
enthusiasts.  Mr.  Rowland  has  obtained 
some  remarkable  16  mm.  films  with  his 
Cine-Kodak.  No  longer  can  Mr.  Row- 
land'sbig  staff  of  cameramen  tell  him  about 
trick  shots.  Mr.  Rowland  is  doing  all 
sorts  of  angle  stuff  on  his  own  estate  at 
Rye,  N.  Y. 

Then,  too,  you  can  add  Jack  Dempsey 
and  Rod  La  Rocque  to  your  list  of  De 
\'ry  users.    They're  both  enthusiasts. 

THE  students  of  the  University  of 
Southern  California  have  just  pro- 
duced a  comedy,  "The  Sporting  Chance. " 
The  director,  Art  Brearley,  alone  of  the 
group  had  any  film  training.  Paul  Kiepe 
was  cameraman  and  Matt  Barr  was  pro- 
duction manager.  The  oast  included 
Billie  Walker,  Josephine  Campbell,  La- 
fayette Taylor,  Walter  Outler  and  Tom  de 
Grafifenreid.  The  students  are  all  en- 
rolled in  the  motion  picture  department 
of  the  university. 

These  students,  by  the  way,  used  some 
home  made  reflectors  in  the  production 
which  will  be  of  interest  to  amateurs 
everywhere.  The  reflectors  were  made 
of  battened  vernier  wood,  30  b\-  40 
inches,  painted  with  aluminum  paint, 
coated  with  varnish  and  sprinkled, 
while  varnish  was  wet,  with  silver 
metalics. 


J 


ust 


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PERFECT    MOVIES 


IT'S  as  easy  as  that  to  take 
movies  with  the  DeVry. 
There's  no  cranking,  no 
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strip  of  film. 

And  DeVry-made  movies  are 
just  as  sharp,  as  perfect,  as 
true  to  life  as  those  you  see 
in  the  theatre. 


For  the  DeVry  is  "Holly- 
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the  DeVry  at  your  camera 
store  or  write  for  FREE  book. 
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Photoplay  Magazine— Advertising  Section 

THE  Portland,  Ore.,  Cine  Club  is 
conducting  a  prize  contest.  George 
N.  Black  is  president,  Fred  G.  Meyer  is 
\ice  president,  Ray  La  Fever  is  secretary 
and  treasurer. 

These,  with  B.  H.  Davies  and  Dr. 
Merle  Aloore,  constitute  the  board  of 
directors. 

The  Cinema  Club  of  Rochester,  N.  Y., 
lias  the  advantage  of  the  honorary  presi- 
ilcncy  of  George  Eastman,  the  film  pio- 
neer, while  Dr.  C.  E.  K.  Mees,  the  cine- 
matic expert  is  its  active  head.  IMrs. 
Helen  Probst  Abbott  is  vice-president 
and  George  W.  McBride  is  secretary- 
treasurer. 

Recently  the  club  has  listened  to 
lectures  by  experts  of  the  Eastman  Kodak 
Company. 

The  Philadelphia  Amateur  Motion 
Picture  Club  has  been  using  what  is  pos- 
sibly the  world's  smallest  theater.  The 
place  seats  just  twenty,  but  every  detail  of 
a  modern  playhouse  is  present.  James  E. 
Richardson,  of  the  Victor  Talking  Ma- 
chine Company,  was  a  recent  speaker, 
discussing  the  correlation  of  music  and 
pictures. 


P  lea  «c  sc  n  d  you  r  free  book ,  "  .\  R  oad 
to  nigger  Things,"  together  witli 
Vocational  Art  Test. 


Name 

Occupation 
Address  


Use  one  of  the  reels  with  the  square 
holes  on  the  take-up  spindle. 

Shoot  your  roll  of  film.  Lift  the  spool  of 
film  out  and,  turning  it  over,  place  it  on 
the  magazine  spindle.  Thread.  Put  the 
other  reel  with  the  square  holes  on  the 
take-up  spindle. 

Run  off  the  film.  Lift  out  the  reel  of 
film,  turn  it  over  and  again  place  on  the 
magazine  spindle.  This  time  use  a  regular 
empty  reel  on  the  take-u  p  spi  ndle.  Thread 
and  set  so  that  the  word  Stop  is  at  the 
same  definite  mechanical  position  as  in 
the  first  operation. 

Re-shoot  for  whatever  double  exposure 
effects  you  desire. 

You  ha\e  now  double-exposed  with- 
out the  use  of  a  dark  room  and  with- 
out handling  the  delicate  film. 

In  this  way  you  can  get  ghost  effects 
and  you  can  also  get  animated  sub- 
titles. Use  black  title  cards  with  white 
letters.  It  is  best  to  shoot  five-foot 
scenes  for  subtitles,  under-exposing  them 
to  subdue  the  backgrounds. 

TWO  interesting  new  devices  for  ama- 
teurs are  just  being  marketed  by  the 
Bell  and  Howell  Company.     One,  a  lens 


HERE  is  a  simple  method  of  making     modifier,   screws  over  the  regular  f  3.5 
trick   films   with        ~'"  " '    '  '      '  "       ' 


Filmo.  Obtai 
from  your  dealer  two  film  reels  with 
square  holes  on  both  sides.  The  regular 
reel  has  a  round  hole  on  one  side  and  a 
square  one  on  the  other.  You  can  square 
the  round  hole  with  a  file,  if  you  wish. 
Put  your  film  on  the  magazine  spindle 
as  usual.  Load  your  film  through  the 
siiutter,  setting  one  of  the  letters  of  the 
word  Stop  at  a  definite  mechanical 
position. 


lens  in  place  of  the  sunshade.  This  ob 
tains  alternating  fat  and  lean  comedy 
effects  after  the  fashion  of  trick  mirrors 
used  in  amusement  parks. 

The  other  device,  a  picture  viewer,  per- 
mits the  study  of  your  film  while  you  are 
cutting  and  editing.  A  prism  re\erses 
the  object  and  a  small  electric  bulb 
illuminates  it.  This  picture  viewer  can 
be  obtained  with  or  without  the  regular 
winder    and    splicer. 


The  Terrible  Tempered  Mr.  Bang. 


By  Fontaine  Fox. 


The  HAuGMTy  novie  oshur  iHroRMS 

UK-  BAMS  THAT   THERE  AKE   Ho    SEATS. 

(0  FoDtelot  Tot.  IWJ.The  Ml  Synlicitc.  Inc.) 


Courtesy,  The  Bell  Syndicate,  Inc. 


PIIOTOPL.VY  M.S 


Photoplay  Magazine — Advertising  Section 


Brief  Reviews  of 
Current  Pictures 

[  CONTINUED  FROM  PAGE  12  ] 


DOVE,  THE— United  Anists.— Norma  Talmadge 
is  starred,  but  it  is  Noah  Beery 's  picture,  the  naughty 
thief!  An  exciting  stage  play  becomes  a  rather 
languid  movie.      (March.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  States  Military  Academy  at 
West  Point.  Real  entertainment,  thanks  to  William 
Boyd,  Bessie  Love  and  Louis  Natheaux.    (December.) 

DROP  KICK,  THE— First  National.— It  is  now 
Richard  Barthelmess'  turn  to  win  the  game  for  dear 
old  Alma  Mater.    Who's  next?     (November.) 

EAST  SIDE,  WEST  SIDE— Fox.— A  modern 
Horatio  Alger  story  of  New  York,  with  some  fine 
realistic  backgrounds.  Well  played  by  George 
O'Brien.    See  it.    (January.) 

*ENEMY,  THE— Metro-Goldwyn-Mayer.-Anti- 
war  propaganda,  told  in  the  terms  of  a  tragedy  that 
befell  a  Viennese  household.  Lillian  Gish's  most  human 
and  appealing  performance  makes  it  worth  seeing. 
(February.) 

FAIR  CO-ED,  THE— Metro-Gold\vyn-Mayer.— 
Marion  Davies  at  her  very  funniest  in  a  pretty  fair 
college  yarn.    The  gal  is  a  real  comic.     (December.) 

FIGURES  DON'T  LIE— Paramount.— A  zippy 
farce-romance  of  a  stenographer  and  her  boss.  With 
Richard  Arlen  and  the  lovely  Esther  Ralston.  (A^o- 
vember.) 

FIREMAN,  SAVE  MY  CHILD— Paramount.— 
Wallace  Beery  and  Raymond  Hatton  in  a  comedy 
adapted  to  the  mentality  of  those  who  enjoy  the 
funny  papers.      (Oclober.) 

FLYING  LUCK— Pathe.— Monty  Banks  gets 
some  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.     (December.) 

FORBIDDEN  WOMAN,  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  by  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Schildkraut.     Worth  your  money.     (December.) 

FORTUNE  HUNTER,  THE— Warners.— Syd 
Chaplin  messes  up  a  good  comedy.  Why  people  stay 
home.     (March.) 

FOURFLUSHER,      THE— Universal.— Pleasant, 
.youthful  comedy  about  a  smart-aleck  in  big  business. 
■      "     •       ■■■   on.     (December.) 


Ornamented  by  Ma 

*FOUR  SONS— Fox.— Reviewed  under  title  of 
"Grandma  Bernle  Learns  Her  Letters."  The  screen 
rises  to  real  greatness  in  this  story  of  a  war-stricken 
German  mother.      (January.) 

FRENCH  DRESSING  —  First  National.  —  In 
which  the  dowdy  wife  outvamps  the  vamp.  Swell 
irouping  by  Lois  Wilson,  Lilyan  Tashman  and  Clive 
Brook.     (February.) 

GALLAGHER— Pathe-De  Mille.— Richard  Hard- 
ing Davis'  charming  story  of  the  adventures  of  an 
office  boy  in  a  new,spaper  office.  Young  Junior 
Coghlan  merits  applause.      (February.) 

GARDEN  OF  ALLAH,  THE— Metro-Goldwyn- 
Mayer. — -Rex  Ingram's  best  picture  in  several  years. 
A  beautiful  re-telling  of  the  Robert  Hichens  romance, 
made  in  the  original  locations.     (November.) 

GARDEN  OF  EDEN— United  Artists.— Ju.st  a  so- 
so  vehicle  for  Corinne  Griffith.  Miss  Griffith  and 
Charles  Ray  are  hampered  by  a  second-rate  chorus 
girl  yarn.      (February.) 

GATEWAY  OF  THE  MOON— Fox.— Dolores 
Del  Rio  gets  coy  in  a  South  Sea  Island  picture.  This 
star  should  keep  her  clothes  on.    (March.) 

*GAUCHO,  THE— United  Artists.— Love,  life 
and  religion  among  the  bandits  of  the  Andes,  excit- 
ingly and  picturesquely  enacted  by  Douglas  Fair- 
banks. Keep  your  eye  on  Lupe  Velez.  his  new  leading 
woman.    Fine  for  the  younger  set.     (January.) 

GAY  DEFENDER,  THE— Paramount.— Richard 
Dix,  in  Spanish  get-up,  stra\s  by  accident  into  a 
Douglas  Fairbanks  plot.  A  pleasant  evening. 
(February.) 


GENTLEMAN  OF  PARIS,  A— Paramount.— We 
thank  you.  Mr.  Menjou,  for  another  pleasant  evening 
of  smooth  entertainment.      (Oclober.) 

*GENTLEMEN  PREFER  BLONDES  —  Para- 
mount.— If  you  don't  want  to  see  this  film  version  of 
Anita  Loos'  story,  something  is  wrong  with  you.  It  is 
all  laughs,  thanks  to  Ruth  Taylor,  Alice  White  and 
Ford  Sterling.      (February.) 

GENTLEMEN  PREFER  SCOTCH— Fox.— Just 
a  short  comedy  but  better  than  most  features.  Keep 
your  eye  on  Nick  Stuart  and  Sally  Phipps.  (De- 
cember.) 


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*GET  YOUR  MAN— Paramount.— Clara  Bow 
and  Charles  Rogers  in  a  light  romance,  made  espe- 
cially for  Young  America.      (.February.) 

GINGHAM  GIRL,  THE— FBC— Lois  Wilson 
in  a  foolish  storv'  that  needed  songs  and  dances  to  put 
it  over.      (.October.) 

GIRL  FROM  CHICAGO,  THE— VVarners.--Life 
and  love  in  tlie  underworld,  agreeably  acted  by 
Conrad  Nagcl.  Myrna  Loy  and  William  Russell. 
(.December.) 

GIRL  FROM  RIO,  THE— Gotham.— An  inde- 
pendent production,  colorful  and  above  the  average. 
Carmcl  Mvers  as  a  Spanish  dancer  and  Walter  Pid- 
gcon  as  a  handsome  Englishman.     (November.)  _ 

GIRL  IN  EVERY  PORT,  A— Fox.— The  romantic 
adventures  of  a  deep  sea  sailor,  played  by  Victor 
McLaglen.    And  very  funny,  too.    (.March.) 

GIRL  IN  THE  PULLMAN,  THE  —  Pathe-De 
Millc — One  of  those  farce  honeymoon  adventures 
that  aren't  for  the  very  innocent,  nor  yet  the  very 
sophisticated.    With  Marie  Prevost.    (February.) 

GOOD  TIME  CHARLIE— Warners.— The  sad 
=torv  of  an  old  trouper,  played  with  so  much  true 
feeling  by  Warner  Oland  that  you  forget  its  senti- 
mentality.   (.January.) 

♦GORILLA,  THE— First  National.— Charlie  Mur- 
ray and  Fr.'d  Kelsey,  as  a  couple  of  dumb  Sherlocks, 
plaster  laughs  all  over  this  mystery  yarn.  It's  a  darn 
fool  thing,  but  you'll  like  it.    (January.) 

HAM  AND  EGGS— Warners.— A  war  comedy, 
done  in  colors  as  it  were.  An  occasionally  amusing 
but  oftener  silly  tale  of  the  colored  troops  in  the  war. 
(November.) 

*HARD-BOILED  HAGGERTY— First  National. 
— No  war  scenes,  but  a  fine  comedy  of  life  back  of  the 
battle-lines.    Milton  Sills  at  his  best.     (October.) 

HARVESTER,  THE— FBO.— Came  the  yawnl 
If  N-ou  like  Gene  Stratton  Porter's  stories,  help  your- 
self.     (January.) 

HEBIE  GEBIES— Hal  Roach. — A  hypnotist  turns 
Our  Gang  into  animals.  An  original,  really  amusing 
comedy  that  will  delight  the  children.     (December.) 


HER  WILD  OAT— First  National.— Colleen 
Moore,  the  humble  proprietress  of  a  lunch  wagon, 
goes  berserk  at  a  fashionable  resort.    (February.) 

HERO  ON  HORSEBACK,  A— Universal.— Hoot 
Gibson  does  his  stuff,  for  the  particular  enjoyment  of 
the  children.     (October.) 

HIGH  SCHOOL  HERO,  THE— Fox.— A  youth- 
ful, refreshing  story  of  "prep"  school  life  with  a  cast 
of  youngsters.     (November.) 

HIS  DOG— Pathe-De  Mille.— Fine  acting  by  a 
dog;  terrible  acting  by  Joseph  Schildkraut.  A  good 
human  interest  idea  gone  blah.    (October.) 

HOME  MADE— First  National.— Johnny  Hines 
pursuing  his  Art.  Some  of  the  "gags"  don't  belong 
on  the  screen — or  anywhere  else.     (December.) 

HONEYMOON  HATE— Paramount.— Florence 
Vidor  and  Tullio  Carminati  enact  a  neat  little  comedy 
duel  between  an  American  heiress  and  her  Italian 
husband.    For  those  who  like  'em  subtle.    (January.) 

HOOF  MARKS— Pathe.— Meet  the  new  Western 
star.  Jack  Donovan.  He  knows  his  cactus.  (Janu- 
ary.) 

HOOF  AND  LADDER  No.  9— FBO.— Some  good 
newsreel  shots  of  a  fire.  A  feeble  excuse  for  a  story. 
(December.) 

*HULA— Paramount.— The  adventures  of  Clara 
Bow  in  Hawaii.  The  glorification  of  IT.  Clara  is  the 
whole  works.    (October.) 

HUSBANDS  FOR  RENT  —  Warners.  —  Owen 
Moore  and  Kathryn  Perry  in  a  bedroom  farce  that 
will  get  bj'  only  with  the  less  bright  members  of  the 
community.     (March.) 

IF  I  WERE  SINGLE— Warners.— The  girts  will 
get  a  giggle  out  of  this  story  of  domestic  life.  Conrad 
Nagel  proves  that  he  can  play  comedy.    (January.) 

IN  OLD  KENTUCKY— Metro-Goldwyn-Mayer. 
— A  story  of  the  Kentucky  Derby  that  is  better  than 
most  race-track  tales,  thanks  to  a  fine  performance 
by  James  Murray  and  an  exceptional  "  bit "  by  Wesley 
Barry.  (January.) 

IRRESISTIBLE  LOVER,  THE— Universal.— 
What  hajipens  when  a  hard-boiled  bachelor  meets  a 
sweet  young  thing.  Just  a  lot  of  nonsense,  snapped  up 
by  Norman  Kerry  and  Lois  Moran.  (January.) 


JAZZ  SINGER,  THE  — Warners.  — Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitaphonc  nor  a  good  story  can  conceal  the  painful 
fact  that  Al  Jolson  is  no  movie  actor.    (December.) 

♦JESSE  JAMES— Paramount.— Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distingnished  train  robber.  Don't  let  the  blue-noses 
interfere  with  your  enjoyment  of  a  corking  melo- 
drama.     (December.) 

Evwy  adviTllncmcnt  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


JOY  GIRL,  THE— Fox.— Olive  Borden's  eyes  and 
legs  at  Palm  Beach.      (November.) 

JUDGMENT  OF  THE  HILLS— FBO.— An  inter- 
esting and  human  stor>'  of  life  in  the  Kentucky 
mountains.  Our  hats  off  to  Frankie  Darro,  a  fine  boy 
actor.     (March.) 


LADIES  MUST  DRESS— Fox.— A  comedy  that 
starts  off  like  a  whirlwind  and  then  collapses.  (Janu- 
ary.) 

LADIES'  NIGHT  IN  A  TURKISH  BATH— First 

National.' — There  are  lots  of  laughs  in  this  adaptation 
of  the  stage  farce.  Not  subtle,  but  funny.  With 
Dorothy  Mackaill  and  Jack  Mulhall.    (March.) 

LADY  OF  VICTORIES.  THE— Metro-Goldwyn- 
Mayer. — The  romance  of  Napoleon  and  Josephine, 
gorgeously  presented  in  Technicolor.  Only  two  reels, 
but  very  much  worth  seeing.     (March.) 

*LAST  COMMAND,  THE  —  Paramount.  —  A 
powerful  and  tragic  story  of  a  cousin  of  the  Tsar  of 
Russia  who  becomes  a  Hollywood  "extra."  Thanks 
to  the  magnificent  acting  of  Emil  Jannings,  this  film 
is  the  most  popular  crylng-fest  of  the  season.  (March.) 

LAST  MOMENT,  THE— Fine  Arts.— An  inde- 
pendent film,  built  around  the  theory  that  a  drowning 
man  sees  his  whole  life  pass  in  review  in  a  few  seconds. 
Terribly  overacted.      (February.) 

LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  that  needs  music — and  a  certain 
verboten  beverage — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  howl     (December.) 

LATEST  FROM  PARIS,  THE— Metro-Gold%vyn- 
Mayer. — Norma  Shearer  plays  a  travelling  sales- 
woman.    Bright,  snappy  entertainment.    (March.) 

LAW  OF  THE  RANGE,  THE— Metro-Goldwyn- 
Mayer. — Tim  McCoy  in  a  thriller  that  has  heart 
interest.  Joan  Crawford  plays  a  sweet,  old-fashioned 
girl.    That  ought  to  send  you  to  .see  it.    (March.) 


*LEGION  OF  THE  CONDEMNED,  THE— Para- 
mount.— More  heart-gripping  than  "Wings."  It's  a 
story  of  the  exploits  of  a  French  Flying  Squadron. 
(February. ) 

LEGIONNAIRES  IN  PARIS  —  FBO.  —  A  bur- 
lesque of  what  happened  to  the  American  Legion  in 
Paris  last  summer.  You'll  laugh  and  laugh  and  laugh. 
(February.) 

♦LEOPARD  LADY,  THE— Pathe-De  Mille.— A 
story  with  a  new  slant  and  a  surprise  ending.  It  al! 
takes  place  in  a  Continental  travelling  circus.  A  fine 
performance  by  Jacqueline  Logan.      (March.) 

LES  MISERABLES— Universal.— The  Victor 
Hugo  story  is  great,  but  the  acting,  photography  and 
settings  prove  that  fifty  million  Frenchmen  can  be 
wrong  when  they  make  movies.    (November.) 

LIFE  OF  RILEY,  THE— First  National.— George 
Sidney  and  Charlie  Murray  in— you'll  never  guess — 
another  Irish-Jewish  comedy.  Not  as  bad  as  most. 
(October.) 

LIGHT  IN  THE  WINDOW,  A— Rayart.— Simple 
tear  jerker  with  some  sincere  acting  by  Henrj'  B. 
Walthall.      (February.) 

LIGHTER  THAT  FAILED,  THE  —  Metro- 
Goldwyn-Mayer, — Hal  Roach  builds  a  comedy  on  a 
gift  fad.    Little,  but  oh,  my  1    (February.) 

LONDON  AFTER  MIDNIGHT  —  Metro- 
Goldwyn-Mayer.- — Lon  Chancy  in  a  grand  murder 
mystery.    Mr.  Chancy  plays  a  dual  r61e.     (February.) 

LONE  EAGLE,  THE— Universal.— Another  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Keane.     (December.) 

LONESOME  LADIES— First  National.— Lewis 
Stone  and  Anna  Q.  Nilsson  in  a  rather  amusing  com- 
edy of  domestic  ructions.      (October.) 

♦LOVE- Metro-Goldwyn-Mayer.— Anna  Karen- 
ina?  Not  so's  you  could  notice  it.  But  John  Gilbert 
and  Greta  Garbo  melt  the  Russian  snow  with  their 
love  scenes.  Will  it  be  popular?  Don't  be  silly  I 
(November.) 

LOVE  AND  LEARN  —  Paramount.  —  Wherein 
Esther  Ralston  keeps  Papa  and  Mamma  from  getting 
a  divorce.    Smart,  light  comedy.      (March.) 

LOVELORN,  THE  —  Metro-Goldwyn-Mayer.  — 
The  tale  of  two  sisters  who  could  have  avoided  a  lot  of 
tragedy  by  heeding  the  wisdom  of  Beatrice  Fairfax. 
Not  for  the  sophisticated.    (January. ) 

LOVE  MART,  THE— First  National.— Pictorially 
fine  romance  of  old  Louisiana,  with  Billie  Dove  and 
Gilbert  Roland.     (February.) 

MADAME  POMPADOUR— Paramount— Dor- 
othy Gish  and  Antonio  Moreno  in  an  English  produc- 
tion, lavishly  set  but  not  particularly  dramatic.  A 
shady  side  of  history  that  is  not  for  the  little  dears. 
(October.) 

MAIN  EVENT,  THE  — Pathe-De  Mille.  — Prize- 
fight stuff.  The  story  is  old;  the  directorial  twists  are 
new.  The  acting  is  above  par.  That's  all.  (Janu- 
ary.) 


Photoplay  Magazine — Advertising  Section 


MAN  CRAZY— First  National.— Dorothy  Mac- 
kaill  and  Jack  Mulhall  in  a  comedy  about  a  couple  of 
Down  East  high-hats  who  go  in  for  adventure. 
Pleasant  light  fiction.    (January.) 

MAN'S  PAST,  A— Universal.— A  solemn,  worthy 
production  with  Conrad  Veidt.  a  capable  actor. 
(Oaober.) 

*MAN,  WOMAN  AND  SIN— Metro-Goldwyn- 
Mayer. — Scandal  in  a  Washington  newspaper  office, 
with  some  good  capital  atmosphere  and  some  con- 
ventional movie  melodrama,  .lohn  Gilbert  does  well, 
but  Jeanne  Eagels  is  no  Greta  Garbo.     (January.) 

*MILE-A-MINUTE  love— Universal.— Regi- 
r?ld  Denny  hands  this  picture  to  Janet  La  Verne,  a 
five-year-old.  You'll  love  her  and  you'll  love  the 
picture.      (November.) 

♦MOCKERY- Metro-Goldwyn-Mayer.  —  Lon 
Chaney.  as  a  Russian  peasant  with  a  harelip,  gets  all 
mixed  up  in  the  Revolution.    (October.) 

MOJAVE  KID,  THE— FBC— Introducing  a 
new  Western  hero — Bob  Steele.  He's  a  good  kid  with 
a  pleasant  personality.     (October.) 

MUM'S  THE   WORD— Fox.- 

comedy   with    Nick    Stuart   and 
deserves  your  kind  attention.    (January.) 

*M  Y  BEST  GIRL— United  Artists.— Some  of  Mary 
Pickford's  best  comed>-  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Mary  at  her 
greatest.    The  children,  of  course  I    (December.) 

MY  FRIEND  FROM  INDIA— Pathe-De  Mille.— 
The  sort  of  thing  that  made  'em  laugh  when  girls  wore 
long  skirts  and  high  lajed  shoes.    (January.) 

NEST,  THE— Excellent.— Pauline  Frederick  brings 
her  great  gifts  to  the  sincere  portrayal  of  a  mother 
rflle.      (December.) 

NEVADA — Paramount.— 
Gao'  Cooper.  Beautiful  s 
plenty  of  thrills.      (October.) 

NIGHT  LIFE— Tiffany.- An  engrossing  drama  of 
Vienna,  before  and  after  the  war.  The  crook  stuff  has 
an  original  twist  and  Eddie  Gribbon.  Johnnie  Harron 
and  Alice  Day  contribute  some  fine  acting.  (January.) 

*NOOSE,  THE— First  National.— Richard  Barth- 
elmess  again  gets  a  picture  worthy  of  his  talents,  ^n 
extra-fine  melodrama  that  will  hold  jou  spell- 
bound.     (March.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  with  Mary  Astor  and  Lloyd 
Hughes.      (December.) 

NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Been-  and  Raymond  Hatton  show  signs  of  weak- 
ening under  the  strain.  Thej-  need  a  fresh  line. 
(December,) 

ONE  ROUND  HOGAN— Warners— Wherein  love 
Javes  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.  Not  so  bad.  (De- 
cember.) 

ONE  WOMAN  TO  ANOTHER— Paramount.— It 
is  a  farce  about  nothing  at  all,  but  charmingly  told 
and  ingratiatingly  acted  by  Florence  Vidor  and 
Theodor  von  Eltz.      (November.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comed>'.  but  Marie  Prevost,  aided  by  James  Cruze, 
should  do  better  than  this.     (December.) 


ON  YOUR  TOES— Un 

good   prize   fight   episode. 
(March.) 

OPEN  RANGE— Paramount.— Lane  Chandler 
and  his  horse,  "Flash."  in  one  of  the  best  Westerns 
now  leaping  across  our  screens.    (January.) 

OUT  ALL  NIGHT— Universal.— Reginald  Dennv 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      (December.) 

PAID  TO  LOVE-Fox.— A  sprightly,  charminglv 
directed  comedy  that  kids  the  old  hokum  of  the 
mythical  kingdom,  romance.     (October.) 


[41 


'ersal. — More    breath- 


PAINTED    PONIES— Uni 

taking  incidents  in  the  franl__    _. .^... 

Hoot  Gibson.      (October.) 

PAJAMAS—  Fox. — Olive  Borden  as  one  of  those 
terrible  movie  societj-  girls  that  ought  to  be  slapped  to 
sleep.      (Febrxiary.) 

PARIS  OR  BUST— Universal.— Glenn  Tryon  as  a 
boy  who  knew  he  was  a  fiver  "because  his  motlirr 
gave  his  father  the  air."  Anyway,  you'll  laugh  at  it. 
(December.) 

PERFECT  GENTLEMAN,  A— Pathe.— Monte 
Banks  in  a  series  of  unusually  good  gags.  Good  fun. 
(November.) 

PRETTY  CLOTHES— Sterling.— Moral:     Don't 

let  a  man  give  you  a  charge  account.      (February.) 

PRICE  OF  HONOR,  THE— Columbia.— An  old- 
time,  tear-jerking,  heart-stirring  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.      (December.) 

♦PRIVATE  LIFE  OF  HELEN  OF  TROY,  THE— 

First  National. — Not  the  satireof  Erskine's  novel,  but 
a  movie  buriesque  of  Homer  with  wise-cracking  titles. 
Maria  Corda  is  a  fascinating  new  type.    (January.) 

♦QUALITY  STREET  —  Metro-Goldwyn-Maver. 
—Marion  Davies  is  delightful  in  Sir  James  Bariie's 
fragrant  romance.  A  picture  jou'll  be  glad  to  see. 
(October.) 

RACING  ROMEO,  THE  —  FBO.  —  "Red  ' 
Grange  in  a  motor  maniac  j-arn.  A  weak  one. 
(January.) 


♦RAMONA  —  United  Artists.  —  A  pictoriallv 
lovely  version  of  Helen  Hunt  Jackson's  novel  of  early 
California.  Dolores  Del  Rio  is  excellent  as  the  Indian 
girl.      (March.) 


RED    RAIDERS, 

Mavnard  does  his  ve 
Thanks  to  the  star,  it  i 


THE— First  National.— Ken 
sion  of  the  Irish-Jewish  story, 
m'tsobad.     (October.)^ 


REJUVENATION  OF  AUNT  MARY,  THE— 

Pathe-De  Mille. — May  Robson  plays  the  screen  ver- 
sion of  her  famous  old  play.  It's  still  lots  of  fun. 
(October.) 

RENO  DIVORCE— Warners— Ralph  Graves  wrote 
the  story,  directed  it  and  acted  in  it.  The  strain  was 
too  much  for  him.  A  fair  film  with  May  Mc\voy  as 
its  ornamental  heroine.      ( November.) 


It  takes  all  this  equipment  to  film  a  scene  of  Colleen  Moore  walking 
down  the  street.  The  parasol-like  contraption  overhead  is  a  diffus- 
er,  to  keep  an  even  light  on  Colleen's  face  and  the  machine  at  the 
side  is  a  sxnall  spot-light.  The  scene  was  taken  in  Los  Angeles' 
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ROAD  TO  ROMANCE,  THE— Metro-Goldwyn 
Maver. — Joseph  Conrad's  novel  comes  out  as  an  un- 
real" movie.  Not  congenial  stuff  for  Ramon  Novarro. 
{Decernbcr,) 

ROSE-MARIE  —  Metro-Goldwyn-Mayer.  — 
.Adapted  from  the  musical  comedy.  Exciting  doings 
and  hot  romance  among  the  fur  traders  of  Canada. 
With  Joan  Crawford  and  James  M  urray.      (March.) 

*ROSE  OF  THE  GOLDEN  WEST— First  Na- 
tional.—Flappers  will  be  more  interested  in  the  ro- 
mantic love  scenes  between  Gilbert  Roland  and  Mary 
.Astor  than  they  will  be  in  the  story.  It's  a  beautiful 
picture.      (November.) 

SAILOR  IZZY  MURPHY— Warners  — George 
Jesscl  in  a  comedy  tliat  lias  thrills  and  a  bit  of  pathos. 
Lots  of  laughs.     ( November.) 

SAILOR'S  SWEETHEART,  A  —  Warners  — 
They  have  nerve  to  call  this  "comedy."  Don't  do  it 
again,  Louise  Fazendal    (December.) 

SATIN  WOMAN,  THE— Gotham.— One  of  Mrs. 
Wallace  Reid's  little  preachments — if  you  care  for 
them.     (October.) 

SECRET  HOUR,  THE— Paramount.— .-A  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted,"  which  proves  that  you  can't  make  pictures 
to  please  the  censors  and  have  'em  good.    (December.) 

SERENADE— Paramount. — Holding  a  stethoscope 
tn  the  fluttering  heart  of  a  musician.  One  of  Adolphe 
Menjou's  best,  and  brightened  by  the  presence  of 
Kathryn  Carver.      (February.) 

♦SHANGHAI  BOUND  —  Paramount.  —Adven- 
ture, action,  romance — all  set  in  the  vivid  background 
of  rambuctious  China.     Plus  Richard  Dix.  (October.) 

SHANGHAIED— FBO.—Eat-em-up  love  story 
about  a  sailor  and  a  dance-hall  girl.  You'll  laugh  in 
the  wrong  places.      (November.) 

SHEPHERD  OF  THE  HILLS— First  National.— 
Pure  Harold  Bell  Wright  and  very  sweet  and  clean. 
But  just  a  teeny,  weeny  bit  slow.     (March.) 

•SHE'S  A  SHEIK — Paramount. — Bebe  Daniels  is 
groat  as  a  wild  Arabian  gal  who  captures  her  man  and 
tames  his  proud  spirit.    A  swell  evening.    (January.) 


SHOOTIN"  IRONS— Paramount.— Jack  Luden 
and  Sally  Blane  in  a  jitney  story  of  the  great  hokum 
places.      (November.) 

SILK  LEGS— Fox.— Madge  Bellamy  demonstrates 
how  to  sell  silk  stockings.   Whipped  cream.    (March.) 

SILVER  SLAVE,  THE— Warners.— How  mother 
saves  daughter  from  the  clutches  of  a  villain  by  vamp- 
ing him  herself.  Ah,  these  self-sacrificing  mothers! 
(February.) 

--     -         -         --  a   re- 

SINEWS  OF  STEEL— Gotham.— A  story  of  big 
business  showing  how  the  big  steel  corporations  eat  up 
the  little  ones.     (November.) 

SMILE,  BROTHER,  SMILE— First  National.— 
Jack  Mulhall  in  an  amusing  story  of  a  shipping  clerk 
who  would  be  a  salesman.      (October.) 

SOFT  CUSHIONS— Paramount.— Douglas  Mac- 
Lean  tries  Broadway  gags  in  a  Bagdad  harem.  A  lot 
of  wise-cracking  and  a  real  hit  by  a  newcomer — Sue 
Carol.     (November.) 

*SORRELL  AND  SON— United  Artists.— Herbert 
Brenon  las  made  a  touchingly  beautiful  picture  of 
this  story  of  a  father's  love  for  his  son.  Superbly 
played  by  H.  B.  Warner  and  a  fine  cast.    (January.) 

SPORTING  GOODS— Paramount.— Richard  Dix 

plays  an  enterprising  salesman  in  one  of  the  verv  best 
current  light  comedies.     (March.) 

SPOTLIGHT,  THE— Paramount.— How  the  bu- 
colic Lizsie  Stokes  became  Rostova.  the  Russian  star. 
Nice  kidding  of  our  craze  for  foreign  names  and  tem- 
perament.   With  Esther  Ralston.     (January.) 

Metro-Goldwyn-Mayer. — Wil- 
Crawford  in  a  mildly  funny 
(October.) 


SPRING  FEVER 

liam  Haines  and  Jo 
comedy  built  about  the  golf 

STAND  AND  DELIVER— Pathe-De  Mille.— Rod 
La  Rocque  joins  the  French  Army  and  goes  on  a  ban- 
dit hunt.  Once  more  Lupe  Velez  registers  a  hit. 
(February.) 

STRANDED— Sterling.— A  little  girl  goes  to  Hol- 
lywood to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  wrote  the  story.     (December.) 

•STUDENT  PRINCE,  THE— Metro-Goldwyn- 
Mayer. — Ramon  Novarro  in  one  of  the  best  love 
stories  ever  written.  Unfort  unately  Norma  Shearer  is 
mis-cast  and  Lubitsch  isn't  completely  in  his  element. 
Very  much  worth  seeing,  nevertheless.  (November.) 
*SUNRISE-Fox.-F.  W.  Murnau  makes  the  camera 
do  everything  but  talk.  Short  on  story  interest  but 
long  on  beauty.     (December.) 

*SWIM,  GIRL,  SWIM— Paramount.— Credit 
Bi-be  Daniels  with  another  personal  hit  in  a  story  of 
college  life.  "Trude"  Ederle  is  in  it,  too.  Take  the 
whole  family.      (October.) 

SYMPHONY,  THE— Universal.— Rather  wooden 
story  that  tries  to  be  another  "Music  Master" 
Redeemed  by  a  good  performance  by  Jean  Hersholt. 


TARTUFFE,  THE  HYPOCRITE— UFA.—  Prov- 
ing that  when  the  Germans  make  a  bad  one,  they  can 
equal  Hollywood's  worst.  Even  Emil  Jannings  can- 
not save  it.      (October.) 

TEA  FOR  THREE— Metro-Goldwyn-Mayer.— 
The  second  of  the  Lew  Cody-Aileen  Pringle  comedies, 
neatly  and  subtlely  acted.     (November.) 

TELL  IT  TO  SWEENEY— Paramount.— Chester 
Conklin  and  George  Bancroft  in  a  comedy  that  is  just 
plain  nickelodeon.      (November.) 

TENDERLOIN— Warners.— This  time  the  dirty 
crooks  blame  the  robbery  on  Dolores  Costello,  thereby 
giving  her  an  excuse  to  register  a  lot  of  anguish. 
(March.) 

TEXAS  STEER,  A— First  National.— Will  Rogers, 
as  star  and  title-writer,  pokes  fun  at  our  politicians. 
A  picture  that  papa  \vill  enjoy.    (January.) 

THANKS  FOR  THE  BUGGY  RIDE— Universal. 
— Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and,  incidentally,  Laura  La  Plante's 
best.      (December.) 

THIRTEENTH  HOUR,  THE  —  Metro-Goldwyn- 
Mayer. — In  spite  of  trapdoors,  secret  panels  and 
underground  passages.  Napoleon,  the  crafty  canine, 
;  the  villains.      (February.) 


*TWO  ARABIAN  KNIGHTS— United  Artists.- 
Proving  that  there  can  be  something  new  in  war 
comedies.  Bright  I  Original!  Entertaining!  With 
Louis  Wolheim  and  William  Boyd.  See  it,  by  all 
means.      (November.) 

TWO  FLAMING  YOUTHiS  —  Paramount.  —  In- 
troducing a  new  co-starring  team — W.  C.  Fields  and 
Chester  Conklin.  Great  fun  for  all  but  the  chronic 
weepers.     (March.) 

TWO  GIRLS  WANTED— Fox.— Adapted  from 
John  Golden's  stage  success,  it's  a  nice,  amusing  story 
about  a  modern  working  girl.  With  the  adorable 
Janet  Gay  nor.    (February.) 

*UNCLE  TOM'S  CABIN— Universal.— Harriet 
Beecher  Stowe's  story  re-written  to  include  the  Civil 
War  and  Sherman's  March  to  the  Sea.  An  effective 
picture,  if  you  don't  mind  the  violence  done  to  the  old 
favorite.    (January.) 

UNDER  THE  BLACK  FLAG— Metro-Goldwyn- 
Mayer. — Flash,  "the  wonder  dog,"  shows  that  the 
doggies  did  their  share  in  fighting  the  war.    (March.) 

*VALLEY  OF  THE  GIANTS,  THE  —  First  Na- 
tional.— Splendidly  presented  drama  of  the  Big  Tree 
Country,  stirringly  acted  by  Milton  Sills  and  Doris 
Kenyon.      (February.) 

VERY  CONFIDENTIAL— Fox.— The  little 
sales-girl  ensnares  the  heart  of  society's  pet.  An  old 
story  in  new  clothes,  with  Madge  Bellamy  as  the 
lucky  gal.      (February.) 

WANTED,  A  COWARD— Sterling.— If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

13  WASHINGTON  SQUARE  —  Universal.  —  A 
mediocre  mystery  story  with  a  bit  of  comedy  and  a 
good  performance  by  ZaSu  Pitts.  Also  with  Alice 
Joyce  and  Jean  Hersholt.    Only  fair.     (March.) 

WEST  POINT  —  Metro-Goldwyn-Mayer.  — 
William  Haines  in  a  gay  and  amusing  comedy  of  the 
U.  S.  Military  Academy.  Joan  Crawford  is  the  girl. 
(February.) 

WHIP  WOMAN,  THE— First  National.— A  pic- 
ture so  badly  made  the  audience  laughed.  Through 
bad  judgment  of  a  reviewer,  we  failed  to  warn  you 
how  bad  it  was.     (March.) 


WILD  GEESE— Tiffany.— Sincere  presentation  of 
Martha  Ostenso's  novel,  with  a  fine  characterization 
by  Russell  Simpson.    (January.) 

♦WIND,  THE— Metro-Goldwyn-Mayer.— Lillian 
Gish  in  a  fine  and  impressive  drama  of  life  on  a  Texas 
ranch.  Excellent  support  by  Lars  Hanson  and 
Montagu  Love.      (November.) 

WISE  WIFE,  THE— Pathe-De  Mille.— One  of 
those  stories  about  How  to  Hold  a  Husband — if  you 
are  interested.    (January.) 

WIZARD,  THE — Fox. — One  of  Monsieur  Leroux's 
most  thrilling  mystery  yarns  enacted  by  Edmund 
Lowe  and  other  capable  performers.    (February.) 

WIZARD    OF    THE    SADDLE,    THE— FBO.— 

Western    hokum,    made    enjoyable     by    the     horse- 
manship of  Buzz  Barton,  the  freckled  kid.  (February.) 

WOLF  FANGS— Fox.— Ranger,  the  dog,  saves  the 
poor  gal  from  her  brutal  step-father.  Elemental 
amusement.      (February.) 

WOMAN  WISE— Fox.— Showing  the  downfall  of 
a  hard-boiled  bachelor.  With  Walter  Pidgeon  and 
June  Collyer.    (February.) 

WOMEN'S  WARES— Tiffany.— Evelyn  Brent  as 
a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.     (December.) 

WRECK  OF  THE  HESPERUS,  THE— Pathe-De 
Mille. — Elmer  Clifton,  who  made  "Down  to  the  Sea 
in  Ships,"  has  again  turned  out  some  glorious  sea 
stuff.  Longfellow's  ballad  has  been  movie-ized,  but 
you'll  like  Virginia  Bradford.     (February.) 


Every  ailverllBcmcnt  In  niOTOI'LAy  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


143 


Love  Pictures 


[  CONTINUED  FROM  PAGE  41  ] 

And  there  can  be  no  doubt  that  the 
psychoanalytic  hypothesis  of  love  is  the 
most  rational  and  convincing  explanation 
yet  made. 

Oedipus,  you  know,  was  the  son  of 
Laius,  the  king  of  Thebes.  And  Laius 
had  been  warned  by  an  oracle  that  he 
would  be  slain  by  his  own  son.  Therefore 
Laius  gave  the  baby  Oedipus  to  a  shep- 
herd with  orders  that  it  be  put  to  death. 

But  the  shepherd  took  compassion  on 
the  child,  spared  his  life,  and  Oedipus 
grew  to  man's  estate  little  suspecting  his 
royal  parentage. 

One  day  Oedipus  met  Laius  in  a  narrow 
mountain  pass.  They  quarreled.  Oedi- 
pus slew  Laius,  not  knowing  that  his 
victim  was  his  father. 

Later,  Oedipus  came  to  the  gates  of 
Thebes  where  a  monster,  the  Sphinx, 
guarded  the  entrance  gates  and  pro- 
pounded a  riddle  to  every  passer-by. 
Those  who  were  unable  to  solve  the  riddle 
were  devoured  by  the  Sphin.x.  But  Oedi- 
pus solved  the  riddle  and  killed  the 
Sphinx. 

THE  city  of  Thebes  was,  of  course, 
overjoyed  to  be  rid  of  the  monster. 
In  gratitude  it  made  Oedipus  king  and 
offered  him  in  marriage  Jocasta,  the  wife 
of  the  former  monarch. 

Thus,  unknowingly,  Oedipus  married 
his  own  mother! 

This  story  of  Sophocles,  also  the  similar 
idea  in  the  drama  of  "Electra,"  has  been 
used  time  and  again  in  novels,  plays  and 
poems  since  the  Greek  poet  first  wrote  it. 

The  point  is  that  it  emphasizes  and 
stresses  the  overpowering  love  existing 
between  son  and  mother  (Oedipus  com- 
plex) and  between  daughter  .and  father 
(Electra  complex). 

On  this  basis  all  out  future  loves  are 
fashioned. 

A  man  tends  to  fall  in  love  with  women 
who  remind  him — generally  unconscious- 
ly— of  his  mother. 

A  woman  finds  herself  attracted  by 
men  who  represent  the  childhood  concept 
which  she  had  of  her  father. 

This  does  not  mean,  to  be  sure,  that 
you,  a  woman,  will  fall  in  love  with  a  fat 
man  or  a  tall  man  if  your  father  happened 
to  be  stout  and  six  feet  high. 

Nor  does  it  mean  that  you,  a  man,  will 
fall  in  love  with  women  who  resemble 
your  mother  in  physical  attributes. 

WHAT  you  really  try  to  reduplicate 
is  a  sort  of  composite  image  of  the 
father  or  mother. 

You  fall  in  love  with  those  of  the  oppo- 
site sex  who  come  nearest  to  duplicating 
this  fused  mental  image  of  the  past  which 
has  fixed  itself  in  your  mind  as  a  child. 

For  instance,  the  mental  image  of  her 
father  that  may  write  itself  indelibly  upon 
a  girl  child's  mind  may  not  be  that  of  a 
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Photoplay  Magazine— Advertising  Section 


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We  are  attracted  not  only  by  sex  love,  but  by  love  in  any  form. 
"Beau  Geste"  had  a  universal  appeal  because  it  presented  a  study 
in  ideal  brother  love.  Such  stories  appeal  to  us  because  they  show 
a  pure  and  high  emotional  feeling  that  is  seldom  possible  to  realize 
in  everyday  life 


her  fatlier  in  this  way.    She  forgets  that         When  boys  play  there  is  the  heroism, 
these  qualities  of  the  father  impressed  her     adventure    and    bravura    that    even    as 


more  than  anything  else  about  him. 

Xe\ertheless,  kindness,  forgiveness, 
and  understanding  will  motivate  her  al- 
\va\s  and  most  pronouncedly  throughout 
life. 

SHE  will  fall  in  love  with  men  who  are 
kind,  forgi\ing  and  understanding. 

She  will  remain  unmo\ed  by  men  who 
lack  these  traits  even  if  they  possess  other 
admirable  qualities. 

We  lo\-e,  in  other  words,  according  to 
the  pattern  by  which  we  loved  the  parent 
of  the  opposite  se.x. 

And  that  answers  the  question,  "Why 
always  love?" 

E\en  if  we  ha\e  been  lucky  in  finding 
a  father  or  a  mother  duplicate,  that  dupli- 
cate is  bound  to  leave  something  to  be 
desired. 

And  so  we  keep  on  searching. 

So  we  are  always  interested  in  love. 

Another  important  factor  must  also  be 
considered  in  analysing  lo\e. 

This  concerns  romance. 

Romance  also  starts  during  childhood 
days. 

E\-ery  man  and  woman  is  a  born 
romanticist! 


adults  we  like  to  associate  with  \irile 
masculinity.  Romance  again!  And  ro- 
mance that  soon  in  the  child's  mind  links 
these  bra\e  heroics  with  some  dainty 
little  feminine  playmate  that  has  stirred 
the  boy's  imagination. 

Children  think  more  about  each  other 
in  love  relationships  chan  we  realize. 
And,  of  course,  there  is  always  Daddy  and 
Mummie  to  love  and  marry  when  they 
grow  up! 

To  be  sure,  these  childish  love  fancies 
are  perfectly  natural.  They  are  in- 
stinctive.   ' 

Life  is  a  continuous  process  from  birth 
on.  There  are  no  interruptions  or  hia- 
tuses in  emotional  development. 

Fundamentally  the  human  animal  ma- 
tures in  order  to  reproduce  his  kind.  And 
in  order  that  opposite  sexes  may  be  irre- 
sistibly attracted  to  each  other  and  the 
kind  be  reprodiTced,  love  is  absolutely 
essential. 

Love,  especially  romantic  love,  auto- 
matically fans  itself  into  a  flame  in  e"\"ery 
human  heart. 

No  human  can  be  without  it.  To  be 
without  it  would  not  be  human. 

We  all  know  indi\"iduals  who  seem  to 
rest  content — perhaps  are  e\-en  tolerably 


Observe  children  at  play.     Listen  to 
their  chatter.    Watch  the  way  they  spin     happy — without  apparent  love, 
yarns  and  build  dream  castles. 

"Now  you  must  be  a  man  on  the 
trolley,"  said  a  fi\e-year-old  to  her  sister 
of  seven.  "And  I  must  be  a  lady  and  you 
must  mo\e  over  and  gi\e  me  a  seat  and  I 
must  thank  you  and  we  must  talk."  Then 
after  catching  her  breath  she  continued, 
"When  we  get  home  I  must  invite  you  in 


BUT  lo\e  is  hidden  deep  down  within 
the  inner  reaches  of  their  private  emo- 
tional li\'es  just  the  same. 

They  may  substitute  their  natural  ro- 
mantic love.  After  the  outpouring  of 
affection  and  de\-otion  and  sacrifice 
toward  a  member  of  the  opposite  sex  has 
to  tea  and  we  must  talk  about  running  proved  disappointing  the}'  may  try  to 
away  and  getting  married."  deny  that  lo\e  is  worthwhile.    They  may 

There  is  always  romance  in  a  child's     start  to  lo\e  a  cat  or  a  canary,  a  flower 
play.    \Vhen  it's  a  little  girl  it  is  nearly     garden,  an  orphan,  an  aged  couple, 
always  tinged  with  lo\e.    Not  always  ro-         Always,    nevertheless — first,    last  ,and 
maniic  lo\e,   to  be  sure.     Usually  it  is     alway.s — love  is  motivating,  guiding  and 
mother   love  in   the   beginning — embryo     directing  them.  t 

maternity  going  out  to  her  dollies.  A  motion  picture,  therefore,  to  be  sure- 


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fire  and  have  an  unlimited  general  appeal 
must  deal  with  some  form  of  love. 

The  entire  story  need  not  necessarily 
be  concerned  with  love.  The  story  need 
not  be  only  sex  love  either.  It  may  deal 
with  anv  of  the  varieties  of  sexual  or  non- 


45 


It  is  curious  to  note  also  that  everybody 
has  a  tendency  to  think  the  other  fellow  is 
better  off  in  lo\-e  than  he  is. 


HOW  often   I  hear  patients  say, 
wish    I    were   in   So-and-.So's   si: 


I 
and-.So's   shoes. 

sexual  love  that  life  presents — the  more  How  happy  she  seems  to  be.  She  cer- 
idealized  it  is,  the  better — but  the  love  tainly  must  have  picked  a  perfect  lovei." 
element  must  appear  somewhere  else  the  And  men  talk  that  way,  too,  about  the 
picture  is  bound  to  expire  from  sheer  in-  wi\-es  and  sweethearts  of  their  acquaint- 
herent  inanition.  ance. 

Little  do  we  know  that  the  people  we 

INDEED,  the  same  holds  true  regarding  en\'y  are  as  starved  as  we  are  for  love.  It 
other  forms  of  expression.  You  may  is  true  of  love  as  of  most  other  \-alues  in 
write  a  play  that  lea\-es  love  entirely  out  life  that  "the  rosiest  apples  are  always  on 
of  tlie  reckoning.  Try  to  get  a  production  the  other  side  of  the  wall." 
on  it,  however,  and  see  how  far  you  get.  Curiosity  makes  us  want  love  on  the 
Try  to  sell  a  loA'eless  novel  to  a  publisher  screen.  We  harbor  an  irresistible  impulse 
and  hear  what  he  says.     Send  a  short     to  compare  our  own  love  lives  with  the 


story  devoid  of  love  to  the  various  maga- 
zines and  count  the  number  of  times  it  is 
mailed  back. 

I  talked  over  this  subject  with  an  editor 
recently,  and  this  is  what  he  said:  "The 
reason  we  insist  so  much  upon  the  love 


idealized  portraits  we  behold.  We  want 
to  see  how  others  make  love  and  are  loved. 
The  psychological  principle  of  "Identi- 
fication" is  likewise  operative  here.  We 
obtain  a  vicarious  pleasure  in  identifying 
ourselves  with  the  lovers  on  the  screen 


story  is  because  none  of  us  is  perfectly  and  we  get  a  "kick"  out  of  their  love 

adjusted  in  our  love  lives.     That's  my  scenes  because  we  feel  ourselves  in  their 

theory.    What  do  you  think  of  it?"  place. 

Well,    I   told   him   that   I   agreed  one  I  had  a  married  woman  confess  to  me 

hundred  per  cent.    But  the  theory  is  not  once  that  attendance  at  the  movies  kept 

new.    Psychologists  know  that.  So  do  the  her  from  falling  in  love  with  some  other 

doctors.     Especially  are  maladjustments  man. 


of   the   love   life   brought   home   to   the 
psychoanalysts. 

Scarcely  a  person  enters  the  consulting 
room  of  the  analyst  whose  love  life  is 
completely  appeased. 

MARRIED  folk  complain  that  the 
husband  or  wife,  as  the  case  may  be, 
has  ceased  to  love  or  is  annoyed  at  being 
loved.     The  unmarried  are  groping  and 


"When  my  husband  is  cold  and  indif- 
ferent,"  she  said,  "I   always  select  the 
most  romantic  picture  I  can  find  and  I 
spend  the  afternoon  there.  It  makes  me 
feel  better.    It  soothes  the  hurt.    I  let  my 
fancy  carry  me  along  on  the  wings  of  love. 
I  laugh  and  I  cry  and  my  heart  beats  fast 
— all  by   myself — where   nobody  in  the 
darkness  pays  any  attention  to  me. 
"And  then  when  I  get  home,  after  this 
battling  with  the  problems  of  finding  the     emotional    spree,    my    husband    doesn't 
"one  and  only"  upon  whom  to  project     appear  such  a  bad  fellow  after  all!" 


their  love. 

Young  and  old,  all  kinds  and  conditions 
or  mankind,  are  thinking  about  love, 
wondering  about  it,  trying  to  express  it, 
sighing  over  a  past  that  in  retrospect 
seems  fraught  with  love,  prayerfully 
longing  for  a  future  that  will  at  last  ap- 
pease that  ever-present,  ever-nagging  love 
hunger.  Everybody,  you  see,  is  trying  to 
pacify  that  relentless  Oedipus  Complex. 

And  nobody  quite  succeeds! 


Each  and  every  single  one  of  us  is 
essentially,  instinctively,  polygamous. 

We  may  not  give  way  to  the  impulse, 
but  it  can  torment  just  the  same. 

THE  movies  are  a  pretty  good  and  safe 
way  of  getting  a  lot  of  that  philander- 
ing feeling  off  one's  chest. 

When  producers  continue  to  put  love 
into  their  productions  they  are  following 
a  most  sane,  sensible,  needful  and  even 


Is  it  any  wonder,  then,  that  everybody     scientific  policy. 


wants  love  in  his  entertainment? 

Is  it  not  understandable  that  that 
photoplay  is  likely  to  score  highest  which 
concerns  itself  most  with  love? 


Everybody  suffers  with  an  over-plus 
of  love. 

Pictures  are  wise  in  attempting  to  ab- 
sorb this  surplus. 


crying  and  they  thought  she  was  crying 
over  the  actors  in  the  movies.  They 
didn't  know  she  was  crying  for  her  own 
boy  who  was  lost. 

Her  own  boy  saved  his  chum  in 
battle,  but  all  his  mother  has  left  is  a 
Victoria  Cross. 

M.  M. 


Windsor,  Ontario. 
I  am  an  old  lady  and  my  only  amuse- 
ment is  a  moving  picture  show.  I  try 
to  pick  the  best  ones.  So  I  went  to 
"The  Big  Parade"  and  that  scene 
where  Jim  saves  his  chum  brought 
back  memories.  All  the  people  who 
sat  near  me  only  saw  a  little  old  woman 

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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"ABIE'S  IRISH  ROSE"— Paramount.— From 
the  plav  by  Anne  Nichols.  Scenario  by  Jules  Furth- 
man.  Directed  bv  Victor  Fleming.  Photography  by 
Harold  Rosson.  The  cast:  Abie  Levy,  Charles 
Rogers;  Rosemary  Murphy,  Nancy  Carroll;  Solomon 
Lew.  Jean  Hersholt;  Patrick  Murphy,  J.  Farrell 
MacDonald;  Isaac  Cohen.  Bernard  Gorcey;  Mrs. 
Uaac  Cohen.  Ida  Kramer;  Father  Whalen,  Nicholas 
Cogley;  French  War  Bride,  Thelma  Todd. 

"A  BLONDE  FOR  A  NIGHT"— Pathe-De 
MiLI.E.— From  the  story  by  VVillson  Colhson. 
Adapted  by  F.  McGrew  Willis.  Directed  by  E. 
Mason  Hopper.  The  cast:  Marie,  Mane  Prevost; 
Hector,  Franklin  Pangborn;  Bob,  Harrison  Ford; 
George,  T.  Roy  Barnes;  Valet,  Lucien  Liltlefield. 

"BRINGING  UP  F.A.THER"— M.-G.-M.— From 
the  ston-  bv  Frances  Marion.  Directed  by  Jack  Con- 
way The  cast:  Jtggs,  J.  Farrell  MacDonald;  Din/y 
Moore.  Jules  Cowles;  Maggie.  Polly  Moran;  Annie, 
Marie  Dressier;  Ellen.  Gertrude  Olmstead;  Dennis, 
Grant  Withers;  The  Count,  Andre  De  Segurola;  Mrs. 
Smith.  Rose  Dione;  Mr.  Feit'lbaum,  Tenen  Holtz; 
Os:eald.  David  Mir;  The  Dog,  Toto. 

"  BURNING  DAYLIGHT"— First  National.— 
From  the  story  by  Jack  London.  Directed  by 
Charles  J.  Brabin.  The  cast:  Burning  Daylight, 
Milton  Sills;  The  Virgin,  Doris  Kcnyon;  French  Louie, 
Arthur  Stone;  English  Harry.  Big  Boy  Williams; 
Morton.  Lawford  Davidson;  Martha  Fairbee.  Jane 
Will  ton;  Blake.  Stuart  Holmes;  John  Dossetl,  Edmund 
Breese. 

"CHASER,  THE" — First  National. — From  the 
ptorv  bv  Arthur  Riplev.  Directed  by  Harry  Langdon. 
Tlie  ca^t:  Wife,  Gladys  McConnell;  Husband,HaTry 
Langdon;  Hi-r  Mother,  Helen  Hayward;  His  Buddy, 
William  Jaimison;  The  Judge,  Charles  Thurston. 

"COHENS  AND  KELLYS  IN  PARIS,  THE"— 
Universal. — Directed  bv  William  Beaudine.  The 
cast:  Mr.  Cohen,  George  Sidney;  Mr.  Kelly.  J.  Farrell 
MacDonald;  Mrs.  Cohen.  Vera  Gordon;  Mrs.  Kelly, 
Kate  Price;  Patrick  Kelly.  Charles  Delaney;  Sadye 
Cohen.  Sue  Carol;  Paulelte.  Gertrude  .\stor. 

"CUPID'S  KNOCKOUT"  —  Hercules.  — 
Directed  by  Bruce  Mitchell.  The  cast:  Andree 
Turneur.  Frank  Merrill,  Marce  Charles,  George 
Kotsonaros. 

"CZAR  IVAN  THE  TERRIBLE"  —  Sovkino- 
Amkino.— Directed  b>-  Tarish.  The  cast:  Ivati,  the 
terrible,  L.  M.  Lenidoff.  Remainder  of  the  cast 
playea  by  the  Moscow  .-^rt  Plaj-ers. 

"DOOMSD.'^.Y" — Paramount. — From  the  story 
bv  Warwick  Deeping.  Adapted  by  Doris  Anderson 
and  Donald  W.  Lee.  Directed  by  Rowland  V.  Lee. 
The  cast:  Ma'-y  \'uier.  Florence  Vidor;  Arnold  Furze, 
Gar\-  Cooper;  Percival  Fream,  Lawrence  Grant; 
Ca plain  Hcsketh  Viner,  Charles  A.  Stevenson. 

"DRUMS  OF  LOVE"— United  Artists.— From 
the  story  b\-  Gerrit  J.  Lloj'd.  Directed  by  D.  W. 
Griffith.  The  cast:  Princess  Emanuella.  Mary  Phil- 
bin;  Duke  Calhos  De  Ahia.  Lionel  Barrvmore;  Count 
Leonardo  de  Alris.  Don  Alvarado;  Bopi.  Tully 
Marshall;  Raymond  of  Boston.  William  Austin; 
Duchess  de  Alvia.  Aunt  to  Calhos  and  Leonardo. 
Eugenie  Bessertr;  Duke  of  Granada.  Charles  Hill 
Mailts;  The  Maid,  Rosemary  Cooper;  The  Little 
Sister,  Jo>ce  Coad. 

"FEEL  MY  PULSE"— Paramount.— From  the 
story  by  Howard  Emmett  Rogers.  Scenario  by 
Keene  Thompson  and  Nick  Barrows.  Directed  by 
Gregory  La  Cava.  Photography  by  J.  Roy  Hunt. 
The  cast:  Barbara  Manning.  Bebe  Daniels;  Her 
Uncle  Wilburforce.  Melbourne  MacDowell;  Her  Uncle 
Edgar.  Gtorge  Irving;  Her  Sanitarium^ s  Caretaker. 
Charles  Sellon;  Her  Patient.  Heinle  Conklin;  Her 
Nemesis,  William  Powell;  Her  Problem,  Richard 
Arlen. 

"GRAFT"— Universal.— Directed  by  George 
Mclford.  The  cast:  John  Ballard  Jr..  Malcolm 
MacGregor;  June  Weslcolt.  Marceline  Dav;  Daniel 
Steele.  Lewis  Stone;  John  Ballard.  Henry  Walthall; 
Boss  Moloney.  Robert  Emmet  O'Connor;  Callahan, 
Hayden  Stevenson;  Butler.  Wilson  Bcnge;  Organist, 
Morgan  Thorpe;  Criminal,  Boris  Baronoff;  Cyrus 
Hadelt,  Robert  Ellis. 

"FOREIGN  LEGION,  THE"— Universal.  — 
From  the  story  by  I.  A.  R.  Wylie.  Adapted  by 
Charles  Kenyon.  Directed  by  Edward  Sloman. 
Photneraphy  bv  Jackson  Rose.  The  cast:  Richard, 
Norman  Kerry;  Colonel  Destinn.  Lewis  Stone; 
Captain  Arnaud.  Crauford  Kent;  5y/i'in,  Mary  Nolan; 
Gahrielle,  June  Marlowe;  Corporal  Golz,  Walter 
Perry. 

"HER  GREAT  ADVENTURE  "—A.  G.  Steen, 
Inc. — Directed  by  Jno.  E.  Incc.  The  cast:  Herbert 
Riiwlinson,  Grace  D'Amond,  Vola  Vale. 

"ins  COUNTRY"— Pathe-De  Mille.— From 
the  story  by  Julien  Josephson.  Scenario  bv  Sonya 
l.evien  and  Julien  Josephson.  Directed  by  William 
K.  Ilowarn.  The  cast:  Peter  Plecznick,  Rudolph 
Schildkraut;   Mrs.   Plecznick,   Louise   Dresser;  Eric, 


Milton  Holmes;  Marthe,  Linda  Landi;  Sokol,  Fritz 
Feld;  Dan  Casey,  Lucien  Littlefield;  Judge  Gresham, 
Robert  Edeson;  5eymoM,  Louis  Natheaux. 

"HONEYMOON  FLATS"  —  Universal.  — 
Directed  by  Millard  Webb.  The  cast:  Jim  Clayton, 
George  Lewis;  Lela  Clayton,  Dorothy  Gulliver;  Mrs. 
Garland.  Kathleen  Williams;  Anthony  Weir,  Ward 
Crane;  Tom  Twitchell,  Bryant  Washburn;  Mr.  Gar- 
land, Phillips  Smalley;  Jane  Twilchell,  Jane  Winton; 
Mrs.  French,  Patricia  Caron;  Mr.  French,  Eddie 
Plullips. 

"I  TOLD  YOU  SO"— Leigh  Jason  Production. 
— Directed  by  Leigh  Jason.  Written  by  Leigh  Jason. 
The  cast:  John  Westwood,  Mary  Turner,  De  Sacia 
Moers. 

"LOVE  ME  AND  THE  WORLD  IS  MINE"  — 
Universal. — Directed  by  E.  A.  Dupont.  The  cast: 
Hannerl,  Mary  Philbin;  Vigilatti,  Norman  Kerry; 
Mitzi,  Betty  Compson;  Vanden  Bosch,  H.  B.  Wal- 
thall; Mrs.  Vanden  Bosch.  Mathilde  Brundage;  BiUy, 
Albert  Conti;  Mrs.  Thule,  Martha  Mattox;  Mr. 
Thiile.  Charles  Sellon;  Porter,  George  Siegmann; 
Orderly,  Robert  Anderson. 

"MONKEY  BUSINESS"— M.-G.-M.— From  the 
story  by  Edward  Sedg\vick  and  Lew  Lipton.  Con- 
tinuity by  Richard  Schayer.  Directed  by  Edward 
Sedgwick.  Photography  by  Merritt  B.  Gerstad.  The 
cast:  Oscar  Thrush,  Karl  Dane;  Francis  Byrd,  George 
K.  Arthur;  Belle,  Louise  Lorraine;  Mr.  Magoo,  Sydney 
Jarvis;  Bimbo,  Fred  Humes. 

"NIGHT  FLYER,  THE"— Pathe-De  Mille.— 
From  the  story  by  Frank  Hamilton  Spearman. 
Adapted  by  Walter  Woods.  Directed  by  Walter 
Lang.  The  cast:  Jimmy  Bradley,  William  Boyd; 
Kale  Murphy,  Jobyna  Ralston;  Bat  Mullins,  Philo 
McCullough;  Mrs.  Murphy.  Ann  Schaeffer;  Bucks. 
Division  Superintendent,  DeWitt  Jennings;  Tony, 
John  Milerta;  Freddy,  Robert  Dudley. 

"PHANTOM  OF  THE  R.A.NGE"— FBO.— From 
the  story  by  Oliver  Drake.  Continuity  by  Frank 
Howard  Clark.  Directed  by  James  Dugan.  Photog- 
raphy by  Nick  Musuraca.  The  cast:  Duke  Carlton, 
Tom  Tyler;  Tim  O'Brien,  Charles  McHugh;  Palsy 
O'Brien,  Duane  Thompson;  Spuds  O'Brien,  Frankie 
Darro;  "Flash"  Corbin,  James  Pierce;  Vera  Van 
Swank,  Marjorie  Zier;  Banning  (not  cast);  Beans, 
Himself. 

"PRINCE  OF  PEANUTS,  THE"— Universal. 
— Continuity  by  Carl  Krusada.  Directed  bv  William 
J.  Craft.  The  cast:  Leonard  Higgins.  Glen  Tryon; 
Beatrice  Fairbanks.  Marion  Nixon;  Prince  Hendryx. 
Raymond  Keane;  Count  Olaf,  Mario  Carillo;  E.  H. 
Harriman.  E.  H.  Harriman;  the  Turk.  Bull  Montana; 
Tony.  Cesare  Gravina;  The  Editor.  Robert  T.  Haines; 
The  Secretary,  Leo  White;  The  Stenographer,  Violet  La 
Plante. 

"RUSH  HOUR,  THE"— Pathe-De  Mille.— 
From  the  story  by  Frederick  and  Fanny  Hatton. 
Continuity  by  Zelda  Sears  and  Fred  Stanley. 
Directed  by  E.  Mason  Hopper.  The  cast:  Margie 
Dolan,  Marie  Prevost;  Dan  Morley,  Harrison  Ford; 
Yvonne  Doree.  Seena  Owen;  Wm.  Finch,  David 
Butler;  Dunrock,  Ward  Crane. 

"SADIE  THOMPSON"— United  Artists.— 
From  the  storv  by  W.  Somerset  Maugham.  Adapted 
by  Raoul  Walsh.  Directed  by  RaoLil  Walsh.  The 
cast:  Oliver  Hamilton,  Lionel  Barr\'more;  il/r5. 
Hamilton,  Blanche  Friderici;  Dr.  McPhail.  Charles 
Lane;  Mrs.  McPhail.  Florence  Midgley;  Joe  Horn,  the 
trader.  James  A.  Marcus;  Ameena.  Sophia  Artega; 
Quartermaster  Bales.  Will  Stanton;  Sergeant  Tim 
O'Hara.     Raoul    Walsh;    Sadie    Thompson,    Gloria 


"SAN  FR-A.NCISCO  NIGHTS" —  Gotham. — 
From  the  story  by  Leon  De  Costa.  Adapted  by 
Harold  Shumate.  Directed  by  R.  William  Neil.  The 
cast:  John  Vickery,  Percy  Marmont;  Flo.  Mae 
Busch;  "Red."  Tom  O'Brien;  "Flash"  Hoxy.  George 
Stone;  Ruth,  Alma  Tell;  Tommie.  Hobart  Cavanaugh. 

"SATAN  AND  THE  WOMAN  "—Excellent.— 
From  the  story  hy  Marj'  Lanier  Magruder.  .Adapted 
by  Adrian  Johnson.  Directed  by  Burton  King. 
Photography  by  Art  Reeves.  The  cast:  Judith 
Matheny,  Claire  Windsor;  Edward  Daingerfield, 
Cornelius  Keefe;  Mrs.  Leone  Daingerfield.  Vera  Lewis; 
Ellison  Colby.  Thomas  Holding;  Dallam  Colby.  James 
Mack;  Hetty  Folinsbee,  Edithe  Yorke;  Clementine 
Alwood,  Madge  Johnston;  The  Three  Graces,  Sjbil 
Groye,  Lucy  Donahue,  Blanche  Rose. 

"SCARLET  YOUTH"— S.  S.  Millard.— 
Directed  by  William  Curran.  The  cast:  Corliss 
Palmer,  David  Findlay,  Mar>-  Foy,  Ruth  Robinson. 


"SKYSCRAPER"  —  Pathe-De  Mille.  —From 
the  story  by  Dudley  >turphj'.  Adapted  by  Elliott 
Clawson  and  Tay  Garnctt.  Directed  by  Howard 
Higgin.  The  cast:  B/o«dy,  William  Boyd;  5t«m,  Alan 
Hale;  Sally,  Sue  Carol;  Jane,  AlberU  Vaughn.  •  . 


Every  advertlBcroent  In  PHOTOPLAY  MAGAZIXB  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"SMART  SET,  THE"— M.-G.-M.— Directed  by 
Jack  Conway.  The  cast:  Tommy  Van  Aster,  WiWiam 
Haines;  Polly,  Alice  Day;  Nelson,  Jack  Holt;  Duranl, 
Hobart  Bosworth;  Sammy,  Coy  Watson,  Jr.;  Cynthia, 
Constance  Howard. 

"SOFT  LIVING"— Fox.— From  the  story  by 
Grace  Mack.  Scenario  by  Francis  Agnew.  Directed 
by  James  Tinling.  The  cast:  Nancy  Woods,  Madge 
Bellamy;  Stockney  Webb,  John  Mack  Brown;  Lorna 
Estabrook,  Mary  Duncan;  Billie  Wilson,  Joyce 
Compton;  Philip  Estabrook,  Thomas  Jefferson; 
Rodney  S.  Bowen,  Henry  Kolker;  Mrs.  Rodney  S. 
Bowen,  Olive  Tell;  Office  Boy,  Maine  Geary;  Hired 
Man,  Tom  Dugan;  Swede,  David  Wengren. 

"SQUARE  CROOKS"— Fox.— Directed  by  Lew 
Seller.  The  cast:  Eddie  EUiso}i,-JU>bert.ATmstTong; 
Lany  Scott,  John  Mack  Bro\vn;  Jane  Brown,  Dorothy 
Dwan;  Kay  Ellison,  Dorothy  Appleby;  Mike  Ross, 
Eddie  Stiirgis;  Harry  Welsh,  Clarence  Burton;  Phillip 
Carson,  Jackie  Coombs;  Slavey,  Lj'dia  Dickson, 

"STREET  ANGEL"— Fox.— From  the  story  by 
Monckton  Hoffe.  Scenario  by  Marion  Orthe. 
Directed  by  Frank  Borzage.  The  cast:  Maria,  Janet 
Gaynor;  Angelo,  Charles  Farrell;  Young  Carabinci, 
Alberto  Rabagliati;  Rio,  Giiido  Trento;  Massetto, 
Henry  Armetta;  Beppo,  Louis  Liggett;  Bimbo,  Milton 
Dickinson;  Andrea,  Helen  Herman;  Nina,  Natalie 
Kingston. 

"TRAIL  OF  '98,  THE"— M.-G.-M.— From  the 
story  by  Robert  W.  Service.  Adapted  by  Frances 
Marion.  Directed  by  Clarence  Brown.  The  cast: 
Larry,  Ralph  Forbes;  Berna,  Dolores  Del  Rio;  Jack 
Locaslo,  Harry  Carev;  Salvation  Jim,  Tully  Marshall; 
Mrs.  Bulkey,  Emily  Fitzroy;  Mr.  Bulkey,  Tencn 
Holtz;  Old  Swede,  Russell  Simpson;  Lars  Petersen, 
Karl  Dane;  Berna's  Grandfather,  Cesare  Gravina; 
Samuel  Fool,  the  worm,  George  Cooper;  Mother's  Boy, 
Johnny  Downs;  Engineer,  E.  AUyn  Warren. 

"UNDER  THE  TONTO  RIM "— Par.«iount.— 
From  the  story  by  Zane  Grey.  Scenario  by  J.  Walter 
Ruoen.  Directed  by  Herman  Raymaker.  The  cast: 
Edd  Denneade,  Richard  Arlen;  Dad  Denneade,  Alfred 
Allen;  Lucy  Watson,  Mary  Brian;  Bud  Watson,  Jack 
Luden;  5am  Spralls,  Harry  T.  Morey;  "One  Punch," 
William  Franey;  Berl,  Harry  Todd;  "Killer"  Higgins, 
Bruce  Gordon;   Middleton,     Jack     Byron. 

"WALLFLOWERS"— FBO.— From  the  story  by 
Temple  Bailey.  Adapted  by  Dorothy  Yost.  Directed 
by  Leo  Meehan.  Photography  by  Al  Siegler.  Th( 
cast:  Rufus,  Hugh  Trevor;  Sherry,  Mabel  JuliennL 
Scott;  Mr.  Fisk.  Charles  Stevenson;  Sandra,  Jean 
Arthur;  Theodora,  Lola  Todd;  Mrs.  Claybourne,  Mrs 
T.  Pigott;  Maulsby,  Crauford  Kent;  Markham, 
Reginald  Simpson. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  55  ; 


SCARLET  YOUTHS.  S.  Millard 

SUPPOSED  to  be  a  great,  moral  film  ex- 
posing the  social  evils.  Purporting  to 
have  high  educational  value.  Advertised  as 
just  the  picture  to  make  the  wayward  boy 
and  girl  turn  from  the  path  of  evil  and  rush 
back  home.  Razzberries!  Pictures  like  this 
are  the  cheapest,  shoddiest  and  lowest  de- 
vice for  coaxing  quarters  from  morbid 
morons.  If  you  are  foolish  enough  to  be 
misled  by  the  "men  only"  or  "women 
only  "  sign  and  the  sensational  advertising, 
you'd  better  consult  a  psycho-analyst.  A 
few  more  of  these  so-called  reform  films 
threaten  to  lower  the  decent  standards  of 
the  screen  and  Piiotoflay  is  only  giving 
space  to  this  one,  in  order  to  warn  you 
against  being  taken  in  by  this  sort  of  filtli. 
It  is  no  credit  to  Corliss  Palmer  and  the 
other  players  that  they  would  accept  money 
for  appearing  in  a  mess  of  this  nature. 


GRAFT—Universal 

GEORGE  MELFORD,  directing  this 
Peter  B.  Kyne  story,  got  some  good 
work  out  of  his  players — particularly  Henry 
B.  Walthall  and  Lewis  Stone — but  somehow 
the  picture  just  falls  short  of  a  big  produc- 
tion. A  newspaper  man  of  high  purpose 
loses  his  life  trying  to  expose  the  city 
grafters.  His  son  carries  on  but  falls  in  love 
with  the  ward  of  the  man  he  is  exposing. 
Young  people  will  like  the  romance  pro- 
vided by  Marceline  Day  and  Malcolm 
McGregor. 


lD<ii)K  au)ci^  thja:>e  omiouln^ 


JUST  a  touch  with  the  liquid 
De  Miracle,  just  a  rinse  with 
fresh,  clear  water — and  your  skin 
is  smooth,  hair-free,  clean  and 
charming.  Literally,  you  wash 
away  the  annoying  hairs  of  under- 
arm, limb,  neck  and  face!  You 
actually  see  the  hairs  dissolve.  How 
easy,  how  natural,  how  womanly! 


De  Miracle  is  a  delicately  perfumed 
liquid,  pleasant  to  use  and  guar- 
anteed to  satisfy.  Sold  at  all  toilet 
goods  counters:  60c,  $1.00  and 
$2.00. 

If  you  have  difficulty  in  obtaining 
it,  order  from  us,  enclosing  $1.00. 
De  Miracle,  Dept.  41,  138  West 
1 1th  Street,  New  York  City. 


DeTHlracfe         ^ 

REMOVES       HAIR  ^f^SB^I 


Stops  J^uns  in  3{osiery 

by  new  method.  Guaranteed  to  stop  pulled  threads  and 
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the  price  ot  many  pairs  or  hosiery.  Enough  to  stoD  over 
300 runs.  Send 75 cents.  STOPPO  PRODUCTS  CO., 
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IPEN  A  BANKRUPT  STORE/ 


Ask  $10  per  Found 

For  hosing  Fat 


Here  is  a  suggestion  it^"^^:^-- 
to   wives   who   suffer  ^' \  ""'"■^    '^ 
from  excess   fat.     Ask  _| 
your   husband  to    pay  ll 

you,  in  a  gift,  so  much  ^ 

per    pound  for   reduc- -' 

tion.  He  will  gladly  do 
it,  for  excess  fat  affects 
beauty,  health,  vitality 
and  charm.  I 

Then  try  this  modern    — 
method  which  has  been       I 

used   so  widely   for   I 

twenty  years.  It  is  based       I 

on  wide   scientific   re-    

search  which  discov- 
ered a  cause  of  excess  fat.  It  lies  in 
age  of  a  certain  substance  which  greatly 
affects  nutrition.  The  way  found  to  correct 
it  is  to  feed  a  supply  of  that  substance. 

That  substance  is  embodied  in  Marmola 
prescription  tablets.  People  have  used  them 
for  two  decades — millions  of  boxes  of  them. 
You  can  see  the  results  in  every  circle. 
Doubtless  many  of  your  friends  can  tell 
them.  That  is  one  great  reason  why  excess 

MARMOLA 


fat  is  as  rare  as  it  is 
today. 

The  use  of  Marmola 
requires  no  abnormal 
exercise  or  diet,  though 
moderation  helps.  Sim- 
ply takes  four  tablets 
daily  until  the  weight 
comes  down  to  normal. 
Then  use  it  only  if  you 
start  to  gain  again. 

There  are  no  secrets 
about  Marmola.  The 
formula  appears  in  every 
box,  also  an  explana- 
tion of  results— the  loss 
of  fat,  the  new  health  and  vitality.  This  is 
done  to  banish  every  fear  of  harm. 

Go  learn  at  once  how  much  Marmola 
means  to  you.  Watch  the  delightful  effects 
it  has  brought  to  so  many.  It  may  change 
your  entire  life.  Order  a  box  before  you 
forget  it,  for  you  cannot  afford  to  stay  fat. 

Marmola  prescription  tablets  are  sold  by  ail 
druggists  at  $1  a  box.  Any  druggist  who  is 
out  will  order  them  from  his  jobber  for  you. 

Prescription  Tablets 

The  Pleasant  Way  to  Reduce 


advertisers  please 


rnOTOPLAT   M.\GAZINE. 


Photoplay  Magazine— Advertising  Section 


America's  ForemotI  Daoce  Aotboritr, 
who  staxrd  tbe  bcit  editions  oi  the  Follies 
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so  much  to  the  success  of  Marilyn  Miller, 
Ann  Penninrton,  GildiGrar,  Fred  and  Adele 
Astaire,  Mary  Eaton,  Ada  Mar,  Al  Jolson, 
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There  is  a  constantly  increasing  demand  from 
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Among  themanyMovieStarswhohavebeen  ben- 
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PHANTOM  OF  THE  RANGE— FBO 

DESPITE  its  inane  title,  this  Western  has 
real  attempts  toward  humor  and  char- 
acterization, and  features  that  delightful 
pair,  Tom  Tvler  and  little  Frankie  Darro. 
Tom's  a  cowhand  who  aims  to  act,  joins  a 
troupe  and  strands  near  a  dairy  ranch.  Too 
proud  to  milk,  he  gets  put  in  his  place  by  a 
pretty  girl  and  conies  down  to  earth  in  time 
to  foil  the  usual  villains.  Excellent  enter- 
tainment of  its  kind. 

THE  RUSH  HOUR—Pathe-De  Mille 

IS  a  poor  but'  mar- 
celed  working  gal  decorates  a  duller 
than  usual  vehicle.  She's  Maggie  Dolan 
who  toils  in  a  travel  bureau  and  loves  a  drug 
store  cowboy  whose  idea  of  a  treat  is  a  free 
sample.  Innocently  becoming  involved 
with  a  gang  of  crooks  she  is  transported  to 
the  Riviera  and  learns  about  boy  friends 
from  there.  Nice  performances  by  Marie, 
Seena  Owen  and  David  Butler.  Otherwise 
very  mild. 

SAN  FRANCISCO  NIGHTS— Gotham 

GOOD  enough  entertainment,  chiefly  be- 
cause of  the  humor  and  good  nature  Mae 
Busch  brings  to  her  part.  This  is  melo- 
drama of  the  underworld,  and  the  plot  gets 
tangled  up  in  rum  rings  and  legal  battles. 
But  some  good  comedy  and  a  coujile  of  love 
affairs  emerge  to  hold  your  interest.  Percy 
Marmont  is  unusually  gloomy  as  the  refined 
lawver  who  goes  to  the  dogs  and  is  rescued 
by  a  cabaret  girl.    You'll  like  Mae  Busch. 

SATAN  AND  THE  WOMAN— Excellent 

AXICE  girl  is  an  outcast  in  her  ovvn 
home  town,  because  of  her  uncertain 
parentage.  Eventually  she  inherits  a  good 
name  and  a  large  fortune,  but  by  that  time 
she's  grown  pretty  c\nical  about  everything, 
and  you  can't  blame  her.  Despite  the 
passing  centuries,  Claire  Windsor  is  still  the 
same  sweet  girl.  She's  not  at  her  best  in 
tliis  embittered  role,  but  it  doesn't  matter 
because  the  whole  production  is  correspond- 
ingly mediocre. 

/  TOLD  YOU  SO— Leigh  Jason 

IT'S  only  a  two  reeler,  but  there's  a  human 
interest  story  back  of  its  making.  The 
director  is  Leigh  Jason,  husband  of  Ruth 
Harriet  Louise,  M.-G.-M.'s  woman  photog- 
rapher. Ruth  and  Leigh  wanted  to  try 
movies  but  no  one  would  give  them  a 
chance.  They  saved  81,000  and  produced 
this  film.  There  wasn't  a  re-take,  not  an 
unnecessary  foot  of  celluloid.  The  story 
gives  you  a  little  slice  of  life  and  it  is 
originally  and  cleverly  presented.  Universal 
saw  this  picture  and  invited  Jason  to  make 
a  feature  for  them.  The  Jasons  have  the 
right  spirit.  May  all  their  program  fea- 
tures be  epics! 

THE  TREE  OF  LIFE— Zenith 

THIS  is  not  an  ordinary  moving  picture, 
as  it  has  no  actors  in  it,  but  it  is  most 
unusual  and  instructive.  It  was  several 
years  in  the  making.  \\'hether  you  know 
biology,  geology',  or  physiology,  you  will  be 
able  to  comprehend  this  picture  of  the 
world's  creation  and  subsequent  develop- 
ment. No  matter  whether  you  are  an  ex- 
ponent of  the  Darwin  or  Genesis  explana- 
tion of  life,  you  will  be  entertained  highly 
by  all  this  scientific  data  prepared  by  L.  H. 
Tolhurst,  with  the  assistance  of  the  Uni- 
versity of  California.  It  will  be  an  evening 
profitably  spent. 

THE  NIGHT  FLYER— Pathe-De  Mille 

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your  engine.  It  happens  in  this  picture. 
William  Boyd's  nice  smile  cannot  be  spoiled 
by  a  dirty  face  nor  Jobyna  Ralston's  charm 
hidden  by  a  1924  gown.  Philo  McCullough, 
the  villain,  is  on  the  job,  but  even  with  good 
work  by  the  whole  cast,  the  picture  remains 
mediocre. 

MONKEY  BUSINESS— M.-G.-M. 

ANEW  variety  of  dance  is  here.  You 
must  see  Bimbo,  the  gorilla,  teaching 
this  terpsichorean  art  to  George  K.  Arthur. 
It  affords  Karl  Dane  inexpressible  delight 
and  will  give  you  just  as  much  fun.  Louise 
Lorraine  makes  an  attractive  trapeze  per- 
former. Scenes  are  laid  in  a  town  that  is 
"a  wart  on  the  pickle  of  progress,"  but  if 
you  miss  this  slapstick  comedy,  you  may 
regret  it. 

BRINGING  UP  FATHER— M.-G.-M. 

JIGGS  and  Dinty;  Maggie  and  Annie  come 
to  the  screen.  Oh,  yes,  you'll  recognize 
them,  but  not  from  any  likeness  to  their 
cartoon  pictures.  They're  a  blunt,  rolHng- 
pin  lot,  who'll  make  you  laugh  once  in  a 
while  but  make  you  wonder  just  as  often 
where  you  got  the  kick  in  reading  about 
them.  Polly  Moran  and  Marie  Dressier 
pull  off  some  good  team  work  for  the 
women.  J.  Farrell  MacDonald  and  Jules 
Cowles  act  neatly,  but  they  don't  look  like 
Jiggs  and  Dinty.  Gertrude  Olmsted  makes 
a  cunning  Annie. 


Photoplay  Magazine — Advertising  Section 
THE  CHASER— First  National 


■pOSSIBLY  Harry  Langdon  was  chasing 
■*-  after  a  new  contract  while  he  was  making 
this  picture.  If  that  was  his  idea  he  failed 
miserably.  "The  Chaser"  would  seem  to 
spell  his  doom  as  a  leader  in  the  screen 
comedy  field.  The  picture  is  just  a  series  of 
gags  with  little  or  no  story.  It  concerns  a 
henpecked  husband  with  a  nagging  wife  and 
a  shrew  of  a  mother-in-law.  Several  of  the 
gags  are  rough,  especially  the  castor  oil  gag 
and  the  "when  I  kiss  'em  they  stay  kissed" 
episode.  Gladys  McConnell  as  the  wife 
doesn't  get  much  of  a  chance.  If  you  miss 
this  one  you  won't  miss  much. 

CUPID'S  KNOCKOUT— Hercules 

A  MOTHER  with  a  rich  son-in-law  com- 
■*  »•  plex,  a  prospective  son-in-law  who 
glitters  but  is  not  gold,  a  governor's  son  who 
peddles  milk  from  contented  bottles,  and  a 
girl  who  makes  a  man  believe  in  Santa  Claus 
in  spite  of  himself,  are  convincing  char- 
acters deserving  of  a  better  story  than  this 
lukewarm  comedy.  However,  the  moral 
might  be  valuable:  that  milk  and  bootleg 
can  be  mixed.  Not  bad  if  you've  nothing 
else  to  do. 

WALLFLOWERS— FBO 

A  N  adequate  visualization  of  Temple 
•*»■  Bailey's  story  of  the  same  title,  directed 


HONEYMOON  FLATS— Universal 


by  Leo  Meehan.  Ruftts  (Hugh  Trevor)  has 
wed  a  second  time  and,  at  his  death,  leaves 
one  half  of  his  fortune  to  the  wife  and  the 

N^         .^  ,  •       vu     t  -J.         c        A     son,  with  the  proviso  that,  in  the  event  that 

O  marital  voyage  is  without  its  reefs  and       ^^'t,      ^^^^^^^  ^^j       he  reaches  forty,  his 
shoals,  but  George  Lewis  and  Dorothy     ^u^..^  „(         -  ■" 

Gulliver  had  unusual  troubles.     Mother-" 


law.  No,  not  what  you  think  at  all.  She 
smothered  them  with  kindness.  Bryant 
Washburn  and  Jane  Winton,  with  cheating 
proclivities,  instilled  distrust  into  the 
minds  of  the  young  people  and  more  trouble 
ensued.  Ward  Crane,  Phillip  Smalley, 
Kathlyn  Williams,  Patricia  Caron,  Eddie 
Phillips  and  Jackie  Combs  had  a  finger  in 
the  pie.    See  them  and  laugh. 

UNDER  THE  TONTO  RIM— Paramount 

A  GOLD  rush  picture,  in  which  Richard 
Arlen,  Mary  Brian  and  Jack  Luden  win 
more  laurels.  The  little  town  of  Tonto 
Basin  was  changed  overnight  into  a  resort 
for  gamblers,  crooks  and  gold  seekers.  With 
rugged  mountain  scenery  for  a  background, 
there  is  a  swindle  in  gold  claims,  a  murder 
and  a  romance.  Chief  interest  centers 
around  "the  man  who  shuffles  cards  with  one 
finger."  It's  a  Zane  Grey  story  and  well 
directed.     Enough  said. 

HER  GREAT  ADVENTURE— 
A.  G.  Steen,  Inc. 

THE  title  is  justified  by  the  experiences  of 
a   stenographer   who   uses   her   first  one 


^raphe 
thousand  dollars  to  see  life, 
incognito  and  gives  herself  and  the  boys 
some  fun.  Herbert  Rawlinson,  Grace 
Darmond,  and  Vola  Vale  have  the  principal 
roles,  but  there  are  few  new  angles  to  the 
story  and  the  entertainment  value  is  below 
par. 


share  of  the  fortune  is  to  revert  to  the  wife. 
But  there  are  a  couple  of  angles  involving  a 
group  of  ivory  statues,  which  make  it  pos- 
sible for  the  boy  to  marry  and  retain  his 
fortune.  Mable  Julienne  Scott  is  the 
menace  as  the  second  wife,  who,  when  a 
widow,  would  marry  the  son  of  her  late 
husband,  while  Jean  Arthur  is  the  sweet 
young  thing  with  whom  he  is  in  love.   Light. 

THE  PRINCE  OF  PEANUTS— Universal 

THE  title  lets  you  in  on  the  general  tone 
of  this  farce.  It's  a  goofy  story  of  a 
struggling  cartoonist  who  changes  places 
with  a  prince,  goes  in  for  selling  peanuts  and 
puts  over  a  Foreign  Loan  in  a  Big  Way. 
Nutty?  Yes,  but  also  funny.  Glen  Tryon 
is  one  of  the  most  likeable  of  the  younger 
comics  and  the  fact  that  Marion  Nixon  is 
his  leading  woman  is  no  handicap  to  the 
picture. 

SQUARE  CROOKS— Fox 

THREE-year-old    Jackie    Coombs    grabs 
the  laughs  in  this  comedy.     His  young 
father,   Robert  Armstrong,  is  suspected  of 
lifting    pearls    when    the   real    thief   plants 
them    on    the    youngster.      Imagine    Arm- 
She  travels     strong's  embarrassment  when  the  kid  keeps 


trying  to  show  "poppa"  the  pretty  bead 
under  the  detective's  nose!  John  Mack 
Brown,  Dorothy  Appleby,  Dorothy  Dwan, 
and  Clarence  Burton  support  the  pair. 
Clever  gags  and  a  beautifully  dumb  detec- 
tive make  this  worth  anybody's  money. 


Cut  Picture  Puzzle  Contest 

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Starts  in  the  June  PHOTOPLAY 


Savagely  he  fought  the 
Sea  Wolf  to  save  her! 

]\J[ADDENED  at  the  sight  of  her  fran- 
^'A  tic  struggles.  Weyden  sprang  to  save  her! 
But  tlie  Sea  Wolf  hurtled  hira  back  crashing 
through  the  door.  Ail  appeared  lost  when  .  .  . 
Here  is  an  extraordinary  situation.  A  beau- 
tiful girl  of  gentle  breeding  on  a  rough  ship  at 
the  mercy  of  a  flend  incarnate!  How  could  she 
escape?    What  happened  to  her  secret  lover? 

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One  moment  you  are  a  ship- 
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jungle.  In  the  next  you  are  a  city 
weakling  pltmging  into  the  jaws  of 
hell  to  save  the  woman  you  love. 
In  breathless  succession  you 
race  from  one  tlirilUng  episode  to 
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■lIOTl>l'L.\Y   MAGAZINE. 


15° 


Photoplay  Magazine — Advertising  Section 


WILLIAM  BOYD 


PHYLLIS  HAVEP> 


Romance- 

\ou'll  live  it! 

Drama-Yott'll  thrill  withit! 

in  these  sfilendid 
DeMille  Studio  Productions 


'CHICAGO"— PhylHs  Haver  and  Victor  Varconi. 
Daring  and  sensational.  Fresh  from  its 
phenomenal  success  at  the  Gaiety,  New  York. 
Lauded  by  critics  as  an  outstanding  attraction. 
From  the  stage  success  by  Maurine  Watkins. 
Frank  Urson,  Director. 

"THE  BLUE  DANUBE"— Leatrice  Joy,  with 
Joseph  Schildkraut  and  Nils  Asther.  A  de- 
lightful romance,  with  this  favorite  star  at  her 
best.  It's  as  appealing  and  alluring  as  Strauss' 
famous  waltz.  Paul  Sloane,  Director,  Ralph 
Block,  Associate  Producer. 

"STAND  AND  DELIVER"— Rod  La  Rocque.  A 
young  veteran  of  the  Great  War  tires  of  peace 
and  seeks  romance  and  adventure  in  the 
mountains  of  Greece.  He  finds  it, — in  chunks. 
See  Lupe  Velez  in  this  stirring  drama.  You'll 
not  be  surprised  that  the  young  officer  finally 
fell  for  her.  How  could  he  help  it?  A  Donald 


Crisp    Production. 
Producer. 


Ralph    Block,    Associate 


"SKYSCRAPER"— William 

rising  young  male 
star  in  pictures  today. 
You  saw  him  as  the 
spruce,  debonair 
young  cadet  in 
"Dress  Parade."  See 
him  now  as  a  hero  in 


Boyd,     the     fastest 


overalls.  Alan  Hale,  Sue  Carol  and  Alberta 
Vaughan  in  the  cast.  Howard  Higgin,  Director. 
Ralph  Block,  Associate  Producer. 

"HOLD  'EM  YALE"— Rod  La  Rocque.  A  drama 
of  youth,  fizzy,  frothy,  yet  sound  at  heart.  As 
up  to  date  as  tomorrow.  E.  H.  Griffith,  Direc- 
tor.   Hector  Tumbull,  Associate  Producer. 

"THE  NIGHT  FLYER"— William  Boyd.  No 
matter  how  blase  you  are,  you're  going  to  get 
a  big  kick  out  of  this  rarely  entertaining  rail- 
road story.  Jobyna  Ralston  is  the  girl.  Walter 
Lang,  Director.   James  Cruze,  Supervisor. 

"MIDNIGHT  MADNESS"— Jacqueline  Logan, 
with  Clive  Brook  and  Walter  McGrail.  If  you 
like  mystery,— and  who  doesn't?  you're  going 
to  like  this  one  sure.  Harmon  Weight,  Direc- 
tor, Hector  Tumbull,  Associate  Producer. 


"THE  LEOPARD   LADY"— Jacqueline  Logan, 
Alan   Hale   and   Robert  Armstrong.    One   of 
the  most  thoroughly  satisfying  mystery  melo- 
dramas  of   the   year, 
from  Edward  Childs 
>  Carpenter's   stage 

success.  Rupert 
Julian,     Director, 
Bertram   Millhauser, 
EXCHANGE,  INC.  Associate    Producer. 


Path 


PHOTOPLAY  JIAGAZINE 


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coupon  at  once  to  Edna 
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per's own  beauty  book, 
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oAn  Invitation 


Wallace  Hopper 

You've  heard  of  this  woman  who  has  been  a  stage  beauty 
over  forty  years,  and  of  the  French  beauty  formulas 
that  have  kept  her  beautiful  for  a  lifetime.  But  you  never 
have  had  so  wonderful  an  offer  as  she  makes  you  here. 
This  is  your  golden  opportunity  to  have  your  own 
beauty  box  of  Edna  Wallace  Hopper's  own  beauty 
requisites.  Not  just  a  collection  of  stingy  samples  of 
commercial  cosmetics,  but  liberal  quantities  of  seven 
scientific  aids  to  beauty  culture;  the  self-same  things 
this  famous  beauty  spent  years  in  searching  out;  the 
secrets  once  known  only  in  France. 
Look  at  the  photograph  of  Miss  Hopper— taken  this 
year.  At  a  grandmother's  age,  she  still  looks  like  a 
flapper.  That's  what  the  right  beauty  aids  can  do;  what 
ordinary  tallow  creams  and  crude  clays  and  starchy 
powders  can  never  accomplish.  Try  these  seven  aids, 
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All  toilet  counters  sell  Miss  Hopper's  Beauty  Aids 


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woman  s  most  compelling   ckarm/'  say 
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Keep  them  lovely  to  say  pleasant  things 


A  gracious  hand  outstretched  gives 
a  welcome  more  cordial  than  words 
...  a  little  half-finished  gesture 
can  agree  or  protest  or  wonder. 
These  sensitive  hands  of  yours  act 
in  a  thousand  little  dramas  for  all 
your  world  to  see. 

Naturally  you  want  them  to 
look  smooth  and  white  and  gently- 
cared  for!  You  want  them  to  say 
nice  things  about  you! 

Has  it  occurred  to  you,  as  to  so 
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the  tasks  they  have  to  do,  home- 
keeping  hands  can  stay  soft  and 


O  lOiS,  P.&G.  Co. 


smooth?  That  their  loveliness 
need  not  be  squandered  upon  harsh, 
drying  soap  which  parches  away 
their  satiny  whiteness? 

Ivory  Soap,  which  cares  so  gen- 
tly for  lovely  complexions  and 
bathes  so  kindly  such  multitudes 
of  tiny  new  babies — which  is  al- 
ways ready  to  guard  all  sensitive 
and  delicate  and  beautiful  things 
— protects  millions  of  busy  hands 
a  dozen  times  a  day. 

When  they  tub  downy  baby 
woolens,  or  wash  aristocratic 
Wedgwood  cups,  or  mahogany  or 


porcelain — whenever  they  use  soap 
— hands  are  safeguarded  if  they 
use  Ivory. 

Women  who  use  Ivory  for  every- 
thing know  that  its  quick,  lasting 
suds  make  soap-and-water  tasks 
pkasanter.  But  more  important — 
they  have  learned  that  Ivory's 
purity  keeps  their  hands  younger 
and  prettier. 

With  Ivory  to  protect  them  all 
day  long,  your  hands  can  say  nice 
things  about  you  always! 

PROCTER     &     GAMBLE 


>cgSC^S 


IVORY    SOAP 


Kind  to  everything  it  touches 
CjCj^'AooJo  Pure  ^  It  Floats 


Photoplay  Magazine — Advertisixg  Section 


GOOD  as  it  is  to  the 
'  taste,  the  food  we  eat 
today  is  doing  untold  dam- 
age to  our  teeth  and  to  our 
gums.  As  any  dentist  will 
tell  you,  this  modern  diet  of 
ours  is  too  soft,  too  creamy, 
too  easily  masticated,  to 
give  the  gums  the  daily 
stimulation  they  need  to  remain  in  health. 
Lacking  coarse  fibre,  our  food  deprives 
our  gums  of  exercise.  Lacking  exercise, 
the  blood  courses  but  slowly  within  the 
gum  walls.  Softness  of  the  tissues  ensues 
— the  gums  become  dormant.  "Pink 
tooth  brush"  appears.  Gingivitis,  Vin- 
cent's disease  and  even  pyorrhea  can  fol- 
low in  its  train. 

What  to  do  to  keep  your 
gums  in  health 

In  this  day  and  age,  you  cannot  revert  to 
the  primitive  provender  that  would  give 
your  gums  the  stimulation  they  need. 

Nowadays  you  can't  very  well  chew 
fibre.  You  can't  change  the  menus  of  the 
restaurants.  You  can't  become  eccentric 
io  the  food  you  serve  at  home.    But  you 


..//  robs  our  (jams  of  exercise  and 

gives  rise  to  ''pink  tooth  brush!' 

(Counteract  Its  bad  effects  with 

\pana  and  massage 


can  provide  the  same  eflFects — you  can  ac- 
complish all  good  to  your  gums  through 
the  use  of  Ipana  Tooth  Paste  and  massage. 
In  this  way  you  avoid  "pink  tooth  brush." 
In  this  way  you  firm  the  walls  of  your 
gums.  In  this  way  you  improve  the  beauty 
and  the  health  of  your  entire  mouth. 

Follow  the  good  advice  of  the 
foremost  dentists 

The  method  proposed  by  dentists  is 
simplicity  itself.  It  is  a  gentle  massage  of 
the  gums — with  the  brush  or  with  the  fin- 
gers— performed  faithfully,  twice  a  day. 


ff e»  ij  your  gums  bother 
you  seldom  or  never,  the 
twice-daily  use  of  Ipana 
ayid  massage  is  a  wise  pre- 
ventive measure. 


J 


at  the  time  you  brush  your 
teeth.  Thousands  of  den- 
tists order  their  patients  to 
use  Ipana  for  massage  as 
well  as  for  the  usual  clean- 
ing with  the  brush.  For 
Ipana  is  a  tooth  paste  spe- 
cifically compounded  to 
tone  and  stimulate  the 
gums  while  it  cleans  the  teeth.  It  contains 
ziratol,  a  preparation  well-known  to  den- 
tists for  its  hemostatic  and  antiseptic 
properties.  The  profession  has  steadily 
supported  Ipana  since  first  it  was  placed 
upon  the  market. 

Give  Ipana  a  30  day  trial 

So  make  a  test  of  this  modern  tooth  paste. 
Send  the  coupon  for  the  ten-day  sample 
if  you  wish.  It  will  quickly  prove  Ipana's 
delicious  taste  and  its  cleaning  power. 

But  a  better  way  to  try  Ipana  is  to  get 
a  full-size  tube  and  use  it  faithfully,  twice 
a  day,  for  one  full  month.  Then,  when 
you  see  how  your  gums  have  improved — 
in  color,  in  texture  and  in  health — you  will 
know  that  Ipana  deserves  a  permanent 
place  on  your  bathroom  shelf. 


\  IPANA  Tooth  Paste 

\  MADE  BY  T 


MAKER 


/ 


BRISTOL  MYERS  CO.,  Dept.  158,  7}  West  Street.  New  York  Ci' 

Kindly  send  me  a  trial  tube  of  IPANA.  Enclosed  is  a  tw. 

cent  stamp  to  cover  partly  the  cost  of  packing  and  mailini 

''*P.  mmt 

'^  "        A,idTi:i 


City 

PHOTOPLAY    M.\r..\ZINB. 


.State. 


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Photoplay  IVUgazine — Advertising  Section 

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Ask  your  Theatre  Manager  for  the  dates  of 
all  the  great  Paramount  Pictures  of  1928— 
"Gentlemen  Prefer  Blondes",  Emil  Jannings 
in  "The  Last  Command",  "Tillie's  Punctured 


Romance",  "Legion  of  the  Condemned" — 
everyone  is  sure  to  bethe"6est  shotvintown". 
PARAMOUNT    FAMOUS    LASKY    CORP. 

Adolph  Zukor,  Prcs.,  Paramount  Bldg.,  N.  Y. 


Picture,  it's  the  best  thou 


Paramount  ff^icture^ 


i*» 


l!!l!!!!llll!l!iii;!llllll!!i;illiill 


#  iir  f 


Ji  ii 


MAGAZINE  Is  Eunrantced. 


The  World's   Leading   Motion   Picture   Publication 


FREDERICK   JAHES   SHITB 


Contents 


For 

May 

1928 


Vol.  XXXIII 


:J;ames  R.  Quirk 

=  EDITOR    AND    PL'BLlsHFR 


No.  6 


The  High-Lights  of  This  Issue 


Coyer  Design  Charles  Sheldon 

Greta  Garbo — Painted  from  Life 

As  We  Go  to  Press 

Last  Minute  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

A  Habsburg  Sees  Hollywood 

His  Imperial  Highness,  Archduke 
Leopold  of  Austria 

The  Movie  Capital  as  Viewed  by  a  Royal  Extra 


Suicide  Never  Pays 
Says  Evelyn  Brent. 

Unhappy  Highbrows 


Ruth  Biery 
And  She  Tried  It  Twice 


10 


16 


27 


30 


32 


Dr.  Louis  E.  Bisch    34 


The  Minority  That  Cannot  Enjoy  the  Movies  Is  An- 
alyzed by  the  Doctor 

The  Story  of  Greta  Garbo  36 

As  Told  by  Her  to  Ruth  Biery 

Hollywood's  One  Real  Genius 

It's  Erich  Von  Stroheim 

Two  Brand  New  Nutty  Biographies 

Here's  $500  More  in  Prize  Money  for  You 

Gossip  of  All  the  Studios  Cal  York    44 

What  the  Film  Folk  Are  Doing  and  Saying 


Harry  Carr    38 


42 


$5,000  Prize  Winner  Tells  Her  Story  48 

Idea  Contest  May  Start  Rena  Vale  on  the  Road  to 
Fame 

Play  Houses  (Fiction  Story)  Rena  Vale    50 

By  the  $5,000  Idea  Contest  Winner— and  Written 
Before  She  Was  Awarded  the  Prize 

The  Shadow  Stage  52 

Reviews  of  Newest  Pictures 

Hollywood  Trousseau  for  Parisian  Honeymoon    56 

Kathryn  Carver.  Who  Is  to  Be  Bride  of  Adolphe 
Menjou,  Shops  at  Home 

Flaherty,  Great  Adventurer     Terry  Ramsaye    58 

Maker  of  "Moana"  Is  the  Last  of  a  Long  Pioneer 
Line 

Funny  Old  Fool  (Fiction  Story) 

Malcolm  Stuart  Boylan    64 
The  Story  of  an  Old  Stager  in  Hollywood 

Making  a  Million  Tom  Mix     70 

He  Is  Not  Round  Shouldered  from  Carrying  Silver — 
at  Least  at  This  Stage  of  His  Narrative 

Shop  Through  Photoplay  72 

Fifth  Avenue  Fashions  for  Limited  Incomes 

Amateur  Movies  Frederick  James  Smith     74 

News  and  Notes  of  the  Amateurs  and  Items  of  Inter- 
est to  Them 

Salads  for  Beauty  81 

Photoplay's  Cook  Book  Tells  You  How  to  Prepare 

Ihem 

Questions  and  Answers  The  Answer  Man    99 

What  You  Want  to  Know  About  Films  and  Film 
Folks 

Casts  of  Current  Photoplays  140 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


A  complete  list  of  all  photoplays  revicAved  in  the  Shadow  Stage  this  issue  will  be  found  on  page   12 


Published  monthly  by  the  PHOTOPLAY  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  lU. 

The  International  News  Company,  Ltd..  Distributing  Agents,  5  Bream's  Buildine.  London,  England 

James  R.  Quirk,  President  Robert  M.  Eastman.  Vice-President  Kathryn  Dougherty.  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba;  $3.00  Canada;  $3.50  to  foreign  countries.   Remittances 

should  be  made  by  check,  or  postal  or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24.  1912,  at  the  Postofficc  at  Chicago,  III.,  under  the  Act  of  March  3,  1879. 
Copyright,  1928,  by  the  PHOTOPLAY  PUBLISHING  COMPANTf.  Chicago. 


we  go 

to  Press 


Last 
Minute  News 

from 
East  and  West 


RUTH  ELDER,  the  almost-across-the- 
Atlantic  aviator,  has  been  signed  by 
Paramount  to  play  the  lead  in  "Glori- 
fying the  American  Girl." 

BILL  HART'S  new  ranch  home  at  New- 
hall,  Calif.,  escaped  in  the  big  dam  dis- 
aster, being  on  the  very  edge  of  the  flood. 
His  ranch  home  has  been  used  as  a  center 
for  rehef  work. 

UNIVERSAL  has  selected  Barbara  Kent 
and  Reginald  Denny  to  play  the  leads 
in  Edna  Ferber's  "Show  Boat."  Harry 
Pollard  will  direct.  The  news  that  Miss 
Kent  is  getting  the  leading  role  will  disap- 
point the  Mary  Philbin  fans.  Mary  had 
been  promised  the  part. 

LATEST  reports  indicate  that  Cecil  De 
Mille  will  join  United  Artists. 

RAYMOND  GRIFFITH  has  gone  abroad 
with  his  bride. 
Upon  his  return  to 
Hollywood  he  will  be 
starred  by  Caddo 
Productions. 

BETTY  BRON- 
SON  has  re- 
turned from  London. 
She  says  she  is  not 
engaged.  In  fact, 
she  doesn't  recall 
meeting  the  London 
newspaper  man  to 
whom  she  was  re- 
ported engaged  in 
press  dispatches. 

BELLE  BEN- 
NETT has  just 
been  signed  by  Tif- 
fany-Stahl  to  star  in 
four  mother  stories. 
The  first  will  be 
called  "America's 
Sweetheart"  —  and 
Mary  Pickford  won't 
be  meant. 

■p  OD  LA  ROCQUE 
-^^and  Vilma  Banky 
have  returned  from 
their  brief  vacation 
abroad.  They're  still 
denying  the  many 
separation  stories. 


HERBERT 
BRENON  an- 
nounces that  he  will 
film  Fannie  Hurst's 
novel,  "Lummox." 
Everybody  is  helping 
him  cast  the  lead!  ig 


role,  with  Louise  Fazenda  prominently 
mentioned.  Remember  how  everybody 
helped  him  cast  "Sorrell  and  Son"? 

JAMES  HALL  may  be  a  Paramount  star 
soon.  Jesse  Lasky  is  quoted  as  saying 
that  "he  is  the  most  swiftly  climbing  screen 
actor  of  the  present  day." 

DOUG  FAIRBANKS  may  do  a  sequel 
to  "The  Three  Musketeers."  It  will 
not  be  Dumas'  own  sequel  but  a  specially 
constructed  one  manufactured  in  Hollywood. 

REPORTS  have  it  that  Pola  Negri  may 
sign  with  WilUam  Fox  after  her  Para- 
mount contract  expires.  Pola  herself  says 
she  will  take  a  two-months'  vacation  abroad 
with  her  husband. 

"D  UTH  TAYLOR  is  the  preferred  of  story 
■L^writers.  Anita  Loos  chose  her  for  the 
Blonde  and  now  Elinor  Glyn  has  selected 


Harry  Carey  ranch  at  Saugus,  Calif.,  was  destroyed  by  the 
breaking  of  the  St.  Francis  Dam.  Carey,  his  wife  and  child, 
shown  in  the  picture,  were  in  New  York  at  the  time  of  the 
catastrophe.  Sixty-four  Navajo  Indians,  employed  at  the 
trading  post,  had  left  for  their  reservation,  but  other  workers 
and  800  head  of  stock  were  caught  in  the  rushing  waters.  The 
ranch  represented  an  investment  of  $500,000 


her  for  her  next  story,  "Three  Weeks  on  a 
Week-end." 

NOBODY  knows  what  Charlie  Chaplin 
will  do  next.  He  says  his  forthcoming 
comedy  will  be  "The  Suicide  Club."  Any- 
way, Mema  Kennedy  will  have  the  fem- 
inine lead. 

MRS.  CHARLOTTEPICKFORD, 
mother  of  Mary  Pickford,  died  at  Pick- 
fair  on  March  twenty-second.  Mrs.  Pick- 
ford had  been  ill  for  three  years.  Recently 
Mary  had  suspended  all  production  plans  to 
take  care  of  her  mother.  Mrs.  Pickford's 
movie  family,  Mary,  Lottie  and  Jack,  was 
at  her  Beverly  Hills  home  when  the  end 
came. 

CLARENCE  BROWN  has  purchased  the 
film  rights  to  "The  Shannons  of  Broad- 
way."   The  plans  for  Brown  to  direct  Greta 
Garbo  in  "Java"  have  been  shelved  and  he 
will  now  direct  both  John  Gilbert  and  Miss 
Garbo  in  "The  Sun 
of  St.  Moritz."  After 
this  production   Gil- 
bert  will    do    "Four 
Walls." 


FIRST  National 
will  revive  that 
old  Drury  Lane  thrill- 
er, "The  Whip." 
Dorothy  Mackaill  has 
been  selected  to  head 
the  cast. 

ANNA   Q.   NILS- 
SON  has  signed 
a  contract  with  FBO. 

ART  ACORD,  the 
cowboy  star,  was 
badly  biuned  in  an 
accident  at  his  home, 
when  a  gas  heater 
exploded. 

HUGO  RIESEN- 
FELD  has  been 
appointed  director 
general  of  the  entire 
United  Artists'  chain 
of  theaters. 

M.-G.-M.  has  just 
taken  up  its  op- 
tions on  the  contracts 
of  John  Gilbert,  Wil- 
liam Haines  and 
Dorothy  Sebastian. 

HAROLD  LLOYD 
is  contemplating 
doing  another  college 
story  as  his  next 
comedy. 


Photoplay  Magazine— Advertising  Secti 


KING   VIDOR, 

Director  of  Feature  Photoplays. 


Writes: 
"While  directing  'The  Big  Parade'  1  had  to 
shout  my  directions  to  hundreds  of  film  players 
through  the  din  and  noise  all  about  us.  And 
through  the  entire  taking  of  the  picture,  1 
smoked  'Lucky  Strikes'  which  seemed  to  rest 
and  ease  my  throat.  It  is  wonderful  to  find 
a  cigarette  that  relaxes  your  nerves  and  at 
the  same  time  insures  you  against  throat  irri' 
tation  —  a  condition  from  which  film  directors 
are  hound  to  suffer." 


The  Cream  of  the  Tobacco  Crop 

"Buying  tobacco  is  like  buying  clothing,  shoes,  or  a 
hat.  If  you  buy  the  best,  you  are  always  satisfied. 
Judging  from  the  vogue  of  Lucky  Strikes,  and  the 
nice  things  said  about  them  by  discriminating 
smokers,  they  know  as  well  as  I  do,  that  we  buy  the 
Cream  of  the  Crop  for  Lucky  Strikes." 


66 


Tobacco  Buyer 


It's  toasted 

No  Throat  Irritation -No  Cough, 

©1928,  The  American  Tobacco  Co.,  Inc. 

When  you  write  to  advertisers  pleaso  mention  rnOTOPLAY  MAQAZIxa 


#f 


Brief  Reviews  of 


*Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


Current  Pictures 


ABIE'S  IRISH  ROSE— Paramount.— The  prrat 
ana  orisinai  Irish- Jewish  comedy,  played  by  a  likeable 
cast  headed  by  Charles  Rosers,  Nancy  Carroll.  Ber- 
nard Gorccy  and  Ida  Kramer.  If  this  aoesn't  amuse 
you,  you  are  in  the  minoritj'.      {April.) 

ACROSS  THE  ATLANTIC— Warners.— A  war 
and  aeroplane  story  that  furnishes  routine  entertain- 
ment.     {February.) 

ALIAS  THE  LONE  WOLF— Columbia.— Bert 
Ljtell  returns  to  the  character  that  made  him  famous 
ten  years  ago.  A  crook  story,  well  told,  agreeably 
acted  and  safely  presented  for  the  family.  (.January.) 

AMERICAN  BEAUTY— First  National.— Billie 
Dove  has  her  fling  at  playing  a  modern  Cinderella. 
Frothy  but  nice.      (December.) 

ANGEL  OF  BROADWAY,  THE  —  Pathe  -  De 
Mille.— In  which  a  Night  Club  hostess  joins  the  Sal- 
vation Army  to  look  for  drama.  She  finds  it.  You'll 
like  Leatrice  Joy  and  Victor  Varconi.   (November.) 

BABY  MINE— Metro-Goldwyn-Mayer.  —  Karl 
Dane.  George  K.  Arthur  and  Charlotte  Greenwood  in 
an  old  farce,  dressed  up  in  new  gags.    (February.) 

BACK  STAGE— Tiffany.— Social  research  into 
the  lives  of  dancing  girls.  It  will  excite  only  the  very 
naive.     (November.) 

BATTLE  OF  THE  CENTURY,  THE— Metro- 
Goldwyn-Mayer.^ — More  than  three  thou.sand  pics 
were  used  in  one  sequence  of  this  two  reel  comedy.  A 
burlesque  on  the  fistic  doings  in  Chicago.  (January.) 

*BEAU  SABREUR— Paramount.— Not  another 
"Beau  Geste."  but  a  thrilling  and  picturesque  talc, 
nevertheless.  You'll  like  Evelyn  Brent,  Gary  Cooper, 
William  Powell  and  Noah  Beery.     (March.) 

BECKY  —  Metro-Goldwyn-Mayer.  —  Again  the 
IMjor  working  giri  goes  on  the  stage.  A  light,  routine 
comedy  brightened  by  the  antics  of  two  Irishers — 
.Sally  O'Neil  and  Owen  Moore.      (February.) 

BIG  CITY,  THE— Metro-Goldwyn-Mayer.— Lon 
Chancy  and  Betty  Compson  re-united  in  a  crook 
story  in  which  Lon  proves  that  he  needs  no  trick 
make-up  to  make  him  a  fascinating  person.     (March.) 

BIRDS  OF  PREY— Columbia.— Priscilla  Dean 
goes  in  for  a  little  lad^•like  banditry.  The  results 
aren't  thrilling.     (December.) 

BLONDE  FOR  A  NIGHT,  A— Pathe-De  Mille.— 
A  light  domestic  farce  made  agreeable  bv  the  cheering 
Iiresences  of  Marie  Prevost.  Harrison  Ford  and  T. 
Roy  Barnes.     (April.) 

BLONDES  BY  CHOICE— Gotham.— The  ad- 
ventures of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  sex  but  no 
appeal."     Not  bad,  Mortimer!     (December.) 

BODY  AND  SOUL— Metro-Goldwyn-Mayer.— 
Should  a  surgeon  kill  his  wife's  boy  friend?  Even  the 
acting  of  Ailecn  Pringle,  Lionel  Barrymorc  and  Nor- 
man Kerry  can't  enliven  this  cheery  little  problem. 
(December.) 

BOY  OF  THE  STREET,  A— Rayart.— Wherein  a 
little  brother  reforms  a  crook.  Young  Mickev  Ben- 
nett makes  the  sentimental  yarn  agreeable. WoBuary.) 

BOY  RIDER,  THE— FBO.— The  exploits  of  one 
Buzz  Barton,  a  freckle-faced  kid  who  can  ride  a  boss. 
For  the  lens  critical  of  the  younger  generation. 
(November.) 

BRANDED  SOMBRERO,  THE— Fox— Buck 
Joneii  plays  Buck  Jones  in  a  conventional  picture  that 
n  only  enlivened  by  a  good  fight.     (March.) 

BRASS  KNUCKLES— Warners.— More  crooks  re- 
.?,'"?•  i'j='"''»  •'>  I'"'  sweet  presence  of  Bettv  Bronson. 
With  Monte  Blue  and  Bill  Russell.    And  rather  good. 


BREAKFAST  AT  SUNRISE— First  National.— 
Lively  little  French  farce  about  one  of  those  trick 
marriages.  Deftlv  pla\cd  by  Constance  Talmadge. 
The  children  will  prefer  Tom  Mix.     (December.) 

BRINGING  UP  FATHER— Metro-Goldwjn- 
Mayer. — Rolling-pin  humor  built  around  the  char- 
acters of  the  comic  strip.  Polly  Moran  and  Marie 
Dressier  are  funny.      Upril.) 

BROADWAY  MADNESS— Excellent —Proving 
that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  whiff  of  country  air.    (December.) 

BUCK  PRIVATES— Universal.— Laughing  ofl  the 
War.  Malcolm  McGregor.  Eddie  Gribbon,  Lya  de 
Putti  and  ZaSu  Pitts  are  the  members  of  an  excellent 
cast.    (January.) 


Pictures   You 
Should  Not  Miss 

"The  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Sorrell  and  Son" 

"The  Circus" 

"The  Last  Command" 

"Love" 

"Abie's  Irish  Rose" 

"The  Trail  of  '98" 

"The  Patent  Leather  Kid" 

"The  Noose" 


As  a  service  to  its  readers,  Photo- 
I'LAY  Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
ilative  published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


♦BUTTONS— Metro-Goldwyn-Mayer.— A  sea  story, 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  by  Jackie. 
For  the  whole  family.      (December.) 

BY  WHOSE  HAND?— Columbia.— Those  dog- 
gone jewels  are  missing  again.  The  result  is  the  usual 
ga-ga  crook  stuff.      (March.) 

CABARET  KID,  THE— Peeriess.— Made  in  Eng- 
land and  France,  with  Betty  Balfour,  the  Belle  of 
Britain,  as  its  star.  Some  good  scenes  but  a  discon- 
nected story.    (January.) 


CASEY  JONES— Rayart.- 
ers  if  you  want  to  hear."  Si 
Ralph  Lewis  as  the  brave  engin 


'Come  all  you  round- 
nple  melodrama  with 
er.      (February.) 


CHAIN  LIGHTNING— Fox.— If  you  like  to 
watch  Buck  Jones  chasing  horse  thieves,  here  is  a 
picture  in  which  Buck  Jones  chases  horse  thieves. 

(November.) 

CHASER,  THE— First  National.— Harrj-  Lang- 
don  and  a  lot  of  gags — some  of  them  too  rough  to  be  in 
good  taste.     Don't  cry  if  \ou  miss  it.      (April.) 

CHEATING  CHEATERS  —  Universal.  —  Fin 
among  a  lot  of  unusually  agreeable  crooks.  With 
Betty  Compson  and  Kenneth  Harlan.    (February.) 

CHEER  LEADER,  THE— Gotham.— This  time 
the  cheer  leader  rushes  in  and  wins  the  game  for  dear 
old  Alma  Mater.  All  right,  if  you  still  have  a  taste  for 
college  pictures.      (March.) 

♦CHICAGO  —  Pathe-De  Mille.- A  shrewd  satire 
on  the  lady  murderess,  beloved  of  the  newsnan  r«. 
And  Phyllis  Haver.  Grown-up  entertainment.  See 
it.      (February.) 

CHICAGO  AFTER  MIDNIGHT— FBO —Ralph 
Ince  in  a  vigorous  melodrama  built  around  the  suffer- 
ings of  another  one  of  those  innocent  crooks.  (March.) 

CHINESE  PARROT,  THE— Universal.— Wl.o 
swiped  the  pearl  necklace?  The  mystery  is  well  sus- 
tained and  the  Oriental  backgrounds  are  interesting. 
And  Sojin  does  a  real  Lon  Chaney.    (January.) 

CIRCUS  ROOKIES— Mctro-Goldwvn-Mayer.  — 
Reviewed  under  the  title  of  "Monkey  Business." 
With  Karl  Dane,  George  K.  Arthur,  and  a  comedy 
gorilla.     Good  slapstick.      (March.) 

♦CIRCUS,  THE— United  Artists.— The  triumphant 
return  of  Charles  Chaplin.  Must  we  waste  space  ad- 
vising you  to  see  it?     (January.) 

COHENS    AND    KELLYS    IN    PARIS,    THE— 

Universal.— It  was  funny  the  first  time,  but  not  so 
good  in  repetition.     Time  to  call  a  halt.      (April.) 

COLLEGE — United  Artists.— Buster  Keaton  as  a 
wet  smack  who  would  be  an  athletic  hero.  Not  over- 
whelmingly funny.     (November.) 

COLLEGE  WIDOW,  THE— Warners.— Dolores 
Costello  vamps  the  football  team  and  the  boys  win 
the  game  for  dear  old  Whoozis.  Just  another  orie  of 
those  things.    (January.) 

COMBAT— Pathe.— Bad  direction  and  heavy 
mugging  by  George  Walsh  eliminate  this  as  entertain- 
ment.     (December.) 


BURNING  DAYLIGHT— First  National.  - 

exciting  tale  of  gold  rush  days  that  makes  splenc'id       doings.      (Fehruarv.) 
entertainment.     You'll  like  Milton  Sills  and  Doris 
Kenyon.      (April.) 


BUSH  LEAGUER.THE— Warners.— Monte  Blue 
makes  the  big  team  and  wins  the  love  of  the  own- 
er's daughter.    Need  we  say  more?    (November.) 


COMRADES— First  Division.— Again  comes  the 

World  War  I  The  story  of  a  brave  boy  who  takes  the 

place  of   a   cowardly   one.      With    Helene   Costello, 

Gareth  Hughes  and  Donald  Keith.      (March.) 

I  CONTINUED  ON  PAGE  12  ] 


Photoplay  Magazine — Advertising  Section 


Two  black  sheep  trying  to  turn  white 


Square 
Crooks 

CAN  a  bad  man  live  down  his  past — or  does  the  under- 
world inevitably  "get"  its  own  when  a  crook  tries  to 
turn  straight? 

"SQUARE  CROOKS"  plays  the  spotlight  on  the  seamy 
side  of  crookdom  from  an  entirely  new  angle — and  shows 
you  a  few  episodes  in  the  private  life  of  a  reformed  gangster 
who  is  trying  to  "come  back"  that  will  make  your  skin  creep! 

Thrills,  mystery,  humor,  romance  and  tragedy  move  side 
by  side  from  start  to  finish  of  this  super-study  of  the  shady 
side  of  human  nature!  There  are  enough  situations  in  it 
to  make  a  dozen  good  stories!  And  a  master  story  teller 
makes  every  one  of  them  count  in  a  feat  of  skilled  directing 
that  will  stand  as  a  model  for  a  long  time  to  come! 

Watch  for  the  announcement  of  "SQUARE  CROOKS" 
at  your  favorite  playhouse.  You'll  be  missing  one  of  the 
year's  best  pictures  if  you  fail  to  see  it  I 


Johnny  Mack  Brown  who  ts  Tufh 
posed  to  have  turned  straight,  hands 
his  pal  in  reformation,  Robert 
Armstrong,  a  severe  jolt  by  showing 
him  the  famous  Carson  jewels, whid> 
have  just  been  mysteriously  stolen. 


ivith  JOHNNY  MACK  BROWN— DOROTHY  DWAN 
DOROTHY  APPLEBY— ROBERT  ARMSTRONG 


IVith  their  men  hounded  by  the 
police  for  the  theft  of  the  Carson 
jewels, Dorothy  Dwan  and  Dorothy 
Appleby  set  their  wits  to  'work  to 
get  them  out  of  the  net. 


;i5c   mentinn  PIIOTdlT.AY   MAGAZIXB. 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$25,  $10  and  $5  . 


The  Real  Critics,  the  Fans,  Give  Their  Views 


The  Monthly  Barometer 

SE\EXTH  Heaven''  is  still  in  its  seventh 
heaven  of  f)opularity.  And  Janet  Gaynor 
and  Charles  Farrell  have  been  fairly 
smothered  with  flowers.  Next  in  popularity 
among  the  current  pictures  is  "The  Last 
Command''  and  Emil  Jannings  has  jumped 
up  among  the  favorites. 

"The  Big  Parade,''  "Beau  Geste,"  and 
"Sorrell  and  Son"  are  still  inspiring  many 
letters,  with  John  Gilbert,  Lon  Chaney  and 
Charles  Rogers  leading  the  male  stars.  Greta 
Garbo  and  Clara  Bow  are  easily  the  feminine 
favorites. 

Photopl.w  received  last  month  letters  from 
every  state  in  the  Union,  as  well  as  from 
readers  in  England.  Germany,  Italy,  .Vustria, 
Czecho-Slovakia,  China,  Japan  and  Sumatra. 

Strangely  enough,  the  pictures  most  praised 
are  those  with  an  unhappy  ending,  while  the 
farce  comedies  are  most  vigorously  panned. 
How  come? 

This  is  your  department.  Your  likes  and 
dislikes  influence  the  trend  of  the  movies. 
And  these  pages  offer  you  the  opportunity 
of  expressing  your  opinion  where  it  will  do 
the  most  good. 

$25.00  Letter 

Canton,  Pa. 

We  reafl  so  many  bouquets  about  screen 
personalities,  and  some  of  us  try  to  observe 
our  t>'pc  and  imitate  it.  1  should  like  to  give 
a  bouquet  to  those  who  plan  the  settings  for 
the  pictures,  because  these  trained  decorators 
are  helping  us  to  develop  our  own  personalities 
and  arc  influencing  us  in  giving  our  homes 
personality  and  charm. 

Few  of  us  can  afford  to  have  an  interior 
decorator,  but  we  do  gain  valuable  help  along 
this  line  from  moving  pictures.  We  learn 
where  to  place  certain  kinds  of  tables  to  make 
them  useful  as  well  as  ornamental;  how  to 
distribute  the  larger  pieces  of  fuj-niture  in 
order  to  give  a  room  balance  and  harmony; 
where  and  how  to  hang  pictures  to  the  best 
advantage;  different  ways  of  arranging  the 
iillle  things,  ash  trays,  lamps,  flowers  and  all 
the  details  which  make  a  house  truly  a  home. 

Surely,  if  we  are  subconsciously  cultivating  a 
taste  for  beauty,  thus  enriching  our  own  per- 
sonalities and  creating  homes  with  personality 
we   should    be   thankful   to   those    who   are 

10 


The  readers  of  Photoplay  are  in- 
vited to  write  to  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


responsible  for  this  part  of  the  work  in  pro- 
ducing moving  pictures. 

Kathryn  M.  Be.am. 

$10.00  Letter 

Los  Angeles.  Calif. 

Inasmuch  as  college  life  stories  are  being 
constantly  exploited  before  the  public,  we 
students  at  the  University  of  California 
thought  it  might  interest  readers  of  Photo- 
play to  know  of  an  episode  that  is  a  regular 
occurrence  at  our  Sorority  house. 

One  of  the  duties  of  our  pledges  is  to  supply 
the  house  with  three  magazines,  one  of  which 
is  Photoplay.  The  day  that  Photoplay 
appears  on  the  newsstands,  the  pledges  buy 
a  copy  and  turn  it  over  immediately  to  a 
committee  which  we  call  our  Jilovie  Com- 
mittee. This  committee  reads  all  the  reviews 
carefully  and  a  discussion  ensues.  A  chart  is 
then  mapped  out,  which  contains  a  list  of 
pictures  to  be  seen  that  month,  one  for  each 
week,  which,  as  far  as  possible  we  attend 
ensemble. 

In  addition,  a  list  of  other  possibilities  is 
pasted  for  the  benefit  of  those  who  might 
want  an  extra  indulgence  or  for  those  able  to 
grab  a  "date."  When  the  committee  is 
finished,  the  magazine  is  placed  carefully  on 
the  library  table.  It  takes  about  a  tenth  of 
a  second  for  someone  to  see  it  there,  and  then 


war  is  declared!    We  only  fight  once  a  month 
and  that  is  when  Photoplay  arrives. 

Margratha  Ernest. 
Secretary,  Alpha  Gamma. 

$5.00  Letter 

Toronto,  Canada. 

I  first  saw  "Seventh  Heaven"  in  a  little 
Canadian  town.  It  was  an  early  Sunday 
evening  in  July,  and,  with  my  little  grandson, 
a  boy  of  ten  years,  I  was  on  my  way  to  church. 
We  sat  down  to  rest  on  a  bench  in  the  town 
park.  It  faced  the  "Theatre  Royale"  in 
whose  entrance  the  sign  "Seventh  Heaven — ■ 
Today''  brazenly  proclaimed  that  we  were  in 
Quebec. 

The  boy  followed  my  wandering  eye  from 
the  gay  little  theater  to  the  distant  spire  of 
the  English  church.  Evidently  scenting  weak- 
ness in  my  perfectly  good  church-going  habit, 
he  said,  "Oh,  Gran,  wouldn't  it  be  lovely  to 
be  a  French-Canadian  on  Sunday  night  and 
go  to  the  movies?"  Suddenly  the  desire  came 
to  me  to  experiment. 

It  was  hot  and  close  outside,  cool  and  dark 
and  full  of  mystery  within,  where  we  sat 
hand  in  hand  and  watched  this  mar\-ellous 
Lesson  in  Hope.  No  sermon  ever  has  affected 
me  as  did  that  picture,  and  I  have  listened  to 
them  in  some  of  the  most  beautiful  cathedrals 
in  the  world. 

When  we  got  outside,  I  said,  "Well,  is  that 
better  than  church?"  And  he  answered,  "I 
think  it  teaches  you  more."  To  my  question 
"How?"  he  answered,  "Well,  always  to  look 
up." 

Could  you  find  a  better  lesson  in  the  whole 
world  to  teach  a  boy  of  ten? 

Elizabeth  Watkins. 

Every  Woman  a  Heroine 

Kansas  City,  Kans. 
Many  a  tired  housewife  would  let  her 
appearance  go,  were  it  not  for  a  vision  she 
has  carried  with  her  from  a  movie.  So  she 
sucks  the  juice  of  a  lemon,  wipes  the  ugly 
stains  from  her  fingers  with  the  rind,  brushes 
her  hair  till  it  shines,  and  puts  on  her  most 
slenderizing  dress.  As  she  admires  her  efforts, 
she  decides  that  she,  too,  can  still  be  a  heroine 
— of  Love. 

Mrs.  Myrtle  E.  Miller. 
[  continued  on  page  90  ] 


Photoplay  Magazine — Advertising  Section 

I  READING  BETWEEN  THE   LINES 
^THE     BIG     PARADE  l^i 
ONCE  AGAIN  METRO-GOLDWYN-MAYER 
BEN-HUR  ^i  WEST   POINTIj 
HAS  CLOSED  THE  SEASON, iqi7-18 

wItH  THE  MOST  OUTSTANDING  LIST 

OF  SUCCESSES   OF  ANY  PRODUCER 


Tt' 


'   DDiMrc  i^Sfe  I  r 


IJOHN  GILBERT^  GRETA  GARBO| 


OF  PICTU RES    IN  THE  INDUSTRY 

^  TH  'EST    FROM    PARIS   # 

M-G-M   HAS  HAD  MORE  BIG   HITS, 
I  THE  SMART  SEt| 


THE  ENEMY i 
BIGGER  STORIES,  BIGGER  STARS, 

THE  CROW°d1 


How  Much  Can 
You  Remember 
—for  $50?  ■ 

YOUR  memory  is  as  good  as  you 
make  it.  Test  it.  See  what  it 
can  really  do.  Here,  for  example,  is 
a  chance  to  test  it  and  to  win  $50 
in  cash  for  the  test.  Read  over  the 
five  questions  below.  Think  back 
over  the  M-G-M  pictures  you  have 
seen  or  heard  about  recently  and 
then  see  how  well  you  can  answer 
the  questions.  If  you  see,  and  re- 
member, you  have  a  good  chance 
to  win. 

For  the  man  who  enters  the  best 
answers  there  is  the  $50  cash  prize 
and  the  cigarette  case  1  carried 
while  I  was  playing  in  "The 
Enemy".  For  the  lady  who  sends 
in  the  best  answers  there  is  also  a 
$50  prize.  In  addition,  Miss  Eleanor 
Boardman,  who  stars  in  "The 
Crowd"  offers  the  handsome  hand- 
bag she  wears  in  the  early  part  of 
the  picture. 

Miss  Boardman  will  also  give  a 
personally  autographed  photograph 
of  herself  to  each  of  the  fifty  ladies 
or  men  who  send  in  the  next  best 
sets  of  answers. 

Your  memory  counts,  not  only  in 
this  contest  but  in  everything  you 
do.  Read  over  the  questions:  if  the 
answers  do  not  occur  to  you  im- 
mediately think  them  over  and 
then  send  in  as  many  answers  as 
you  can.  Here's  luck,  and  may  the 
best  memory  win. 


THE  FAIR  CO-ED 


THAN  ANY  MOTION  PICTURE  COMPANY 


THE  BIG  CITY 


THE   PATSY 


M-G-M   GIVES  YOU  THIS  PROMISE 


FOR  THE  COMING  SEASON,  1928-1919 
NORMA  SHEARER ^1  DANE  AND  ARTHURI 


YOU  WILL  AGAIN  GET  THE  BEST 

MARION  PAV>t:>^^KAMUi>i  WUVMKKU 


]NJVIOTION  PICTURE  ENTERTAINMEN 

LON   L>nMIHCY  ^a^  Tfiuua/^m    HAIH^ 


FROM   METRO-GOLDWYN-MAYER 


iur\Ci  ^ 


,«RS  THAN  THERE  ARE  IN  HEAVEN 


^^u6l^ 


Malph  Forbes' 
Memory  Test 

IName  the  directors  of  six  of  the 
pictures   listed   in   this   adver- 
tisement. 

2  What  popular  comedy  team, 
famous  since  "The  Big  Parade", 
has  since  been  starred  in  its  own 
pictures? 

3  Name  the  part  which,  in  your 
opinion  is  best  acted  in  any 
M-G-M  picture  listed  at  the  left 
(aside  from  the  star  parts).  Give 
your  reasons  in  75  words  or  less. 

4  In  what  M-G-M   picture  is  a 
honeymoon  night  pictured  and 
under  what  circumstances? 

5  Name  two  recent  M-G-M  suc- 
cesses based  on  popular  Broad- 
way musical  hits. 

Write  your  answers  on  one  side  of  a  single 
sheet  of  paper  and  mail  to  3rd  floor, 
1540  Broadway,  New  York.  All  answers 
must  be  received  by  May  15th.  Winners' 
names  will  be  published  in  a  later  issue  of 
this  magazine. 

Note:  If  you  do  not  attend  the  picture 
yourself  you  may  question  your  friends  or 
consult  motion  picture  magazines.  In  event 
of  ties,  each  tying  contestant  will  be 
awarded  a  prize  identical  in  character  with 
that  tied  for. 

Winners  of  the  Norma  Shearer 

Contest  of  January 
ALICE  KERFOOT 

Riverdale,  Maryland 
WILLIAM  T.  TRAGSDOR 

Neilsville,  Wisconsin 


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Photoplay  Magazine — Advertising  Section 


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Brief  Reviews  of   Current    Pictures 

[  CONTINUED  FROM  PAGE   8  ] 


COWARD,  THE— FBC— Warner  Baxter  as  a 
wealthy  sap  who  turns  out  to  be  a  hero.  Old  stuff  but 
always  good.      (November.) 

CRIMSON  CITY,  THE— Warners.— Drama  be- 
tween a  couple  of  victims  of  bad  luck  in  Singapore. 
Lots  of  action — and  you'll  like  Myrna  Loy.   (.March.) 

*CROWD,  THE  —  Metro-GoldwTn-Mayer.  —  The 
story  of  a  white-collar  man  and  his  wife  and  their 
struggles  in  a  big  city.  Truthfully  and  beautifully 
told  bv  King  Vidor  and  sympathetically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.)    ' 

CRUISE  OF  THE  HELLION,  THE— Rayart.— 

In  which  a  bad  bov  is  reformed  by  an  energetic  papa. 
It's  good  stuff.  With  Donald  Keith  and  Edna  Mur- 
phy.    (December.) 

CUPID'S  KNOCKOUT— Hercules.— Just  a  fair- 
to-middling  comedy,  for  evenings  when  you  have 
nothing  better  to  do.      (April.) 

*CZAR  IVAN  THE  TERRIBLE— Sovkino.  —  A 

reallv  great  picture,  made  in  Russia  that,  in  acting 
and  technical  excellence,  never  has  been  surpassed.  A 
marvellous  performance  by  L.  M.  Leonidoff.  If  this 
comes  your  way,  don't  miss  it.      (.April.) 

DEAD  MAN'S  CURVE— FBC— An  automobile 

yarn  that  is  a  flat  tire.  Douglas  Fairbanks,  Jr.,  heads 
the  cast,  in  case  you  care.    (February.) 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors. Stay  home  and  catch  up  with  the  darning. 
(December.) 

DESIRED      WOMAN,      THE— Warners.— Irene 

Rich  in  a  drama  that  proves  that  English  women 
sometimes  have  a  rotten  time  in  India.    (February.) 

*DEVIL  DANCER,  THE— United  Artists.— Gilda 
Gray  among  the  Llamas  of  Thibet.  The  lady  can  act, 
and  her  dancing  would  insure  the  success  of  a  far  less 
interesting  picture.  A  good  show  for  the  grown-ups. 
(January.) 


*DIVINE  WOMAN,  THE  —  Metro-Goldwyn- 
Mayer. — How  an  ugly  duckling  becomes  a  great 
actress.  With — goody,  goody! — Greta  Garbo.  And 
Lars  Hanson  is  a  great  help.  Naturally,  you'll  go  and 
see  it.      (March.) 

DOG  OF  THE  REGIMENT  — Warners.— Rin- 
Tin-Tin  plus  a  good  story  plus  good  acting.  In  other 
words,  a  good  picture.     (December.) 


*DOOMSDAY  —  Paramount.  —  Florence  Vidor's 
sj'mpathetic  and  intelligent  portrayal  of  a  farm 
woman  who^marrics  to  escape  drudgery  merits  your 
attention.      (April.) 

DOVE,  THE— United  Artists.— Norma  Talmadge 
is  starred,  but  it  is  Noah  Beery 's  picture,  the  naughty 
thief!  An  exciting  stage  play  becomes  a  rather 
languid  movie.     (March.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  States  Militar\'  Academy  at 
West  Point.  Real  entertainment,  thanks  to  Wilfiam 
Boyd,  Bessie  Love  and  Louis  Natheaux.     (December.) 

DROP  KICK,  THE^First  National. — It  is  now 
Richard  Barthelmess'  turn  to  win  the  game  for  dear 
old  Alma  Mater.    Who's  next?     (November.) 

DRUMS  OF  LOVE— United  Artists.— D.  W. 
Griffith  tells  the  Paolo  and  Francesca  legend,  but 
spoils  it  by  changing  the  locale  and  by  overloading  it 
with  pageantry.  .Mary  Philbin  branches  out  with 
lots  of  IT  and  Don  Alvarado  gives  a  good  perform- 
ance.     (April.) 

EAST  SIDE,  WEST  SIDE— Fox.— A  modern 
Horatio  Alger  story  of  New  York,  with  some  fine 
realistic  backgrounds.  Well  played  by  George 
O'Brien.    See  it.    (January.) 

I  CONTINUED  ON  PAGE   14  ] 


Photoplays  Reviewed  in  the  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out 
your  evening's  entertainment.     Make  this  your  reference  list. 


Page 

Alex  The  Great— FBO 113 

A  Night  of  Mystery — Paramount 53 

Apache  Raider,  The— Pathe 114 

A  Trick  of  Hearts— Universal 113 

Bare  Knees — Gotham 55 

Battles   of   Coronel   and   Falkland   Is- 
lands, The— Artlee 112 

Beyond  London's  Lights — FBO 112 

Big  Noise,  The— First  National 114 

Black  Feather,  The— William  Pizer. ...   96 

Body  Punch,  The— Universal 115 

Bride  of  the  Colorado,  Th«^-Pathe-De 

Mille 112 

Bronco  Stomper,  The — Pathe 96 

Came  the  Dawn— Hal  Roach- 

M.-G.-M 96 

Chinatown  Charlie — First  National.. .  .  115 

Count  of  Ten.  The — Universal 96 

Cream  of  the  Earth — Universal 96 

Desert  Pirate,  The— FBO 96 

Devil's  Sldpper.  The— Tiffany-Stahl .  . .   55 

Dressed  to  Kill— Fox 52 

Escape,  The — Fox 115 

Faithless  Lover,  The— Krelbar 96 

Fallen  Angels — Universal 114 

Fangs  of  Justice — Bischoff 96 

Finders  Keepers — Universal 96 

Five-and-Ten-Cent  Annie — Warners..  .115 

Frenzied  Flames — Ellbee 96 

Good-Bye  Kiss,  The — Mack  Sennett.  .114 

Harold  Teen — First  National 52 

Has  Anybody  Here  Seen  Kelly? — 

Universal 113 

Heart  of  a  Follies  Girl,  The— 

First  National 54 

Heart  of  Broadway,  The— Rayart 113 


Page 

Hold  'Em  Yale-Pathe-De  Mille 54 

Hot  Heels— Universal 114 

Lady  Be  Good — First  National 55 

Law  of  Fear— FBO 96 

Little  Mickey  Grogan— FBO 96 

Mad  Hour — First  National 55 

Man  Who  Laughs,  The — Universal. ...   55 

INIother  Machree — Fox 53 

Nameless  Men— Tiffany-Stahl 96 

Painted  Trail,  The-Rayart 113 

Partners  in  Crime — Paramount 112 

Patsy,  The-M.-G.-M 54 

Pioneer  Scout,  The — Paramount 115 

Play  Girl,  The-Fox 115 

Powder  My  Back — Warners 115 

Red  Hair — Paramount 54 

Riders  of  the  Dark— M.-G.-M 113 

Road  to  Ruin,  The— Cliff  Broughton.  .114 

Saddle  Mates— Pathe 96 

Sailors'  Wives — First  National 112 

Showdown,  The — Paramount 54 

Skinner's  Big  Idea— FBO 112 

Something  .Always  Happens — 

Paramount 55 

Speedy — Lloyd-Paramount 52 

Streets  of  Shanghai— Tiffany-Stahl.  ...  112 

Thoroughbreds — Universal 115 

Tillie's  Punctured  Romance — Christie- 
Paramount  96 

Tragedy  of  Youth,  The — Tiffany-Stahl.  1 13 

Turn  Back  the  Hours— Gotham 96 

Two  Lovers— United  Artists 54 

Upland  Rider,  The^First  National.  .  .  112 

Vamping  Venus — First  National 114 

Warning,  The— Columbia 114 

We  Americans — Universal 53 

You  Can't  Beat  the  Law — Ravart 96 


Ercry  advertisement  In  PUOTOI'I.AY  MAGAZINE  Is  guaiiintceil. 


Photoplay  Magazine — Advertising  Sec 


riO  jLU^  jiMi^    ALAN  HALE, 


SUE  CAROL  AND 
ALBERTA  VAUGHN 


SUE  CAROL 


He  hadn't  come  to  her,  so  she  went 
to  him.  He  was  rough,  almost  brutal. 
Pluckily  she  tried  to  keep  back  the 
tears.  Then  she  saw  before  him,  half 
hidden,  her  little  photo.  He  saw  her 
face  light  up  and  knew  the  reason  why. 
He  dropped  the  ashes  from  his  cigarette 
upon  her  picture.  "All  right.  Big  Boy," 
she  said,  with  a  catch  in  her  throat,  "it's 
O.  K.  with  me,"  and 
walked  away.  Why  did 
he  act  that  way  with  the 
girl  he  loved?  Thus 
harshly  he  gave  her  up. 
Did  he  get  her  back? 

Pathos,  yet  with  it,  roar 
on  roar  of  laughter! 

If  you  were  to  tell  in 
detail  your  idea  of  your 
ideal  picture  you'd  be  de- 
scribing something  very 
close  to  "Skyscraper." 

Remembering  William 
Boyd  in  "The  Volga  Boat- 
man,"   "Dress    Parade" 

Directed  by 
HOWARD  HIGGIN 

When  vou  wrlto  to  advertisers  plea: 


ALAN   HALE 


and  "The  Night  Flyer"  you'll  want  to 
see  him  in  this. 

He  and  Alan  Hale,  the  bang-'em  and 
slam-'em  rough  neck  riveters,  flirting 
with  death  far  above  the  street,  always 
lighting  with  one  another  yet  insepar- 
able, you'll  love  them;  Sue  Carol,  who 
just  can't  understand  why  her  riveter 
should  pour  his  heart  out  to  her  one 
minute,  then  "throw  her 
down"  the  next;  Alberta 
Vaughn  as  the  girl  who 
didn't  much  care  who  the 
man  was  so  long  as  she 
had  a  man;  what  a  cast  it 
is  and  how  they  fit  their 
roles! 
(^  ^  You'll  love  "Skyscrap- 

f  M.  W         ^^•"   ^^^   ^^   your    local 
/  aBm  theatre  when  it  will  be 

/  W^  playing. 

Adapted  by  Elliott 
Clawson  and  Tay  Gar- 
nett  from  the  story  by 
Dudley  Murphy. 

DE  MILLE 

Studio  Production 

PHOTOPLAY   MAGAZINE. 


H 


Photoplay  Magazink — Advertising  Section 


1  he  IN  e  w 

Shorthand 

Easier   to    lea?^/i    tha7i 
stenography .  .  .  and  faster 


Brief   Reviews   of   Current   Pictures 


[continued  from  page  12  ] 


"In  November,  a  failure  ... 

lo  February,  secretaryto  the  President 
.  .  .  that  is  my  remarkable  story. 

•  'PRANKLY,  I  was  a  failure.  I  had  to 
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"Then  a  friend  of  mine  was  made  secre- 
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Amazingly  Simple 
"When  she  showed  me,  I  was  amazed  It  was  all 
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Only  Three  Months 

"That  was  only  three  months  ago.  Now  everything 
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*ENEMY.  THE— Metro-Goldwyn-Mayer.— Anti- 
war propaganda,  told  in  the  terms  of  a  tragedy  that 
befell  a  Viennese  household.  Lillian  Gish's  most  human 
and  appealing  performance  makes  it  worth  seeing. 
{February.) 

FAIR  CO-ED,  THE— Metro-Goldwyn-Mayer.— 
Marion  Davies  at  her  very  funniest  in  a  pretty  fair 
college  yarn.    The  gal  is  a  real  comic.     (December.) 

FEEL  MY  PULSE— Paramount.— Bebe  Daniels  is 
terribh-  annoyed  by  William  Powell  and  his  rum 
gang.  But  Richard  .Arlen  comes  to  her  rescue. 
Fairly  good,  but  not  up  to  Bebe's  standard.      (April.) 

FIGURES  DON'T  LIE— Paramount.— A  zippy 
farce-romance  of  a  stenographer  and  her  boss.  With 
Richard  .\rlen  and  the  lovely  Esther  Ralston.     (No- 


GOOD    TIME    CHARLIE— Warners.— The    sad 

story  of  an  old  trouper,  played  with  so  much  true 
fechng  by  Warner  Oland  that  you  forget  its  senti- 
mentality.   (January.) 

♦GORILLA,  THE— First  National.-Charlie  Mur- 
ray and  Fr.'d  Kelsey,  as  a  couple  of  dumb  Sherlocks 
plaster  laughs  all  over  this  mystery  yarn.  It's  a  darn 
fool  thing,  but  you'll  like  it.    (January.) 

GRAFT — Universal. — Wherein  a  newspaper  re- 
porter, bless  his  little  heart,  tries  to  clean  up  the  big 
?Jr^  ^''^,^''''''';  X  Interesting  performances  by  Henry  B. 
WalthaU  and  Lewis  Stone.      (April.) 

HAM  AND  EGGS— Warners.— A  war  comedy 
rior,P  ,n  r.^ir,r=  ,=  i,  „,„,„      A„   occasionally  amusing 


FLYING  LUCK— Pathe.— Monty  Banks  gets 
some  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.     (December.) 

FORBIDDEN  WOMAN,  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  by  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Scliildkraut.     Worth  your  money.     (December.) 

FOREIGN  LEGION,  THE— Universal.— A  fol- 
low-up nil  the  popularity  of  "Beau  Geste."  If  you 
irr  lu-t  Irantic  for  Legion  stories,  this  is  your  enter- 
lainnu-nt.     With  Norman  Kerry.     (April.) 

FORTUNE     HUNTER,     THE— Warners.— Syd 
Chaplin  messes  up  a  good  comedy.    Why  people  stay 
(March.) 

FOURFLUSHER,  THE— Universal.— Pleasant, 
youthlul  comedy  about  a  smart-aleck  in  big  business. 
Ornamented  by  Marion  Nixon.     (December.) 

*FOUR  SONS— Fox.— Reviewed  under  title  of 
"Grandma  Bernle  Learns  Her  Letters."  The  screen 
rises  to  real  greatness  in  this  story  of  a  war-stricken 
German  mother.      (January.) 

FRENCH  DRESSING  —  First  National.  —  In 
which  the  dowdy  wife  outvamps  the  vamp.  Swell 
trouping  by  Lois  Wilson,  Lilyan  Tashman  and  Clive 
Brook.     (February.) 

GALLAGHER— Pathe-De  Mille.— Richard  Hard- 
ing Davis'  charming  story  of  the  adventures  of  an 
office  boy  in  a  newspaper  office.  Young  Junior 
Coghlan  merits  applause.      (February.) 

GARDEN  OF  ALLAH,  THE— Metro-Goldwyn- 
Mayet.— Rex  Ingram's  best  picture  in  several  years. 
A  beautiful  re-telling  of  tlie  Robert  Hichens  romance 
made  in  the  original  locations.    (November.) 

GARDEN  OF  EDEN— United  Art,ists.— Just  a  so- 
so  vehicle  for  Corinne  Griffith.  Miss  Griffith  and 
Lharles  Ray  are  hampered  by  a  second-rate  chorus 
girl  yarn.      (February.) 

GATEWAY    OF    THE    MOON— Fox.— Dolores 
Del  Rio  gets  coy  in  a  South  Sea  Island  picture.    This 
~" .    (March.) 


HARVESTER,  THE-FBO.-Came  the  yawnl 
If  you  like  Gene  Stratton  Porter's  stories,  help  your- 
self.    (January.) 

HEBIE  GEBIES-Hal  Roach.-A  hvpnotist  turns 
Our  Gang  into  animals.  An  original,  really  amusing 
comedy  that  will  delight  the  children.     (December.) 

HER  GREAT  ADVENTURE— A.  G.  Steen  Inc  — 
What  a  stenographer  does  witli  one  thousand  dollars. 
Below  par.      (April.) 

HER     SUMMER     HERO— FBO.— Why    movie 

theaters  need  good  prologues.    (March.) 

HER  WILD  OAT-First  National.— Colleen 
Moore,  the  humble  proprietress  of  a  lunch  wagon 
goes  berserk  at  a  fashionable  resort.    (February.) 

HIGH  SCHOOL  HERO,  THE— Fox.— A  youth- 
ful, refreshing  story  of  "prep"  school  life  with  a  cast 
of  youngsters.      (November.) 

.    HIS     COUNTRY— Pathe-De      Mille.— Excellent 
story  by  two  immigrants,  beautifully 


star  should  keep  her  clothes  c 

*GAUCHO,  THE— United  Artists.— Love  life 
and  religion  among  the  bandits  of  the  Andes,  excit- 
ingly and_  picturesquely  enacted  by  Douglas  Fair- 
banks, keep  your  eye  on  Lupe  Velez,  his  new  leading 
woman.    Fine  for  the  younger  set.     (January.) 


-Richard 


GAY  DEFENDER,  THE-Paramount.- 
Dix,  in  Spanish  get-up,  strays  by  accide 
Douglas     Fairbanks     plot.       A     pleasant     evening. 


-Fox. — Poisonous  com- 

*GENTLEMEN  PREFER  BLONDES  —  Para- 
...ount— If  you  don't  want  to  see  this  film  version  of 
Anita  Loos  story,  something  is  wrong  with  you.  It  is 
all  laughs  thanks  to  Ruth  Taylor,  Alice  White  and 
Ford  Steriing.      (February.) 

GENTLEMEN  PREFER  SCOTCH-Fox.-Just 

a  short  comedy  but  better  than  most  features.  Keep 
sour  eye  on  Nick  Stuart  and  Sally  Phipps.  (De- 
cemoer.) 

■  nTr^  y^^^^  MAN-Paramount.-Clara  Bow 
•  1.  /'•"■'e^  Rogers  in  a  light  romance,  made  espe- 
cially for  Young  America.      (February.) 

GIRL  FROM  CHICAGO,  THE-Warners.-Life 
Conra'(7 Va""..!'  ■K^""!?.':"!'°';'.'*'_ .^''Jf.^.^'.ly  ^^cjed  by 
(December.) 


HOME  MADE— First  National.— Johnny  Hines 
pursuing  his  Art.  Some  of  the  "gags"  don't  belong 
on  the  screen — or  anywhere  else.    (December.) 

HONEYMOON  FLATS  —  Universal.  —  Clever 
little  comedy  of  young  married  life,  with  George  Lewis 
and  Dorothy  GulUver.      (April.) 

w?°^^7^^0^  HATE— Paramount. -Florence 
Vidor  and  Tullio  Carminati  enact  a  neat  little  comedy 
duel  between  an  American  heiress  and  her  Italian 
husband.    For  those  who  like  'em  subtle.    (January.) 

HOOF  MARKS— Pathe.- 
star.  Jack  Donovan.  He  kn 
ary.) 

HOOK  AND  LADDER  No.  9— FBO.— Some  good 

newsrecl  shots  of  a  fire.  A  feeble  excuse  for  a  story. 
(December.) 

HUSBANDS  FOR  RENT  —  Warners.  —  Owen 
Moore  and  Rathryn  Perry  in  a  bedroom  farce  that 
will  get  by  only  with  the  less  bright  members  of  the 
community.      (March.) 

I  TOLD  YOU  SO— Leigh  Jason.— This  picture- 
only  a  two  reelcr — cost  merely  one  thousand  dollars. 
But  It  shows  so  much  promise  that  its  producer  won 
a  contract  for  himself  on  the  strength  of  a  pre-view 
showing.      (April.) 

IF  I  WERE  SINGLE— Warners.— The  girls  will 
get  a  giggle  out  of  this  story  of  domestic  life.  Conrad 
Nagel  proves  that  he  can  play  comedy.    (January.) 

IN  OLD  KENTUCKY— Metro-Goldwyn-Mayer. 
— .\  story  of  the  Kentucky  Derby  that  is  better  than 
most  race-track  talcs,  thanks  to  a  fine  peiformance 
by  James  Murray  and  an  exceptional  "bit "  by  Wesley 
Barry.  (January.) 

IRRESISTIBLE  LOVER,  THE— Universal.— 
What  happens  when  a  hard-boiled  bachelor  meets  a 

" '•  young  thing.    Just  a  lot  of  nonsense,  snapped  up 

Kerry  and  Lois  Moran.  (January.) 


-Rin-Tin-Tin  draws 


the    underworld, 
d    Nagel,    Myrna   Loy    and"  WilHam-Ru^ssen', 


GIRL  FROM  RIO,  THE-Gotham.-An  inde- 
pendent production,  colorful  and  above  the  average 
Carmcl  Myers  as  a  Spanish  dancer  and  Walter  Pid- 
geon  as  a  handsome  Englishman.     (November.) 

a,We'i!?nr'^  Y^V  ^'^^'^'  A-Fox.-The  romantic 
a<lv<  iitires  of  a  deep  sea  sailor,  played  by  Victor 
McLaglen.  And  very  funny,  too.  (March.) 
».?;i.'"MN  THE  PULLMAN,  THE  -  Pathe-De 
ot  tHose  farce  honeymoon  adventures 
nnocent,  nor  yet  the  very 
(February.) 

rirOT(llM..\Y  M.VG.VZINE  Is  (niarantei 


by  Norma 

JAWS  OF  STEEL— War 

a  bad  one.     (December.) 

JAZZ  SINGER,  THE  — Warners.— Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitaphone  nor  a  good  story  can  conceal  the  painful 
fact  that  Al  Jolson  is  no  movie  actor.    (December.) 

♦JESSE  JAMES— Paramount.— Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distinguished  train  robber.  Don't  let  the  blue-noses 
interfere  mth  your  enjoyment  of  a  corking  melo- 
drama.     (December.) 

JOY  GIRL,  THE— Fox.— Olive  Borden's  eyes  and 
legs  at  Palm  Beach.      (November.) 

JUDGMENT  OF  THE  HILLS— FBO.— An  inter- 
esting and  human  story  of  life  in  the  Kentucky 
mountains.  Our  hats  off  to  Frankie  Darro,  a  fine  boy 
actor.     (March.) 

LADIES  AT  EASE— Chadwick.— A  bum  imitation 
of     Gentlemen  Prefer  Blondes."     (December.) 
[  CONTINUED  ON  PAGE   116  ] 


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the  lovers  you 
loved  in  "  The  t 
Patent  Leather 
Kid"- RICHARD 
BARTHELMESS 
e' MOLLY  C'DAY 
—  in  their  first 
picture  together 
since  that  his- 
tory -  making 
Special. 


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r ieMdllyy\dlVice  from.    Carolyn 


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EAR  CAROLYN  VAN  WYCK, 

m  in  my  first  year  in  college,  nearly 
'nineteen,  called  pretty  by  my  friends, 
have  nice  clothes  and  my  own  car.  But  I'm 
ver>'  unhappy  because  I  am  not  popular.  Do 
what  I  will,  I  can't  seem  to  become  a  "party 
girl."  When  the  boys  and  girls — this  is  a  co-ed 
college — get  together  I'm  always  left  out  un- 
less some  girl  friend  gets  me  a  "blind  date." 
Even  then  I  don't  score.  The  mere  presence 
of  a  boy  makes  me  tongue-tied  and  silly.  I 
guess  I'm  just  impossible.  Is  there  any  help 
for  me? 

Virginia  B. 


THIS  is  such  a  common  letter, 
poor  dear,  is  feeling  the  pangs 


Virginia, 
_  _  of  an  in- 
feriority complex,  making  herself  miserable 
thinking  that  because  she  was  not  born  with 
the  kind  of  charm  which  automatically  makes 
her  the  pet  of  the  party  she  can  never  acquire 
it. 

It's  not  true,  Virginia.  You,  or  any  other 
girl,  can  gain  charm  and  personality  and  popu- 
larity. It's  only  a  matter  of  realizing  what 
you  want  and  having  the  will  to  get  it. 

An  Easter  display  of  flowers  in  a  florist's 
window  is  beautiful  and  scented  and  glowing. 
But  it  doesn't  just  happen.  Behind  it  lies 
thought  and  care.  Charm  and  personality  are 
much  like  that.  They  must  be  carefully  culti- 
vated and  artfully  put  on  display  before  they 
become  apparent  to  the  passer-by. 

Naturally  X'irginia  wants  "dates"  and  hopes 
that  one  of  those  "dates"  will  find  her  the  girl 
of  girls.  But  just  because  Virginia  w^asn't 
born  one  of  those  darlings  of  destiny  with  the 
gift  of  inspiring  love  and  admiration— and  so 
few  of  U3  are — she  mustn't  meekly  be  defeated 
by  it. 

If  I  were  Virginia,  only  nineteen,  at  college, 
with  youth  and  education,  and  life  lying  open 
before  me — I  'd  determine  to  make  myself  and 
my  life  a  glorious  thing.  I'd  begin  by  being 
humble  and  honest  with  myself  and  dig  down 
deep  for  tharm  in  routine  things,  into  diet,  into 
exercise,  into  drinking  quarts  of  water  and 
eating  pounds  of  green  vegetable.^  and  gelling 
hours  of  sleep.  I'd  learn  to  si  and  correilly 
and  walk  gracefully  and  study  the  fashion  pub- 
lications so  that  no  matter  how  serviceable  my 
clothes  might  have  to  be,  they  would  always  be 


chic.  For  monotonous  and  usual  as  this  advice 
may  seem,  it  must  be  followed  to  acquire  charm 
just  as  a  pianist,  no  matter  how  gifted,  must 
daily  practice  five-finger  exercises  if  he  is  to 
become  a  great  artist. 

That's  the  physical  side.  Once  I'd  con- 
quered that,  I'd  go  after  the  spiritual — not  in 
the  churchly  sense  entirely — but  in  the  sense 
of  developing  one's  own  consciousness. 

1"?  I  were  Virginia  I'd  keep  the  fires  of  my 
■^imagination  burning.  A  few  sentences  from 
a  great  book — a  few  lines  of  poetry — some 
measures  of  fine  music — or  a  new  cold  cream, 
or  a  dance  step,  a  parlor  trick  or  a  perfume. 
The  gift  I'd  bring  to  myself  each  day  need  not 
be  serious  or  "highbrow"  so  long  as  daily  I 
gave  my  mind  something  to  keep  it  alive.  For 
the  mind  is  so  generous  that  whatever  you 
give  it,  it  in  turn  gives  out  to  the  world.  And 
girls  like  Virginia  need  to  cast  off  their  shyness 
and  realize  that  there  is  no  fascination  so  great 


The  Party  Girl 

Is  This  Month's  Problem 

HOW  to  be  the  girl  who  is  always 
invited;  how  to  always  have  a 
date ;  how  to  get  out  of  the  corner  and 
into  the  spotlight,  this  problem  con- 
fronts every  girl.  But  popularity  isn't 
a  mystic  thing.  Its  rules  are  simple 
and  easily  mastered.  Read  those  I 
give  you  here. 

I  will  be  glad  to  help  you  individually 
on  this  or  any  other  problem  relating 
to  beauty,  health  or  happiness.  Let- 
ters with  stamped  envelopes  enclosed 
will  be  answered  directly;  those  with- 
out return  postage  in  the  columns  of 
Photoplay.  Pamphlets  on  care  of  the 
skin  will  also  be  yours  for  the  send- 
ing of  a  stamped,  self-addressed  en- 
velope, and  a  booklet  on  weight  re- 
duction may  be  had  for  ten  cents. 
CAROLYN  VAN  'WTCK. 


Girls' 
oblems 


as  the  spectacle  of  a  personality  that  is  vivid 
and  changing. 

Then  with  half  an  hour  of  my  day  thus 
turned  into  a  good  habit — fifteen  minutes  for 
physical  exercise  and  fifteen  minutes  for  mental 
exercise — I'd  fight  a  little  for  my  own  popu- 
larity. I'd  dress  as  frequently  as  possible  in 
gay  colors  and  learn  to  laugh.  Wherever  I 
went,  I'd  act  as  though  I  were  enjoying  my- 
self, no  matter  how  bored  I  might  actually  be 
and  I  wouldn't  sit  in  a  corner  and  let  people 
forget  my  very  existence. 

For  myself,  I'd  rather  do  the  wrong  thing  at 
a  party  than  do  nothing  at  all.  The  girl  who 
stumbles  into  the  potted  palms  or  tumbles  the 
music  off  the  piano — she  is  laughed  at,  cer- 
tainly, but  she  is  also  remembered.  People  will 
forgive  your  being  incorrect  but  they  will  never 
forgive  your  being  dull. 

The  truth  is  that  it  doesn't  matter  whether 
a  girl's  beauty  or  brains  or  blunders  provide 
the  good  time.  All  three  or  any  one  can  make 
you  popular.  Beauty  has  been  extolled,  brains 
have  been  feted  and  fools  have  been  laughed 
at  and  loved  for  ages.  But  nobody  ever  heard 
of  a  monument  to  a  girl  who  was  a  silent,  re- 
proachful wallflower. 


them  afraid  of  us.  Everyone  wants  to  es- 
cape his  own  shy  loneliness.  Every  one  of  us, 
I'm  convinced,  is  an  idealist  hoping  somehow 
to  meet  that  glamorous  delightful  person  who 
will  persuade  us  anew  that  life  is  a  lovely  thing. 
Virginia  can  be  that  person,  if  she  will.  We 
all  are  and  all  can  be  so  many  personalities. 
Turn  self-consciousness  into  a  consciousness  of 
self.  Lift  up  your  heart  and  mind  and  chin 
and  say  to  yourself,  "j\Iy  dear,  you  are  going 
to  make  yourself  into  a  very  distinguished 
girl"  and  you'll  find  from  that  moment  that 
more  than  half  the  battle  is  over  and  more  than 
half  your  dates  to  parties  are  already  won. 

EvELYNE  B.,  Mass. 

Comb  your  long  curls  out  and  roll  them  into 
a  soft  tlat  line  across  the  entire  back  of  your 
head,  pinning  the  "bun"  close  to  your  head 
line.  This  line  is  not  as  dignified  as  that  of  the 
hair  dressed  in  a  low  knot  on  the  neck  and  you 
arc  too  young  to  yearn  for  dignity.  Keep  the 
sides  soft  about  your  face.  Don't  wear  fancy 
conilis  or  pins.  Such  a  coiffure  will  carry  you 
safely  from  the  "little  girl"  look  you  dislike 
into  a  sub-deb  mode. 

H.  T.,  Ohio. 

Your  "chameleon"  eyes,  changing  color  with 
the  dresses  you  wear,  showing  light  and  shade 
according  to  the  hour,  are  the  loveliest  in  the 
world,  but  I  don't  like  your  "sandy"  eyelashes. 
Use  a  little  cosmetic  on  your  lashes  and  brows. 
Brown  mascara  is  the  best  shade  for  you.    Put 

[  CONTI.NUED  ON  P.\GE   102  ] 


Photoplay  Maoazixe-^Advehitsixg  Section 


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DOUBLE  COMPACTE 


AND    EXQUISITELY    SMART 


.=_y7Z  ^/zi^o  (Oaeia^s. . 

L'ORIGAN  AND  "PARIS,, 

Shade  Qomtinations 

BLANC    (Compacte Powder)     with    LIGHT  (Rouge) 

NATUREL         "         °  with   LIGHT,  BRIGHT, 

MEDIUM  OR  DARK,  (Rouge) 

RACHEL  •         ••  ,  MEDIUM  OR  DARK  (Rouge) 

BOTH     ROUGE    AND     POUDRE    COMRftCTE 
OBTAINABLE    EVERYWHERE 


Suggestion  — 

Tour  Monogram  Engraved  on  Cover 

gives  a  Smart  Personal  Touch 


ouohrid  me  oeauly  or  eve?y  lovelt/ /ace 
wit  A  tAe  d/o7<{fyind  sAaaes  ^COTY 
Rouge  (272i2:^  Powder.  Qfacind  evefy  cAa?<m- 

md  6ufse  witA  its  cAic  stim  box  of 

^    /  /       •  ^ 

ptatinuTTz  tone,  with  mi7<?^o-/^s 

and c/ainty Jbu^s  —  anc/as 

tastiridas  a  watcn,  wit  A 

Refills  Z^?^  AotA 

Powder  aP7a 

Rouge. 


ROUGE 

Aou>  lo  use  li  for ^rea(esl  ieciuly 
—  a  6ooAiet  zUtisirated  ty 
CHARLES    DANA    GIBSON 

conr>^,.c 

714  (Jifth  STvenue,  '^w'^i/'orL 

CANADA— 55  M'G.M  College  A.c.  Mo-ircjl 


i-itc  to  advertisers  pie 


Photoplay  Magazine— Advertising  Section 


Clllt      OiikL^ 


rr  M 

A      SKIN      YOU      LOVE      TO      TOUCH 


Jhat  wonderful  thing,  your  skin  .  .  . 

So  sensitive,  so  quick  to  change  .  .  . 
that  even  the  glance  of  a  person  you 
like  can  affect  it — 

Don't  treat  it  as  if  it  were  something 
inanimate — a  bit  of  porcelain,  to  be 
washed  and  put  on  the  shelf;  a  piece  of 
fabric,  to  be  stretched  and  pulled  and 
worked  on  and  experimented  with. 

Trust  it  to  none  but  the  clean,  sure 
methods  of  science!  Care  for  it  in  the 
way  the  best  skin  specialists  recom- 
mend— with  warm  or  hot  water,  ice,  and 
Woodbury's  Facial  Soap,  the  soap  espe- 
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Thousands  of  women  today  are  build- 
ing up  a  lovely,  clear  complexion  with 


In  the  1/ooklel  ^-rapped  around  every  t 
bury' s— you  nill find  the  right 


Woodbury's   Facial   Soap   and   the   fa- 
mous Woodbury  skin  treatments. 

College  girls  —  debutantes  —  women 
guests  at  America's  most  splendid  hotels, 
most  exclusive  resorts,  are  telling  in 
their  own  words  how  Woodbury's  has 
helped  them  to  overcome  skin  troubles 
and  to  give  their  skin  a  beautiful,  clear, 
smooth  texture. 

"My  doctor  advised  Woodbury' s  be- 
cause my  skin  is  oily."  "My  doctor  rec- 
ommended Woodbury's  to  me  J  or  acne." 
'''Woodbury's  has  done  wonders  for  my 
skin."  "Woodbury's  makes  my  skin 
clearer,  my  color  brighter" — these  are 
characteristic  comments — taken  from 
among  thousands. 

If  you  are  troubled  with  blackheads, 
.  blemishes,  excessive  oiliness, 
or  any  other  skin  defect  — 
use  the  special  treatment 
recommended  for  that 
trouble  in  the  booklet  that 
comes  to  you  free  with  every 
cake  of  Woodbury's  Facial 
Soap. 

you  are  fortunate  enough  to 
have  a  clear,  unblemished  skin — 
YOU  should  use  the  famous  Wood- 
bury treatment  for  normal  skins 
given  in  this  booklet. 

A  25-cent  cake  of  Woodbury's 
lasts  a  month  or  six  weeks.  Get 
your  Woodbury's  today— begin, 
tonight,  to  give  your  skin  the 
benefit  of  this  wonderful  soap! 


QUur   QOooAUy  ^reaU 

men  I  for-     Cen    '^'avs 
NOW  THE  LARGE-SIZE  TRIAL  SET! 


The  Andrew  Jersens  Co., 

2209  Alfred  Street,  Cincir 
For  the  enclosed  10  cents  pl( 


i,  Ohio. 

large-sjze  trial  cake  of  Wood- 
hury's    Facial   Soap,   the   Cold   Cream, 
Facial   Cream   and    Powder,   the   treat- 
ment  booklet,   "A   Skin    You   Love   to 
Touch"   and   instructions   for   the  new 
plete  Woodbury  "  Facial.  "    In  Can- 
address    The   Andrew  Jergens   Co.t 
iied,  2209  Sherbrooke  St.,  Perth,  Ont. 


VOL   a.   <^..;.,:^,9-CCL   Ghar,n  of  a  C^.a.ufj  cf/^in" 


Cofyrithl.  Itet,  iy  ', 


In  I-I1<)T()IM,AY  MAGASilNE  is  smaranteed. 


Name. 
City_ 


EW   JllCTlJll^i^ 


QW.  FORESHADOWING  the  return  from  flapper  dom  to  femininity ,  or  the 

t'  art  of  wearing  a  high  hat.     Florence  Vidor  remained  immune  from 

'>~^       the  most  furious  attacks  of  flapper'mania.     Just  as  Miss  Vidor  was 

beginning  to  think  about  leaving  the  screen  and  all  its  ways,  Emil  Jannings 

selected  her  to  play  opposite  him  in  "The  Patriot,"  thus  bringing  her  back 

to  the  sympathetic  direction  of  Ernst  Lubitsch. 


(^  yd  ?HEN  Cecil  B.  De  Mille  set  about  immortalizing  another  river  in  celluloid — you  remember, 

t/y    of  course,  what  he  did  for  the  Volga — he  chose  Leatrice  Joy  as  the  ideal  girl  to  waltz  to  the 

strains  of  "The  Blue  Danube."    This  special  picture  was  in  answer  to  Leatrice's  plea  for  a 

change  from  trivial  comedies  whose  only  claim  to  your  attention  was  Leatrice's  beauty.      She  has 

been  promised  other  films  worthy  of  her  position  as  one  of  our  best  comediennes. 


^  #  lOSSESSOR  of  the  most  beautiful  and  the  most  eloquent  shoulders  on  the  screen — Greta 

£       Nissen.   And  there  is  no  argument  about  it.   This  Greta  could  no  more  play  a  dramatic  scene 

in  long  sleeves  than  could  the  other  Scandinavian  Greta  with  a  mask  over  her  face.     Greta's 

newest  picture  is  "Hell's  Angel."    And  although  she  has  been  in  pictures  for  three  years  and  also 

played  in  the  "Follies,"  the  hard-hearted  girl  is  still  unmarried. 


(i^OEBE  DANIELS"  career  is  devoted  to  the  adventures  of  the  tomboy.  Her  comedies  are  dedicated 
J^  to  the  glorification  of  the  current  sport  thrill- -be  it  channel  swimming  or  aviation.    Some- 
times, the  game  little  Bebe  risks  serious  injury.   And  reducing,  for  her,  is  no  problem.   Bebe's 
studio  life  is  so  strenuous  that  her  chief  worry  is  about  getting  too  thin.    Neither  married  nor 
engaged ;  in  fact,  still  Mother's  Girl. 


J^^XPLAIN  It,  if  you  can:  Billie  Dove  has  been  intermittently  a  star  for  several  years.    But  the 

^y  producers  were  shy  of  her ;  she  was  too  beautiful  to  be  popular.    First  National  had  faith  in 

Billie's  acting  ability  and  decided  to  star  her  in  a  series  of  pictures  designed  especially  for  her. 

And  the  results  have  been  surprising.    The  little  girl  has  made  good.    And  the  moral  is  that  you 

cannot  be  too  beautiful  to  be    popular. 


/AMES  HALL  is  the  boy  who  has  the  difficult  task  of  keeping  up  with  Bebe  Daniels  in  her 
strenuous  comedies.    He  is  what  all  producers  are  looking  for — an  ideal  leading  man.  His 
presence  in  a  picture  assures  the  girls  that  the  romantic  interest  will  never  lag.  To  steal  the 
Answer  Man's  thunder:  He  was  born  in  Dallas,  Texas,  of  Irish-American  ancestry;  he  is  twenty 
seven  years  old  and  married  to  a  non-professional. 


up^J^        HP 


THIS  is  what  the  slender  Modern  wears  for  grace 
and  chic.     It  is  just  a  twelve-inch  bit  of  double 

crepe  and  fine  elastic,  soft  as  the  skin  it  caresses 

but  designed  by  Gossard !    Ask  for  Gossard  Step-in 
994  at  $8.50.     Uplift  Bandeau  1594. 

Ask  to  see  ^ese.  \ovd':j  garmenis. 

THE  H.  W.  GOSSARD  CO.,  Chicago,  San  Franciseo,  New  York,  Atlanta,  Dallas,  Sydney,  London,  Toronto,  Buenos  Aires 


Yashion  Experts 

who  buy  for  112  Leading  Stores 


insist  on  Lux 

for  their 

own  things 


MILLIONS  of  dollars  a  year 
are  entrusted  to  these  clever 
women — the  department  store  buy- 
ers  of  frocks  and  blouses,  hosiery, 
underthings,  gloves,  the  wardrobe 
of  American  women! 

In  the  fashion  centers  of  the  world 
—  New  York,  Paris,  London  —  they 
buy  tomorrow's  styles— the  latest 
thing  in  colors,  in  fabrics. 

More  than  any  other  women  — be- 
cause they  buy  for  a// women  —  they 
must  know  how  lustrous  silks  and 
the  new  sheer  woolens,  and  lovely 
cotton  prints,  will  wear — how  proper 
washing  will  guard  texture  and  color, 
keep  them  looking  like  new. 

A  merica  's  greatest  stores 

In  112  of  the  most  important  stores 
in  America* — doing  over  three- 
fourths  of  all  the  large  department 
store  business — women  buyers  told 
us  just  how  they  took  care  of  their 
own  things. 

These  fashion  authorities,  know- 
ing that  the  choice  of  soap  is  all- 
important  to  the  life  of  fabrics,  will 
take  no  chances. 

And  we  discovered  that  for  wash- 
ing their  own  silks  and  woolens— 

92%  of  these  experts  use  Lux! 

They  insist  upon  Lux  for  stock- 
ings and  gloves  and  lingerie,  negli- 
gees, sweaters,  their  sheerest  and 
sturdiest  wash  frocks. 

And  they  buy  it  in  the  familiar 
blue  package  found,  investigations 
show,  in  8  out  of  10  representative 
homes  in  cities  from  coast  to  coast. 


Department  stores  send  their  buyers  to  Paris  to  choose  from  the  great 

French  couturiers  the  models  and  the  materials  that  will  please  the 

women  of  America,  the  exquisite  imported  things  women  love 


Sparkling  — bubbling  —  pure 

Lux  suds  keep  nice  things  new 

twice  as  long! 


*^ 


*  America's  leading  department  stores 
do  a  business  of  V/i  billion  dollars 
annually:  and  three-quarters  of  this 
business  is  done  in  the  great  stores  of 
26  cities — Boston,  Providence,  New 
"lork,  Newark,  Philadelphia,  Balti- 
more, Washington,  Pittsburgh, 
Buffalo,  Cleveland,  Akron,  Detroit, 
Cincinnati,  Indianapolis,  Chicago, 
Milwaukee,  Minneapolis,  St.  Paul, 
St.  Louis,  New  Orleans,  Kansas  City, 
Denver,  Los  Angeles,  San  Francisco, 
Portland,  Seattle. 


KEEPS 


FABRICS 


TWICE 


Lner  Bras.  Co.,  Cambridge,  Mass. 

AS  LONG 


The    National    Guide    to     Motion     Pictures 


CTBADE  MARE] 


PHOTOPLAY 


May,  1928 


Close-Ups  and  Long-Shots 


By  James  R,  Quirk 


MARK  this  in  your  mental 
notebook.  When  Cecil  B.  De 
Mille  releases  his  next  big 
special  picture,  "The  Godless  Girl," 
it  will  start  more  discussion  and  con- 
troversy than  his  own  "King  of 
Kings." 

Faint  rumblings  have  already  been 
heard  in  the  premature  objections  of 
the  organized  atheists.  The  title  of  the  picture 
indicated  to  them  that  the  creator  of  the  won- 
derful film  version  of  the  life  of  Christ  was  on 
their  trail.  They  entered  their  protest  with 
Will  Hays,  declaring  that  the  screen  was  mov- 
ing outside  its  province  when  it  attacked  the 
theories  of  those  who  deny  the  existence  of  a 
God,  and  insisted  that  the  so-called  czar  of  the 
movies  order  its  discontinuance. 

VERY   sensitive,    these   folks.      They    take 
their  beliefs  or  rather  their  lack  of  belief  too 
seriously.     They  protest  too  much. 

C.  B.  is  after  something  much  more  immedi- 
ately important  than  atheism.  "The  Godless 
Girl"  is  a  film  based  upon  reformatories  for  err- 
ing boys  and  girls.  It  will  be  based  upon 
existing  conditions  in  some  of  these  institutions, 
and  will  direct  the  attention  of  millions  of 
people,  hundreds  of  newspapers  and  many  state 
legislatures  to  the  care  and  treatment  of  these 
unfortunates  who  have  been  segregated  in 
juvenile  prisons. 

T)  ARELY  do  we  give  them  a  thought.  News- 
-*- ^papers  seldom  refer  to  them.  Legislative 
committees   make   annual   but  casual   inspec- 


tions. Yet  many  celebrated  crimi- 
nologists declare  that  corrective 
measures  in  the  young  may  be  the 
solution  of  the  great  crime  problem. 
Thousands  of  young  lives  and  souls 
are  at  stake  and  it  is  notorious  that 
in  some  instances  brutality,  igno- 
rance, politics,  incompetence,  and 
utter  lack  of  human  understanding 
and  sympathy  turn  loose  hardened  criminals, 
filled  with  hate  and  desire  for  revenge  on  the 
society  that  incarcerated  and  ruined  them  men- 
tally and  physically. 

Most  of  these  state  reformatories  are  well 
conducted,  but  a  few  of  them  are  so  intolerable 
that  they  are  a  disgrace  to  modern  civilization. 

"'-THE  GODLESS  GIRL"  will  focus  the  at- 
•*-  tention  of  the  world  on  methods  of  correction 
of  j  u  venile  delinquency  and  on  the  plight  of  those 
unfortunates  who,  through  baleful  environ- 
ment or  defective  mentalities,  pass  through  our 
courts  to  institutions  which  often  cripple  for 
life  through  mistaken  methods  of  re-establish- 
ment of  manhood  and  womanhood. 

This  is  just  another  indication  that  we  are  on 
the  verge  of  a  great  discovery  of  vastly  greater 
significance  than  Edison's  invention  of  the 
motion  picture. 

'"pHE  influence  of  the  screen  on  styles,  man- 
-■-  ners,  architectural  vogues,  interior  decora- 
tions, foreign  trade,  and  even  speech  is  today 
recognized  in  only  a  desultory  way.  As  yet  we 
have  noted  merely  the  surface  indications,  the 
outcropping  of  gold  in  the  rocks. 

27 


WE  have  been  so  concerned  with  the  function  of 
the  screen  as  a  medium  of  entertainment  that 
we  have  not  attempted  to  probe  its  field  of  possible 
usefulness.  We  hear  of  the  attempts  of  foreign  gov- 
ernments to  restrict  the  importation  of  American  films 
into  their  countries  and  colonies,  but  we  have  not  yet 
heard  of  the  underhing  reason  for  these  embargoes. 

It  goes  far  be^^ond  industrial  competition.  The  real 
reason  is  that  these  go\-ernments  feel  that  pictures  are 
Americanizing  their  people  and  their  colonies,  and  that 
pictures  made  in  Hollywood  are  influencing  in  a  subtle 
but  positive  manner,  through  the  eye  and  in  a  universal 
mode  of  expression,  the  adoption  of  American  styles, 
manners,  modes  of  living,  and  standards  of  moral 
behavior,  the  inhabitants  of  all  climes. 

THE  British  government  is  keenly  aware  of  the  com- 
mercial effects  of  American  films  and  the  other 
countries  of  Europe  are  very  conscious  of  the  influence 
on  their  young  people.  Girls  in  Berlin  and  Paris  and 
Rome  carry  photographs  of  their  cinema  favorites, 
clipped  from  magazines  and  newspapers,  into  barber 
shops  as  style  guides  for  the  bobbing  of  their  hair. 

There  are  thousands  of  little  Glorias,  Colleens,  and 
Polas  to  be  seen  on  the  streets  of  all  European  cities. 
The  \'oung  men  of  the  middle  classes  of  the  Balkan 
countries  take  Harold  Lloyd  as  their  model.  The  effect 
when  they  take  Harold  seriously  as  a  clothes  model  is 
ridiculous,  but  this  is  nevertheless  the  case. 

It  is  also  a  fact  borne  out  by  reports  of  our  commercial 
attaches  and  trade  commissioners  that  people  of  all 
oriental  countries  are  dressing  more  and  more  after  the 
manner  of  American  film  stars. 

FEW  of  our  films  are  shown  in  Russia,  and  only  ones 
that  do  not  visualize  joyfully  our  national  pros- 
perity, happiness,  and  comparatively  luxurious  manner 
of  living.  The  .So\iet  government  worries  more  about 
•American  films  than  any  other  agency  that  might 
cause  unrest  among  the  peasants. 

Witness  this  cable  dispatch  to  American  newspapers 
dated  only  a  few  days  ago:  "Moving  pictures  are  put- 
ting high  toned  ideas  into  the  heads  of  Russia's  one 
hundred  and  twenty  million  peasants.  The  peasants 
want  to  dress  like  the  heroes  they  see  upon  the  screen. 
They  are  grumbling  about  their  sheepskin  jackets, 
sandals  made  of  bark  and  cloth  leggings  wrapped  about 
with  hea\y  twine.  They  want  shoes  like  Fairbanks'. 
The  demand  for  leather  has  so  increa.sed  that  the  Soviet 
leather  factories  are  unable  to  supply  it  without  dis- 
rupting the  entire  industrial  budget.  British  dis- 
tributors of  tanning  extract  have  just  received  a  record 
order  of  three  quarters  of  a  million  dollars  from  the 
Soviets." 

G.AX  you  imagine  what  is  going  to  happen  if  twenty 
million  Olgas  make  life  miserable  for  twenty  million 
l\ans  because  they  cannot  bob  their  hair,  wear  com- 
fortable high  skirts,  and  good  looking  leather  shoes? 
Why,  within  a  few  years  the  Olgas  would  be  demanding 
bathrooms  and  if  the  .Soviet  government,  which  has 
(  harge  of  all  the  factories,  could  not  provide  them  with 
modern  plumbing  and  automobiles  there  would  be 
another  Russian  revolution. 

And  as  yet  we  have  made  no  search  for  the  main  lode 
of  thi.s  amazing  influence.  Perhaps  we  shall  soon  realize 
that,  if  the  motion  picture  can  be  u.sed  to  promote 


national  unity  in  enthusiasm  for  dress,  as  was  the  case 
in  the  country  mentioned,  it  may  be  possible  to  bring 
about  international  peace  and  consolidate  the  whole 
world  in  spiritual  harmony. 

AN  English  lady  of  consequence  has  been  appointed 
ofificial  censor  of  etiquette  for  British  motion 
pictures.  They  do  not  intend  to  permit  those  amazing 
lapses  of  manners  that  they  say  characterize  American 
films.  Now,  if  they  can  only  solve  the  trifling  problem 
of  appointing  an  ofificial  somebody  who  can  make 
pictures  that  their  own  audiences  will  patronize,  every- 
thing is  settled. 

THE   BIG  PARADE"   was   responsible    for    two 
things.     It  started  a  string  of  war  pictures,  and 
it  originated  the  vogue  of  the  supervisor. 

If  you  ask  in  Hollywood  what  a  supervisor  is  you  are 
apt  to  get  the  classic  answer,  "A  supervisor  is  a  man 
who  thinks  he  knows  what  he  wants  but  cannot  spell 
it."  Allstudio  lots  affect  supervisors  like  leadingmen  who 
used  to  sport  open  shirts  and  directors  who  wore  riding 
boots  and  white  helmets,  that  is,  all  except  two  or  three 
where  the  producers  are  not  busy  learning  California 
politics  or  playing  the  stock  market. 

THEY  are  chaps  who  have  never  been  successful  as 
directors  or  writers,  but  who  are  relatives  of  high 
officers  in  the  legion  of  yes  men.  They  are  supposed  to 
supervise  the  work  of  highly  paid  directors  and  authors, 
but  they  are  as  economically  essential  as  fifth  wheels  or 
as  second  pairs  of  suspenders.  Often  they  try  to  hide 
their  shame  under  other  studio  titles. 

These  birds  are  the  pariahs  of  the  industry,  have  no 
caste  within  studio  circles  and  for  lack  of  human  society 
are  usually  seen  wandering  about  or  lunching  in  groups. 
Supervisors  are  rarely  invited  out,  and,  as  a  rule,  carry 
heavy  canes  for  self  protection. 

In  the  course  of  a  friendly'  argument  at  the  Mont- 
martre  restaurant  recentlj'  I  heard  Ray  Griffith,  superb 
actor  and  famous  wag,  unintentionally  and  in  a  spirit  of 
fun  call  Al  Cohn,  successful  screen  writer,  a  supervisor. 

Cohn  leaped  from  his  seat,  his  face  blazing. 

"Damn  you,"  he  cried,  "smilewhen  you  say  that,  and 
never  say  it  again." 

THE  producer  sensation  of  today  is  Winfield  R. 
Sheehan,  the  miracle  man  of  Hollywood.  Sheehan 
is  a  new  type,  a  business  man  who  spent  ten  years 
building  up  a  strong  distributing  and  sales  organization 
for  William  Fox  before  he  came  West  to  make  pictures. 
His  first  group  included  "What  Price  Glory"  and 
"Seventh  Heaven,"  great  box  office  successes,  and 
"Sunrise,"  one  of  America's  greatest  artistic  triumphs. 
His  latest,  "Dressed  to  Kill,"  is  another  outstanding 
success. 

-Sheehan  is  the  one  man  boss  of  his  lot.  He  works 
fifteen  hours  a  day  but  he  holds  few  conferences.  He 
insists  that  his  staff  prepare  a  picture  thoroughly  on 
paper,  thus  eliminating  uncertainty  of  result.  Sheehan 
is  more  than  a  hard  boiled  business  man.  However,  he 
knows  life.  He  knows  men.  He  was  born  with  a  sense 
of  dramatic  and  emotional  values. 

Next  month  Photoplay  will  give  you  a  sketch  of  this 
man's  unusual  personality  and  background.  It  will 
prove  that  one  good  cook  makes  a  better  broth  than  a 
hundred  supervisors. 


Ruth  Harriet  Louise 


/30N  CHANEY  joins  the  ranks  of  those  noble  but  wistful  heroes  who 
J  laugh — ha-ha-ha-ha — to  conceal  a  broken  heart;  who  joke  with  a  sob  in 
^X^  their  voices;  who  lose  the  girl  to  a  prettier  fellow.  The  picture  is 
"Laugh,  Clown,  Laugh,"  a  story  of  the  painted  people  of  circus  life. 


^  f^absburg 

The  Capital  of  Motion  Pictures  Is 
Viewed  by  an  Observing  Royal  Extra 


THIS  article  by  the  Archduke  Leopold  has  two  points  of  strik- 
ing interest.  It  was  written — every  single  word — by  the 
Archduke  himself.  It  was  first  written  in  German,  a  language 
with  which  the  Archduke  is  more  familiar  than  our  own,  and 
afterwards  translated  into  English. 

Then,  too,  the  article  reveals  in  remarkable  fashion  how  a 
member  of  a  royal  family  could  understand  the  problems  of  the 
minor  movie  employees  in  Hollywood.  The  Archduke,  who  lived 
in  Hollywood  for  six  months  and  himself  worked  in  several  films 
as  an  extra,  was  able  to  appreciate  and  sympathize  with  the 
thousands  of  actors  and  minor  workers  who  are  hoping  eternally 
for  the  break  that  will  bring  fame  and  fortune. 

According  to  the  Ahnanach  de  Gotha,  the  Archduke  Leopold- 
Marie  -  Alphonse  -  Blanche  -  Charles  -  A  ntoine  -  Beatrice  -  Raphael  - 
M icIiel-Joscph-Pierre-I gnace  was  born  on  January  30,  1897. 
He  was  married  in  Vienna  in  19 19  to  Dagmar,  Baroness  Nicholics- 
Podrinska.    He  has  one  daughter,  seven  years  old. 

The  ArcMuke  Leopold  is  a  grand-nephew  of  Emperor  Franz 
Josef  and  a  cousin  of  the  last  Emporor  of  Austria-Hungary, 
Charles  I.  He  served  with  distinction  as  a  captain  in  the  Austrian 
army  on  the  Italian  front  and  was  twice  wounded.  He  received 
a  number  of  decorations  for  bravery  in  action. 

The  Archduke,  who  is  the  first  Habsburg  to  visit  America,  is 
now  writing  a  book  on  his  American  adventures.  His  Hollywood 
experiences  will  constitute  an  important  chapter. 

— The  Editor. 

EVERYTHING  that  I  had  read  or  seen  depicted  in 
Europe  about  Hollywood  gave  me  the  impression  that 
this  city  had  become  the  Latin  Quarter  of  the  United 
States.  Therefore,  when  making  my  itinerary  for  my 
visit  to  America,  I  included  a  stay  of  several  days  in  Holly- 
wood, assuring  myself  that  I  would  enjoy  the  carefree  and 
Bohemian  life  of  the  film  actors. 

But  my  first  direct  contact  with  Hollywood  gave  me  a  dis- 
tinct sense  of  disillusionment.  Mercury  seemed  to  play  an 
important  role  in  Southern  California  and  I  feared  that  the 
business  manager  of  the  Gods  oppressed  the  more  inspired 
Muses. 

My  introduction  to  Hollywood  came  about  in  this  way: 
When  I  was  in  New  Orleans,  I  received  a  telegram  from  Herr 
Ben  Westland,  the  ambitious  young  publicity  manager  for 
Eric  Von  Stroheim.  The  telegram  asked  me  if  I  would  in- 
spect Stroheim's  new  picture,  "The  Wedding  March,"  in 
which  not  only  my  great-uncle,  iMiipcror  Franz  Josef  I,  but 


Von  Seiner  kaiserlichen  Hoheit,   Erzherzog     L  e 
von     Osterreich   . 


also  many  of  my  other  relatives  are  represented  by  actors. 

I  knew  that  Stroheim  was  anxious  to  get  a  favorable  judg- 
ment about  this  part  of  the  film  from  a  member  of  the  Imperial 
House.  I  decided,  therefore,  to  visit  the  studio  unannounced, 
in  order  to  get  an  unbiased  impression. 

Two  weeks  later,  I  arrived  in  Los  Angeles  at  one  o'clock  in  the 
afternoon.  At  three  o'clock,  I  was  at  Stroheim's  studio.  As 
Stroheim  had  not  seen  the  evening  paper,  which  told  of  my 
arrival,  I  took  him  by  complete  surprise. 

My  secretary  found  Stroheim  in  the  midst  of  the  work  of 
cutting  "  The  VVedding  March."  It  was  a  very  hot  day  and  the 
director  was  working  without  collar  or  coat,  drinking  ice  water 
and,  I  might  as  well  say,  perspiring  fiercely.  The  interruption, 
caused  by  the  appearance  of  my  secretary,  did  not  seem  to 
please  him  at  all.    He  only  growled,  "  What  do  you  want?" 

"Are  you  von  Stroheim,  the  film  director?" 

"Yes." 

"I  am  Neuhardt,  Secretary  of  His  Imperial  Highness,  the 
Archduke  Leopold.  His  Imperial  Highness  will  be  here  imme- 
diately." 

WHEN  my  secretary  introduced  me  to  Stroheim,  he  was 
still  speechless,  and  it  took  me  a  half  hour  to  pacify  him 
so  that  he  would  show  me  "The  Wedding  March." 

Later  when  we  sat  down  to  a  hastily  prepared  dinner,  when  I 
saw  the  careless  ways  of  his  assistants  and  when  the  conversa- 
tion became  more  lively  and  informal,  I  began  to  feel  that 
Hollywood,  after  all,  was  not  Wall  Street  and  that  the  easy- 
going ways  of  the  theater  still  survive  in  the  studios. 

During  the  next  few  weeks,  this  impression  became  even 
more  vivid.  Like  most  visitors,  we  were  shown  the  make- 
believe  villages  of  the  studios  and  we  saw  something,  too,  of  the 
life  that  goes  on  in  these  villages.  So,  in  my  first  casual  glimpse 
of  Hollywood,  I  formed  the  opinion  of  the  majority  of  visitors, 
who  have  only  a  superficial  knowledge  of  the  film  city.  Work 
seems  like  play.  The  flirtations,  the  high  salaries,  all  the  de- 
tails of  the  lives  of  the  players  are  subjects  of  interest  all  over 
the  world.  In  those  first  weeks,  too,  I  met  the  stars  and  the 
powers  of  the  film  industry.  When  I  visited  the  studios,  the 
work  ended  with  a  luncheon  or  dinner,  in  which  the  actors, 
actresses,  directors  and  those  concerned  with  making  the  pic- 
ture were  guests.  If  I  visited  tlie  studios  when  scenes  were 
being  filmed  at  night,  the  work  ended  in  a  general  supper,  at 
which  genuine  French  champagne  usually  was  served. 

I  can  readily  understand  why  so  many  young  men  and 
women,  in  all  parts  of  the  world, 
want  to  try  their  luck  in  Holly- 
wood. Unfortunately,  they  hear 
only  of  the  happier  side  of  its  life. 

It  is  not  easy  for  the  stranger  to 
learn  the  true  conditions  in  the  film 
city.  Only  after  I  myself  became 
an  active  worker  in  the  studios,  did 
I  have  a  chance  to  look  behind  the 
scenes  of  Hollywood  life. 


0  p  0  1  d 


Alles  was   in  Europa  uber  Hollywood  geschrieben  und  gezeigt 
wurde,   hatte   in  mir  den  Eindruck  erweckt,    dass  dieses  Filmcentrum 
der  Welt   ein  stadtgewordenes  Quatier  Latin  der  Vereinigten  Staaten 
eel.   Gchon  tei   dor  Zusamnienstellung  meiner  Reiseroute   in  Europa 


At  the  left  is  a  reproduction  of 
part  of  the  first  page  of  the  Arch- 
duke Leopold's  original  manu- 
script, written  in  German.  The 
Habsburgs  trace  their  line  back 
to  the  Roman  emperors.  Arch- 
duke Leopold  is  the  first  to  visit 
America 


30 


§ees  f^ollywood 


By 

His  Imperial  Highness^ 

Archduke  Leopold 
of  Austria 


Perhaps  the  chief  reason  why  it  is  so  hard  for  the 
outsider  to  understand  Hollywood  lies  in  the  fact  that 
it  has  two  classes,  the  workers  and  the  idlers.  "No 
work," — that  is  a  hard  phrase  anywhere.  In  the  film 
capital,  it  is  especially  bitter. 

When  production  is  slow,  the  casual  workers  are 
forced  to  economize.  Good  quarters  are  exchanged 
for  cheaply  furnished  rooms.  Friends  live  together 
to  save  on  rent.  Automobiles,  jewelry  and  radios  are 
offered  for  sale.  Twenty-five  cents  buys  a  breakfast; 
thirty  dollars  a  month  pays  the  room  rent.  And  dur- 
ing the  hard  times,  the  young  girls  are  the  principal 
sufferers.  They  have  to  watch  their  step,  lest  they 
slip. 

There  are  two  questions  which  the  outsider  might 
ask :  Why  don't  people  with  high  salaries  save  for  the 
rainy  day  which  they  know  is  inevitable?  Why  do 
they  not  seek  steady  employment  elsewhere? 

You  will  find  the  answers  partly  in  the  mental  atti- 
tude of  the  workers  themselves  and  in  the  economic 
situation  in  the  city. 

To  be  easy-going  and  improvident  is,  perhaps,  in- 
herent in  the  psychological  make-up  of  those  who 
consider  themselves  actors.  Artists,  or  those  who 
imagine  they  are,  are  poor  figurers  in  any  part  of  the 
world.  In  Hollywood,  when  times  are  hard,  the  artist  faces  a 
period  of  constantly  growing  debts  and,  when  he  finds  work,  it 
takes  him  a  long  time  to  get  on  his  feet  again.  Naturally, 
whether  he  works  or  not,  he  must  have  new  clothes.  And  when 
he  catches  up  with  his  debts  and  might  be  able  to  save,  work 
may  be  scarce  again.     So  it  goes,  in  a  circle. 

Even  when  he  has  an  opportunity  of  saving  money,  the  aver- 
age worker  in  Hollywood  will  not  do  it.  He  constantly  hopes 
that,  with  his  next  engagement,  he  will  get  a  long  contract  and 
all  his  financial  troubles  will  be  ended. 

Statistics  show  that  the  average  actor  or  extra  player  without 
a  contract — and  these  are  in  the  majority — works  for  three 
months  and  looks  for  work  for  nine  months.  To  live  up  to  the 
American  standard  outside  of  the  studio,  it  is  necessary  for  him 
to  receive  four  times  as  much  as  the  average  worker,  during  the 
times  when  he  is  employed. 

I  WILL  make  two  comparisons  which  illustrate  why  there  is  so 
much  misery  in  Hollywood  among  players  without  contracts. 

The  work  of  an  extra  may  be  compared  with  that  of  a  com- 
mon laborer.  Such  a  laborer,  on  the  Coast,  earns  from  $3.00  to 
SS.OOaday.  An  extra  makes  from  S7. 50  to  $12.00  a  day.  The 
yearly  income  of  the  laborer,  who  is  employed  steadily,  is 
$1,460.  The  yearly  income  of  the  extra,  who  is  employed  only 
casually,  is  $900  on  the  average. 

I  we  take  an  actor  who  plays  small  parts  but  who  has  no 
contract  and  compare  him  with  a  bookkeeper,  we  find  that  the 
bookkeeper  receives  from  $150  to  $250  monthly;  the  actor 
earns  from  $150  to  $250  a  week.  But,  again  owing  to  the  un- 
certainty of  the  work,  their  yearly  incomes  are  about  the  same 
— $2,400.  And  here  it  might  be  well  to  state  that  a  book- 
keeper in  the  U.  S.  is  about  the  poorest  paid  functionary. 

Now  for  the  answer  to  the  second  question:  Why  doesn't 
the  actor  or  the  extra  look  for  other  work? 


George  Walters,  Wescosco  Atelier,  Ix)S  Angeles 


First, — ps}  chology  again — if  a  person  has  a  concrete  voca- 
tion he  very  seldom  has  any  ambitions  to  become  an  actor  or  an 
extra.  The  result  is  that  the  actors,  as  a  rule,  are  not  able  to 
fill  other  positions  satisfactorih'. 

And  secondly,  the  positions  outside  of  the  studios  in  Holly- 
wood or  in  Los  Angeles  are  generally  so  overfilled  that  it  is 
almost  useless  to  look  for  another  job. 

Hollywood,  however,  has  one  feature  that  is  good.  It  laughs 
and  brings  luck.  That  is,  when  Hollywood  works.  During 
times  of  plenty,  the  artists  live  and  let  live.  Debts  are  paid 
(perhaps  I  should  have  mentioned  this  last),  better  living  quar- 
ters are  rented,  new  automobiles  and  new  clothes  are  purchased 
and  the  hard  times  are  soon  forgotten.  And  those  warning 
voices  which  remind  one  to  save  money  are  drowned  out  by  the 
desire  for  a  good  time,  by  the  feeling  that  a  long  contract  may 
be  just  ahead. 

When  times  are  flush,  dance  halls  and  theaters  are  over- 
crowded; new  automobiles  may  be  seen  in  the  quiet  spots  along 
the  ocean  front;  the  bootleggers  have  a  glorious  time. 

The  average  actor  or  extra  only  enjoys  these  golden  condi- 
tions for  a  short  time.  For  him  the  good  times  are  seldom  lasting. 
A  small  percentage  of  them,  through  luck,  ability  or  other  cir- 
cumstances— and  these  are  the  three  chief  factors  to  be  con- 
sidered— may  manage  to  get  a  long  term  contract.  But  the 
percentage  is  very  small.    I  am  sorry    [continued  on  page  92  ] 

31 


/F  you  want  to  get  a  moral  out  of  my  life  story,"  says  Evelyn  Brent, 
"justsay  that  suicide  doesn't  pay.     It's  foolish.     Every  time  I 
tried  it,  the  next  day  something  splendid  happened.    You  get  just 
so  low  in  life  and  then  something  good  is  sure  to  happen.    Suicide  doesn't 
help  any.    If  you  succeed  you  pass  out  and  never  know  the  break  that  is 
just  around  the  corner." 


Suicide 

N 
P 


ever 


ays 


Evelyn  Brent,  who  tried 
it  twice  in  despair  at  ill 
luck,  says  "DON'T!" 

By  Ruth  Biery 


EVELYN  BRENT  has  signed  a  contract  with  the 
Paramount-Famous-Lasky  organization.  It  is  not 
the  usual  Hollywood  six  months  make-good-if-you- 
can  proposition,  but  a  straight  one  >-ear  dotted  line 
understanding,  with  options  for 
the  four  years  thereafter.  And 
when  we  tell  you  that  one  thou- 
sand dollars  of  Evelyn's  salary 
automatically  goes  into  a  trust 
fund  each  week,  where  she  has  no 
opportunity  to  spend  it,  you  will 
reaHze  that  here  is  one  of  the  few 
girls  in  this  movie-mad  city  who 
is  not  worrying  about  the  ques- 
tion "Are  the  Stars  Doomed?" 
She  is  financially  inde- 
pendent. 

Probably  there  are  some  who 
will  sigh  with  envy  as  they  read 
this  statement.  As  I  sat  with  her 
in  that  luxurious  own-your-own 
apartment,  with  its  chic,  novel 
appointments,  I,  myself,  thought, 
"Well,  here,  at  least,  is  one  girl 
who  has  been  thoroughly  lucky. 
One  girl  who  will  not  need  sym- 
pathy or  tears  of  understanding. " 

Ah,  how  premature,  such  a 
feeling. 

I  wonder  if  there  are  any 
folk  in  the  Cinema  City,  who 
really  do  not  need  sympathy  and 
understanding?  Certainly  not  the 
dark-eyed,  black  bobbed  Evelyn 
of  this  story. 

She  sat  very  still,  a  diminutive 
figure  in  dull  gray,  as  she  told  us 
the  facts  of  her  life  which  have 
never  before  been  told  to  any 
human  being. 


Now  Evelyn  Brent  is  happy  with  a  new 
year's  contract — with  options  for  four 
more  years.  You  will  next  see  her  oppo- 
site Adolphe  Menjou  in  "A  Date  With 
a  Duchess" 


Evelyn  Brent,  as  she  looked  when  she  first  broke 
into  motion  pictures  at  Fort  Lee.  Many  heart- 
aches were  ahead  but  now  Miss  Brent  is  happy. 
"It's  taken  me  twenty-six  years  but  I've  gotten 
there.  Anyone  else  can  do  the  same  thing  with- 
out being  half  as  foolish" 


It  was  to  be  Evelyn's  first  day  in  school  in  Brooklyn,  New 

York.    She  was  fourteen  years  old,  but  felt  many  years  older 

as  she  stooped  to  kiss  her  little  grandmother  and  pale,  worn-out 

mother  goodbye  in  that  nondescript  apartment  which  they  had 

taken    upon    their    arrival    from 

Florida  a  few  months  before. 

"Remember,  Evelyn,"  her 
mother's  voice  broke  as  she 
whispered,  "we  want  our  girl  to 
have  the  same  education  and  ad- 
vantages, as  though  father  had 
lived  to  protect  her." 

Evelyn  nodded,  and  rushed 
down  to  the  street  before  anything 
more  could  be  added.  As  long  as 
she  was  in  sight  of  those  second 
story  windows,  she  hurried;  but  as 
soon  as  she  had  rounded  the  corner, 
her  pace  slackened.  Her  mind 
began  to  work  over  her  family 
problems. 

"There's  no  use  of  my  going  to 
school,"  she  argued.  "I'm  going 
to  have  to  work  sooner  or  later.  It 
might  as  well  be  sooner. 

"Gee,  life  is  funny."  Her 
rnind  skipped  back  a  few  j'ears. 
Daddy  busy  with  his  horses; 
mother  happy  with  her  house- 
keeping; she,  herself,  running 
about  under  the  great  palms  of 
a  Florida  city.  Always  the  same 
until  that  one  day.  Then —  Why 
did  such  things  have  to  happen? 
She  could  see  mother,  now, 
working  happily  in  the  kitchen. 
Father  was  in  the  stables.  The 
door  opened.  A  group  of  men 
entered — laid  down  the  body  of 

her         [  CONTINUED  ON  PAGE  120  ] 


33 


By 

Louis  E. 
Bisch 

M.  D.,Ph.  D. 


NHAPPY 


The  Doctor  Analyzes  the  Minority 
That  Cannot  Enjoy  the  Movies 


FRANKLY,  I  feel  sorn-  for  the  people  who  cannot  stand 
the   movies. 
And  there  are  such,  too,  strange  as  it  may  seem. 
Some  months  ago  I  heard  one  woman  commiserate 
with  another  in  this  wise:    "I  wish  I  could  get  the  fun  out  of 
moving  pictures  that  you  do. " 

The  second  woman  made  no  reply  at  the  moment  but  after- 
wards she  made  the  following  remarks  to  me  personally  and 
privately. 

"The  reason  INIrs.  D.  talks  that  way  is  because  she  is  putting 
on  airs."    She  went  on  to  relate. 

"She  likes  to  pretend  that  she  is  above  such  democratic 
entertainment  as  the  movies.  She  wants  to  make  one  believe 
that  she  enjoys  only  opera  and  Ibsen  and  Shaw  and  Strindberg. 
If  Reinhardt  were  to  become  a  moving  picture  producer  I 
suppose  she'd  go  to  see  his  pictures,  not  because  of  what  he 
might  be  showing,  but  simply  because  it  would  be  Reinhardt. " 

And  then  she  concluded  with  a  sarcastic  tone,  "I  think  Mrs. 
D.  is  an  awful  poser!" 

Well,  maybe  ^Mrs.  D.  is  a  poser.  jNIaybe  she  doesn't  want  to 
admit  she  likes  pictures  the  way  the  majority  of  us  do  because 
of  some  queer  notion  that  such  commonplace  taste  would  be  a 
blot  upon  the  escutcheon  of  her  dignity. 

Nevertheless,  there  are  people,  not  only  women  but  men  as 
well,  who  are  not  posing  when  they  say  they  do  not  and  cannot 
enjoy  pictures. 

They  really  mean  it.    They  are  sincere  about  it. 

And  such  people  suffer! 

I,  personally,  feel  sorry  for  them! 

But  suppose  we  leave  out  of  consideration  for  a  moment  the 
posers  and  the  humbugs — 

the    people  who    "put    on         

airs. "  I  will  speak  of  them 
a  little  later  because  they 
are  really  of  interest,  es- 
pecially from  a  psychologi- 
cal viewpoint. 

LET  us  first  examine  a 
little  into  those  individ- 
uals who  honestly  and  gen- 
uinely possess  refined  feel- 
ings and  caviar  tastes  as 
regards  their  longings  for 
art — those    highbrow  folk. 

I  have  talked  with  many 
such  persons  and  I  have 
come  to  designate  them,  in 
my  own  mind  at  least,  as 
unhappy  highbrows. 

I  recall  attending  a  photo- 
play with  a  couple  of  that 
type  who  happened  to  be 
my  guests  from  out-of- 
town.  Before  we  went  to 
the  picture  they  admitted 
the  movies  held  no  interest 
for  them  and  that  they  had 
not  gone  to  more  than  a 
half  dozen  during  their  en- 
tire lives. 

But  they  were  eager  to 

3A 


"'  I  "HERE    are    well    meaning    and    sincere 

-^  people  who  find  themselves  unable  to 
enjoy  screen  entertainment  which  daily  af- 
fords gratifying  pleasure  to  millions. 

"Education  and  culture  has  cut  down  their 
enjoyment  possibilities. 

"Often  this  occurs  because  of  intensive 
schooling.  Often,  too,  even  without  any 
special  schooling,  the  individual  craves  the 
so-called  better  things.  But  the  pocketbook 
is  inadequate  to  satisfy  these  longings.  Such 
an  incompatibility  often  leads  to  emotional 
malfunctionings  that  bring  about  all  sorts  of 
miseries. 

"Some  people  are  unfitted,  emotionally  and 
temperamentally,  for  the  highbrow  status,  the 
exceptional  intelligentsia. 

"What  does  it  matter  what  you  know  if 
your  heart  is  yearning,  if  you  are  bored, 
annoyed  or  irritated  by  the  more  naive  and 
simple  pleasure  that  tickle  the  majority?" 


see  one  of  the  famous  picture  palaces  in  New  York  City  they 
had  read  so  much  about.  Secretly,  I  hoped  they  might  enjoy 
themselves  better  than  they  anticipated.  I  knew  that  pictures 
had  made  a  decided  advance  in  artistic  presentation  which 
they  were  ignorant  of. 

Frankly,  the  screen  story  was  one  of  the  most  interesting  I 
have  ever  seen.  It  was  tense,  vivid,  colorful.  It  had  plenty 
of  suspense.  There  was  romance  and  sentiment.  It  was  well 
acted  and  directed.  It  even  carried  a  theme  that  was  worthy 
of  serious  thought.  It  was  "What  Price  Glorv'."  I  felt  that 
my  friends  would  at  last  change  their  minds  about  not  liking 
pictures.  But  I  was  doomed  to  disappointment.  They 
marveled  at  the  gorgeous  grandeur  of  the  picture  house  and 
they  also  commented  favorably  upon  a  vaudeville  act  that 
preceded  the  movie  and  which  concerned  itself  with  aesthetic 
dancing.  But  they  still  held  to  the  notion  that  photoplays 
could  never  be  for  them. 

THAT  evening  we  discussed  quite  frankly  the  whys  and 
wherefores  in  reference  to  their  inability  to  enjoy  pictures. 
Said  the  husband:  "I  would  like  to  make  it  clear,  doctor, 
that  I  do  not  try  dehberately  to  resist  getting  whatever 
pleasure  I  might  from  a  picture  show.  The  fact  is,  I  have  tried. 
But  my  training  has  been  such  that  I  incline  markedly  toward 
what,  for  want  of  a  more  specific  term,  I  would  call  'the  better 
things'  in  the  diversion  and  entertainment  line. 

"I  never  attend  a  play  unless  it  has  been  running  for  some 

time  and  I  feel  quite  certain,  from  the  reviews  that  I  have  read, 

that  it  won't  be  an  evening  wasted.    The  same  holds  true  of 

books.    And  so  far  as  photoplays  are  concerned,  I  don't  think 

I  could  ever  enjoy  them." 

To   all   of   this   his   wife 

echoed  assent.  If  anything, 
she  was  even  more  of  a 
literary  person  than  was  her 
professorial  husband. 

These  well-meaning  and 
sincere  people  had  found 
themselves  unable  to  enjoy 
screen  entertainment  which 
daily  affords  gratifying 
pleasure  to  milHons  of  peo- 
ple throughout  the  world. 

AT  a  movie  show  they 
were  like  fish  out  of 
water. 

That  is  what  education, 
culture  and  refinement  had 
done  for  them! 

Their  trained  minds  and 
emotions  made  them  excep- 
tional. It  cut  down  their 
enjoyment  possibilities. 

But  does  education,  cul- 
ture and  refinement,  really 
make  you  content  after 
all? 

I  know  it  is  supposed  to, 
but  does  it? 

Is  it  actually  a  fact  that  a 
longing  for  the  ver>'  best — 


7/ 


IGHBROWS 


Motion  pictures 
areoneofPresident 
Coolidge's  chief  re- 
laxations. He  par- 
ticularly likes  com- 
edies 


President  Wilson 
was  a  regular  pa- 
tron of  the  theater 
— his  only  pleasure 
in  his  most  un- 
happy days 


Theodore  Roose- 
velt —  a  man  of 
broad  and  varied 
culture — was  not 
too  highbrow  to 
enjoy     thrillers 


Bernard  Shaw,  one 
of  the  world  's 
greatest  thinkers, 
takes  the  keenest 
interest  in  the 
movies 


Fritz    Kj 


■isler. 


eminent  violinist 
and  composer,  is 
an  enthusiastic 
follower  of  motion 
pictures 


in  your  books,  your  music,  3-our  drama  and  your  photoplays — 
constitutes  an  asset?  Would  you  perhaps  be  better  off  if  you 
were  what  is  commonly  known  as  a  lowbrow?  Does  the  high- 
brow, in  the  last  analysis,  pay  a  price  for  being  what  he  is? 

There  is  absolutely  no  gainsaying  the  fact  that  hundreds, 
if  not  thousands  of  persons,  are  unhappy  because  their  tastes 
and  inclinations  crave  the  "better  things." 

Often  this  occurs  because  of  intensive  schooling.  Often,  also, 
even  without  any  special  schooling,  the  individual  inherently 
craves  for  these  so-called  better  things. 

I  know  of  many  such  cases.  I  know,  furthermore,  that  such 
a  state  of  mind  may  lead  to  trouble. 

Particularly  have  I  noted  what  perhaps  might  be  termed 
the  "curse  of  culture"  fall  upon  young  people  whose  pocket- 
book  is  inadequate  to  satisfy  their  artistic  longings. 

Not  merely  sometimes,  but  distinctly  often,  does  such  an 
incompatibility  lead  to  emotional  malfunctionings  that  bring 
about  all  sorts  of  miseries  in  their  wake. 

A  YOUNG  girl  of  twenty,  for  example,  is  obsessed  with 
-^kV ideas  of  self-destruction  because  she  considers  the  world  a 
sordid  and  vulgar  place  to  live  in. 

Another  young  woman  of  twenty-three  ran  away  from  home 
because  her  parents  "got  on  her  nerves."  She  had  had  the 
advantages — generally  assumed  advantages,  at  any  rate — of  a 
college  education.  After  four  years  at  college  the  home  folks 
and  the  home  place  became  irritating.  She  noted  that  her 
father  and  mother  did  not  possess  the  best  of  table  manners. 
It  was  painful  to  her  to  observe  her  mother  using  bad  grammar 
and  her  father  profanity.  The  old  horse-hair  furniture  de- 
pressed her.  Everything  seemed  so  "  different  and  unrefined, " 
as  she  put  it. 

As  I  said  before,  when  she  couldn't  stand  it  any  longer,  this 
highbrow  simply  took  French  leave. 

Many  older  persons  also  find  themselves  out  of  tune  with 
reahty  like  these  younger  people  did. 

There  are  hundreds  of  cases  like  this. 

These  unhappy  highbrows  actually  sufTer! 


As  a  matter  of  fact,  in  almost  every  case  of  neurosis — that  is, 
a  functional  disorder — one  finds  a  distinct  disharmony  exist- 
ing between  what  the  emotions  are  craving  and  what  reahty 
has  to  offer  by  way  of  satisfying  them. 

SUCH  persons  usually  do  not  like  motion  pictures  nor  do  they 
like  most  of  the  other  values  in  life  that  mean  enjoyment 
for  the  majority. 

Such  men  and  women  gradually  divorce  themselves  more  and 
more  from  the  world  in  which  they  Hve,  they  become  shut-in 
and  seclusive,  they  build  up  a  world  of  imagery  distinctly  their 
own,  they  depend  more  and  more  for  happiness  upon  the  dream 
castles  their  own  thoughts  conjure  up  rather  than  upon  the 
actual,  tangible  facts  of  existence. 

And  were  such  people  really  happy  one  could  not  in  reason 
bemoan  their  fate.  But  the  truth  is  they  reaUze 'their  differ- 
ence and  it  upsets  them. 

They  are  not  actually  proud  of  being  different. 

They  worry  because  they  are  different. 

Truly,  they  are  unhappy  highbrows! 

Here  we  are,  in  America,  going  in  for  education  with  greater 
zest  and  energy  than  any  other  country  in  the  world. 

When  I  was  a  boy  it  was  considered  quite  a  stunt  to  be 
graduated  from  the  grammar  school.  But  already  before  the 
war  nothing  less  than  a  high  school  diploma  had  become  the 
badge  of  educational  decency.  In  the  present  day  and  year 
people  think  no  more  of  a  college  degree  than  they  used  to  of  a 
Sunday  School  certificate — it's  all  become  so  downright 
ordinary. 

We  Americans  pursue  "education"  with  an  unflagging  zeal 
that  almost  amounts  to  mania. 

Parents  stint  themselves  and  save  so  that  their  sons  and 
daughters  may  go  to  college. 

But  is  that  always  wise? 

If  highbrow  appetites  are  thereby  created  which  are  not 
likely  to  be  satisfied  later  on  in  life,  can  one  really  say,  in  a 
blanket  way,  that  everybody  should  be  educated  and  refined 
to  the  highest  possible  degree?  [continued  on  p,\ge  94] 


Next    Month:     Dr,    Bisch    on    WHY    WE    LAUGH 


55 


IKe  Story  of 

Miss  Garbo  makes  her  film  debut  and 
appears,  like  a  comet,  in  the  Northern  Sky 


HER  childhood  in  Sweden,  a  Utile  lonely,  but  colored  by  vague  dreams 
and  shy  ambitions— this  was  the  theme  of  the  first  installment  of 
Greta  GarhS's  own  storv.  In  it,  too.  Miss  Garbo  told  of  her  cxammatwn 
for  entry  into  the  Royal  Dramatic  School  in  Sweden  of  her  great  desire  to 
become  'an  actress.  She  described  frankly  her  bad  habit  of  bewg  late  for 
classes,  her  negkcl  of  routine.  And  she  told  of  her  first  meeting  with 
Matiritz  Stiller,  the  director  who  first  discovered  her  screen  possibilities. 
Now  go  on  with  the  second  chapter  in  the  life  of  the  fascinating  woman. 

CHAPTER  II 

AND    a   few  davs   later,  :Mr.  Stiller   telephoned   me 
to  take  a  test  at  the  studio  of  'The  Swedish  Film 
Company.' 
"I  was  pleased,  but  not 
even  Net,  very  excited.     I  do  not 
get  excited  until  I  have  something 
in  my  hand. 

"I  went  out  on  the  street  car  to 
the  studio  with  a  girl  named 
Mona  Mortenson.  She  is  here  in 
America  —  in  Hollywood  —  now. 
But  she  is  going  back  to  Sweden. 
The  pictures  are  not  so  good  to  her. 
We  went  to  the  Dramatic  school 
together.  Was  it  not  funny  that 
we  met  on  the  way  to  take  the 
test  together  and  then  meet  again 
in  this  city? 

'•The  test  was  to  me  very  funny. 
The  stage  is  so  different  from  the 
movies.  On  the  stage  you  have 
your  voice,  but  in  the  movies,  only 
your  face. 

"I  was  all  shaky.  I  come  off 
the  street,  go  in  and  they  make  me 
up  and  then  they  take  me  in  and 
tell  me  to  lie  in  a  bed  and  be  sick. 
\'ery  sick.  .1  didn't  know  what  it 
was  all  about.  It  seemed  to  me 
like  a  big  joke,  to  come  off  the 
street  and  be  right  away  sick. 

".\nd  I  was  ashamed.  I  was 
ashamed  to  try  and  put  myself 
over,  as  you  say  it.  I  had  never 
done  anything  to  put  myself  over 
before,  and  it  made  me  very 
ashamed  to  do  it. 

"Mr.  Stiller  waited  a  few  moments, 
and  then  said,  'My  God,  can't  you 
be  sick?  Don't  you  know  what  it 
is  to  be  sick?' 

"Then  I  knew  it  wasn't  play  and 
it  wasn't  funny.  I  knew  it  was 
necessary  in  the  movies  and  I  be- 
came a  very  sick  lady. 

"One  day  I  was  walking  alone  on 
the  street  in  Constantinople  and 
I  followed  along  behind  one  of  the 
old  Turks.  I  do  not  know  how 
many  hours  I  followed  him.  He 
did  not  go  anywhere;  did  not  have 
anywhere  to  go  but  to  wander.  He 
was  fascinating" 

J6 


"I  went  home.  I  still  did  not  know  whether  I  would  get  any 
part.  I  went  on  at  school.  Then,  in  a  few  days  he  called  me 
and  told  me  he  had  a  place  for  me.  I  had  it  in  my  hands; 
now  I  could  get  a  Httle  e.xcited." 

Greta  Garbo  paused,  paused  to  remember  the  thrill  of 
the  eighteen  year  old  youngster  with  her  first  dramatic 
position. 

"And  he  gave  me  the  part  of  Countess  Dolima  in  Goesta 
Berling.'      The  very  best  part  for  my  very  first  picture!" 

She  paused  again  to  remember.  ^ 

"The  first  days  of  w^ork  I  was  so  scared  that  I  couldn  I 
work.      I    was    sick    in    earnest.      Finally,    everyone    went 


reta 


arb  0 


As  Told  by  Her 
to  Ruth   Biery 


Illustrated  by 
Chris  Marie  Meeker 


J   1  r.  ^,  1  F'K^^  "I  am  always  ner- 

out  and  left  me.      The  l^m  ^^^^  ^hen  I  am 

electricians    the  prop  W  making  a  picture. 

boys-even  Mr.  Stiller.  W  i  ^tay  by  myself 

He  told  me  to  practice  '  %  ^jj  j  can" 

alone.     But  I  knew  he 
was     in     some     corner 

watching.  I  looked  all  around  and  could  not  see  him,  but  I 
knew  he  was  there.  So  I  would  not  practice.  I  would  not 
rehearse  all  by  myself, — I  would  not  look  so  stupid. 

"Lars  Hansen  played  my  leading  man.  Now  he  is  back  in 
Sweden — "  She  interrupted  herself  with  a  voice  which  trembled 
with  longing.  "But  there  were  no  love  scenes;  not  even  a  kiss. 
It  was  not  an  American  picture. 

"The  picture  took  a  long  time.  There  were  snow  scenes  and 
we  had  to  wait  until  it  was  winter.  When  it  was  over,  I  was  no 
longer  frightened.  But  I  am  always  nervous  and  restless  when 
I  am  making  a  picture.  I  cannot  help  it.  That  is  why  I  never 
want  people  to  see  me  while  I  am  acting.  I  do  not  let  people  on 
the  set.  And  I  stay  by  myself  all  I  can  while  I  am  making  a 
picture.  I  sit  in  one  corner  alone,  or  go  to  my  dressing  room,  or 
I  walk  outside  by  myself  while  the  others  are  working.  I  cannot 
stand  it  for  someone  to  come  up  and  say,  'What  did  you  think 
of  the  football  game?'  as  they  do  here  in  America.  I  cannot 
get  back  on  the  track.  I  cannot  do  my  best  work  then.  It  is 
the  same  with  every  picture — I  tremble  always,  all  over. 

""V\  THEN  we  had  finished  'Goesta  Berling,'  there  were  no  more 

W  pictures,  so  I  went  back  to  school.  We  have  to  make  our 
pictures  in  the  summer  except  for  the  snow  scenes — No,  school 
was  not  any  different.  I  was  still  the  naughty  Garbo  and  still 
late  in  the  morning. 

"\\'hen  it  came  toward  summer  again,  I  had  a  telegram  from 
Mr.  Stiller.  'Do  not  make  any  plans  for  the  summer,'  he  told 
me.    Of  course,  there  were  other  companies  who  might  want  me. 

"So  I  made  no  plans.  I  went  away  into  the  country.  Oh, 
yes,  I  was  alone.  I  always  went  away  alone.  That  is'what  I 
like — to  go  away,  far  into  the  country,  alone.  An  old  couple 
to  cook  for  you,  look  after  your  things  for  you.  But  there  are 
not  so  many  places  in  America  where  you  can  be  alone."  Her 
voice  saddened.  "Here  there  are  always  the  people — I  miss  it. 
Some  people  need  to  be  with  people.    I  need  to  be  alone,  always 

"It  is  so  wonderful  alone  in  our  country  in  the  summer.  In 
the  midsummer  you  can  read  all  night  long,  in  the  open.  The 
little  noises  of  the  country,  the  wonderful  air — Ah, — it  gets  you." 

She  paused,  closed  her  eyes,  to  remember. 

"While  I  was  there,"  it  w-as  perhaps  five  minutes  before  she 
continued,  "I  received  a  letter  from  Mr.  Stiller.  They  wanted 
me  to  come  to  Berlin  for  the  opening  of  'Goesta  Berling.' 
I  went  back  to  Stockholm  and  Mr.  Stiller  came  for  me — I  have 
everything  in  the  world  to  be  grateful  to  Mr.  Stiller.  I  have  never 
seen  a  more  beautiful  inside  of  a  person!  [continued  on  page  127] 

37 


38 


zA 


PHOTOGRAI*HIC  impression  of  a  genius  in  exile — 
Erich  \'on  Stroheim,  the  stormy  petrel  of  Hollywood 


pjollywood's  One  Real 
Genius-"VON" 


By  Harry    Carr 


The  best  analysis  ever  written 

of  the  most  misunderstood  man 

in  pictures 


AND  now,  as  to  \'on 
Erich  von  Stroheim  is  the  most  misunderstood 
character  of  the  screen.  The  one  who  understands 
him  least  of  anybody  in  the  world  is  Erich  Von 
Stroheim. 

His  firmest  conviction  is  that  Von  Stroheim  is  a  hard, 
cruel,  rather  ruthless,  altogether  terrible  person  who  is  in 
motion  pictures  only  because  he  can't  be  a  soldier.     \'on  is 
convinced  that  his  soul  has  been  torn  out  by  the  roots  because 
he  can't  ride  in  tight  white  leather  pants  and  a  gleaming 
snicker-snee  in  his  sword  hand,  guarding  a  fat  emperor  with 
halitosis  and  a  secret  appetite  for  wienerwursts.      Whereas,  he 
is  really  a  soft-hearted,  sentimental  rebel  who  would  be  bored 
to  death  by  the  army. 

To  analyze  Von  Stroheim  is  about  as  simple  as  trying  to 
anal\'ze  a  Democratic  convention. 

The  trouble  is,  there  are  so  many  Von  Stroheims. 

There  is  one  Erich  \'on  Stroheim  who  is  a  fussy,  hair-splitting 
cranky  German  college  professor. 

There  is  another  Erich  \on  Stroheim  who  is  a  soap  bo.x 
orator:  he  could  argue  a  bone  out  of  a  bulldog's  mouth. 

Still  another  who  is  a  sentimental  star  gazer. 

Yet  another  who  is  a  very  naughty,  capricious  "contrary" 


Von  Stroheim's  simple  little  cottage  is  a  strong  contrast  to  the  elaborate 
mansions  in  Beverly  Hills  owned  by  other  directors  who  are  more  adapt- 
able to  the  demands  of  the  business  offices 


A  hair-cut,  afternoon  tea  and  work — all  at  the  same 
time.  But  Von  Stroheim's  mind  is  completely  en- 
grossed in  the  scrap  of  film  before  him.  He  always 
works  with  Teutonic  thoroughness.  He's  as  fussy 
and  cranky  as  a  German  college  professor 


little  boy — subject  to  tantrums 
• — and  very  much  in  need  of 
spanking. 

JMostly,  he  is  a  naughty  little 
boy.  His  golden  genius  for 
dramatic  writing  is  a  child 
playing  "pretend."  His  famous 
"  towering  rages  "  of  which  you 
hear  so  much  are  a  bad  little 
boy  kicking  the  nasty  mean 
table  which  has  bumped  him 
on  the  head.  Even  his  punctil- 
ious insistence  upon  detail  has 
in  it  a  good  deal  of  child — the 
little  boy  who  wants  every- 
thing just  so — or  he  won't 
play. 

In  this,  he  runs  true  to  type. 
Every  great  genius  is,  at  heart, 
a  child.  And  Von  is  a  great 
genius.  I  know  them  all.  He 
is  the  only  one  who  could  be 
fairly  called  a  genius. 

Griffith  is  half  evangelist 
and  half  actor.  De  INIille  is  an 
adroit  and  skillful  mixer  of 
certain  theatrical  lotions — and 
notions.    Lubitsch  is  a  master 

[  CONTINUED  ON  PAGE  138  ] 


59 


~)aper  )o  Celluloid 


Tho  door  bursts  open.     Without  a  moment '3  hesitation, 
Jeannine  flings  herself  across  the  room  and  into 
Philip's  arms. 

\        fouuoLA)      SHOT 

CT  ^ 

Philip  is  still  crouched  l^elPlessly  on  the  floor  as  Jeannine 
comes  into  his  arms.  She  is  hysterical  -  fating  -  half  out 
of  her  mind  with  joy  and  emotion.  She  clutches  him 
desperately  and  despite  his  wealmess  he  finds  strength  to 
slip  his  arm  about  her.  His  eyes  half  close.  She  is 
^muring  ecstatically  over  him  and  to  him.  They  clutch 
^S  othfr  desperately  as  if  anxious  to  convince  themselves 
that  this  wonderful,  magical  thing  has  really  occurred. 
Then  a  little  smile  trembles  across  Philip's  face  as 
Jeannlne  murmurs: 

TITIE-        "Lilac  Time  -  ,it  la  our  Lilac  Time  - 

BAC£  TO  SCENE:  Jaannina'a  eyes  close.  She  chokes  with 
amotion  and  clutches  him  the  tighter.  PADE  OUT. 


Illustrating 
how  the  direc- 
tor and  players 
translate  a  big 
scene  from 
words  into 
action 


Above  you  see  the  big  moment  in 
"Lilac  Time,"  as  described  by 
Carey  Wilson  in  his  script.  The 
figures  in  the  margin  are  the  scene 
numbers.  LS  means  long-shot  and 
CU  is,  of  course,  close-up.  The 
close-up  dovetails  into  the  action 
of  the  long-shot.  Scenario  writing 
is  as  much  a  technical  as  a  literary 
job 


Here  is  the  way  the  scene  would  look  if  you 
were  watching  it  from  the  side-lines.  The 
setting  is  a  base  hospital  in  France,  in  which 
the  lovers,  played  by  Colleen  Moore  and  Gary 
Cooper,  are  re-united.  Director  George  Fitz- 
maurice  is  sitting  on  the  table.  Notice  the 
two  lights,  the  smaller  one  placed  close  to  the 
floor  to  get  the  right  lighting  on  the  faces 


This  is  the  close-up  of  Miss  Moore  and  Mr. 
Cooper,  as  you  will  see  it.  It  is  the  moment 
when  Colleen  speaks  the  title  in  the  script. 
Does  it  fit  in  with  your  idea  of  the  written 
description? 


rinita  Rivers 
Becomes 

Anita  Page 


And  makes  good  de- 
spite the  fact  that  she 
was  Harry  Thaw's 
protege ! 

By  Helen  Walker 


HARRY  THAW'S  little  protege,  Anita  Rivers,  bids 
fair  to  make  good  in  the  movies.  But  it  was  not,  she 
would  have  j'ou  know,  due  to  the  changeable  Mr. 
Thaw  that  she  got  her  chance.  It  was  in  spite  of  him. 
It  was,  indeed,  only  by  dint  of  changing  her  name  to  Anita 
Page  that  she  stepped  into  a  contract  with  M.-G.-M.  and  a 
leading  role  with  Billy  Haines  in  "He  Learned  About  Women." 

This  naive,  blonde  child  of  seventeen  summers  was  born  at 
Flushing,  Long  Island.  W'hen  she  grew  up,  or  at  least  partly 
up,  she  developed  a  yearning  to  go  into  pictures.  So  she  be- 
took herself  to  the  New  York  studio  of  the  Paramount  com- 
pany, where  she  obtained  a  bit  in  "Love  'Em  and  Leave  'Em.  " 
Thus  encouraged,  she  made  the  rounds  of  other  New  York 
studios  with  the  news  that  she  was  a  motion  picture  actress. 

An  independent  concern,  yclept  Kenilworth  Productions, 
saw  her  possibilities  and  signed  her  for  a  leading  role  in  a 
bathing  beauty  comedy  called  "Beach  Nuts. "  Then  they  gave 
her  a  contract. 

Soon  after  that  they  announced  that  the  company  was  going 
to  California  to  make  pictures.  This  was  fine.  This  was, 
indeed,  just  what  Anita  wanted.  So  she  went  home  and  broke 
the  news  to  her  mother  who  packed  their  belongings,  gathered 
up  Anita's  four-year-old  brother  and  the  three  of  them  accom- 
panied Kenilworth  Productions  to  Los  Angeles. 

There  was  in  the  party  another  actress,  Susan  Hughes,  as 
well  as  several  men  about  whose  indentity  Miss  Page  is  still 
a  bit  vague.  "Officials  and  directors  and  camera  men  and 
things, "  is  the  way  she  describes  them. 

When  they  reached  Chicago  another  man  joined  them. 
He  was  Harry  Thaw.  Anita,  who  had  never  heard  of  him,  was 
bewildered  at  her  mother's  consternation. 

"I  don't  understand  yet,  just  what  he  is  famous  for,"  she 
says.  "  Mother  told  me  some —  He  was  mixed  up  in  a  shooting 
scrape  a  long  time  ago,  wasn't  he?"  And  she  adds,  "He  is  a 
funny  man!" 

With  the  advent  of  Thaw,  the  glare  of  publicity  focussed 
itself  upon  the  party.  Large  headlines  informed  the  world  that 
Harry  Thaw  was  bringing  two  beautiful  girls  to  Hollywood  to 
make  pictures.  Of  the  Kenilworth  Productions  which  Thaw 
was  financing,  httle  was  said. 

After  they  reached  Los  Angeles  complications  developed. 
"The  company  did  not  want  Mr.  Thaw's  name  connected  with 
the  enterprises,"  explains  Anita,  "and  that  made  him  awfully 


She  came  to  Hollywood  to  play  in  Harry  Thaw's 
pictures — but  he  never  started  making  'eni.  So 
the  little  blonde  from  Flushing  changed  her  name 
and  got  a  job  playing  opposite  Billy  Haines.  Now 
Anita  Page  wants  the  public  to  forget  her  unfor- 
tunate start  in  films 


mad!  He  said  if  they  would  not  use  his  name,  he  would  not 
make  pictures.  It  was  all  horrid.  The  papers  kept  on  taking 
pictures  of  him  with  Miss  Hughes  and  me.  IMother  would  try 
to  get  into  the  pictures  and  then  afterward  they  would  cut  her 
out  of  them.  It  looked  as  if  Miss  Hughes  and  I  had  come  out 
here  with  him  alone. 

"But  the  worst  of  the  whole  thing  was  that  as  soon  as  his 
name  was  connected  with  us,  no  one  took  us  seriously.  It  all 
became  a  joke  and  the  world  laughed  at  us. 

"  Mother  kept  saying,  'We  must  get  away  from  these  people!' 
But  you  see  there  was  the  contract  I  had  signed. 

"TT  TE  kept  waiting  and  waiting.   Mr.  Thaw  could  not  seem 

y/\  to  make  up  his  mind  what  he  wanted  to  do. 

"  He  is  a  strange  person.  He  seems  very  nice  and  was  always 
kind  to  us — although  we  really  saw  him  very  little.  And  he 
has  the  most  wonderful  memory!  He  can  remember  the 
littlest  things  that  happened  a  long  time  ago — things  about 
pictures.  But  it  is  so  hard  to  follow  him.  He  keeps  changing 
the  subject  all  the  time.  It  really  takes  a  very  smart  person  to 
know  what  Mr.  Thaw  is  talking  about! 

"Well — finally  they  said  they  were  going  back  East.  They 
had  decided  not  to  make  pictures  right  away.  It  seemed  they 
could  not  release  them  or  something.  And  he  would  not  do 
anything  unless  they  used  his  name. 

"We  did  not  want  to  go  back.  I  wanted  to  stay  here  and 
see  what  I  could  do.  So  we  went  to  see  an  attorney  about 
my  contract  and  found  out  that  it  never  had  been  binding.  So 
we  just  left  them  and  took  an  apartment  and  stayed  here." 

Subsequently,  having  changed  her  name  to  Anita  Page, 
she  made  the  rounds  of  the  [  continued  on  pace  100  ] 


T 


Wo  Brand  New  Nutty 


Do  you  know  your  movie  stars?  Try  this 
fascinating  game  and  see  how  your 
knowledge   may  earn  money  for  you 


How  did  vou  make  out  last  month  ^vith  Clara  Bow  and 
Douglas'Fairbanks?  In  the  June  issue  of  Photoplay 
vou  tviU  find  a  list  of  the  winners  who  made  the  best 
corrections  in  the  Nutty  Biographies  supplied  by 
Aunt  Hezekiah  which  appeared  in  the  April  issue  of  Photo- 


play Magazine. 

On  the  opposite  page,  you 


will  find  what  Aunt  Hezekiah  has 
to  sa'v\aboTt'Richard  Dix  and  Gloria  Swanson^  Of  course  you 
probablv  have  heard  a  lot  of  things  about  Richard  and  Gloria, 
but  how  strong  are  your  facts?  Can  you  correct  the  mistakes 
made  by  Aunt  Hezekiah  in  her  brief  history  of  these  two  popu- 

^^In  c'ase  vou  haven't  heard,  Aunt  Hezekiah  and  Uncle  Jim  are 
visiting  relatives  in  Hollywood  and  they  are  having  an  exciting 
time  visiting  the  studios  and  gathering  up  aU  sorts  of  gossip 
about  the  movie  players.  ,,,    ,         j 

But  unfortunatelv,  Aunt  Hezekiah  is  a  gulhble  old  lady  and 
she  believes  evervth'ing  she  hears  and  passes  it  on  to  you  as  the 
latest  gospel-truth  information.  Fortunately  for  you,  you 
have  a  chance  of  making  money  on  her  mistakes. 

Send  your  corrections  to  Photoplay  Magazine,  merely 
obser\'ing  the  simple  rules  printed  below.  There  is  no  special 
form  for  vour  correction;  just  make  them  accurate,  bnef  and 
original.  And  be  sure  to  correct  the  captions  under  the  pictures. 
Thevarepartof  the  game,  too.  _       , 

There  are  no  mistakes  in  spelling  or  punctuation  in  these 
Nutty  Biographies,  so  don't  worry  about  that.    Also  there  are 


no  concealed  meanings,  so  that  need  not  trouble  you.  Be  care- 
ful about  correcting  everything  Aunt  Hezekiah  has  to  say. 
Somehow  or  other,  she  has  some  real  facts  mixed  up  with  aU  her 
bad  misinformation.  ,     ,, 

Photoplay's  Answer  Man  refuses  to  help  you  out,  so  don  t 
waste  your  valuable  time  writing  him  letters  about  the  hero  and 
heroine  of  the  current  Nutty  Biographies.  But  you  may  look 
in  your  back  copies  of  Photoplay,  or  you  may  see  if  you  can 
find  the  information  you  want  in  any  other  part  of  the  maga- 

The  complete  list  of  winners  of  the  April  Photoplay  Nutty 
Biographies  will  be  announced  in  the  July  issue  of  Photoplay, 
which  is  just  as  fast  as  is  physically  possible.  The  correct 
answers  will  also  be  given  in  the  same  issue.  No  solutions  will 
be  returned. 

Aunt  Hezekiah  and  Uncle  Jim  are  amazed  at  the  number  of 
Photoplay  readers  who  tripped  them  up  on  their  mistakes. 
Aunt  Hezekiah  says  that  her  memory  isn't  as  good  as  it  used 
to  be,  but  her  heart  is  in  the  right  place.  ^ 

Just  because  vou  have  sent  in  one  set  of  solutions  doesn  t 
mean  that  you  can't  keep  right  on  submitting  them.  Come 
as  often  as  you  like.  If  you  don't  win  on  your  first  solution, 
there  is  always  another  chance. 

Meanwhile,  Aunt  Hezekiah  and  Uncle  Jim  are  still  m  Holly- 
wood and  they  are  as  busy  as  bees  gathering  up  more  material 
for  Nutty  Biographies.  Next  month,  you'll  have  a  chance  to 
make  some  more  money  on  their  blunders.     So  good  luck ! 


Rules  of  Contest 


1.    Fifteen  cash  prizes  will  be  paid  by  Photoplay  for 
each  month's  solutions,  as  follows: 


First  prize ?200 

Second  prize 100 

Third  prize 50 

Fourth  prize 25 

Fifth  prize 25 

Ten  prizes  of  $10  each 100 

2.  Beginning  with  the  April  issue,  Photoplay  Maga- 
zine is  publishing  two  Nutty  Biographies  of  prominent 
screen  players.  Catch  the  errors  in  these  biographies  and 
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Letters  will  not  be  answered. 


Here's   a  Contest   to   Amuse  You  — 


4S 


biographies- SQO  in  PrizCS 


Gloria  Swanson 

Gloria    Swanson    presented    this    picture    to 

Uncle  Jim.    It  shows  Gloria  as  she  appeared  as 

Melisande  in  "The  Big  Parade,"  Cecil  B.  De 

Mille's  Civil  War  picture 


Richard  Dix 

Richard  Dix  told  Aunt  Hezekiah  that  he  grew 

this  moustache  especially  for  his  role  in  "The 

Gay  Defender."    It  was  the  story  of  a  murder 

trial  in  Chicago 


OUR  luck  is  still  with  us.  Uncle  Jim  and  I  have  managed 
to  meet  more  movie  stars  in  our  short  stay  than  many  of 
the  people  who  have  lived  in  Hollywood  for  years.  While 
waiting  for  a  trolley  car  down  at  the  beach,  we  saw  a  girl  who 
looked  familiar.  She  came  up  and  introduced  herself  as  Gloria 
Swanson. 

Well,  Gloria  doesn't  look  anything  like  she  does  in  pictures. 
She  is  much  taller — about  five  feet,  eight  inches  tall — and  she 
has  light,  curly  hair. 

Gloria  explained  this  by  saying  she  always  wears  a  dark  wig 
in  pictures  and  very  low  heeled  shoes. 

This  girl  was  so  simple  that  we  could  hardly  believe  that  she 
is  married  to  a  Grand  Duke  of  Russia.  But  she  laughed  about 
her  title  and  says  she  is  much  prouder  of  being  a  native-born 
Calif ornian  than  of  being  a  Grand  Duchess.  Isn't  that  demo- 
ci-atic? 

Uncle  Jim  was  thrilled  at  meeting  her,  because  he  has  liked 
her  ever  since  she  was  a  Sennett  bathing  girl.  He  asked  Gloria 
if  she  remembered  those  pictures  and  Gloria  answered  that  she 
did,  but  that  she  was  also  grateful  to  William  de  ]\Iille  for 
giving  her  a  chance  to  play  dramatic  roles. 

Sometime,  Gloria  wants  to  play  in  a  story  by  Elinor  Glyn. 
She  never  has  appeared  in  one  of  Rime.  Glyn's  pictures  and  she 
would  Hke  to  try  a  dressed-up  role,  because  she  never  has  done 
one. 

Mr.  de  Mille  has  directed  Gloria  in  all  her  pictures.  He  also 
played  the  role  of  the  Marine  in  her  latest  film,  "  Sadie  Thomp- 
son." 

Gloria  cried  with  joy  when  she  talked  to  us  about  "Sadie 
Thompson. "  She  made  the  picture  especially  to  please  the 
censors  and  professional  reformers  from  all  over  the  country 
have  written  to  tell  her  how  much  they  liked  it. 

^^'e  asked  her  what  was  her  greatest  ambition  in  life.  And 
she  told  us  that  above  anything  else,  she  wants  to  go  to  Europe. 
She  has  never  been  out  of  the  United  States  and  she  is  anxious 
to  see  Russia,  the  native  land  of  her  husband. 


UNCLE  JIM  and  I  have  been  ven,'  busy  enjoying  society  in 
Holh'wood.  The  other  night  we  attended  a  social  affair 
and  were  introduced  to  Richard  Dix.  Uncle  Jim  was  very 
much  impressed  by  him  and  told  him  that  he  thought  it  was 
wonderful  that  an  American  Indian  should  become  a  famous 
motion   picture   star. 

Dix  is  a  full-blooded  Indian,  as  you  know  if  you  saw  him  in 
"  The  Vanishing  American. " 

We  were  fascinated  by  Dix's  account  of  his  adventurous 
life. 

When  he  was  a  mere  boy  he  was  a  star  in  rodeos  and  wild 
west  shows  and  his  ability  as  a  horseman  got  him  his  first  role 
as  Julio  in  "The  Four  Horsemen  of  the  .'\pocalypse." 

Of  course  you  will  want  to  know  about  his  affairs  of  the  heart. 
Well,  you  will  be  glad  to  know  that  he  isn't  married.  So  all 
that  talk  you  heard  about  his  being  crazy  about  Greta  Garbo 
and  playing  opposite  her  in  so  many  pictures  was  just  a  lot  of 
silly  gossip. 

Mr.  Dix  told  us  that  he  is  very  busy,  as  he  personally  directs 
all  his  own  pictures  for  United  Artists.  His  latest  one,  "The 
Gaucho,"  was  a  story  of  Russia  in  pre-revolutionary  days  and 
Uncle  Jim  and  I  are  just  crazy  to  see  it.  Emil  Jannings  is  in  it, 
too,  and  Dix  and  Jannings  are  going  to  co-star  in  a  series  of 
comedies. 

But  Uncle  Jim  and  I  think  that  it  is  a  shame  that  Mr.  Dix, 
who  has  played  such  tragic  pictures  as  "Variety"  and  "The 
Last  Laugh,"  should  break  the  habit  of  a  career  and  go  in  for 
comedies. 

Naturally,  you  will  want  to  know  what  be  looks  like  off  the 
screen. 

He  is  six  feet  tall  and  has  blond  hair  and  blue  eyes.  His 
hair  is  straight,  but  he  had  it  curled  for  his  role  in  "The  Volga 
Boatman."  But  in  his  other  pictures,  like  "INIan  Power" 
and  "  Shanghai  Bound  "  he  wore  his  own  hair. 

His  real  name  is  Richard  Dix,  a  famous  old  Indian  name  of 
the  Iroquois  tribe  to  which  he  belongs. 


Get     to     Work     and     Win     a     Prize 


43 


A  star  of  1910  and  a  Baby  Star  of  1928  meet  in  this 
picture.  Florence  Turner,  one  of  the  first  favorites, 
plays  the  mother  of  Sue  Carol  in  "Walking  Back." 
Has  the  movie  type  changed  much  since  those 
early  days? 


THE  private  Photoplay  seismograph  at  the  Fox  Studios 
records  the  following  emotional  disturbances:  Charlie 
Farrell  has  transferred  his  affections  from  Mrginia  Valli 
back  to  Janet  Gaynor.  The  rush  which  Charlie  is  giving  hi.s 
little  film  partner  is  causing  their  friends  to  wonder  if  making 
"Blossom  Time"'  in  Europe  together  won't  promote  another 
screen  marriage. 

.■\nd  George  O'Brien,  although  still  seen  sometimes  with  Olive 
Borden,  is  openly  devoted  to  Virginia  Valli. 

ONE  of  the  most  pathetic  endings  of  what  seemed  to  be  a 
brilliant  Hollywood  career  is  that  of  Josephine  Lido  who 
was  imported  from  Europe  by  Carle  Laemmle,  Jr.  It  was  un- 
fortunate not  only  for  the  girl  but  for  young  Laemmle  who 
thought  to  go  Sam  Goldwyn  one  better  in  making  a  European 
discovery. 

The  girl  was  a  blonde  beauty. 

When  she  arrived  in  New  York,  Laemmle  rechristened  her 
Josephine  Lido  because  it  was  at  Lido  on  the  Riviera  that  he 
first  saw  her. 

BROUGHT  to  Hollywood  under  contract  and  with  the  usual 
blare  of  publicity,  she  never  appeared  before  a  motion 
picture  camera. 

She  is  now  on  her  way  back  to  Europe. 

.As  soon  as  she  arrived  in  Hollywood  she  bagan  to  take  oty 
weight  in  an  alarming  manner  and  it  was  rumored  when  she 
left  there,  after  vainly  consulting  physicians  in  an  attempt  to 
check  the  increase  in  avoirdupois,  she  tipped  the  scales  over 
one  hunded  sixty  pounds. 

It  was  a  plain  case  of  obesity  which  could  not  be  checked  b>- 
diet  or  medical  treatment. 

■\X7ILLIAM  HAINES  felt  out  of  place,  recently,  when 
^  '  he  was  among  a  Hollywood  group  entertaining  an  ex- 
ambassador. 

The  ambassador  was  talking  about  this  Queen  and  that 
Queen,  until  Billy  became  annoyed  and  exclaimed  loudly: 
"I  know  a  lot  of  queens,  too.  But  they  are  not  the  kind 
that  you  know." 

Black  looks  from  the  hostess  made  no  impression  on  the 
effervescent  Billy. 

When  the  honored  guest  changed  his  line  to  "Al"  this 
and  "Al"  that,  Billy  inquired  loudly,  "Who  do  you  mean, 
Alfalfa?" 

"No,  sir,"  replied  the  guest  with  dignity.  "I  mean  King 
Alfonso  of  Spain." 

Billy  exited  from  the  party. 


(gossip 


Cecil  B.  De  Mille 
was  looking  for  a 
child  actress  to  play 
in  one  of  his  pic- 
tures. Phyllis  Ha- 
ver put  on  this 
make-up  and  pre- 
sented herself  as  a 
candidate.  Can  this 
be  the  recent  Mrs. 
Roxie  Hart  of 
"Chicago"?  No, 
she  did  not  get 
the  kid  part,  alas! 


EIGHT  months  ago  ten  graduates  of  various  American 
universities  w^ere  chosen  by  First  National  for  a  trial  in 
motion  pictures.     Today  four  remain  in  Hollywood. 

Richard  Clendenen,  University  of  California,  is  working 
in  a  wardrobe  department. 

Stuart  Knox,  Yale,  is  an  extra. 

John  Westwood,  Princeton,  and  Jack  Stambaugh,  L'niver- 
sity  of  Chicago,  have  small  bits  in  "The  Yellow  Lily." 

Which  may  or  may  not  prove  how  much  a  college  education 
does  for  a  motion  picture  actor. 

A  YOUNG  fiapper  boarded  a  steamship  recently  to  sail 
•*^*-  for  the  Orient,  and  meeting  the  first  mate,  asked, 
"Could  I  see  the  Captain?" 

To  which  the  first  mate  replied,  "He's  forward,  Miss." 
"Oh,  I'm  not  afraid,"  answered  the  fiapper,  "I've  been 
out  with  movie  actors." 


■u 


Ofrjill 

Studios 


Will  this  lad  make 
your  heart  beat 
faster?  HeisArthur 
Lake  all  dressed  up 
for  his  role  of  Har- 
old Teen,  the  hero 
of  the  funnies.  And 
a  perfectly  swell 
get-up,  too,  if  you 
care  to  have  our 
honest  opinion. 
Watch  Arthur ;  he's 
one  of  these  com- 
ing actors 


ELEANOR  BOARDMAN  and  King  Vidor  may  not  have 
wanted  a  girl,  but  believe  me  that  youngster  is  making 
headways  that  mother  and  father  had  not  even  hoped  for  the 
expected  boy  baby.  Their  plans  were  all  made  months  ago 
for  a  trip  to  Europe  minus  their  baby.  But  now  they  wouldn't 
consider  leaving  her  at  home.  So  the  still  nameless  baby  will 
go  along  in  a  basket. 

.  "\T^^^  comes  word  that  Mary  Brian  and  .\rthur  Lake  are 

\  In  among  the  latest  "happily  going  together  couples"  in  the 

Cinema  City.    They  are  playing  together  in  "Harold  Teen." 

Perhaps  the  Harold  of  the  screen  will  be  more  successful  with 

his  girl  friend  than  the  one  of  ttoe  tcomiaa?"'  •   -^ 

EMIL  JANNINGS  has  a  new  Ford.     He  has  his  chauffeur 
drive  him  everywhere  in  it,  leaving  his  Mercedes,  probably 
the  largest  car  in  the  motion  picture  city,  sitting  alone  and 


15^ 


Ik 


Doris  Kenyon  and  Milton  Sills  are  one  of  the  most 
devoted  couples  in  pictures.  Devoted  to  each 
other — and  to  tennis.  They're  playing  a  series  of 
daily  sets  for  the  championship  of  their  new  home 
in  a  Hollywood  canyon 


jealous,  in  its  especially  erected  mammoth  garage.  Who  says 
this  foreign  actor  is  not  becoming  acclimated  to  his  adopted 
country? 

TT  has  just  come  to  light  how  Emil  Jannings  came  to  get 
■*-his  new  Ford  so  quickly. 

He  wired  Edison. 

"But  do  you  know  Edison?"  a  friend  queried. 

"Nein.  But  I  wire  him  and  I  get  my  Ford  anyway," 
Jannings  answered. 

A  FEW  lines  each  week  in  the  social  column  of  the  Los 
.\ngeles  papers  under  the  heading  of  "Mr.  and  Mrs. 
William  Harrison  Dempsey  Entertain"  leads  one  to  believe 
that  the  Dempseys  are  encroaching  upon  Mr.  Tunney's  social 
domain. 

But  why  give  up  the  "Jack"? 

RUTH  TAYLOR,  the  blonde  that  Paramount  preferred 
for  their  production  of  Anita  Loos'  famous  book,  is  very 
juick  on  the  wisecracks. 

An  extra  girl  was  teUing  Ruth  about  her  new  boy  friend. 
"He  is  the  kind  of  a  man  who  makes  me  think,"  she 
?ighed. 
"Ah,  a  miracle  man,"  Ruth  murmured. 

CHARLIE    CHAPLIN   is  going   around   these   days   with 
Josephine  Dunn,  graduate  of  the  Paramount  School. 

MAL  ST.  CLAIR  was  writing  a  letter. 
"What  date  is  this?"  he  inquired. 
"February    22.      Washington's    birthday." 
"Mine,  too,"  Lew  Cody  piped  up. 

"And  mine,"  George  O'Hara,  the  continuity  writer  added. 
"WeU,   it's   still   just  February   22nd,"   Mai  remarked 
Jrily.     "Let's  go  on  with  the  picture." 


w; 


'E  have  never  seen  Pola  Negri  as  beautiful  as  in  the 
.  -    pure  white  wig  she  is  wearing  in  "The  Three  Smners." 

Much  conjecture  has  been  made  as  to  what  will  happen  to 
Pola  when  her  contract  is  finished  the  end  of  May  with  the 
Famous  Plavers-Lasky  Corporation.  Rumor  says  she  has  had 
three  tantalizing  offers  from  other  producers,  among  them  the 
Fo.x   organization. 

Undoubtedlv  Pola  will  accept  the  one  which  meets  her 
modest  request  for  ten  thousand  a  week.  It  is  definitely  stated 
that  she  will  not  work  again  for  her  present  small  stipend  ot 
eight    thousand. 


These  production  supervisors  are  having  all  the 
luck.  Kenneth  H.  Hawks  was  recently  married  to 
Mary  Astor,  one  of  the  real  beauties  of  the  screen. 
Mr  and  Mrs.  Hawks  went  to  New  York  on  their 
honeymoon.  Mary's  license  was  made  out  in  her 
real  name,  Lucille  Langhanke 

AT  least  Pola  saves  her  producers  money  by  wearing  her 
own  jewels.  During  the  filming  of  "The  Three  Smners 
she  wore  her  famous  98  carat  emerald  bracelet.  _  Also  she 
sported  five  of  the  most  gorgeous  diamond  rmgs  in  existence 
and  a  diamond  necklace.  Pola  cannot  be  bothered  with  mi- 
tations  And  her  own  violinist  always  plays  the  music  she 
has  personally  selected  as  most  befitting  the  moods  of  the 
picture.  And  she  furnishes  her  own  private  detectives  to 
protect  her  jewels. 

IT  is  rumored  that  Evelvn  Brent  is  being  trained  to  take  Pola 
Negri's  place  as  a  dramatic  actress  at  Paramount.     Pola 
leaves  after  her  next  picture,  they  tell  me. 

"■tJOW  do  you  like  Hollywood  by  now?"  we  asked 
■'^Lena  Malena,  from  Austria. 

"Oh,  I  like  it,"  she  answered.  "Hollywood  is  fulls  of 
mens.  Never  before  have  I  seen  so  many  different  kinds 
of  mens!" 

And  there  you  have  Hollywood's  real  secret ! 

ILEEN  PRIXGLE  has  turned  author.    Material  for  this 
was  furnished   through   a  rare   and  exciting  experience. 


A 


Carsey 


Some  days  since,  Miss  Pringle  remonstrated  with  her  Italian 
chef  about  his  lack  of  courtesy.    She  said: 

"I  insist  that  you  say  'yes  ma'am'  and  'no  ma'am'  when  you 
answer  me."  Whereupon  the  fiery  wop  let  out  a  yell  and  said, 
"Me?  I  say  yes-a-man  no-a-man  to  nobody  in  dis  country. 
This  is  land  of  the  free,"  and  brandishing  a  huge  butcher 
knife  he  chased  the  terrified  I^Iiss  Pringle  out  of  the  kitchen. 

She  ran  breathless  to  her  bedroom,  locked  and  bolted  the 
door,  then  sat  down  and  wrote  an  essay  on  the  servant  problem, 
entitled,  "The  Land  of  the  Free  and  the  Home  of  the  Slave." 

1924— Rasmus    Karl    Thekelsen    Gottlieb— mechanic. 
1927— Karl  Dane— movie  actor. 
Motion    picture   history    in    two   lines.      Discovered   when 
Karl  Dane  filed  application  for  citizenship  papers  the  other 
day  in  Los  Angeles,  also  asking  for  a  change  of  name. 

JAMES  HALL  has  a  doughnut  and  coffee  stand!  A  four  year 
concession  at  one  of  Los  Angeles'  beaches.  And  he  netted 
three  hundred  dollars  and  a  few  cents  on  his  first  Sunday,  two 
months  before  the  season  really  opens. 


Marie  Prevost  was  willing  to  relinquish,  tempora- 
rUy,  stardom  and  beauty  to  play  a  character  part 
in  Cecil  B.  De  Mille's  special,  "The  Godless  Girl. 
She  appears  in  the  role  of  a  "trusty"  in  a  reforrna- 
tory.  She  took  it  because  she  wants  to  prove  that 
she  is  a  dramatic  actress 


Frank  Marion  was  the  first  to  start  this  make-money-on-the- 
side  plan  among  motion  picture  actors  with  his  chain  ot  hot 
dog  stands. 

IT  was  in  New  York's  most  exclusive  hairdressing  parlor 
on  a  busy  afternoon. 

At  the  desk  stood  a  beautiful  blonde.  She  was  Mana 
Corda,  who  recently  appeared  in  "The  Private  Life  of  Helen 
of  Troy."  ^     ^     .    j 

Conversation  revealed  that  Madame  Corda  had  once 
had  an  appointment  for  a  wave  but  that,  smce  she  was  very 
late,  the  appointment  had  been  canceled. 

The  screen  star  remonstrated  and  it  was  then  that  the 
harassed  girl  behmd  the  desk  spoke  forth.  ^^ 

"You  may  be  a  screen  star  in  HoUywood,  madame,^^ 
stated  the  girl  icily,  "but  here  you  are  just  another  marcel." 

MARGARET  IMANN,  the  dear  old  lady  who  runs  away 
with  the  honors  in  "Four  Sons,"  received  far  more 
publicity  during  her  visit  to  New  York  than  many  younger 
and  more  beautiful  stars.  WiUiam  Fox  was  awfully  annoyed 
because  some  of  the  cynics  suggested  that  IVIiss  JMann  was 
being  used  merely  as  a  press  stunt  and  that  she  would  soon  be 
demoted  to  the  "extra"  ranks  again,  after  her  httle  burst  ot 
success.  , ,.  ., 

Just  to  prove  that  INIiss  INIann  was  no  mere  publicity 
stunt.  Fox  gave  her  a  two-year  contract,  guaranteeing  her 
$10,000  a  year. 

DO  you  want  to  know  the  sort  of  person  ]\Iiss  ]\Iann  is? 
Then  listen  to  this  true  story.  The  Archduke  Leopold  of 
Austria  wa.s  offered  . (i „bp,x  for  the  opening  night  of  "Four 
Sons."  The  understanding  was,  of  course,  that  he  was  to  get 
all  dressed  up  in  full  regalia.  The  archduke  was  not  inclined 
to  make  a  show  of  himself  and  refused  the  box.  However, 
later,   he  decided  he   wanted   to  see   the  picture.     By   that 


Bessie  Love  is  taking  a  vacation.  She  has  gone  on 
the  stage.  On  the  West  Coast,  Bessie  played  the 
leading  role  in  "Burlesque,"  which  gave  her  a 
chance  to  do  some  of  her  nifty  hoofing.  Also  it 
gave  audiences  a  glimpse  of  one  of  the  best  figures 
outside  of  an  Art  Museum 


time  the  management  didn't  feel  in  the  mood  to  let  him  have 
two  seats. 

But  Miss  Mann  heard  of  his  request  and  left  the  seats 
for  him. 

And  that's  courtes.v  from  one  good  trouper  to  another. 

CONGRESSWOMAN  Florence  P.  Kahn,  of  California,  was 
one  of  the  guests  of  honor  at  a  recent  annual  luncheon  of 
the  National  Board  of  Review  and  stood  posing  for  movie 
cameras  and  still  cameras,  along  with  Max  Reinhardt,  Mav 
Allison  and  Eugene  O'Brien.  After  standing  for  several 
hundred  feet  of  film  to  be  taken,  Mrs.  Kahn  turned  to  Miss 
Allison  and  said: 

"Please  tell  me,  my  dear,  do  you  know  the  burial  place  for 
the  miles  of  film  they  take  of  us  that  nobody  ever  sees?  It  is  as 
mysterious  as  the  legend  of  the  elephants'  graveyard.  Or 
worse  yet,  I  have  sometimes  thought  that  they 'shoot' us  with- 
out any  film  in  their  cameras  just  to  soothe  our  vanity." 

Which  proves  that  as  a  Congresswoman,  Mrs.  Kahn  is  not 
taking  herself  too  seriously. 

T   EW   CODY  is   enthusiastic   about  playing   under  the 
-'-'direction  of  Mai  St.  Clair. 

"He  is  so  truthful  about  everything!    I  told  him  I  was 
a  great  actor  and  he  agreed  with  me !" 

TEAN  HERSHOLT  is  to  be  starred  in  D.  W.  Griffith's 
J  next  picture,  "The  Battle  of  the  Sexes."  Belle  Bennett 
will  support  him. 

And  not  so  longago  Jean  supported  Belle  in  "Stella  Dallas"! 

But  a  few  months  can  make  a  great  difference  in  the  Cinema 
City.  Since  the  preview  of  "  Abie's  liiih  Rd-,-f,-"JeaTi  has  been 
running  around  in  circles  trying  to  decide  which  was  the  best 
offer.  Practically  all  of  the  producers  were  bidders.  But  Uni- 
versal refused  to  release  him  from  his  contract  although  Jean 
offered  them  $25,000  to  break  it.    That  settled  the  matter. 


A  mother's  heart  that  beats  for  her  boy  is  great 
stuff— in  the  movies.  But  a  mother's  brain  that 
thinks  for  her  boy  is  a  better  asset  in  everyday  life. 
Ben  Lyon's  mother,  Mrs.  Aileen  Lyon,  is  his  busi- 
ness manager.  She's  saved  him  a  lot  of  tough 
and  annoying  details 

GRETA  GARBO'S  pet  hobby  is  Swedish  fan  mail.  She 
weeps  with  joy  and  with  sorrow  at  each  letter  which  comes 
from  those  who  are  either  now  in  her  homeland  or  who  have 
lived  there  and  know  the  secrets  of  the  far-away  snow  countr>\ 

SUE  CAROL  is  all  excited  about  playing  the  lead  in  a  new 
kind  of  aeroplane  story  for  the  Fox  Company. 
But  she  is  more  excited  about  the  chance  that  Nick  Stuart 
may  return  in  time  to  play  the  lead  with  her. 

"If  I  must  die,  I  would  rather  die  with  Nick  than  any  other 
way,"  she  told  me  frankly. 

Which  proves  that  Nick's  three  months'  absence  hasn't 
affected   that   romance   an)'. 

TA/ILLIAM  DE  MILLE  is  as  famous  for  the  nondescript 
''  '  clothes  he  wears  while  directing  a  picture  as  his 
brother  Cecil  is  for  the  well  pressed,  tailored  golf  suits 
he  sports  during  the  making  of  a  picture. 

John  McGowan,  the  author  of  the  play,  "Tenth  Avenue," 
which  William  is  now  making,  wandered  onto  the  set  the 
other  day  to    see  how   his  brain  child  was  progressiag. 

His  eye  lit  on  Phyllis  Haver.  "So,  that  is  our  little 
heroine?"  he  asked.    "Very  good,  very  good." 

He  glanced  around  a  little  further,  noted  William  stand- 
ing carelessly  against  a  step  ladder.  "And  that  is  our 
hardboiled  bootlegger.  Splendid  impersonation.  Splen- 
did!" 

And  they  claim  that  the  director  was  really  flattered. 

THOSE  playing  in  F.  W.  Murnau's  next  picture  "Four 
Devils"  have  discovered  that  worldng  in  the  movies  is  not 
all  pleasure. 

Janet  Gaynor  had  hung  on  the  high  trapeze  in  the  big  circus 
tent  scene  from  nine  a.  m.  until  one  p.  m.  without  intermission 
when  the  order  came  to  iiop  from  one  ring  to  another.  She 
made  the  fling,  then  collapsed  from  exhaustion  and  fear— for 
Janet  is  not  a  trained  circus  performer. 

Charles  Morton,  another  of  the  "Four  Devils,"  hung  in  the 
same  position  until  his  hands  were  bleeding. 

ROY  D'ARCY  is  being  sued  by  his  wife  for  divorce,  charging 
the  usual  complaint  of  cruelty  and  nonsupport. 
Mrs.  Roy  Giusti  (for  this  is  the  actor's  real  name)  claims  her 
mother   has   loaned    the   actor  f  continued  on  page  84  ] 


$^m  Prizewinner 


Rena  Vale,  cowgirl,  stage  driver,  teacher,  stenographer. 

Also,  until  now,  unsuccessful  writer,  with  the  world's 

championship   collection   of   rejection   slips 


"  QTT^ylG,"  llie  Jive   thousand   dollar   prize   winning   idea  in 
^the  Pholoplay-Paramount  Famous  Lasky  contest,  is  already 
in  the  hands  of  the  writers  at  the  studio,  and  Jesse  L.  Lasky  has 
taken  personal  charge  of  the  preparations  for  the  picture. 

He  has  already  cast  George  Bancroft  and  Evelyn  Brent  in  the 
leading  rbles. 

Three  or  four  of  other  winning  ideas  have  also  been  given  to  the 
story  department  for  development,  and  it  is  Air.  Lasky's  opinion 
that  they  will  serve  as  the  basis  of  other  important  productions. 

In  every  case  the  author  will  be  given  screen  credit  for  the  idea. 

Naturally  enough  the  company  does  not  want  to  make  public  the 
ideas  until  they  are  ready  to  announce  the  names  of  the  pictures. 
Not  that  they  would  suspect  other  producers  of  lifting  their  ideas, 
hut  then  the  idea  on  which  a  picture  is  made  is  the  essential  in- 
gredient, and  there  is  no  use  tempting  competitors. 

One  of  the  most  satisfying  features  of  the  contest  was  that  the 
girl  who  won  the  first  prize  was  made  so  happy  by  her  good  fortune. 
But  it  was  not  altogether  luck.  Rena  Vale  has  been  writing  and 
trying  for  years.  Starting  work  at  the  age  of  twelve  as  a  cook  in 
an  Arizona  cow  camp,  she  has  never  lost  sight  of  her  objective  for  a 
single  moment.  Her  father  wanted  her  to  be  a  wild  west  circus 
performer.  Her  mother's  ambition  was  that  the  girl  would  become 
a  school  teacher. 

The  mother's  idea  prevailed  so  the  girl  spent  two  years  at  the 
Northern  Arizona  Normal  School,  and  went  to  teaching  in  a  Mor- 
mon town  near  the  Utah  border.  The  Mormon  school  supervisors 
were  not  over  friendly  to  the  gentle  teacher,  however,  and  one  day, 
after  having  been  forced  to  larrup  an  unruly  youth,  who  tried  to  set 
himself  up  as  boss  of  the  school,  she  quit,  and  went  to  San  Fran- 
cisco where  she  got  a  job  in  a  bottling  plant. 

There  she  studied  shorthand  and  became  a  stenographer.  But 
the  wanderlust  and  ambition  moved  her  on  again  and  this  time 
fate  sent  her  to  Los  A  ngclcs,  where  she  took  up  direct  selling.  Love 
came  into  her  life  for  the  first  time  and  she  married  a  bright  young 
reporter  who,  recognizing  the  latent  talent  of  the  girl,  encouraged 
her  to  persist  in  writing.  She  has  the  thickest  stack  of  rejection 
slips  in  California. 

Isolated  in  remote  sections  of  Arizona,  where  there  are  no  motion 
picture  theaters  and  no  newsstands,  and  fascinated  by  the  make- 
believe  world  of  the  motion  picture,  she  subscribed  to  Photoplay 

48 


Read  this  remarkable  tale  of 
a  typical  plucky  girl  of  the 
Southwest  who,  after  trying 
for  years,  crashed  through 
to  success  in  PHOTOPLAY 
MAGAZINE'S  Idea  Contest 


vcars  ago  and  says  she  has  never  missed  a  month.  When  she 
'saw  the  announcement  of  the  Idea  Contest,  she  was  en- 
couraged to  put  so7ne  of  her  ideas  in  brief  form  and  submit 
them. 

When  she  was  called  upon  by  a  representative  of  Photo- 
play Magazine  and  told  she  was  one  of  the  prize  winners, 
without  being  told  of  her  great  luck  in  landing  the  first  prize 
of  five  thousand  dollars,  she  took  it  very  calmly. 

"Just  another  false  alarm,"  she  said  as  she  went  to  the 
Paramount  studio  to  have  her  pictures  taken. 

It  was  difficult  for  the  sindio  folks  to  restrain  the  tempta- 
tion to  tell  her  the  truth  until  the  announcements  were  made  in  the 
magazine,  but,  used  to  the  rebuffs  and  disappointments  of  life,  she 
took  it  all  calmly.  , ,       , 

When,  on  the  date  of  the  issue  of  the  magazine,  she  was  told  and 
was  handed  the  five  thousand  dollar  check,  her  lips  trembled  and  she 
turned  her  bronzed  face  away  to  hide  her  emotions. 

"  There  is  a  God,"  she  whispered  and  walked  away  to  be  alone. 
Her  own  story,  which  follows,  was  written  on  a  studio  type- 
writer.    She  went  at  it,  when  asked,  like  a  veteran.     It  is  a  re- 
markable story  of  a  girl  who  has  had  to  battle  life  pretty  much  alone, 
and  the  character  of  the  girl  is  written  into  it. 

Miss  Vale  is  a  typical  product  of  Ike  Southwest.  About  five 
feet,  seven  inches  in  height,  and  icilh  a  slim  figure,  she  would  be  a 
perfect  model  for  a  cowgirl  in  a  Remington  painting. 

She  is  as  voluble  as  an  Indian.  Years  of  life  on  the  desert  with 
few  companions  have  made  her  think  much  and  say  little.^  Her 
eyes  are  large  and  grey  and  she  wears  her  blue  black  hair  in  a 
severely  cut  bob  that  is  reminiscent  of  the  Hopi  Indians. 

THIS  isn't  going  to  be  a  good  story  because  I'm  too 
excited  to  write.  I'd  like  to  climb  to  the  top  of  the  new 
City  Hall  and  shout:  "Hurray,  I  won  the  prize!"  _  But 
perhaps  there  would  be  a  few  of  the  Los  Angeles  million 
who  wouldn't  know  about  the  Photoplay-Famous  Players  Idea 
Contest.  So,  instead,  I'll  tell  Photoplay  about  it  because  I 
know  all  the  readers  of  that  magazine  are  familiar  with  the 
$15,000.00  Idea  Contest. 

A  $5,000.00  check!  Wonder  how  many  of  you  ever  had  that 
much  money  handed  to  you  in  a  lump  sum?  Well,  I'm  one  of 
the  readers  of  Photoplay  who  never  before  had  that  much  at 
once.  IMr.  Quirk  had  to  hand  me  the  check  twice  because  my 
hand  trembled  so  that  I  couldn't  hold  it  the  first  time.  I 
wondered  if  it  was  reallv  me — myself — Rena  Vale — who  was 
winning  FIRST  PRIZE.' 

Foolish  things  come  to  our  minds  in  great  moments.  I 
thought  of  the  saying  of  a  poor  old  half-wit.  Mid  Jones,  I  had 
known  when  I  was  a  child  in  Arizona.  He  had  a  habit  of 
drowning  his  sorrows  in  the  cup  at  the  "Red  Star"  saloon,  then 
trusting  to  his  mules  to  take  him  safely  home.  Once,  however, 
the  mules  jumped  up  on  a  bank  out  of  the  river,  breaking  off  the 
double-tree,  leaving  Mid  stranded  in  the  middle  of  the  stream. 


Tells  Her  Story 

He  awoke,  and  realizing  his  plight,  shouted 
at  the  top  of  his  lungs:  "Oh,  IVIid,  is  this 
you;  is  this  YOU?  'Cause  if  it  is,  you're  in 
an  awful  fix."  Then,  later  when  he  won  a 
trip  to  Ireland  in  a  Pioneers'  contest,  he 
said  the  same  thing. 

This  must  be  me,  all  right,  for  I  can't 
think  of  anyone  else  I  could  be.  I  have  the 
check:  have  seen  it  and  felt  it,  heard  the 
paper  rustle  and  even  smelled  the  ink  on  it. 
This  dream  must  be  true! 

Now  the  next  question  is:  what  am  I 
going  to  do  with  it?  Strange,  isn't  it,  but  I 
didn't  have  that  check  spent  before  I  got  it, 
just  "in  hopes."  So  many  of  us  count  our 
chickens  before  they  are  hatched,  just  for 
the  fun  of  counting  them.  Once,  in  San 
Francisco,  I  did  that.  I  spent  the  summer 
as  a  guest  of  the  County  in  the  City  and 
County  Hospital,  and  I  didn't  know  what  I 
was  going  to  do  when — and  if — I  got  out. 
So,  whenever  I  was  able,  I  studied  short- 
hand and  worked  on  a  prize  contest  that 
was  running  in  one  of  the  papers.  I  thought 
I  was  clever  and  had  undoubtedly  won  the 
first  prize,  so  I  spent  the  money — in  my 
day-dreams. 

It  was  a  lot  of  fun  going  to  the  "  City  of 
Paris"  and  rigging  myself  out  in  gowns,  and 
shopping  on  Van  Ness  Avenue  for  a  bright 
blue  car.  On  the  day  I  got  out  of  the 
hospital,  the  winners  of  the  contest  were  announced.  I  hadn't 
even  won  a  SI -00  prize!  Then  and  there  I  broke  myself  of 
spending  prize  money  before  I  got  it. 

But  this  time  it's  different:  I  CAN  go  shopping  in  reahty. 
But  I'm  older  now,  and  my  ideas  of  what  to  do  with  money  have 
changed.  The  first  thing  I'm  going  to  do  with  this  crisp  piece  of 
paper  with  the  magic  naughts  on  it,  is  to  buy  an  operation  for 
my  invahd  brother.  Maybe  it  will  mean  the  end  of  twenty-five 
years  of  patient  suffering;  maybe  he  will  walk,  and  even  dance, 
like  other  young  men. 

THEN,  there  is  a  little  girl  whom  I  met  twelve  years  ago  on 
a  train  in  Arizona. 


By 
Rena 

Vale 


With  Mr.  Lasky  and  Mr.  Quirk.    "Make  a  good  picture  of  'Swag,' 
or  I'll  bring  my  old  cowboy  friends  to  shoot  up  your  studio" 


I  was  attending  Normal 
school  and  she  was 
trouping  with  a  vaude- 
ville company.  Our 
tastes  were  so  much 
alike  and  our  ideas  of 
what  was  funny  so 
similar,  that  we  have 
stuck  together  ever 
since.  She  needs  some 
dental  work  and  a  new 
pair  of  shoes.  I  think 
she'U  get  them. 

THEN,  after  a 
doctor  bill  is  paid,  I'll 
take  a  street  car  over  to 
Figueroa  Street  —  Los 
Angeles'  Automobile 
Row.  I'll  probably 
have  to  say  to  the  sales- 
man: "Have  you  any- 
thing cheaper?"  (But 
I  DO  HOPE  the  price 
doesn't  end  in  98 
cents!) 

The  cowboys  in 
Arizona  say  that  they 
are  "plum  afoot"  when 
they  have  no  mount  for 
the  round-up.     That's 


George  Bancroft  says,  "Say,  girl,  I  never  knew  Western  bad 

men  were  so  bad.     They  make  our  New  York  crooks  seem 

like  Sunday  School  teachers" 


the  situation  here  in  Los  Angeles  when  one  has  no  car.  It  isn't 
that  street  car  service  is  poor;  it's  that  the  place  is  too  big  to 
cover  going  at  street  car  speed.  Just  try  going  on  a  street  car 
from  Inglewood  to  Eagle  Rock,  or  from  Belvedere  Gardens  to 
Venice  some  day  and  see  how  much  of  the  day  you  have  left 
after  j'ou  get  there!    An  automobile  is  a  necessity  here. 

There  will  be  a  few  clothes,  of  course,  and  probably  a  marcel, 
then  I'm  going  down  Broadway  or  Spring  Street,  or  perhaps  on 
Hollywood  Boulevard  and  find  a  nice,  safe-looking  bank  where 
I'll  put  the  rest  of  that  money  to  bed. 

Perhaps  you'd  like  to  know  something  about  that  idea  I 
submitted.  I  have  been  enthusiastic  about  "  Swag"  ever  since 
it  was  born,  but  I  never 
dared  hope  it  would 
grow  up  into  a  Famous 
Plavers-Lasky  picture. 
'Way  back  in  1920  I 
was  teaching  vocational 
school  and  running  a 
canteen  restaurant  in 
an  isolated  army  camp 
in  .Arizona.  I  had  a  lot 
of  eggs  to  fry,  and  had 
to  spend  considerable 
time  showing  Uncle 
Sam's  boys  how  to  keep 
books  and  operate  a 
t}-pewriter,  but  I  had 
some  time  for  thinking. 
I  noticed  how  differ- 
ent people  reacted  to 
the  isolation.  Some 
went  insane;  some  de- 
veloped tempers  like 
hyenas;  but  others 
seemed  to  find  them- 
selves —  to  shed  their 
petty  habits  and  be- 
come tranquilized.  For 
seven  years  I  struggled 
with  that  thought  (you 
know  now  that  I'm 
[  cont'd  on  page  109  ] 

J9 


rHE  winner  of  Photoplay  s 
Idea  Contest  submitted 
this  short  story  before  she 
knew  she  was  a  prize  winner 
— read  this  tale  of  a  Holly- 
wood star  maker  and  a  girl 
who  wouldn't  be  fooled. 


JEXXY  WARE  fluttered  along  Hollywood's  famous  Boule- 
vard toward  an  incandescent  sunset.  Jenny  didn't  trot, 
skip,  walk,  run,  or  dance.  She  fluttered.  Perhaps  her  toes 
brushed  the  sidewalk;  perhaps  they  didn't;  but  if  she  was 
defving  the  law  of  gravitation  in  an  angelic  manner,  she  showed 
a  beatific  consideration  for  her  fellow  travelers  by  hovering  very 
near  to  earthly  paths.  If  you  were  walking,  she  whisked  by 
you  like  an  infant  whirlwind;  and,  as  she  passed,  you  knew  the 
cloud  of  blue  georgette  and  brown  curls  enveloped  Jenny  \yare. 
After  she  had  disappeared  into  the  multi-colored  trafhc  of 
Vine  Street,  the  image  of  her 
skimmed  before  you  like  a 
tantalizing  mirage. 

Her  destination  was  a  sage 
green  bungalow  opening  off 
a  court  filled  with  shell  bird 
baths,  very  young  palms,  and 
very  clean  pebble  walks.  There, 
lived  Jule. 

Before  Jenny's  toes  brushed 
the  white  pebbles  in  front  of 
the  pseudo-massive  door,  she 
tossed  the  playful  curls  out  of 
her  eyes  and  swept  up  the 
panorama  below  her  in  a  quick, 
comprehensive  glance.  A 
hundred  reflected  sunsets 
smiled  back  at  her,  and  so  she 
knew  that  Jule  would  be  up. 
She  pushed  the  saucy,  dappled 
brass  door  bell  with  the  palm 
of  one  hand,  and  the  oak- 
painted  door  with  the  palm  of 
the  other.    Both  responded. 

Jule  was  sitting  directly  in 
front  of  the  door  on  the  arm  of 
an  olive  and  brown  easy  chair, 
stirring  a  cup  of  coffee.  The 
pleats  were  here  and  there 
pres.sed  out  of  her  nightgown 
of  Nile  green  silk  and  black 
lace,  and  herauburned  hair  was 
jumbled.  As  her  guest  floated 
into  the  shade-darkened  room, 
she  lifted  one  thin  black  eye- 
brow and  opened  one  aqua- 
marine eye.  She  spoke  in  a 
porous  voice  that  emerged 
bravely  from  a  whisper: 
"  Why'n't  you  come  earlier  and 
get  me  up?  It  was  too  hot  to 
sleep  and  too  hot  to  wake  up." 

Little  puffs  of  blue  georgette 
settled  in  another  green  and 
brown  chair.  Brown  curls 
leaped  away  from  grey  eyes  as 
Jenny  tossed  her  head.  Her 
clear-cut  words  fell  like  ink 
dots  on  the  blotter  of  drowsy 
silence:  "Dancing  pupils, 
dancing  pupils,  dancing 
pupils."  She  sighed  and  patted 

SO 


the  arms  of  the  chair.  "And  then  their  mamas  talking  and 
talking  after  the  lessons.  Now  I'm  running  away  from  the 
telephone  that  will  be  jingling  and  jingling  for  more  appoint- 
ments." 

"  Suppose  it's  the  papas  on  the  'phone?" 

Laughter  tinkled  in  answer.  Jule  amused  Jenny.  Her  wit 
w-as  as  brittle  and  transparent  as  the  green  and  white  cups  she 
began  to  clatter  in  the  untidy  sink,  and  her  ideas  as  square- 
cornered  and  practical  as  Mission  furniture.  Jule  was  always 
positive — one  either  agreed  with  her,  or  one  was  crazy.  Jenny 
occasionally  disagreed,  and  on  rare  occasions  argued  with  her. 

WHILE  her  hostess  splashed  in  the  bath  room,  she  gave  the 
disordered  rooms  a  few  tidying  touches.  She  raised  blinds, 
blew  the  dust  off  photographs  and  arranged  them  in  rows  on 
the  mantelpiece,  after  which  she  removed  wilted  orchids  from 
the  phonograph,  and  retrieved  a  stringy  white  glove  from  under 
the  escritoire.  The  maid  came  but  once  a  week,  and  Jule  could 
easily  undo  all  the  weekly  house  cleaning  in  a  half  hour;  for 
the  rest  of  the  week  she  lived  in  comfortable  confusion.  Jenny 
never  preached  to  Jule,  but  she  sometimes  cleaned  house  for  her. 
Today,  however,  she  was  more  anxious  to  learn  certain  things 
from  Jule  than  to  impose  orderliness  upon  her.  These  things 
\\hich  were  racing  round  and  round  within  her  small  head  like  a 
kitten  chasing  its  tail,  concerned  Dale  Cameron,  Jule's  director. 
The  actress  emerged  from  the  bath  room  carrying  a  wisp  of 
crabapple  georgette  and  almost  wearing  a  moss  green  negligee. 
She  dropped  both  garments 
in  a  heap  on  the  floor. 
'How's  Ed?"  she  asked. 


H 


ouses 


By 

Rena  Vale 

$5,000  Idea  Contest  Winner 


Jenny  snapped  a  sheet  in  the  air  and  let  it  float  down  like  a 
tired  balloon.  "Ed?"  The  brown  curls  bobbed  impatiently. 
"Ed's  alwavs  the  same.  Always  has  been  the  same.  .-Vlwaj's 
wiUbe." 

"That  means  he  sent  you  violets  again  for  your  birthday, 
and  that  he  has  never  repaired  the  porch  floor  for  his  mother, 
and  that  he  still  smokes  the  briar  pipe,  and  stDl  brings  his  collie 
when  he  strolls  over  to  sit  in  the  porch  swing  with  you;  that  he 
designs  bungalows  at  the  ofiice  and  builds  castles  in  the  air, 
that—" 

""KTO,  'Play   houses,'   Jule.     Don't   you   remember   'Play 
JL  N  houses  by  the  sea'? ' ' 

"To  be  sure,  that  is  what  he  calls  his  air  castles.  Guess  he 
got  that  idea  from  the  sand  houses  you  and  he  built  at  Santa 
Monica  when  your  mothers  used  to  take  you  down  there  for  a 
holiday." 

"And  the  waves  would  wash  them  away,  and  we'd  build 
them  over  again."  The  counterpane  slipped  from  Jenny's 
hand  and  crumpled  to  the  floor.  She  shook  curls  and  memories 
out  of  her  eyes.  "Ed's  a  dear,  but  I'm  so  absolutely  used  to 
him ;  he  could  never  give  me  a  thrill." 

What  she  meant  by  thrills  were  the  squirmy  feelings  that 
raced  over  her  when  she  made  humming-bird-like  dips  into  hfe. 
She  had  sipped  a  drop  of  nectar  at  the  Montmartre  one  night, 
and  had  tasted  honey  at  the  Cocoanut  Grove  at  another.  Dale 
Cameron,  on  both  occasions,  had  broken  away  from  a  group  of 
flamboyant  women  and  danced  with  Jennj'.  His  wavy  grey 
hair  had  mingled  with  her  tumbled  curls,  and  his  soft,  strong 
hand  had  caressed  hers;  his  crooked  arm  had  pressed  her 
tightly  to  him,  and  she  had  gone  limp  as  a  wilted  Easter  lily. 
Jule  was  now  brushing  her  fingernails  with  a  small  buffer. 
"Dale  has  the  reel  of  your 
tests,  Jenny,  and  he  won't 
talk  to  me  about  anything 
else.  Looks  like  I'm  going  to 
be  left  high  and  dry  while  he 
makes  a  star  of  you." 

Jenny  dropped  to  the  cor- 
ner of  the  bed,  sitting  on  one 
foot.       "How    many    times 
must  I  tell  you, 
Jule,    that,    if 


Illustrated  by 

Nancy  Fay 


either  of  us  is  to  be  a  star,  it  will  have  to  be  you?  Makeup  feels 
gooey,  and  the  light  hurts  my  ej-es,  and  I  like  to  sleep  and  eat." 

"  But  Dale  Cameron's  stars — " 

"Don't  always  remain  Dale  Cameron's  stars.  Nay,  Jule, 
}'ou  can  have  your  Kleigs  and  your  yelling  assistant  directors 
and  long  hours  and  bath  cabinets  and  diets  and  ogling  public. 
jMother  and  I  don't  need  a  whole  lot  of  money  to  live,  and — " 

"I  know  your  little  spiel,  girl  friend,  but  now  you  have  Dale 
Cameron  interested.'' 

Jenny's  rings  cut  into  the  enameled  bed  post,  but  she  swal- 
lowed her  heart  and  flung  the  argument:  "I  want  to  save  my- 
self a  fall  from  dizzy  heights.  If  Temptation  whispers  too 
loud,  I  can  quiet  him  by  coming  down  to  the  lot  some  morning 
and  watch  you  sweat  under  your  beads  and  makeup." 

JULE  picked  up  a  jade  mirror  as  if  it  were  an  enemy.  "There 
are  nine  hundred  seventy-eight  kinds  of  fools  in  Hollywood, 
but  you  have  the  distinction  of  being  the  only  one  of  your  kind. 
Here  is  Dale  Cameron,  builder  of  the  most  magnificent  sets, 
director  of  the  biggest  pictures,  the  greatest  of  all  star-makers, 
ready  to  fall  on  his  knees  before  you — you,  little  Nobody  Jenny 
Ware.  And  you  shake  your  empty  head  and  say  you  want  to 
teach  clumsy  kids  to  dance.  And  you  moon  over  a  dawdling 
dreamer  and  his  'Play  houses  by  the  sea.'  "  Jule's  tongue 
paused  while  her  little  finger  smeared  a  daub  of  lipstick  into  a 
cupid'sbow. 

Jenny  stared  straight  ahead  as  delight  danced  before  her  like 
heat  waves.  Cameron,  the  director- wizard;  Cameron,  the 
builder  of  ghttering  palaces:  Dale,  of  the  hypnotic  speech,  of 
the  magnetic  hands;  Cameron,  Dale  Cameron,  on  his  knees 
before  her!  The  brown  curls  screened  the  sparkle  in  her  eyes, 
yet  she  wanted  to  know  more  of  the  same  subject,  so  she  threw 
another  faggot  into  the  flame  of  Jule's  wrath.  "But  Jule,  Ed 
builds  real  houses, — darling  little  bungalows  that  are  lived  in — 
while  Dale  Cameron's  houses  are  only  false  fronts  or  three-sided 
rooms  meant  only  to  be  played  in." 

Jule  was  plunging  into  her  clothes,  jerking  at  them  viciously. 

"Of  all  the  jabbering  idiots;  of  all  the  foolish  excuses.    Next 

you'll  spring  that  prize-winner  about  'What  will  people  say?' 

I  don't  want  you  to  be  a  star,  Jenny.    It  would  break  my  heart 

to  see  you  roll  down  the  Boulevard  in  a  Rolls  Royce,  and  I'd 

tear  up  a  newspaper  that  would  dare  to  print  }-our  picture! 

Goon,  and  try  to  live  in  one  of  those  sand  houses  by  the  sea  I" 

Jenny  laughed.    "Oh,  keep  your  little  green  shirt  on,  Jule. 

I've  too  good  a  memory  to  see  a  glamour  in  the 

picture  game.    Hollywood  and  I  have  grown  up 

together,  and  I  remember  \\'HEN,  you  know." 

"  I  suppose  you'd  turn  up  your  nose  at  Beverly 
Hills  real  estate,  too,  just  because  you  can  re- 
member when  it  wasn't  worth  anything."  Jule 
jabbed  her  finger  through  a  narrow  bright  yellow 
band  on  which  a  small  emerald  gleamed. 

Jenny  traced  a  pattern  with  her  toe  on  the  rug. 
"^^■ill  you  please  stop  arguing  with  me  and  tell 
me  what  Dale  Cameron  said  about  the  tests?" 

The  jaws  of  the  curling  iron  remained  rigidly 
open  when  Jule's  hand  petrified  in  midair.  "Did 
you  suffer  a  stroke  of  sense,  or  did  I  hear  you 
right?"  she  asked. 

"Perhapsyousoldme  [continued  onp.a.ge  108] 


Jule  picked  up  a  jade  mirror  as  if  it  were  an  enemy. 
"There  are  nine  hundred  seventy-eight  kinds  of  fools 
in  Hollywood,"  she  snapped,  "but  you  have  the  dis- 
tinction of  being  the  only  one  of  your  kind.  Here  is  the 
greatest  of  all  star-makers  ready  to  fall  on  his  knees 
before  you — you,  little  Nobody  Jenny  Ware — and  you 
shake  your  empty  head!" 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


HAROLD  TEEN— First  National 

IF  you  have  a  grouchy  friend  and  he  does  not  laugh  at  this, 
take  him  out  and  shoot  him.  He's  hopeless.  It  is  Harold 
of  the  comic  strip  come  to  Hfe  on  the  screen,  but  even  with 
this  tlimsy  stors-  structure  they  have  built  an  hour  of 
laughter  and  entertainment. 

If  you  want  to  see  how  movies  are  made,  don't  miss  this 
picture.  Harold  and  his  gang  make  one  for  their  high 
school  Alma  Mater.  You'll  never  get  more  laughs  than  you 
do  from  this  home-made  melodrama. 

Arthur  Lake  walks  away  with  honors  as  Harold.  Mary 
Brian,  as  Lillums;  Lucien  Littlefield,  as  Grandpap,  and 
-Alice  White,  as  the  dizzy  blonde,  rank  as  close  seconds.  And 
don't  forget  Mervin  Leroy,  who  megaphoned  these  kids  so 
that  there  isn't  a  dull  moment.    See  it  by  all  means. 


DRESSED, TO  KILL— Fox 

THIS  is  not  a  big  production  from  the  standpoint  of 
money  e.vi)ended,  scenery  or  numbers  of  people  playing 
in  it.  Yet  the  perfect  story  construction,  the  splendid  act- 
ing and  uninterrupted  suspense  make  it  worthy  of  excep- 
tional mention.  A  tale  of  the  underworld  taken  from  the  in- 
side of  a  gangster's  lair.  No  detail  of  the  methods  employed 
by  the  criminal  "mob"  leaders  are  omitted. 

A  girl  becomes  one  of  the  "gang."  You  cannot  quite 
believe  that  one  so  beautiful  and  refined  can  be  really  a 
thief,  yet  you  are  never  certain  until  the  end  of  the  story. 

Edmund  Lowe  as  Barry,  the  mob's  leader,  is  splendid. 
Mary  Astor  proves  herself  an  actress  of  exceptional  capa- 
bilities. Ben  Bard  is  as  slick  as  the  underworld  thief  he 
interprets.    If  you  enjoy  all-action,  don't  miss  this. 

'62 


The 

Shadow 
Stage 

A  Review  of  the  New  Pictures 


SPEEDY— Lloyd-Paramount 

HAROLD  LLOYD  took  a  year  to  make  this  picture  and 
it  was  time  well  expended.  It's  a  corking  rib-tickler. 
Lloyd  may  work  slowly  and  carefully  on  his  films,  but  he 
never  lets  you  down. 

Like  all  of  Lloyd's  comedies,  the  story  is  the  least  of  the 
picture.  But  the  clever,  rapidly  moving  gags,  the  wild 
stunts  and  the  high-tensioned  action  make  it  well  worth 
your  money. 

Lloyd  spent  months  in  New  York  City  and  his  camera  has 
caught  up  with  the  speed  of  the  metropolis  with  amazing 
agility. 

Babe  Ruth's  dash  to  the  ball  field  with  Lloyd  at  the  taxi 
wheel  will  make  you  wonder  just  how  they  managed  to 
photograph  it. 

Ann  Christy  was  chosen  from  Hollywood's  thousands  of 
extras  for  the  feminine  lead  because  of  her  long  hair.  She  is 
wistful  and  cunning,  but  has  little  chance  to  display  his- 
trionic ability,  because  it  is  wholly  Harold  Lloyd's  picture. 

A  contest  for  the  ugliest  dog  in  Hollywood  resulted  in 
finding  a  nondescript  cur  so  clever  that  he  ranks  second  only 
to  the  comedian  as  a  laugh-getter.  Beauty  isn't  everything; 
brains  are  a  big  help,  even  to  a  pup. 

The  story  is  a  little  slow  getting  into  action  and  we  wish 
that  they  had  omitted  Coney  Island,  the  only  "old  stuff"  in 
the  production.  But  they  spent  sS150,000  to  get  this  part 
of  the  picture,  so  it  would  be  unreasonable  to  expect  them 
to  cut  it. 

Take  every  member  of  your  family. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 


SPEEDY 

HAROLD  TEEN 
MOTHER  MACHREE 


WE  AMERICANS 

NIGHT  OF  MYSTERY 

DRESSED  TO  KILL 


The  Best  Performances  of  the  Month 

Arthur  Lake  in  "Harold  Teen" 

Edmund  Lowe  in  "Dressed  to  Kill" 

Mary  Astor  in  "Dressed  to  Kill" 

Adolphe  Menjou  in  "A  Night  of  Mystery" 

Rod  La  Rocque  in  "Hold  'Em  Yale" 

Marion  Davies  in  "The  Patsy" 

Tom  Wilson  in  "Hold  'Em  Yale" 

Belle  Bennett  in  "The  Devil's  Skipper" 

Philippe  de  Lacy  in  "Mother  Machree" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page   140 


WE  AMERICANS— Universal 

"TT  TE  AMERICANS"  is  not,  in  any  sense,  a  racial  pic- 

W  ture,  but  a  drama  of  American  immigrants.  A 
Russian  (Lcvinc),  a  German  {Schmidt)  and  an  Italian  family 
iAlhertini)  came  to  America  fifteen  years  before  the  war. 
Their  struggles  for  an  existence;  their  loyalty,  and  their 
perplexities  (particularly  over  the  younger  generation  who 
find  it  so  easy  to  assimilate  American  ideas  and  customs) 
make  a  story  of  absorbing  interest. 

The  picture,  under  the  capable  adaptation  of  Alfred  Cohn, 
who  graduated  into  the  movies  from  Photoplay  Maga- 
zine, makes  far  greater  national  appeal  than  the  original 
story  when  produced  on  the  stage.  A  war  sequence  has 
been  cleverly  injected,  which  gives  a  motive  for  the  high 
spot  of  the  picture.  Mrs.  Levine,  going  to  night  school,  has 
mastered  enough  EngHsh  to  read  to  the  class  the  Gettys- 
burg Address.  As  she  reads  the  closing  words  .  .  "and 
they  have  not  died  in  vain,"  she  is  handed  the  telegram 
carrying  the  news  of  her  son's  death  over  seas.  A  very 
tense  moment  beautifully  handled  by  JNIeryl  ]\Iercer. 

George  Sidney,  as  Mr.  Levine,  and  Albert  Gran,  as  Mr. 
Schmidt  give  superb  character  delineations.  Patsy  Ruth 
^li&e^x,VLS  Beth  Levine,  \s>  excellent.  ]\Iuch  credit  for  the  entire 
production  must  go  to  Edward  Sloman,  director,  who  is  con- 
sistently making  pictures  above  the  average. 

The  picture  is  of  permanent  value  (in  the  same  sense  that 
"His  People"  and  "His  Country"  are)  and  while  highly 
entertaining  to  any  audience,  should  make  better  citizens  of 
all  of  us. 


MOTHER  MACHREE— Fox 

OF  course  you  know  the  old  ballad.  Rida  Johnson 
Young,  who  wrote  its  lyrics,  was  engaged  to  construct 
the  film.  John  Ford,  who  seemed  to  exhaust  the  tear  pos- 
sibilities of  mother  love  in  "Four  Sons,"  was  assigned  to 
direct  it.  And  Belle  Bennett,  whose  choke-producing  per- 
formance of  Stella  Dallas  is  still  a  high  tear  mark  in  filmdom, 
was  hired  to  play  Mother  Machree.  -That  was  a  sure-fire 
combination. 

"Mother  Machree"  isn't  as  successful  a  sob  wringer  as 
"Four  Sons."  This  story  of  an  Irish  mother  who  brings  her 
boy  to  America  that  he  may  have  the  advantages  of  the  new 
land  is  more  conventional.     Still,  it's  effective  emotionally. 

The  real  hit  of  "Mother  Machree"  is  little  Philippe  de 
Lacy,  who  plays  the  Irish  son  as  a  lad.    He's  delightful. 


A  NIGHT  OF  MYSTERY— Paramount 

SARDOU'S  well-known  stage  play,  "Captain  Ferreol," 
under  Ernest  Vajda's  adaptation  and  supervision,  fur- 
nishes Adolphe  Menjou  one  of  the  best  vehicles  he  has  ever 
had. 

Menjou  is  frequently  in  trouble  because  of  love  affairs, 
but  this  time  as  a  dashing  captain  of  the  French-African 
Chasseurs,  he  is  "between  the  devil  and  the  deep  blue  sea." 
If  he  speaks,  his  former  sweetheart  will  be  ruined;  if  he  keeps 
silent,  the  brother  of  the  w^oman  he  now  loves  will  be  hung. 
With  Evelyn  Brent  the  bewitching  charmer,  Nora  Lane  the 
demure,  trusting  sweetheart,  and  Buster  Collier  the  honest, 
but  confirmed  weakling  involved,  it's  no  wonder  he  decides 
to  commit  suicide — but  he  doesn't. 

Your  loss  if  you  miss  it. 

,53 


Thotoplay  Gets  Its  Reviews  Months  Ahead 


THE  PATSY 
—M.-G.-M. 


HOLD  'EM, 
YALE— 
Pathe  - 
De  Mille 


WE  doubt  if  Barry  Conner's  comedy  would  have  made 
such  a  deUghtfui  picture,  but  for  the  magic  touch  of 
Agnes  Christine  Johnston  in  the  adaptation;  the  fine  balance 
of  comedy  and  drama  by  Director  King  \"idor;  and  the  exquisite 
portraval  of  Patsy  by  Marion  Davies.  Marion's  imperson- 
ations of  Pola  Negri,  Lillian  Gish  and  IMae  Murray  are  cap- 
tivating.   An  "ugly  duckUng"  story,  but  clean  and  amusing. 


WHAT'S  the  use  of  trying  to  be  critical  when  you  have 
had  your  money's  worth  of  honest  fun  out  of  a  picture? 
Rod  La  Rocque  forgets  his  tailor  and  has  a  grand  time  for  him- 
self as  a  South  American  Jack  Gilbert  who  becomes  a  football 
star.  Big  Tom  Kennedy,  as  a  bone  headed  cop,  and  a  monkey 
called  "Firpo"  contribute  to  the  nonsense.  The  girl?  Jean- 
nette  Loflf.     See  her  in  last  month's  Photoplay. 


TWO  LOVERS 

—United 

Artists 


l»-^ 


THE  SHOW- 


EVEN  the  lavish  production  of  an  intriguing  story  of 
William  of  Orange,  and  Niblo's  skillful  direction,  cannot 
disguise  the  fact  that  this  is  the  same  plot  which  first  put  Vilma 
Banky  and  Ronald  Colman  over  as  a  team.  However,  no  one 
should  miss  so  colorful  a  picture.  It's  the  last  co-starring  ap- 
pearance of  this  splendid  pair  of  romanticists  who  combine 
here,  as  always,  the  nlli  degree  of  beauty  and  linesse. 


A  PICTURE  teeming  with  splendid  acting,  but  a  story  which 
leaves  a  questionable  taste  in  your  mouth.  Droning  oil 
wells,  merciless  tropical  heat,  the  menacing  attitude  of  lonely, 
desperate  male  beings  will  depress  you  as  they  depress  the 
j'oung  American  woman  who  invades  the  JNIexican  oil  well 
region.  The  work  of  George  Bancroft,  Evelyn  Brent,  Fred 
Kohler  and  Xeil  Hamilton  make  it  worth  seeing. 


RED  HAIR 
Paramount 


THE 

HEART  OF  A 

FOLLIES 

GIRL— 

First  National 


Ayf  ISS  BOW  is  with  us  again,  this  time  in  an  Elinor  Givn 
IViopusofagold-diggerwhogaveupgohl-diggingforlove.  And 
if  a  gold-digger  does  that,  she  IS  in  love!  Mi.ss  Glvn,  who 
openly  admits  being  a  super-theorist  on  love,  and  the  bewitch- 
ing Clara  as  its  exponent  should  be  an  irresistible  combination. 
George  Marion  titles  and  the  famous  Bow  tresses  in  natural 
color  are  highlights. 

4' 


NUT  even  Billie  Dove's  beauty  can  compensate  for  such  a 
weak  story.  A  tale  as  hackneyed  as  the  proverbial  love 
triangle.  No  humor;  not  even  a  good  fight  to  vary  the  mo- 
notony of  a  Follies  girl's  persistent  sacrifice  for  a  man  who 
sells  his  honor  to  win  her  attention.  Larry  Kent  as  the  boy; 
Lowell  Sherman  as  the  menace  and  Mildred  Harris  as  thegold- 
tligger,  as  well  as  Miss  Dove,  do  the  best  acting  possible. 


of  All  Other  Magazines.    Check  Up  and  See 


THE 
DEVIL'S 
SKIPPER— 
Tiffany-Stahl 


LADY  BE 
GOOD— 

First  National 


THIS  is  a  virile  story,  packed  with  dramatic  action,  dealing 
with  slave  ships,  piracy,  mutiny,  revenge  and  death.  Belle 
Bennett's  characterization  of  "The  Devil's  Skipper"  is  a  great 
personal  achievement,  rarely  equalled  on  the  screen.  You 
can't  forget  the  tense  moment  when  she  discovers  it  is  her  own 
daughter  she  is  subjecting  to  the  horrible  humiliations  she  had 
experienced  herself.  You'll  appreciate  JMontagu  Love's  support. 


THE  Mackaill-Mulhall  team  goes  over  big  in  this  snappy 
screen  version  of  the  recent  musical  show.  Dorothy  is  not 
only  a  clever  comedienne  and  dancer,  but  has  a  perfect  right 
to  lay  claim  to  a  perfect  right — and  left!  Jack  is  better  than 
usual  as  the  young  magician  who  can  get  anything  out  of  his 
hat  but  the  rent  money.  The  story  is  about  the  two  young 
— but  see  it  yourself;  it's  darn  cute! 


SOMETHING 
ALWAYS 
HAPPENS— 
Paramount 


MAD  HOUR— 

First  National 


IT'S  dangerous  business,  girls,  to  pray  for  something  to 
"happen."  You  might  get  such  a  surprise  as  Esther  Ralston 
gets  when  she  finds  herself  in  this  haunted  house  of  musty 
stairs,  shding  panels,  walking  chairs,  etc.  A  delightful  melo- 
dramatic farce,  in  which  Neil  Hamilton  and  Sojin  vie  with  each 
other  in  giving  Esther  a  lasting  thrill  and  one  which  you  will 
enjoy. 


ELINOR  GLYN  gives  us  another  moral  on  the  folly  of 
jazzmania.  Just  how  IMadame  Glyn  thinks  that  a  daughter 
of  a  taxi  driver  is  clever  enough  to  entrap  the  son  of  a  multi- 
millionaire into  marriage  via  the  gin  route  and  dumb  enough  to 
sign  him  away,  lose  the  custody  of  her  baby  and  go  to  his  jail 
in  his  honor,  is  beyond  average  comprehension.  But  the  tale 
will  interest  you  and  the  acting  of  Sally  O'Neil  will  surprise  you. 


THE  MAN 
WHO 

LAUGHS— 
Universal 


BARE  KNEES 
— Gotham 


THIS  picture  may  get  by  in  Europe  under  the  name  of  Art, 
but  in  this  country  it  will  have  little  interest.  Dragged 
into  a  super-production  by  extremely  slow  action,  it  loses  the 
dramatic  value  of  a  story  which  might  have  succeeded  under 
the  name  of  "something  different."  Historically  it  gives  an 
insight  into  the  lives  of  the  yokels  of  the  King  James  II 
period.    Conrad  Veidt  does  a  splendid  piece  of  acting. 


A  FINE  jazz  baby  Virginia  Lee  Corbin  is,  but  she  knows  her 
signals — "when  to  stop  and  when  to  go" — and  that's  more 
than  her  married  sister  (Jane  Winton)  does.  Maude  Fulton 
shows  her  mirth-provoking  legs,  and  Johnny  Walker,  Donald 
Keith,  and  Forrest  Stanley  have  illuminating  experiences.  A 
good  cure  for  flapper-pessimists. 

[  Additional  reviews  on  page  96  ] 

55 


oUywood  Trousseau 


Kathryn  Carver,  soon  to  be  Mrs. 
wood  for  her  wedding  in 


Adolphe  Menjou, 
whose  marriage  to  Miss 
Carver  will  take  place 
in  Paris  in  May,  views 
with  approval  "La 
Scala,"  an  evening 
wrap  of  red  crepe  with 
white  fox  collar.  The 
flowers  are  embroidered 
in  gold  and  silver  metal 
thread 


This  chic  creation  was 
designed  to  be  worn  at 
cocktail  time  at  the 
Ritz  In  Paris.  It  is  a 
draped  satin  dress  with 
a  bodice  of  black  lace 
over  nude  satin.  A  dia- 
mond and  onyx  pin 
catches    the    folds    in 

front. 
A  snug  fitting  wrapped 
turban  made  of  black 
crocheted  visca  with  a 
small  Paradise  feather 
adds   to   the   ensemble 

effect 


THE  biggest  influence  on  world  fashions  is  not  Pans; 
it  is  Hollywood.  New  York  may  sniff,  London  may 
put  up  its  lorgnette  in  amused  disdain,  and  Paris 
may  foam  at  the  mouth;  but  deep  down  m  their 
secret  hearts  they  all  know  the  movie  studios  evolve  more 
fashion  novelties  than  all  of  them  put  together." 

This  statement  was  made  recently  by  CampbeU  McCul- 
loch  in  Libertv,  in  which,  as  a  result  of  the  study  of  the  origin 
of  fashions,  he  demonstrated  the  statement,  often  niade  m 
Photoplay,  that  HoUywood  fashions  set  the  pace  for  the 

''^Tt  was  inevitable  that  this  should  result  in  such  an  estab- 
Ushment  as  the  new  Maison  de  Haute  Couture,  presided  over 
by  Howard  Greer,  creator  of  fashions,  whose  gowns  have 
graced  the  forms  of  many  of  the  most  charming  actresses  ot 
the  screen.  ,       ,  ,       ,        r  .v 

Nothing  in  America  equals  the  charm  and  color  of  the 
ateher,  which  Greer  opened  recently  in  a  delightful  Spanish 
court  in  Hollywood,  within  a  few  minutes  of  all  the  studios. 
In  an  elaborate  salon,  whose  rich  furnishings  and  ghttermg 
crystal  chandeliers  lend  background  and  lUummation  char- 


This  charming  robe  du  soir  was  one  of 
the  distinctive  creations  among  the 
seven  evening  gowns  which  Miss  Carver 
took  with  her  to  Europe.  Forty-seven 
yards  of  tulle,  edged  in  silver  thread, 
make  up  the  skirt  and  the  bodice  is  a 
mass  of  crystal  beads.  To  carry  this 
gown  and  another  of  orchid  tulle  special 
w  icker  tubes  were  made  to  prevent  crush- 
ing of  the  material  in  train  and  steam- 
ship travel 


5r, 


forL'i 


H 


arisian  rioneymoon 

Adolphe  Menjou,  outfits  in  Holly- 
the  late  capital  of  Fashion 


acteristic  of  the  ball  room,  screen  stars  and  society  ladies  can 
select  evening  gowns  of  original  design.  Afternoon  gowns  are 
shown  in  the  Peasant  room,  which  is  a  glorified  adaptation  of 
the  decorative  motif  of  European  peasantry.  The  sports- 
woman is  conducted  to  the  Patio,  where  she  ma}'  choose  her 
clothes  and  accessories  in  the  brilliant  light  of  the  California 
sun — a  perfect  atmosphere  for  the  robe  de  sport.  Thence  she 
may  go  into  the  loveliest  of  French  boudoirs  as  the  proper 
setting  for  the  selection  of  negligees,  lingerie,  and  other 
charming  intimacies  of  the  dainty  woman's  wardrobe. 

Panelling  of  Toile  de  Jouey  in  the  Jeanne  d'Arc  pattern, 
with  furnishings  that  harmonize  with  the  soft  old  rose  color- 
ing, is  the  ensemble  that  arouses  the  admiration  of  all. 

There  is  a  fitting  room  for  ever\'  aura  in  the  house  of  Greer. 
Particularly  suited  for  blonde  beaut}'  is  the  room  completely 
waUed  in  black,  with  ceiling  of  mirrors.  An  intense  midnight 
blue  room  emphasizes  the  charms  of  the  red-haired  women. 
For  the  Castilian  brunettes,  there  is  a  room  with  a  canarv' 
j'ellow  background.  Completing  this  amazing  suite  are  a  soft 
green  room  and  a  silver  room  that  will  lend  themselves  to 
varied  complexions. 


j 

^9BiBiiiik2^^Slfl 

H| 

^^=  "S^i^ 

^^1 

mM 

When  Miss  Carver  wears  this  street 
coat  of  black  crepe  romaine, 
trimmed  in  silver  fox,  on  the  boule- 
vards in  Paris  the  French  coutu- 
riers will  have  something  to  think 
about.  It  is  one  of  the  smartest 
ensembles  in  the  entire  wardrobe 
that  was  made  in  Hollywood  for  the 
future  Mrs.  Menjou  from  original 
designs  by  Howard  Greer 


Howard  Greer,  creator 
of  fashions,  designed 
twenty-sis  gowns,  coats 
and  sports  outfits  for 
Miss  Carver's  trous- 
seau. One  of  his  crea- 
tions is  the  Ambassador 
model  shown  above.  It 
is  a  charming  dinner 
dress  of  red  chiffon 
edged  in  gold.  Note  the 
uneven  hem  line  and 
interesting  cape  collar 


Mips  Carver  took  with 
her  to  Paris  five  sports 
outfits.  The  one  pic- 
tured above  shows  the 
newest  mode  of  the 
moment  in  jumpers. 
It  is  handwoven  in  red 
and  white  wool  thread 
with  a  cross-weave  of 
gold  thread.  The  coat 
and  skirt  are  of  red 
crepe  romaine.  A  red 
beret  gives  this  outfit  a 
particularly  jaunty  air 


.57 


--^^•••^^s^j^ 


It  laherty, 

Great 
S^dventurer 

By  Terry  Ramsay  e 

Author  of  "A  Million  and  One  Nights" 


The  Maker  of  "Moana"  is  the  Last  of  the  Long 
Pioneer  Line  that  Sought  the  End  of  the  Open  Road 


ONE  merry  evening  in  June  of  the  distant  year  of  1668 
His  Highness  Prince  Rupert  and  a  blithe  party  of 
friends  sat  in  the  captain's  cabin  of  a  ship  riding  at 
anchor  off  Wapping  Old  Stairs  dock  in  London  River. 

There  were  toasts  in  the  wine  of  Oporto,  maybe  a  song  or 
two  and  farewells.  At  the  turn  of  the  tide  the  Prince  and  his 
party  went  ashore  in  a  cutter  and  the  brave  little  ketch-rigged 
Nonsuch  dropped  down  the  Thames. 

The  first  expedition  of  "The  Company  of  Adventurers  of 
England  trading  into  Hudson's  Bay,"  was  off  "for  the  Dis- 
covery of  a  new  Passage  into  the  South  Sea,  and  for  finding 
Furs,  IMinerals,  and  other  Considerable  Commodities." 

The  little  ketch  Nonsuch  was  bur- 
thened  with  the  fate  of  empire.  "The 
Company  of  Adventurers  "  was  made  up 
of  sundry  "noblemen,  knights  and  es- 
quires," a  lusty  array  of  daring,  swash- 
buckling entrepreneurs.  In  their  hands 
was  the  exploration  and  the  making  of 
half  the  New  World. 

That  "Company  of  Adventurers" 
lacked  yet — by  some  two  hundred  and 
fifty  years — one  of  its  proper  members, 
Robert  J.  Flaherty.  He  should  have 
been  in  that  captain's  cabin  aboard  the 
Nonsuch  that  night. 

The  adventurers  sailed  across  the 
Atlantic  and  through  Hudson's  Bay 
down  into  James  Bay.  There  they 
found  furs  and  other  "Considerable 
Commodities,"  such. as  they  sought. 
For  two  and  a  half  centuries  this  went 
on;  then  Flaherty  came  and  caught  up 
with  the  expedition,  completing  that 
task  of  exploration  that  the  crew  of  the 
Nonsuch  began. 

To  Flaherty,  in  dramatic  adventure, 
came  the  distinction  of  discovering  the 
last  of  the  unknown  lands  of  the  New 
World.  Also  there  he  discovered  "Na- 
nook"  and  something  of  a  new  career 
for  the  motion  picture.  Fittingly 
enough,  further,  in  co-incidental  fulfill- 
ment of  that  ancient  charter  with  the 


The  story  of  Robert  J.  Flaherty 

is  a  romance  in  itself.    Flaherty 

is  filming  a  South  Sea  yarn  in 

Tahiti 


royal  seal  of  King  Charles  upon  it,  this  discovery  brought 
Flaherty,  in  time,  a  "  Passage  to  the  South  Sea." 

This  romantic  Flaherty,  in  spite  of  the  fact  of  his  contem- 
porary existence,  in  spite  of  his  very  modern  concern  with  a  new 
phase  of  the  newest  art,  the  motion  picture,  is  in  truth  a  man  of 
the  seventeenth  century. 

At  interludes  between  his  voyagings,  Flaherty  may  be  found 
undergoing  the  conventionalities  of  New  York — commuting  to 
New  Caanan — the  restaurants,  the  night  clubs,  the  theater, 
the  self-conscious  sophistication  of  the  Coft'ee  House  club,  and 
the  studios  of  Greenwich  Village.     Here  there  is  a  tension  of 
suppression  over  him.     A  voice  that  is  used  to  wide  spaces  is 
adroitly  softened  to  an  improbable,  con- 
siderate restraint.     And  there  is  that 
attitude  of  continuous  alertness,  bearing 
testimony  to  the  automatic,  continuous 
vigilance  of  the  wild  places.      His  cool 
blue-eyed  glance  is  unconsciously  pene- 
trating and  restless.    There  is  an  air  of 
impatient  patience  under  a  bearing  of 
the    most    polite    suavity.       His    very 
broad  shoulders  and  deep  chest  dispute 
the  punctiHo  of  his  dinner  coat.     For 
the  time  he  can  be  utterly  New  Yorkly; 
but  it  is  not  really  so. 

Sometimes  when  morning  begins  to 
break  over  Washington  Square  and  the 
company  is  to  his  liking,  Flaherty  lays 
aside  his  mask  of  convention.  Then 
there  are  songs  of  the  trails  and  seas; 
tales  of  far  away  campfires,  sagas  of  the 
trappers  and  prospectors.  Flaherty's 
real  life  is  out  where  the  world  is  still 
young — a  seventeenth  century  world 
with  endless  wonders  yet  to  be  seen  and 
wide  lands  and  waters  yet  to  be  mapped. 
It  is  only  for  that  occasional  hour  that 
one  meets  the  actual  Flaherty,  who  just 
chances  to  be  among  us  in  this  effete 
twentieth  century.  And  it  is  then  that 
one  knows  him  for  a  true  confrere  of 
Radisson  and  Groseilliers,  for  a  successor 
to  the  traditions  of  Paul  de  Chomedy 
and  Cham-  [  continued  on  p.a.ge  123  ] 


5<V 


Q7_yCT\JKE  of  an  actor  who  has  a  home  and  a  wife  and  is  proud  of  it.     Who  says  that  marriage 

_/       is  a  handicap  in  achieving  screen  popularity?    Since  Richard  Arlen  married  Jobyna  Ralston 

over  a  year  ago,  he  has  had  nothing  but  luck.     A  few  years  ago,  he  was  an  "extra"  who  had 

left  the  University  of  Pennsylvania  to  seek  a  career  in  Hollywood.     Today,  he  is  one  of  the  most 

sought-after  young  men  at  the  Paramount  Studios. 


X: 


OLLY- 
WOOD'S 

leading 
young  modern 
woman — Eleanor 
Boardman  Vidor. 
In  November,  Mrs. 
Vidor  presented  her 
husband,  King  Vi' 
dor,  with  a 
daughter.  In  Feb' 
ruary,  she  reported 
for  work  at  the 
Metro'Goldwyn 
Studios.  Her  first 
picture  will  be  "Dia' 
mond  Handcuffs," 
not  directed  by 
her  husband. 


Ruth  Harriet  Louise 


y^LL  on  her 
<^^^y^  toes  — 
Mary 
Brian.  Most  of  the 
"fan"  mail  Mary  re- 
ceives is  written  on 
fraternity  letter- 
heads.  She  is  the 
Dream  Girl  of  the 
Younger  Set.  Heart- 
whole,  fancy  free 
and  devoted  to  her 
Art.  First  National 
has  engaged  her  to 
play  the  girl  in"Har- 
old  Teen,"  a  story 
built  around  the 
characters  of  the 
popular  comic  strip. 


^  y  'HE  scene  above  shows  the  last 
/  appearance  together  of  Vilma 
Banky  and  Ronald  Colman  before 
any  camera.  Let's  all  have  a  good  cry. 
The  gentleman  regarding  them  so  wist- 
fully is  Fred  Niblo,  who  directed  them 
in  "Two  Lovers."  The  artistic  divorce 
was  granted  them  by  Samuel  Goldwyn 
on  the  grounds  of  incompatibility  of 
stories.  Mr.  Goldwyn  has  gone  to 
Europe  to  find  a  new  Isolde  for  Ronald's 
Tristram,  and  a  new  Romeo  for  Vilma's 
Juliet.  The  lady  must  be  a  blonde;  the 
new  hero  must  be  a  brunette.  Now 
won't  there  be  a  real  panic  in  the  foreign 
studios? 


H ollywood's    /'_i    ]•  "I 

Garden 


By  John  Hanlon 


A  shrine  to  St.  Paul,  Patron  Saint  of  Truth, 

watches  over  this  charming  retreat  at  the  Fox 

Studio.    Here  stars  and  interviewers  are  urged 

to  tell  the  truth  and  shame  the  devil 


Under  the  strange  spell  of  the  garden,  Vincent  D'Almonde 
breaks  down  and  tells  all 


\ 


(iA  i.i) 


NATURALLY,  I  had 
hoped  that  the  inter- 
view might  take 
place  in  the  "Gar- 
den of  Truth";  but  I  cannot 
say  that  it  was  more  than  a 
vague  desire.  And  then, 
when  Vincent  D'.-\lmonde 
himself  suggested  that  we  re- 
pair to  that  spot  for  the  con- 
tinuation of  our  chat,  I  was 
delighted. 

From  the  very  first  that  I 
had  learned  of  the  existence 
of  this  charming  little  nook 
that  has  been  provided  in  the 
Fox  Studio  for  the  express 
purpose  of  interviewing  the 
stars,  I  had  been  possessed  of 
a  sincere  desire  to  sit  therein 
in  quest  of  a  story. 

I  had  seen  the  "  Gar- 
den of  Truth."  Really 
an  enticing  spot — a 
pretty  bit  of  lawn,  with 
trees  and  shrubs,  and 
surrounded  by  a  wall, 
quiet  and  secluded.  At 
one    end    there    is    a 


"Lissen,  scribe,"  said 
Vincent  D'Almonde, 
"I'm  not  only  not 
bright.  I'm  just  plain 
dumb" 


shrine  containing  an  image  of  St.  Paul,  patron  saint  of  Truth, 
symbolizing  the  spirit  of  the  place.  At  the  base  of  this  statue 
shrine  there  is  an  attractive  little  pond  with  goldfish  and  water 
lilies.    Really  a  pretty  little  spot. 

To  usurp  the  use  of  a  feminine  writer's  word,  I  was  truly 
"agog"  that  morning.  Fancy  Vincent  D'.\lmonde — the  exclu- 
sive, elusive,  publicity-loathing  Vincent  D'Almonde — granting 
permission  for  an  interview  right  upon  the  "lot"  of  his  activi- 
ties! You  may  be  sure  that  I  agogged  right  down  to  the 
studio  bright  and  early  that  morning. 

I  found  Vincent  in  his  dressing-room,  just  putting  the  finish- 
ing touches  upon  his  make-up.  To  be  specific,  I  found  him 
penciling-in,  by  the  aid  of  fore  and  aft  mirrors,  imitation  hair 
upon  that  perceptibly  thin  spot  at  the  crown  of  his  head. 

"Well,  "  said  Vincent,  as  he  reached  for  a  cigarette,  "  another 
one  of  those  interview  things,  is  it?  I  suppose  the  public's 
desire  to  read  about  us  celebrities  must  be  appeased;  but  / 
certainly  become  fed  up  on  it." 

"Part  of  the  game,"  I  ventured. 

"Yes,"  he  agreed,  "it  is.  But  I  resent  it.  I'm  an  artist, 
with  an  artist's  delicate  sensibilities  and  inherent  distaste  of 
public  contact — of  cheap  advertising — of  vulgar  publicity. 
Why  cannot  I  be  left  alone  in  my  appreciation  of  the  finer, 
more  delicate  things  of  life?  Why  must  my  every  thought 
and  action  be  dragged  before  the  public?  I  want  to  be  left 
alone  with  my  books  and  my  music;  my  garden  and  my  pal- 
wife.     Why — " 

It  was  just  about  then  that  it  happened.  I  had  just  con- 
cluded in  my  mind  that  I  was  in  for  a  session  of  the  same  old, 
stereotyped  tripe,  when  "Props"  of  D'.\lmonde's  company 
suddenly  appeared  in  the  doorway  of  the  dressing-room. 

"What  is  it,  son?"  inquired  Vincent. 

"]\Ir.  Puffingham  has  decided  to  shoot  inserts  this  morning, 
Sir;  and  will  not  be  needing  you  till  after  lunch." 

"There  you  have  it,"  said  D'Almonde,  turning  to  me  with  a 
shrug.  "That's  pictures — I  might  have  stayed  at  home, 
comfortably  reading.  ..."  [  co.vtinued  ON  page  119  ] 

Q3 


unny 


Old 


Illustrated  by 
May  C.  Burke 


You  have  read  all 
about  the  youth  of 
Hollywood.  Here 
is  the  other  side 
of  the  picture — a 
story  of  an  old 
stager.  It's  some- 
thing different  in 
film  fiction. 


WHEN  Campbell  Mandare  arrived  in  Hollywood  he 
rumbled  his  name  in  Shakespearean  sonorousness 
at  the  addle-pated  louts  selected  for  gatemen  by  the 
studios. 
At  first  Mandare  allowed  a  gateman  ten  seconds  to  recall  his 
honored  name  before  stalking  away.     Later  he  extended  the 
time  and  once  tried  argument,  unconscious  of  a  pleading  note. 
He  gave  up  gatemen  then  and  tried  telephone  girls. 
"  How,  my  dear,  do  they  make  these  cinemas  if  the  managers 
are  forever  popping  out  to  be  gone  all  day?"  he  would  inquire; 
then  clump  briskly  out,  his  slick  tapping  bright  animation  on 
the  pavement  until  he  was  out  of  hearing. 

A  light  heart  even  in  a  heavy  car,  can  circle  Hollywood  in 
twenty  minutes.  Hollywood  is  tidy,  compact,  smiling  fairy- 
land for  singing  tires;  a  sprawling,  sneering  wilderness  for  tired 
feet. 

It  takes  a  good  walker  to  get  turned  down  at  five  studios  in 


one  day — and  Mandare  was  on  his  fourth.  He  was  climbing 
Cahuenga  Pass.  Ahead  of  him,  up  through  mountains,  was  a 
studio  and  every  probability  of  failure. 

A  white  haired  little  old  woman,  with  the  complexion  of  an 
Oregon  apple  and  flaming  blue  e\-es,  overtook  him  as  he  trudged 
up  the  grade.  She  was  zig-zagging  a  small  car  toward  the  sum- 
mit as  fast  as  its  innards  allowed. 

"Hop  in!"  she  called,  and  opened  the  door.  "Can't  stop 
this  tea  kettle  on  the  hill  or  I'd  have  to  back  down." 

He  was  walking  as  fast  as  the  car,  which  seemed  to  be  trying 
to  jerk  itself  over.  "  Hop  in,"  she  repeated,  as  though  she  were 
smiling  over  the  top  of  a  stack  of  hot-cakes  in  a  farm  kitchen. 
"Hurry  up  before  it  starts  down.  Haven't  nary  a  brake  but 
we'll  coast  lickety-split  to  Filmland  City  and  run  into  some- 
thing soft  to  stop." 

Campbell  Mandare,  hesitating  and  amazed,  thought  of  ex- 
plaining that  he  never  hopped  any  place  and  that  he  preferred 


^ool 


By 

Malcolm  Stuart  Boylan 


walking.  But  the  feet  that  had  trodden  the  boards  ached  and 
he  swung  onto  the  car  as  it  gained  momentum  down  the  slope. 

"Thank  you,  my  good  woman,"  he  said. 

"Well,  now  that  you  put  it  that  way,"  she  answered,  "I  am 
a  good  woman  ...  for  my  age.  I  guess  I'm  as  old  as  you  are, 
and  I  get  more  work  with  every  wrinkle.  Do  you  work  in  pic- 
tures?" 

"I  have  not  yet  appeared  for  the  cinema,"  he  answered, 
"lam  Campbell  Mandare." 

"Oh,"  she  smiled  with  a  cheerful  little  bob  of  her  head. 
"Glad  to  meet  you.  j\Iy  name  is  Rlattie  Carpenter.  Now 
where  were  we  .  .  .  oh,  yes.  .  .  .  There  are  some  forever 
complaining  about  the  hard  work  andsmallpay  at  the  studios,  but 
I  relish  it.  I  was  dying  on  my  feet  two  years  ago  back  in  Michi- 
gan. After  the  railroad  paid  for  my  husband's  death,  I  just 
packed  up  and  told  my  daughter  that  I  was  coming  out  to  die 
under  an  orange  tree. 


"Who,  may  I  ask,  is  the 
miserable  little  bounder?" 
Mandare  inquired.  "He's  a 
big  star,"  Mattie  told  him. 
"Draws  better  than  $1,000  a 
week.  Give  him  his  due.  He 
never  had  a  day's  schooling, 
but  now  he's  going  to  write 
his  memories,  or  whatever 
they're  called" 


"But  die!  .  .  .  >-our  grand- 
father's nightcap!  I  hadn't 
been  here  a  month  when 
another  old  woman  I  met  took 
me  to  a  studio  and  I've  been 
working  ever  since. 

"I'll  tell  you  there's  nothing 
Hke  working  in  the  movies  for 
folks  our  age.  I  know  how  to 
set  a  lamp  in  a  window  and 
look  at  a  wayward  boy  when 
he  comes  home  and  I  do  it  in 
picture  after  picture." 

Campbell  iNlandare  forcibly 
acquired  the  art  of  listening. 

"We'll  have  to  coast  up  the 
Ventura  road  for  about  a 
hundred  yards,"  she  explained, 
"because  there's  a  little  raise 
there  and  we  can  stop  easier. 
Then  we'll  trapse  back  to  the 
studio.  I  could  get  the  brake 
fixed ;  but  why  in  Tunket  should 
I  take  all  the  fun  out  of  driv- 
ing? I  used  to  beg  to  drive  the 
thresher  back  home  but  the 
men  would  never  let  me  run 
anything  but  the  washing 
machine.  ..." 

THE  car  died  of  gravity;  the 
little  old  woman  pushed  it 
to  the  side  without  losing  a 
breathor  a  word. 

"  Most  people  in  pictures  say 
they're  what  they  ain't,  but 
not  me.  I'm  no  society  woman 
with  what  they  call  the  'on- 
wee.'  I'm  just  plain  Mattie 
Carpenter  of  Hollywood,  nee  Michigan. 
"  Coming  in?"  she  asked. 

Mandare  hesitated.  "  I  am  to  see  some  of  the  managers,"  he 
answered,  stopping  at  the  turnstile  leading  to  the  lot. 

"See  you  again,"  Mattie  called  cheerily  over  her  shoulder. 
"  Got  to  get  made-up  and  on  the  set."  She  walked  away  with 
the  springy  enthusiasm  of  the  employed. 

The  telephone  girl  looked  at  Mandare  as  though  she  recog- 
nized him,  an  encouraging  sign,  he  thought.  -•Vnd  she  did.  She 
was  a  charter  member  of  the  all-powerful  switchboard  sorority 
and  over  the  strumming  lines  from  three  studios  below  Cahuen- 
ga  Pass  had  come  word  that  a  funny  old  fool  was  trudging  the 
hill.  She  had  been  promised  a  laugh,  but  somehow  she  couldn't. 
The  funny  old  fool  wasn't  very  funny,  just  then.  He  was  sitting 
down,  steeling  himself  to  bounce  up  with  firm,  young  knee- 
action,  if,  by  miracle,  someone  should  crook  a  finger. 

Prayers   turned   in   before   9:00   that   morning   were   being 


QB 


The   story   of  an    idol   of  yesterday 


answered  at  11:00.  A  finger  crooked  at  Mandare  and  he 
responded  as  to  a  curtain  call.  An  office  boy  in  white  golfers 
and  Castilian  sideburns  lead  him  into  the  presence  of  the  cast- 
ing director. 

A  voice  brought  Mandare  out  of  a  bow  more  quickly  than  he 
had  intended.    It  demanded:    "Ever  work  in  pitchers?" 

Campbell  ^landare  spoke  until  the  plasterboard  rang. 

"...  but  I  have  not  yet  appeared  for  the  cinema;  my  art 
has  been  consecrated  to  the  stage,"  he  was  concluding  when  he 
was  interrupted. 

'••"pHAS  all  right— I  got  a  part  you  can  eat  up."     The  casting 

i.    director  caught  himseh'  being  enthusiastic  and  paused. 

'"Didja  ever  play  Shylock  in  the  speakies?"  he  resumed. 

"  I  am  credited  with  having  revived  that  glorious  role,"  Man- 
dare started.  "At  my  opening  performance  in  Glasgow,  the 
Scotch,  notoriously  poor  patrons  of  the  drama,  stormed  the 
theater  and  ..." 

"Okeh — Okeh,"  the  casting  director  stopped  him.  "Hang 
some  crepe  on  your  chin  and  be  on  the  set  tomorrow  morning  at 
8:00.    S7.50  a  day  and  you  ought  to  get  three  days  out  of  it." 

Mandare  scowled. 

"I  do  not  appear  for  S7.50  per 
diem,"  he  said  with  tremulous  voice, 
"and  I  do  not  begin  any  role  at  8:00 
A.  M." 

He  strode  from  the  room. 

The  casting  director  called 
after  him ;  wavingeloquent  hands. 

"Listen,  for  SIO  I  could  get  a 
guy  to  play  it  with  his  own 
beard!" 

The  old  Shakespearean  actor 
had  nothing  to  do  for  the  lunch 
hour.  He  strode  forth  under 
the  drowsing  pepper  trees  and  a 
warm  zephyr  ruffled  his  thin  hair. 
He  reviewed  his  life.  A  pageant 
of  triumph  and  defeat.     Now — 

At  65  he  was  beating  at 
the  gates  of  the  infant  art. 

\  whistle  aroused  him. 
"  Like  a  damned  factory," 
he  thought  as  workers  in 
overalls  jostled  stars  and 
nearstarsinagreat  studio's 
exodus  to  lunch. 


HE  could  hear  Mattie 
chatter  before  she 
stepped  from  the  corridor 
that  led  to  the  stages. 

She  came  from  the 
building  in  a  flying  squad- 
ron of  old  women  of  like 
age  and  appearance  who 
bore  down  on  the  studio 
cafeteria.  But  at  the  door 
Mattie  veered  off  and 
started  up  the  road.  She 
saw  Campbell  Mandare 
doing  great  acting,  imper- 
sonating a  man  too  busy 
with  important  matters  to 
think  about  lunch.  She 
confronted  him.  Hccrossed 
his  breast  with  his  hat; 
using  the  gesture  with 
which  Raleigh  cloaked  the 
puddle. 

"Come  and  have  some 
dinner."  She  fairly 
sparkled. 

Mandare  announced 
that  he  rarely  lunchcfl, 
which  was  true.  Hul  Mat- 
tie  Carpenter  ordered: 
"Come    right    along   and 


don't  be  foolish.  If  I  can't  season  my  victuals  with  a  little  talk 
I  don't  relish  'em  a  mite.  I  wouldn't  eat  in  a  studio  cafeteria  if 
I  starved.  I  bring  a  basket  lunch  and  I  eat  it  sitting  on  the 
back  seat  of  my  sputter-buggie.     Come  along — " 

"I  have  not  the  pleasure  of  knowing  your  name,"  Mandare 
began  ponderously,  "  but  I  shall  be  glad  to  sit  with  you  as  you 
lunch." 

"  Bless  the  man,  he's  forgot,"  she  laughed.  "I  told  you  this 
morning  it  was  Mattie  Carpenter.  You  can  call  me  either  Mrs. 
Carpenter,  Madam  or  Mattie  but  you've  got  to  eat  with  me 
while  I  talk." 

They  sat  together  in  the  little  car.  "Have  a  snack!"  She 
displayed  the  contents  of  the  basket  proudly  and  proffered  a 
sandwich.     Mandare  took  it. 

"   A    BIT  odd — unconventional — and  all  that  sort  of  thing, 
1\.  this  munching  food  by  the  side  of  the  road,"  ]\Iandare 
commented  to  cover  his  embarrassment. 
"  But  real  filling  and  cheery,"  Mattie  added. 
"You  know,"  she  went  on,  "I'm  probably  the  best  cook  in 
Christendom.    I  made  a  pie  once  that  got  me  a  part  that  was 
intended  for  Jackie  Coogan,"  she  chuckled.    "Casting 
directors  vary  a  good  deal  but  this  director  here — why 
there's  nothing  he  wouldn't  do  for  a  pie." 

She  delved  in  the  basket.    "  Now  here's  a  fried  cake 
that  will  float — "  She  offered  Mandare  a  bulky  circle. 
"Eat  one  for  breakfast  and  it  doesn't  take  hold  until 
1 1 :30." 
"  Did  you  get  a  part?"  Mattie  questioned. 
Who  was  this  rather  ordinary  person  to  be  prying  into 
his  personal  negotiations  with  the  managers,  ^landare 
thought;  why  should  she  place  him  in 
the  position  of  admitting  himself  des- 
perate for  work?    He  would  brave  it 
out. 
,.4;-\   '  "  I  was  asked  to  play  ^/o'/oc^  but  I 

was  out  of  the  mood  at  the  moment," 
he  began.  [  coNxixrED  ox  p.a.ge  130  ] 


At  first  Mandare  allowed  a  gateman  ten  seconds  to  recall  his 
honored  name  before  stalking  away.  Then  he  tried  tele- 
phone girls.  "How,  my  dear,  do  they  make  these  cinemas 
u  tlie  managers  are  forever  popping  out  to  be  gone  all  day?" 


^^ 


The  late  Bar- 
bara La  Mart's 
little  adopted 
son,  with  his 
new  mother, 
ZaSu  Pitts,  and 
his  "sister"  in 
his  new  home  in 
the  beautiful 
California    hills 


arbara's 
Is  Happy 


WPIETHER  in  New  York  or  Hollywood,  on  location  or 
in  a  studio,  the  tiny  lad  whom  Barbara  La  Marr 
adopted  from  a  Texas  orphan  asylum  was  her  most 
devoted  companion.  When  she  realized  that  her  long 
illness  might  mean  death,  it  was  thoughts  of  her  baby  companion, 
rather  than  the  passing  of  a  glamorous  career,  which  grieved  her. 

During  the  tilming  of  "Poor  Men's  Wives"  Barbara  had  met 
ZaSu  Pitts,  that  splendid  dramatic  actress,  also  working  in  the 
picture.  The  talk  of  their  children,  at  that  time  mere  infants, 
drew  the  two  women  together. 

When  Barbara  became  dangerously  ill,  "Sonny"  went  over  to 
live  with  "Baby  Anne." 

He  is  living  there  yet.  Only  his  name  is  now  Don  Mike  Gallery, 
adopted  son  of  ZaSu  Pitts  Gallery  and  her  husband. 

A  picture  of  Barbara  was  shown  to  Sonny.  "Oh,  yes,"  he  re- 
marked simply.  "That  was  my  first  mamma.  She  has  gone  to 
heaven  and  God  has  given  me  a  new  mamma  and  sister." 

And  there  could  be  no  doubt  that  the  first  mamma  must  have 
been  happy,  could  she  have  seen  her  little  pal  slip  his  hand  into 
his  sister's  and  smile  into  the  face  of  the  woman  whom  he  now  calls 
"mother." 


C7 


o  You  Mean 


What  strange 
movies  translated 


id 


The  script  says  that  Karl  Dane  keeps  his  nose  to  th 

grindstone.     George  K.  Arthur  is  using  oil  to  make  it : 

little  smoother  for  him 


Was  it  kind  of  the  author  to  describe  George  and 
Karl  as  "flaming  with  rage"?     Did  he  think  how- 
it  would  feel? 


#fei 


I 


'Determination  was  written  all  over  his  face. 
This  is  how  Karl  and  George  see  the  close-up 


"Now  boys,"  said  the  director,  "you  are  laughing  up 
your  sleeve."     But  this  isn't  what  he  meant  at  all 


What  You  Say? 


things  we'd  see,  if  the 
the  writers  literally! 


"The  villain  has  something  up  his  sleeve."  says 
the  author.     But,  oh  Karl,  say  it  isn't  truel 


Geor!4e    hits    the    nail    on    the 
head  and   Karl   suffers  in  the 


interest  of  realism 


.Sad  picture  of  a  man  breaking  his  word,  in 
spite  of  the  pleadings  of  a  friend 


They  "raised  their  eyebrows,"  as  directed.     But  if  the 
writer  knew  how  hard  it  was,  he  wouldn't  have  asked  it 


Illuilraled   by 


aking  y4 


Do  you  want  to  get  rich  quick? 
these  tales  of  wild  ani- 


MAKIX'  a  million  in  the  movin' picture  game,  accordin' 
to  tigures  of  the  present  day  press  agent,  don't  seem 
like  a  heap  of  hard  work.  Yet,  from  personal  experi- 
ences an'  admittin'  that  I  got  mine,  I'd  like  to  rise  up 
an'  sav  that  grabbin'  the  aforesaid  million  is  just  as  tough  a  job 
now  as  it  was  in  the  days  when  I  first  started  to  round  up  one 
for  myself,  an'  concernin'  which  I'm  a-writin'  these  pieces  for 
Photoplay. 

You  read  a  lot  about  the  millions  made  today  in  movin'  pic- 
tures yet  I  know,  an'  the  income  ta.x  reports  will  show  what  I'm 
a-sayi'n'  is  correct,  that  such  millions  as  have  been  apprehended 
by  rnovin'  picture  folks  are  today  in  the  hand  of  not  more'n  ten 
individuals.  I  ain't  a-sayin'  that  a  lot  of  us  picture  folks  ain't 
got  money  an'  that  some  of  us  are  fairly  well  to  do,  but  when  it 
comes  into  ownin'  a  million  of  real  money,  that's  another 
matter. 

I  know  big  executives  in  the  movin'  picture  game  that  can't 
count  up  to  a  million,  there  bein'  no  such  numbers  in  the  sixth 
grade,  which  is  about  as  far  as  a  lot  of  'em  ever  got.    If  it  wasn't 


for  good  secretaries  an'  addin'  machines  a  lot  of  'em  would  sure 
be  out  of  luck.  I  know  one  important  executive  who  never  got 
past  the  "9's"  in  the  multiplication  table,  and  yet  has  a  salary 
that  makes  Coolidge's  wages  look  like  Cal  was  just  one  of  the 
hired  hands. 

I  admit  here  an'  now  that  I  had  to  have  the  assistance  of  a 
bank  teller  an'  Bill  Steincamp,  the  good  lookin'  and  obligin' 
paymaster  of  the  Fox  lot,  Hollywood,  to  tell  me  when  my  bank 
roll  got  that  high.  I  asked  Harry  King,  auditor  of  the  Fox  lot, 
if  he  thought  Bill  Steincamp's  figures  could  be  relied  on  an' 
when  he  said  Bill  could  count  money  faster  an'  more  of  it  than 
any  man  in  Hollywood,  an'  havin'  the  day  before  heard  Jesse 
Lasky  talkin'  money  to  CecilDe]Mille,  I  knew  Steincamp  must 
be  a  mathematical  genius  if  he  could  outcount  those  two  birds. 
So  I  took  it  for  granted  that  Bill  was  right  an'  that  I  really  had 
a  million.    Later  on  the  bank  confirmed  it. 

But  to  get  back  to  the  story  of  how  I  made  this  here  million. 
It  will  be  remembered  that  chokin'  wolves,  buUdoggin'  bultaloes 
an'  rescuin'  a  helpless  maiden  from  the  horns  of  a  wild  bull  in 


Milli 


on 


By 


y 


Then  you  can't  afford  to  miss 
mals  and  high  finance 


"Quo  Vadis"  hadn't  proved  much  of  a  financial  success.  The 
last  of  the  $500  in  gold  that  Madera  paid  me  in  Mexico  had 
dwindled  down  into  nothin'  an'  at  the  finish  of  the  "  Quo  Vadis  " 
picture,  which,  as  I  wrote,  never  was  finished,  I  found  myself 
the  proud  owner  of  one  horse,  a  red  an'  white  bull  that  nobodj' 
wanted,  an'  owin'  Mike  Cunyan  $135. 

I  reasoned  to  myself  that  there  was  somethin'  wrong  with 
those  birds  who  said  there  was  millions  in  the  movin'  picture 
game.  Mebbe  they  knew  what  they  was  a-talkin'  about  but  I 
hadn't  seen  none  of  'em  get  very  far  yet.  I  figured  by  this  time 
that  we  was  usin'  the  wrong  kind  of  animals.  They  all  was  too 
small.  If  there  was  millions  to  be  made  in  makin'  movin'  pic- 
tures I  reckoned  we'd  better  begettin'  rhinoceroses,  hippopot- 
amuses, elephants  an'  try  for  it  in  that  way.  I  thought  they'd 
look  a  heap  more  like  a  million  than  a  few  ornery  wolves  an'  a 
coupla  Oklahoma  bulls  an'  a  buffalo  too  old  to  be  on  speakin' 
terms  with  any  of  his  three  former  wives,  that  we'd  been  a-usin'. 
With  this  in  mind  I  wrote  a  letter  to  Colonel  Selig  in  Chicago 
an'  told  him  if  there  was  a  job  makin'  pictures  with  some  real 
big  live  stock  in  it  to  count  me  in,  but  so  far  as  ordinary  Okla- 
homa stock  was  concerned  I  was  through. 

ABOUT  a  week  later  I  got  a  letter  from  Chicago  tellin'  me 
about  a  picture  to  be  made  in  Florida  where  they  was 
a-goin'  to  have  all  kinds  of  big  animals  includin'  lions,  tigers,  an' 
elephants  an'  that  they  could  use  me  at  once.  I  was  told  to 
report  to  my  old  director  friend,  "Dad"  Turner,  in  Jackson- 
ville, Florida. 

Boardin'  my  cow  pony,  "Old  Blue,"  and  the  yearlin'  colt 
which  I  claimed  although  I  couldn't  have  shown  a  bill  of  sale  for 


"I  grabs  Mr.  Leopard  by  the  tail,  gives  him  a  yank  an' 
swings  him  clear.  I  don't  know  how  many  fellers  have 
experienced  the  sensation  of  havin'  a  full  grown  and 
hungry  leopard  by  the  tail,  an'  at  the  same  time  tryin'  to 
figure  out  some  way  of  lettin'  him  go.  I'm  here  to  inform 
any  inquirin'  gent  that  it  ain't  so  funny" 


it,  on  a  friend's  ranch,  I  journeyed  south.  On  the  way  I  stopped 
in  Memphis  and  Atlanta  to  see  a  coupla  friends  an'  finally 
reached  Jacksonville,  an'  found  my  old  friend,  "  Dad  "  Turner. 
With  him  as  members  of  his  cast  was  Kathryn  Williams,  as 
leadin'  lady;  Charles  Clary,  Bill  Mong  an'  a  young  English 
feller  who  could  almost  out-London  my  old  friend  A.  B.  Chats- 
worth  McCauley,  w-ho  it  will  be  remembered  was  the  feller  I 
wrote  about  in  the  last  chapter,  an'  who  directed  or  tried  to 
direct  the  "  Quo  Vadis  "  that  came  to  such  a  bad  end. 

DAD"  TURNER  will  be  remembered  by  Photoplay 
readers  as  the  director  who  made  the  picture  where  I  was 
hired  to  bulldog  the  buffalo.  Of  course,  "Dad "always thought 
that  I  throwed  the  buft'alo  on  the  level  an'  I  suppose  he  learned 
for  the  first  time  in  Photoplay  that  the  old  boy  slipped  on  the 
movin'  picture  salt  an'  mica  snow  an'  almost  throwed  himself. 
"Dad"  told  me  that  he  was  a-goin'  to  make  two  pictures — 
one,  "Back  to  the  Primitive,"  an'  the  other,  "Lost  in  the 
Jungle."  He  said  he  could  use  me  in  both,  but  especially 
needed  me  for  the  one  about  "Lost  in  the  Jungle."  He  sure 
made  my  heart  glad  when  he  said  that  the  jungle  picture  was 
a-goin'  to  have  lions  an'  tigers  an'  a  elephant.  Here,  says  I,  to 
myself  is  my  great  chance.  I'm  at  last  with  the  big  animals  an' 
the  big  money.  It's  more'n  likely  I'll  have  my  million  an' 
mebbe  a  little  more  in  a  few  weeks  an'  can  take  it  back  to  El 
Paso  County,  Texas,  as  I  promised  my  mother. 

"Dad"  said  that  he'd  hired  a  feller  known  to  the  circus 
world  as  Big  Otto,  who  owned  a  animal  show.  Big  Otto,  I  may 
say,  is  still  a-livin'  an'  still  got  a  animal  show.  His  good  lookin' 
daughter  is  married  to  a  young  feller  named  Furness,  one  of  the 
owners  of  the  Continental  an'  a  lot  of  other  hotels  'round  Los 
Angeles  an'  San  Francisco. 

The  director  went  on  to  explain  as  how  they  was  a-goin'  to 
make  this  picture  with  wild  animals  runnin'  loose  in  the  jungle 
an'  it  was  my  job  to  sit  on  a  horse  or  somethin'  with  a  Winches- 
ter an'  a  good  six  shooter  close  by,  an'  be  ready  to  head  off  an' 
shoot  any  lion,  tiger  or  elephant  that  got  fresh  with  the  leadin' 
lady.  Am  I  shootin'  'em  by  the  head  or  by  the  day  I  asked  an' 
finally  "Dad"  agreed  that  in  view  of  the  peculiar  job  I  had,  I 
was  to  be  paid  $25.00  a  day.  He  said 

_. — -— T-^  the  job  would  last  quite  a  few  weeks 

3  -'id"  '"■''  that  if  in  the  end  nobody  got 

'"  hurted  there  would  also  be  a  nice 

bonus  that  would  set  me  on  my  way 
for  the  million  in  fine  shape. 


BEFORE  makin'  "Lost  in  the 
Jungle"  "Dad"  said  they  was  a- 
goin'  to  make  a  picture  called  "  Back 
to  the  Primitive"  with  Kathryn  Wil- 
liams a-playin'  the  leadin'  lady  an' 
Charles  Clary  an'  this  English  gent 
doin'  the  scenes  as  leadin'  man  an' 
heavy  an'  Bill  Mong  a-playin'  the 
girl's  father.  An'  he  said  besides 
usin'  me  in  another  way  he  allowed 
to  let  me  play  the  girl's  brother.  That 
sort  of  swelled  me  up. 

That   night   in   the   hotel   a   man 
seein'  my  big  Stetson  hat  an'  high 

[  CONTINUED  ON  PAGE  82  ] 


71 


Pouch  jMxkel  boot:,  at 
left,  xnll  complete  the 
tweed  ensemble.  In  tan, 
ffrey  or  Spring  colors 
of  Tapir,  calf  or  shark, 
with  double  polished 
(lilt frame.  S3. 95.  The 
latest  importation  — 
Large  handkerchief  of 
crepe  chiffon  inth  hand 
rolled  hem.  In  shaded 
tones  of  rose,  blue,  tan 
or  green.     SI. -50 


Georgette  chemise  —  a  I 
right  —  achieves  a  dainti- 
ness that  all  femiuinity 
strives  for.  In  orchid, 
peach,  nile  or  flesh  banded 
u-ith  flowered  georgette. 
Sizes  34,  Se,  3S  or  J,n. 
S3.95 


Shop  Through 


Scarfs  have  assumed  a  greater  sig- 
iiificance  than  ever  before.  At 
left  is  shown  one  of  georgette  with 
hand  painted  and  cut  work  design. 
It  comes  in  a  triangle  shape  at 
S2.95,  oblong  $2.95  or  square 
S3.95.  The  colors  are  white,  flesh , 
peach,  light  tan,  orchid,  nile  or 
poivder  blue 


Thousands  of  readers  are 


Just  to  he  differetd  a  clmlei-  of  flowers 
are  worn  on  the  back  of  the  collar — 
coat  or  frock.  At  left  you  have 
Spring's  smartest  cluster  of  inolets  of 
high  luster  velvet  with  the  7ieiv  droop 
effect.  In  light,  naturid  or  dark 
viokt  shades.     Price  SI. 00 


Whether  youtravelor 
.stay  at  home  you  will 
want  an  ensemble 
suit.  At  left — a  real 
value  —  of  novelty 
tweed  mixture  in  tan 
or  grey.  The  tailored 
three-quarter  coat  is 
unlined  and  the  skirt 
u-ith  front  pleats  is 
on  bodice  top.  Sizes 
14  to  SO,  $12.95. 
Separate  Vionnet 
blouse  of  white  crepe 
satin  comes  in  sizes 
34  to  42,  for  $5.95 


Without  sacrificing 
smartness,  at  right,  is  a 
irractical  frock  that  may 
he  u-orn  for  Simday  or 
week-day  events.  Of 
heavy  crepe  de  chine 
vilh  jabot  and  cuffs  of 
georgette.  In  navy  or 
Copenhagen  blue,  orchid 
or  white.  Sizes,  10,  IS, 
88, 40  and  42.        SS.Or, 


A  bedtime  story  could 
be  better  told  in  paja  mas. 
at  left,  of  soft  cotton 
crepe  trimmed  with 
printed  crepe  of  con- 
trasting color.  In  pink, 
peach  or  orchid.  Sizes 
13,  16  and  17.     $1.9-5 


Photoplay 


delighted  with  this  service 


How  to  Order 


TNSTRUCTIONS:  Thousands  of  PHOTOPLAY  readers  are  using 
■*■  this  Shopping  Service.  Irs  facilities  are  at  the  disposal  of  every 
PHOTOPLAY  reader  whether  a  subscriber  or  not.  Send  check  or 
money  order  together  with  size  and  color  desired.  STAMPS  WILL 
NOT  BE  ACCEPTED.  No  articles  will  be  sent  C.  O.  D.  If  you  are 
not  pleased  with  any  purchase,  return  it  immediately  and  vour  money 
will  be  refunded.  IMPORTANT:  Articles  for  credit  or  exchange 
must  be  returned  direct  to  Photoplay  Shopping  Service,  221  West  STih 
Street,  New  York  Citv,  and  not  to  the  shoT  from  which  they  were  sent. 


We  must  follow  the  "heels  of 
time"  and  on  the  Spring  and 
Summer  days  why  not  be  well 
shod?  At  right  are  three  types 
of  leather  sandals.  At  top  is 
the  one-strap  model  mth 
Cuban  heel,  the  center  model 
is  the  same  icith  flat  heel,  and 
last  but  not  least,  the  Cuban 
heeled  oxford.  In  tan  or 
white.  Sizes  214  to  8— 
widths  A  to  D.  Each  pair 
S.5.00 


At  left — The  new  Varsity  col- 
lar and  cuff  set,  that  is  adjust- 
able to  any  style  neckline,  is  of 
as.snrted  rwvelty  lace  with  ruf- 
fled vol  edgi7ig  in  a  creamy 
color  with  pearl  slide.  May 
also  be  ordered  in  plain  crepe 
de  chine  in  all  the  staple  shades. 
SI. 50 


iL^!n% 


m-^'^A 


A  graduate  —  brides- 
maid —  hostess  or.guest 
— imuldbedelightedwith 
georgette  frock  at  left. 
The  full  circidar  skirt 
and  graceful  side  dra- 
pery of  blouse,  with  de- 
tachable sleeves,  makes 
it  adaptable  for 
dress  occasions.  In 
white,  flesh,  nile  or 
black.  Sizes  14,  16.  18, 
38  and  40.  .Sid. 7 5 


A  t  right  —  Challis  Coolie 
Coat  with  new  printed 
i/oke  effect  on  black,  jade, 
Chinese  blue  or  red  back- 
ground, uill  fill  the  need 
for  boudoir  or  beach  at- 
tire, and  so  remarkably 
priced  you  icill  want  more  , 
than  one— only  §4.50  / 


In  Princess  smock — at 
left — one  will  feel  in- 
spired to  start  garden- 
ii'Ot  Spring  cleaning, 
etc.  It  is  of  a  pretty 
patterned  cretonne  and  is 
so  cut  that  it  fits  neatly 
through  waist  and  hips 
while  the  skirt  has  a 
graceful  flare.  Sizes 
small,  medium,  or  large. 
SI. 95 


Amateur  Movies 

By  Frederick  James  Smith 

Rochester  Amateurs  Film  Poe — Virginian  Shoots  World 
Tour  in   18,000  Feet— News  of  the  Amateur  Clubs 


THE  awards  in  Photoplay's  S2,000  Amateur  Movie 
Contest  cannot  be  announced  until  next  month. 
Considerable  time  is  being  required  to  give  careful 
and  complete  consideration  to  the  many  contest  films. 
The  judges  are  giving  each  film  a  detailed  examination,  with 
ratings  dependent  upon  originality  and  general  workmanship, 
as  photography,  titling,  lighting,  editing  and  cutting. 

All  this  takes  time,  of  course.  However,  Photoplay  feels 
safe  in  promising  its  complete  list  of  contest  winners  in  next 
month's  issue. 

AGRE.\T  deal  of  amateur  interest  is  centered  in  the 
production  of  Edgar  .\llan  Poe's  "The  Fall  of  the  House 
of  Usher, "  now  being  filmed  by  a  Rochester  group  of  non- 
professionals. 

The  Rochester  amateurs  are  taking  plenty  of  time  with 
their  production.  It  was  started  a  year  ago  and  is  now  half 
finished.    When  completed  it  will  be  in  two  reels. 

The  photography  is  in  the  hands  of  J.  S.  Watson,  Jr.,  who  is 
also  directing.  In  the  last  named  task  he  is  being  assisted  by 
Louis  Siegel.  Melville  Webber  has  contributed  the  continuity 
and  the  scenery.  Hildegarde  Watson  is  playing  Madeline 
Usher,  Herbert  Stern  is  acting  the  role  of  Roderick  Usher  and 
Melville  Webber  plays  the  Traveller. 

"We  decided  to  work  first  of  all  on  scenery,"  writes  Mr. 
Watson  to  Photoplay.  "  'The  Fall  of  the  House  of  Usher' 
seemed  to  us  to  be  a  suitable  story  because  its  intense  mood 
and  atmosphere  depended  more  upon  background  than  upon 
character  drawing. 

"We  first  constructed  a  thirty-foot  mansion  out  of  painted 
wallboard.  This,  of  course,  proved  to  be  worthless,  but  it 
furnished  us  with  one  scene  and  some  experience.  After  that 
we  stopped  painting  wallboard  and  tinted  the  surfaces  with 
light  only.  To  make  these  surfaces  more  interesting,  we 
break  them  up  with  various  shaped  prisms.  When  we  want 
a  night  of  stairs  or  a  landscape  we  introduce  it  by  double 
exposure. 

"Films  must  have  movement,  of  course.    For  movement  we 


have  the  actors  walk  about ,  the  camera  moving  about  on  a  rubber 
tired  truck  and  the  scenery  also  in  movement.  This  all  re- 
quires expert  timing  and  we  are  getting  better  at  it  with 
practice. 

"Sometimes  we  resort  to  double  printing,  but  only  when 
absolutely  necessar}'.  With  a  Duplex  printer  this  is  no  joke. 
We  do  our  own  finishing — and  our  film  looks  it.  The  Standard 
Bell  and  Howell  is  one  of  the  few  cameras  which  will  take 
backwards  and  still  register  perfectly.  We  are  fortunate  in 
having  one  available.  As  we  are  limited  in  our  light  power,  we 
use  a  43  mm.  F  1.5  Ernemann  lens  for  most  long  shots.  We 
use  arcs  and  Kirby  lights,  but  not  many  at  a  time  because  of 
lack  of  juice.  On  account  of  the  Kirby  lights  we  use  panchro- 
matic film." 

This  Rochester  group  of  amateurs  has  no  official  name  yet. 
The  amateurs  have  been  too  busy  working  at  their  production 
to  select  one. 

MR.  WATSON'S  reference  to  panchromatic  and  frequent 
inquiries  about  its  use  by  amateurs  lead  us  to  go  more 
into  detail  about  it. 

Panchromatic  stock  is  particularly  sensitive  to  reds  and 
yellows.  You  will  find  that  it  picks  up  many  details  missed  by 
ordinary  film  stock.  It  is  decidedly  efTective,  for  instance,  late 
in  the  afternoon  when  most  film  stock  goes  rather  dead.  It  is 
great  for  cloud  shots.  It  will  pep  up  your  interior  close-ups, 
too. 

Panchromatic  dates  back  to  1873,  when  a  German  investi- 
gator, H.  M.  Vogel,  was  experimenting  to  find  a  way  to  ehmi- 
nate  the  halation  caused  by  rays  of  light  reflecting  back  to  the 
sensitive  emulsion  of  photographic  plates  from  the  glass  sup- 
porting the  emulsion.  Vogel  thought  that  by  incorporating  a 
dye  in  the  collodion,  used  in  those  days,  he  could  reduce  the 
halation. 

As  the  experiments  progressed  in  the  hands  of  Vogel  and 
other  scientists  it  was  found  that  a  negative  more  sensitive 
to  reds  and  yellows  had  been  developed.  Thus,  in  time,  we 
came  upon  panchromatic  stock.       [  continued  on  page  106  ] 


Scene  from  the  Rochester  amateurs'  production  of 

"The  Fall  of  the  House  of  Usher."      The  scenery 

isn't  painted.     The  striking  effect  is  gained  with 

lights  and  reflected  prisms 


Another  fine  shot  from  "The  Fall  of  the  House  of 

Usher."     This  has  been  one  year  in  the  making 

and  now  is  half  completed.     Hildegarde  Watson 

plays  the  role  of  Madeline  Usher 


Photoplay  Magazine — Advebtising  Seci 


75 


qJ  retenderto  ^  throm  ofQ^mnce 


eULTIV/ITIMG 
BEAUTY 


The  Duchesse  de  Guise  has  shining  chestnut  hair, 
amber  eyes,  and  perfect  features  made  vivid  and  radiant 
hy  the  loveliness  of  her  skin,  smooth  as  magnolia  petals 
.  .  .  La  Duchesse  was  born  at  Chateau  d'Eu  (above) — 
domain  of  the  Guise  family  for  many  generations 


Isabelle,  'Duchesse  de  (^uise 


TSABELLE,  Duchesse  de  Guise— 
■^  the  Illustrious  name  breathes  ro- 
mance! And  provokes  a  chain  of 
fascinating  thoughts  of  France  under 
the  kings. 

For  all  that  France  is  a  Republic, 
the  Duchesse  has  been  surrounded 
throughout  her  life  by  the  glamour  of 
royalty.  Philippe  VII,  Bourbon  Pre- 
tender exiled  to  England,  was  her 
father,  Philippe  VIII,  her  brother. 
The  present  much-loved  head  of  the 
House  of  France— known  to  Repub- 
licans as  Pretender  to  the  throne— is 
her  husband. 

No  less  popular  than  her  royal  husband 
is  the  Duchesse  de  Guise — and  no  less 
ambitious!  With  infinite  tact  she  has 
done  much  to  further  her  husband's 
aspirations  to  the  throne. 

Of  high  position  and  high  ambitions, 
the  Duchesse  de  Guise  knows  well  the 
power  of  beauty.  It  increases  every 
woman's  influence.  And  absolutely  essen- 
tial to  beauty  is  a  good  complexion!  The 


Duchesse  wisely  uses  Pond's  Two  Creams, 
to  guard  and  protect  her  lovely  skin. 

"Every  Frenchwoman,"  she  declares, 
"instinctively  delights  in  the  art  and 
wisdom  of  cultivating  beauty,  in  per- 
forming all  those  little  rites  which  keep 
her  loveliest. 

"I  am  delighted  to  find  Pond's  Two 
Creams.  Delicate  and  delicious,  they 
keep  the  skin  fresh  and  vigorous." 

Now  there  are  two  e.xquisite  new  Pond's 
preparations.     With    the   Two    Creams, 


they  afford  a  delightful  new  Pond's  way 
of  caring  for  the  skin! 

FIRST,  cleanse  to  the  very  depths  of  your  pores, 
with  Pond's  Cold  Cream. 
SECOND,  remove  the  cream  with  Pond's  new 
Cleansing  Tissues.  Velvety  of  texture,  ample 
in  size,  they  absorb  oil  and  moisture  instantly. 
THIRD,  pat  Pond's  Skin  Freshener  briskly  over 
your  face  and  neck  for  several  minutes.  Firmed, 
toned,  invigorated,  your  cheeks  are  all  aglow, 
your  skin  is  lifted  like  magic — and  your  spirits, 
too! 

AND  AS  THE  FINAL  TOUCH,  before  vou  powder— 
Pond's  Vanishing  Cream. 

Send  this  very  day  for  all  four  Pond's 
preparations — a  week's  exquisite  care  for 
your  skin! 

A  New  Offer:  Trial  sizes  of  Pond's  nrcv 
Skin  Frt-slwner  and  Cleansing  Tissues  — and 
Pond's  T~j.<o  Famous  Creams.  Try  this  magic 
for  your  skin!     Send  this  coupon  and  10^ 

Pond's  Extract  Company,  Dept.  E 
114  Hudson  Street,  New  York  City. 


These  Two  Creams,  chosen  by  women  of 

distinction,  used  with  Pond's  new  Skin 

Freshener  and  Cleansing  Tissues 


Street 
City_ 
ention  PHOTOPL.iT  MAGAZINE. 


76 


^/(/^l^      J-T  National  finished  "The  Private  Life  of  Helen  of  Troy," 
J/y  theofihc.als  wept  at  the  thought  of  tearing  down  the  beautiful  Grecian 

'' Vamrl^/In""' '  Ti   7  Y  "'"  ^''^t^  ^''"^  "^  "^'"^  them  for  a  comedy, 

^  Vampmg  Venus.       I  he  burlesque,  with  Thehna  Todd  and  Charles  Murray 

IS  sa.d  to  be  better  than  the  original.     And  Thelma's  work  was  so  excdleni 

she  won  a  long  contract. 


Photoplay  Magazine — Advertising  Section 


Ijook    at    (Jour   (Siioer 


77 


YOUR    GUESTS     DO 


"I  give  you  my  word,  before  I  try  to 
disse&  filet  mignon  again  with  a 
SILVER  blade  —  I'll  starve  —  !" 


^'^'^' 


A  hostess  successful  with  men  is  almost  always 
exaaing  about  the  quality  of  het  knife-blades 
— Patt  of  an  intuition  about  men— as  logical  as 
her  lip  stick. 

Your  table  may  look  as  breathlessly  lovely  as 
a  stage  setting  .  .  .  but  if  your  guests  have  to 


struggle  with  a  silver  blade  knife,  conversation 
will  flag.  The  new  Community  DeLuxe  Stain- 
less Knives-made  in  all  Community  patterns- 
have  steel  blades  as  relentlessly  sharp  as  aTurk's 
scimitar . .  .  and  as  bright  as  burnished  silver 
. . .  They  are  $9.00  for  six . . .  At  your  jeweler's. 


The  GROSVENOR  T)esign 


COMMUNITY      PLATE 

Q^Q)^lso  maJiej-s  of  TUDOR  PLATE  '^D 


advertisers  please  iBentioa  PHOTOPLAY  MAGAZI>"E. 


Here's  the  boy  himself — Freddie  Burke 
Frederick,  just  six  years  old.  Half  of  his 
young  life  has  been  spent  in  pictures  and 
he  has  the  assurance  of  a  veteran.  When 
a  well-known  director  failed  to  treat  him 
with  due  respect  for  his  importance,  Freddie 
reminded  him  every  five  minutes,  "Isn't  it 
about  time  for  my  close-ups?" 


A  few  reasons 
why  Freddie 
Frederick  may 
be  the  logical 
successor  to 
Jackie   Coogan 


"My  first  imitation," 
says  Freddy,  "will  be  of 
Lon  Chaney  in  'Mockery.' 
And  I  don't  use  one 
third  as  much  make-up 
as  Lon.  Can  I  play 
tough  kids?" 


FREDDIE  BURKE  FREDER- 
ICK is  a  Los  Angeles  boy.  Be- 
fore he  played  Junior  in  "The 
Crowd"  for  King  Vidor  he  appeared 
in  the  .Smith  Series  on  the  Mack 
Sennett  lot.  You'll  see  him,  too,  in 
Norma  Shearer's  "The  Latest  From 
Paris. " 

Freddie's  father  is  a  newspaper 
man.  Possibly  that  is  why  Master 
Freddie  knows  his  publicity  angles. 
Freddie  earns  twenty  dollars  a  day 
when  he  works.  He  insists  upon  be- 
ing called  an  artist.  The  kid  has  the 
trick  of  building  up  his  parts  and 
suggesting  business  for  himself.  If 
you  remember  his  striking  scene  with 
his  father  on  the  railroad  bridge  of 
"The  Crowd,"  you  will  realize  his 
ingenuity. 

Freddie  recently  walked  up  to  a 
director  for  whom  he  was  working 
and  said:  "What's  the  use  of  play- 
ing me  for  atmosphere.  /  bnow  my 
oniiins!" 


As  Master  Frederick  sees  Mr.  Fairbanks. 
Another  reason  why  Freddie  goes  wild  when 
stupid  people  refer  to  him  as  an  "extra" 
kid.  "We  stars,"  Freddie  told  his  mother, 
"got  to  look  out  for  ourselves.  The  directors 
don't  know  it  all."  And  that's  the  sort  of 
talk  that  makes  them  take  notice 


With  the  aid  of  a  pair  of  spectacles, 
Freddie  gives  you  his  impression  of 
Harold  Lloyd.  Now  do  you  under- 
stand why  King  Vidor  chose  Freddie 
to  play  Junior  in  "The  Crowd"? 


MILE-STONES 

In  the  Love  Affairs  That  Last  a  Lifetime 


Ai  Eighteen~"That  Schoolgirl 
Complexion" 


SWEETHEARTS  in  the  first  fresh 
radiance  of  Youth  .  .  .  lovers 
sharing  the  experience  of  the  years 
.  .  .  comrades  together  in  hfe's  mel- 
low afterglow  .  .  . 

Staying  young  with  her  husband!  A  price- 
less faculty  ...  yet  no  secret,  to  the  millions 
who  are  doing  it  To  these  fortunate  ones 
Mile-stones  in  life  come  only  as  happy  re- 
minders of  congenial  miles  together. 

The  art  of  keeping  young — of  staying 
beautiful,  today  is  simply  the  secret  of  keep- 
ing natural  beauty. 

Women  with  lovely  complexions  know 
that  common-sense  care  surpasses  any  syn- 
thetic beauty  treatment  known.  They  know 
that  beauty  endures  the  years,  comes  from 
following  Nature's  rules,  not  man's,  in  beauty 
preservation. 

More  and  more  every  day,  women  turn 
to  this  safe  way  to  beauty 

Keeping  the  skin  cleansed,  the  pores 
open,  with  a  pure  beauty  soap  —  a  soap 
made  for  one  purpose  only,  and  that  to  guard 
the  skin — is  the  important  thing  to  know. 
That  is  Nature's  beauty  secret. 

Wash    your   face    gently   with   soothing 


Staying  young  with  your  husband — the  priceless 
reward  that  comes  from  keeping  "That  School- 
girl Complexion" — the  simple  rule  to  follcw 


fj^ 


At  Thirty— Keeping 

"That  Schoolgirl 

Complexion- 


Palmolive  Soap,  massaging  its  balmy  lather 
softly  into  the  skin.  Rinse  thoroughly,  first 
with  warm  water,  then  with  cold.  If  your 
skin  is  inclined  to  be  dry,  apply  a  touch 
of  good  cold  cream  —  that  is  all.  Do  this 
regularly,  and  particularly  in  the  evening. 
Use  powder  and  rouge  if  you  wish.  But 
never  leave  them  on  over  night.  They  clog 
the  pores,  often  enlarge  them.  Blackheads 
and  disfigurements  often  follow.  They  must 
be  washed  away. 


At  Ptfty— Still  "That 
Schoolgirl  Comple:cion" 


Avoid  this  mistake 


Do   not  use   ordinary   soaps  in  the 

treatment  given  above.    Do  not  think 

any    green    soap,    or    one    represented    as 

of  olive  and  palm  oils,   is  the  same  as 

Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies  what 
it  does  for  their  faces.  Obtain  a  cake  today. 
Then  note  the  amazing  diffeience  one  week 
makes. 

Soap  from  trees 

The  only  oils  in  Palmolive  Soap  are  the 
soothing  beauty  oils  from  the  olive  tree, 
the  African  palm  and  the  coconut  palm— 
and  no  other  fats  whatsoever.  That  is  why 
Palmolive  Soap  is  the  natural  color  that  it 
is  —  for  palm  and  olive  oils,  nothing  else, 
give  Palmolive  its  natural  green  color.  The 
only  secret  to  Palmolive  is  its  exclusive 
blend — and  that  is  one  of  the  world's  price- 
less beauty  secrets.  The  Palmolive -Peet 
Company,  Chicago,  111. 


you  break  the  wrapper 


■  sold  unwrapped 


PALMOLIVE  RADIO  HOUR— Broadcast  every  Friday  night— from  10  to  U  p.m.,  eastern  time;  9  to  10  p.m., 
central  time — over  station  WEAF  and  31  stations  associated  with  The  National  Broadcasting  Company. 


KEEP 


THAT         SCHOOLGIRL         COMPLEXION 


lllll''"'! 


Why 
Does  a  Pickaninny 
Love  Watermelon? 


"Fse  comin,  you  big  hoy,  I 
heah  you  calling  me"  .  .  .  . 
Luscious,  red'ripe  watermelon 
— what  an  over-powering  ap- 
peal to  his  craving  appetite] 

The  tempting  taste  of  Blatz; 
Gum  "gets  you''  in  the  same 
way.  Simply  irresistible.  Two 
delicious  flavors,  grape  and 
mint.  Blatz;  Grape  Gum  is  the 
greatest  gum  sensation  in  years 
— the  original  grape  gum !  And 
talk  about  mint!  Blat^  Mint 
Gum  is  packed  full  of  it,  real  old' 
fashioned  peppermint!  Sold 
everywhere.  Look  for  the  name, 
Blatz. 

20  Beauttfitl  Autographed  Photos  of 
Popular  Screen  Stars 
wiili  attractive  20-page  album  for  raountin?  fhem, 
will  bo  sent  for  20  wrappers  from  single  slicks  cf 
nialz  r.um,  either  flavor,  and  20  cents.  Size  cf 
prints  3>2x5i^  inches.  Address  Blatz — Dept.  "N", 
1>.  O.  Bo.\  1573,  Milwaukee,  Wis.     Mail  this  coupon. 

A  JJrc-iS 


Beauty 


Crisp  greens  and 
fresh  fruits  with 
your  meals  may 
mean  the  big  dif- 
ference between  a 
bad  complexion 
and  a  good  one 


Aileen  Pringle  is  one  of  the  best 
hostesses  in  Hollywood.  And 
also  one  of  its  most  beautiful 
women.  Try  her  favorite  salad 
recipe,  given  below,  and  learn 
why  her  dinners  are  so  popular 


DO  you  make  it  a  point  to  serve  a  salad  with  dinner  every 
night?  If  you  don't,  >-ou  are  missing  the  most  health- 
giving  course  of  the  meal.  Fresh  greens,  vegetables, 
preferably  uncooked,  and  fresh  fruits  are  the  most  important 
items  in  the  diet  of  the  woman  who  would  keep  both  her  good 
looks  and  her  health. 

Raw  fruits  and  vegetables,  and  these  are  the  basis  of  the  best 
salads,  are  absolutely  essential,  if  you  want  a  clear  skin  and 
bright  eyes.  While  the  rest  of  the  meal  may  provide  nourish- 
ment and  energy,  the  salad  is  the  tonic.  Here,  if  you  keep 
books  on  your  diet,  you  will  find  most  of  the  very  necessary 
vitamines. 

Most  salads  are  easy  to  prepare,  if  you  follow  a  few  simple 
rules.  Be  sure  that  all  your  ingredients  are  cool,  fresh  and  clean. 
Lettuce  should  be  washed  and  allowed  to  drain  in  the  refriger- 
ator for  several  hours  before  it  is  to  be  used.  Whether  you 
like  French  dressing  or  one  of  the  many  variations  of  may- 
onnaise, use  only  the  best  materials. 

Salads  are,   as  a  rule,  the   cheapest  item  on  your  dinner 


Photoplay  M.-^gazine 

750  X.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  100  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


ime  and  address  plainly. 


menu,  and  it  is  poor  policy  to  try  to  economize  on  oil, 
vinegar  or  seasonings. 

There  are  fourteen  splendid  recipes  for  salads  in  Photo- 
play's Cook  Book.  Salads  are  a  popular  item  of  food  in 
Hollywood;  green  things  are  generally  cheajj  and  in  season. 
IMany  stars  make  a  salad  their  principal  dish  at  luncheon 
and,  of  course,  the  girls  who  must  keep  slim  make  it  a  point 
to  eat  heartily  of  leafy  foods,  because  even  allowing  for  the 
oil  in  the  dressing,  they  are  almost  the  least  fattening  article 
of  diet. 

I  am  going  to  give  you  Aileen  Pringle's  recipe  for  her  favorite 
salad.  You'll  find  it  useful  for  many  occasions.  It  is  almost  a 
luncheon  in  itself.  It  is  an  ornamental  salad  and  consequently 
would  be  ideal  to  serve  at  any  afternoon  affair.  And,  of 
course,  you  may  serve  it  for  dinner,  particularly  when  j-ou  are 
having  only  a  light  dessert. 

Here  is  the  way  JMiss  Pringle  prepares  her  Pineapple  Fruit 
Salad.  You  need  a  sliced  pineapple — canned  or  fresh — }2  lb. 
cream  cheese,  3^4  lb.  chopped  walnuts,  two  oranges,  lettuce, 
sliced  apples,  maraschino  cherries  and  whipped  cream. 

Chop  nuts  and  mix  with  cream  cheese  and  roll  into  small 
balls.  Slice  oranges  and  apples  and  place  alternately  on  beds 
of  lettuce  with  pineapples.  On  top  of  this  place  cheese  balls 
in  attractive  designs. 

Top  this  with  whipped  cream  and  decorate  with  maraschino 
cherries. 

If  you  wish,  you  may  use  your  favorite  salad  dressing  instead 
of  the  whipped  cream. 

This  salad  tests  your  artistic  talents,  as  it  is  important  to 
have  it  attractive  to  the  eye,  as  well  as  to  the  taste.  As  a  rule, 
it  is  best  to  make  all  salads  at  the  last  possible  minute.  Few 
of  them  gain  anything  by  standing,  as  man\'  uncooked  fruits 
and  vegetables  discolor  quickly. 

Photoplay's  Cook  Book,  with  its  one  hundred  unusual 
recipes  supplied  by  the  stars,  has  been  immensely  popular.  It  is 
a  particularly  attractive  book  and  an  invaluable  aid  to  the  girl 
who  likes  to  give  parties.  If  you  v.ill  write  your  name  and 
address  in  the  coupon,  and  enclose  a  quarter,  Photoplay  will 
send  you  a  copy.  Carolyx  Van  Wyck. 

SI 


Making  a  Million 


COXTIXVED  FROM 


'AGE    71  ' 


heeled  boots  asked  me  what  I  was  a-doin"  with 
the  picture  company.  "  Young  feller,"  sa\s  I, 
"I'm  a  actor."  , 

So  far  as  I  can  look  back  an'  remember  that  s 
the  only  time  in  my  entire  picture  career  that 
I've  ever  made  such  a  claim,  or  even  tried  to 
pretend  that  I  was  a  actor.  I'm  anythin'  else 
but.  .Vowadays,  when  asked  m}-  business,  I 
explain  that  I'm  makin'  pictures.  ".\in'tyoua 
actor?"  I've  been  asked,  an'  I  always  tell  'em 
no,  that  we  hires  gents  an'  other  ladies  to  do 
the  actin'. 

In  this  here  picture,"Backtothe Primitive," 
"Dad"  Turner  got  me  to  help  write  the  story. 
"  'Dad.'  "  says  I,  "there  ain't  a-goin'  to  be  no 
sufferin'  Osage  squaw  with  a  meat-eatin'  baby 
in  this  here  picture,  at  least  with  my  help." 
So  the  story  was  written  'bout  a  young  English 
gent  a-bein'  shipwrecked  on  a  lonely  island 
with  the  leadin'  lady,  who  was  Miss  A\'illiams, 
an'  while  this  young  feller  was  a  wonderful 
waltzer  an'  knew  the  right  kind  of  perfume  to 
use  an'  which  fork  to  pick  up  at  the  right  time, 
when  it  come  to  bu  Win'  shacks  to  protect  the 
girl,  an'  hu'.tlin'  'round  to  get  a  little  food  to 
keep  'em  both  from  star\-in',  he  was  just  no 
count  an'  didn't  know  nothin'. 

WHEN  it  come  to  goin'  back  to  the  primi- 
tive he  had  no  idea  what  it  was  all  about. 
It  was  an  easy  part  for  this  young  London  gent 
to  play  for  he  didn't  know  what  it  was  all  about 
anyway.  An'  so  far  as  I  know  he  ain't  learned 
yet. 

Finally  I  come  along  as  the  brother.  I'd 
been  one  of  these  here  young  fellers  who  had  to 


get  out  an"  hustle  a  bit  an'  it  wasn't  much  of  a 
trick  for  me  knowin'  outdoor  life  to  build 
shacks,  snaregame,  catch  fish  an'  provide  ways 
an'  means  of  keepin'  the  family  a-livin'  until 
we  got  rescued. 

It  turned  out  to  be  a  great  picture,  so 
Colonel  Selig  of  the  old  Selig  Polyscope  Com- 
pany afterward  told  me,  an'  in  it  my  old 
friends,  Charles  Clar\'  an'  Bill  jNIong,  who  are 
livin'  right  here  today  in  Hollywood,  did 
some  mighty  fine  actin'.  I've  seen  'em  both  in 
many  pictures  since  but  don't  recall  anythin' 
better  than  they  did  then.  We  had  a  lot  of  ups 
and  downs  in  this  here  picture  an'  about  a 
week  before  we  finished  'long  comes  Big  Otto 
an'  his  animals — lions,  tigers,  leopards  an' 
elephants. 

Finally  come  a  day  when  "Lost  in  the 
Jungle"  got  started.  "\Ve  didn't  know  nothin' 
then  about  enclosin'  the  sets  with  fine  wire 
screen  and  hide  "em  so  the  animals  couldn't 
get  away,  an'  still  the  audience  couldn't  see 
what  was  a-keepin'  'cm  in.  In  those  da3'3  we 
just  turned  them  loose  an'  the  actors  took  the 
long  chance  of  gettin'  in  the  way. 

Of  course,  jNIiss  ^^'illiams  was  the  gal  lost  in 
the  jungle  an'  we  was  a-rescuin'  of  her.  This 
jungle,  as  I  remember  it,  was  supposed  to  be 
somewhere  in  Burmah,  between  Rangoon  an' 
IVIandalay.  Incidental,  about  that  time  I  read 
the  poem  a  feller  named  Kipling  WTOte  about 
"The  Road  to  Mandalay."  He  says,  "On  the 
road  to  Mandalay.  where  the  flyin'  fishes 
play."  Comin'  back  from  the  Boer  War  I 
stopped  in  Rangoon,  Burmah,  an'  I  discovered 
that  Mandalay  is  more'n  a  hundred  miles  from 


the  sea  coast  an'  if  an.v  llyin'  fish  flew  that  far 
he  was  sure  a  aviator.  The  "road  to  Mandalay" 
I  might  add  in  passin',  is  a  long,  windin'  narrow 
dirt  trail  an'  traveled  most  by  ox  an'  water 
buffalo  teams,  an'  no  place  for  any  self- 
respectin'  flyin'  fish,  j\Ir.  Kiplin's  opinion  to 
the  contrary. 

WHAT  I  knew  about  "cats"  was  confined 
to  pumas,  mountain  lions,  bobcats  an' 
catamounts,  with  a  triflin'  knowledge  throwed 
in  of  wolves  an'  coyotes;  but  about  lions,  tigers 
an'  leopards  I  had  a  heap  to  learn. 

My  first  experience  in  this  picture  that 
amounted  to  much  was  when  old  Toddles,  the 
elephant,  got  a  hankerin'  to  go  a-visitin"  an'  me 
an'  another  feller  chased  him  si.x  or  eight  miles 
down  the  .Ulantic  coast  an'  was  unable  to  turn 
him  back  until  we'd  prodded  him  with  pitch- 
forks for  an  hour  or  two.  Every  week  Toddles 
used  to  bust  out,  an'  him  an'  me  had  many  a 
session.  I  followed  him  once  into  a  swamp 
until  nigh  onto  da>-Iight.  Me  an'  him  got  to  be 
pretty  good  friends  at  that.  Still  he'd  look  at 
me  once  in  a  while  out  of  one  of  his  little  funny 
pea-shaped  eyes  with  a  peculiar  squint  an'  that 
told  me  he  was  a-preparin'  for  one  of  his 
nightly  jaunts,  an'  I  arranged  my  affairs 
accordin'. 

I  must  say  Kathryn  \^'illiams  had  a  lot  of 
nerve  an'  she  made  scenes  with  them  animals 
that  no  livin'  woman  today  in  movin'  pictures 
would  dare  follow.  She  just  wasn't  afraid  of 
nothin'. 

"Lost  in  the  Jungle"  was  a  great  picture  but 

[CONTIXUED  ON  PAGE    110] 


Doug  Trusts   California's  Cliffs 


T—TERE  is  a  mountain-climbing  house  guaranteed  to  keep 
-*-  -'-the  occupants  slender  by  giving  them  more  exercise  than 
a  New  York  walk-up  flat.  It  was  designed  by  William 
Cameron  Menzies  as  a  beach  home  for  Douglas  Fairbanks 
and  Mary  Pickford. 

The  house  will  cling — we  hope — to  the  side  of  a  cliff  at 
Solona  Beach,  Calif.  It's  a  cantilever  structure,  which 
means  that  Doug  prays  it  will  support  itself  by  its  own 
■weight.  You  enter  by  the  chimney  or  by  boat  during  high 
ide. 


In  the  lettered 
sketch:  A.  Library, 
observation  tower. 
B.  Garage,  chauf- 
feur's quarters.  (;. 
Kitchen,  servants' 
quarters.  D.  Living 
room.  E.  Flanging 
garden.  F.  .Sleeping 
quarters.  G.  Break- 
fast patio 


Photoplay  Magazine — Advertising  Section 


83 


Are  you  prettier 


when  your  hair  doesnt  show  ? 


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you  can  keep  your  hat  on  at  a 
tea?  A  little  sorry  to  take  it  off 
at  the  theatre — because  of  your 
hair? 

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PHOTOPLAY    MAGAZINE. 


Gossip  of  All  the  Studios 


I  COXTIN'UED  FROM  PAGE 


47  J 


between  $30,000  and  540,000  and   that   the 
crueltv  is  not  mental  but  actual  beatinRs. 

^Meanwhile,  D'Arcy  goes  ahead  with  his  art 
at  the  :M.-G.-M.  studio  and  his  devoted 
attentions  to  I.ita  Grey  Chaplin,  who  he  ad- 
mits understands  him.    Lita  doesn't  deny  it. 

SPE.VKI.XO  of  Lita,  who  evidently  jumped 
her  interest  from  the  greatest  comedian  in 
the  world  to  one  much  more  comical,  perhaps 
you  remember  her  as  the  little  angel  that  flew 
about  in  the  tinsel  heaven  in  "The  Kid"  si.K 
or  seven  years  ago. 

RUTH  T.W'LGR,  alias  Lorelei  Lcc,  has  re- 
turned from  her  first  trip  to  New  York 
City. 

.\nd  she  agrees  with  Anita  Loos  that  it  is 
the  paradise  of  all  gold-diggers. 

"I  never  had  so  much  fun  in  my  life,"  she 
tells  us.  "One  man  sent  me  six  orchids  a  day. 
I  never  had  more  than  two  before  in  my  life 
at  the  same  time — and  those  mighty  seldom. 
.\nd  I  had  a  Rolls-Royce  at  my  command 
every  day. 

"And  the  funny  part  was  I  never  went  out 
with  the  man.  Didn't  have  time.  If  I  had,  I'd 
probably   have   had   Times   Square  given  to 


BUT  there's  a  drawback  to  even  a  generous 
sugar  daddy! 

"He's  coming  out  here  soon,"  and  the 
blonde  that  gentlemen  prefer  pouted.  "I 
don't  know  what  I'll  ever  do  with  him.  You 
see,  there's  somebody  else  I  like  better." 

Cheer  up.  Ruthie!  When  he  reads  this,  per- 
haps he'll  change  his  mind  aljout  coming. 


Mary  Duncan  went  to  Cornell  University  and  perhaps  the  lingering 
influence  of  George  Jean  Nathan  swayed  her  career.  Mary  made  a 
hit  in  New  York  as  Poppy  in  "The  Shanghai  Gesture,"  and  she  was 
too  good  for  the  movies  to  pass  up.  F.  W.  Murnau  selected  her 
to  play  the  vamp  in  "The  Four  Devils."     Mary's  the  Fifth  Devil 


Just  the  kind  of 
a  dress  to  have  on 
hand  when  your 
old  aunt  calls. 
When  Dorothy 
Sebastian  wants 
to  play  the  flap- 
per, she  removes 
the  extra  length, 
which  is  fastened 
by  snappers. 
When  the  occa- 
sion demands 
dignity,  it's  but 
the  work  of  a 
minute  toachievc 
it,  without  a 
change  of  cos- 
tume 


a 


CAMILLA  HORN,  the  recently  imported 
German  actress,  was  returning  with  a  party 
from  the  JNIe.xican  race  track  at  Tia  Juana. 
'I'hree  border  policemen  stopped  the  car  to 
inquire  about  contraband  and  immigration 
restrictions. 

"\\'hat  nationality  is  your  party?"  one 
asked  the  driver. 

"All  American,"  he  responded  promptly. 

The  policeman  caught  sight  of  Camilla. 

"What  nationality  are  you?"  he  demanded. 

"Aril,  vuin  Iliiii — "  a  torrent  of  German 
rained  upon  him. 

"Where  were  you  born,  j'oung  lady?"  the 
officer  jumped  to  the  running  board. 

"New  York!"  Camilla  answered  in  her 
two  best  known  \'\'ords  of  English. 

The  party  passed  into  California. 

FOURTEEN  years  ago  Andy  Rice, 
wise-cracker,  sold  the  gag  to  a 
vaudeville  actor,  "That's  no  lady; 
that's  my  wife." 

In  all  that  time,  Andy  had  never 
had  an  occasion  to  use  his  own  in- 
novation. 

The  other  day,  Mrs.  Rice  arrived 
in  town  to  find  a  home  for  her  hus- 
band, who  has  recently  signed  as 
title  writer  and  gag-man  with  the 
Fox  Film  Company. 

She  managed  to  work  her  way  past 
the  gateman  to  her  husband's  office. 
As  they  went  out  together,  the  gate- 
man  stopped  Andy  and  asked  if  it 
were  all  right  to  let  the  lady  in 
whenever    she    wanted. 

"That's  no  lady,  that's  my  wife," 
Andy  promptly  retorted.  And  the 
Mrs.  wasn't  offended  because  she 
knew  how  long  her  spouse  had 
waited  to  use  the  line  he  had 
invented. 

[  CONTINtJED  ON  PAGE   88  ] 


Photoplay  Magazine— Advertising  Section 


85 


DandruJJ?     Not   a    trace! 


If  you,  or  any  member  of  your 
family  have  the  slightest  evidence 
of  dandruff,  we  urge  you  to  try 
this  treatment,  which  has  bene- 
fited thousands:  — 

Simply  douse  Listerine,  full 
strength,  on  the  hair.  Vigorously 
massage  the  scalp  forward,  back- 
ward, up  and  down.  Keep  up  this 
treatment  systematically  for  sev- 


eral days,  using  a  little  olive  oil  in 
case  your  hair  is  excessively  dry. 

You  will  be  amazed  at  the  speed 
and  thoroughness  with  which  Lis- 
terine gets  rid  of  dandruff.  Even 
severe  cases  that  costly  so-called 

LISTERINE 


cures  '  have  failed  to  improve, 
have  responded  to  the  Listerine 
method.  We  have  the  unsolicited 
word  of  many  to  this  effect. 

The  moment  you  discover  dan- 
druff, use  Listerine  at  once — and 
repeatedly. 

Lambert  Pharmacal  Company 
St.  Louis,  IMo.,  U.  S.  a. 


When  you  writs  to  advertisers  please   mention   PHOTOFLAT  MAGAZIXE. 


Photoplay  Magazine— Advertising  Section 


Phyllis  Haver 
Pathe  de  Mille 


Louise  Brooks 
Paramount 


P  out  of  j 
use  Lux 

priceless 

^^ Smooth  Skin 


Eleanor  Boardman  Renee  Adoree 

Metro-Goldwyn-Mayer  Metro-Goldwyn-Mayer 


Dorothy  Mackaill 
First  National 


Greta  Nissen 
Independent 


Blanche  Sweet 
Independent 


Luxury  hitherto 
found  only 
in  French  Soap 
at  50f^  or  $1.00 
a  cake,  now 


Photoplay  Mac.azine — Advertising  Section 


lO  screen  stars 
Toilet  Soap 

for  their 

smooth  skins 


£jj^;///^/"  j^  Leading  Directors        e\  w^^  l  t 


SMOOTH,    exquisite   skin    is   essential 
for    popularity,  leading  motion    pic- 
ture directors  declare. 

Every  star  in  Hollywood  knows  that 
only  smooth,  velvety  skin  can  successfully 
meet  the  all-revealing  glare  of  the  Klieg 
lights  in  the  close-up.  How  carefully  she 
guards  it!  Nine  out  of  ten  screen  stars 
use  Lux  Toilet  Soap! 

It  cares  for  their  skin  the  true  French 
way.  For  this  lovely,  white,  fragrant 
soap  is  made  by  the  method  France  devel- 


oped and  uses  for  her  finest  toilet  soaps. 

And  all  the  great  film  studios,  following 
their  stars'  example,  have  made  Lux 
Toilet  Soap  the  official  soap  in  all  their 
studio  dressing  rooms. 

You,  too,  will  be  delighted  with  the 
velvety  bloom  of  your  skin  when  Lux 
Toilet  Soap  cares  for  it.  Order  some 
today.  Enjoy  its  instant,  caressing  lather 
that  even  hard  water  can't  quell.  It  is 
just  ten  cents.  Wherever  soap  is  sold. 
Lever  Bros.  Co.,  Cambridge,  Mass. 


May  McAvoy 
Warner 


Janet  Gaynor 
Fox 


Olive  Borden 
Independent 


Doris  Kenyon 
First  National 


Merna  Kennedy 
United  Artists 


I'HOTOPLAY    MAGAZI.NE 


Gossip  of  All  the  Studios 


OVER  at  the  FBO  studio  Ralph  Ince  is 
just  besinnins  to  score  as  a  director.  But 
back  in  the  days  when  Thomas  Ince,  the 
famous  producer  and  director,  was  alive,  no- 
body took  much  notice  of  Ralph.  Just  a  good 
{Tuy  working  hard  at  \'itagraph  and  brother  to 
a  famous  personage. 

Ralph  married  Lucile  Lee  Stewart.  Lucile, 
loo.  was  related  to  fame.  Anita  Stewart  was 
her  sister. 

Ralph  tried  to  make  a  star  of  his  wife  He 
didn't  succeed.  He  tried  to  make  her  happy. 
He  didn't  succeed  there  either.  They  got  a 
divorce. 

Times  passed,  as  per  custom,  and  Ralph 
kept  working.  Now  he  has  turned  out  an 
excellent  picture.  "Coney  Island."  He  cast 
the  picture  himself.  The  leading  role  is  played 
by  Lucila  Mendcz.  She  is  Ralph's  second  wife. 
lie  is  tr>-ing  to  make  a  star  of  her.  The  leading 
man  Ralph  chose  is  named  Rudolph  Cameron. 
He  is  .\nita  Stewart's  e.x-husband. 

BEGIXXERS*  luck— not  inside  tips— is  the 
secret  of  the  good  fortune  of  Mrs.  Conrad 
Nagel  and  Mrs.  Sidney  Franklin,  wife  of  the 
director,  in  choosing  the  winning  horses  in 
eajh  race  at  Tia  Juana,  the  5Ie.\ican  border 
raetrack  recently. 

It  was  their  first  trip  to  the  Alexican  race 
track  and  their  intuitions  were  so  sensational 
that  all  the  old-hand  gamblers  crowded  about 
for  inside  information. 

They  made  for  home  with  their  winnings, 
not  wishing  to  break  the  luck  by  a  second 
encounter. 

HOLLTWOOD  does  coin  the 
oddest  phrases.  Among  the 
latest  is,  "She's  too  young  for  suicide 
but  too  old  for  the  movies." 

nPHREE  years  ago  an  obscure  director  in  a 
*■  Poverty  Row  studio  made  a  film  called 
"The  Salvation  Hunters."  There  were  three 
prime  spirits  concerned  in  its  making,  Georgia 
Hale  and  George  K.  Arthur,  who  played  the 
leads,  and  Joseph  \'on  Sternberg,  who  directed 
it.    Fame  was  i)romised  all  three  of  them,  but 


■  CONTINUED  TROII  P.\GE   84  ] 


What  happens  when  mother  goes 
wild.  The  hard-boiled  lady  is  none 
other  than  Belle  Bennett  in  "The 
Devil's  Skipper."  After  playing  in 
just  one  handkerchief  drama  after 
another,  Belle  goes  tough  on  her 
public.     Do  you  blame  her? 

the  greatest  success  w-as  prophesied  for  Georgia 
Hale. 

Charlie  Chaplin  gave  her  the  part  opposite 
him  in  "The  Gold  Rush."  Later  Paramount 
gave  her  a  long  time  contract.  Von  Sternberg 
and  Arthur  plodded  along  meanwhile  hoping 
for  an  equally  lucky  break. 

Georgia  had  good  parts  at  Paramount  and 
was  good  in  them.     But  the  same  thing  that 


had  happened  to  her  at  the  Chaplin  studio, 
happened  again  at  Paramount.  When  her  con- 
tract expired,  it  was  not  renewed. 

TODAY,  Von  Sternberg  is  one  of  Para- 
mount's  leading  directors,  maker  of  the 
very  successful  "Underworld"  and  "The  Last 
Command."  George  K.  Arthur  is  a  co-star 
with  Karl  Dane  on  the  j\L-G.-jM.  program. 

Georgia  Flale?  Well,  watch  for  her  when 
you  see  an  obscure  little  film  made  by  an 
obscure  director  in  a  Poverty  Row  studio. 
This  one  is  called  "The  Last  ISIoment,"  and 
she  plaj's  the  lead  in  it.  She  gives  such  a  fine 
performance  that  were  she  unknown,  she 
might  well  expect  to  be  "discovered"  in  it. 

Three  j'ears.  From  Poverty  Row  to  Para- 
mount, from  Paramount  to  Poverty  Row. 

WELL,  Virginia  Lee  Corbin  and  her  mother 
are  on  good  terms  again.  At  least,  if 
Virginia  stays  out  after  midnight,  mother  is  up 
to  her  old  habits  of  calling  up  Virginia's  friends 
and  asking  them  to  send  the  little  girl  home  at 
once.  And  Virginia  is  hunting  for  a  chance  to 
return  to  pictures.  Which  follows  the  routine 
established  before  Virginia  started  talking 
about  suing  her  mother. 

GEORGE  FITZMAURICE  owns  a 
small  wire  haired  fox  terrier 
which  accompanies  him  wherever  he 
goes.  Buddy  knows  all  about  motion 
pictures,  having  spent  most  of  his 
short  life  on  the  sets.  His  favorite 
diversion  is  chasing  motorcycles. 

"■When  his  birthday  comes  I  am 
going  to  buy  him  a  motorcycle," 
announced  George.  "And  I  am  go- 
ing to  hire  a  man  to  ride  it  round 
and  round  the  block  for  Buddy  to 
chase.  I  am  curious  to  see  how  long 
it  will  take  him  to  get  enough  of  it !" 

"npHEY   say"    that    this   happened.      And 

•'-  maybe  it  did. 
Wilson  Mizner,  John  Barrv-more,  Jack  Con- 
way and  Mai  St.  Clair  had  foregathered  in  the 
latter's  bungalow  at  the  Ambassador.     Con- 

[  CONTINUED  ON  P.\GE    104  ] 


A  New  Fascinating  Puzzle  Contest 


Fun  for  everyone 

in  the  family. 

Fifty  cash  prizes! 


$5,000 


Asserable  the 

pictures  and  win  a 

big  check! 


In  Cash  Pri2,es 

Begins  in  the  June  PHOTOPLAY~Out  May  15 

Put  Your  Order 
in  to  Your  Newsdealer  Today 


Photoplay  Magazine — Advertising  Section 


89 


Kotex  Prices 
Reduced 


A  few  months  ago,  as  a  means  of  winning  a  million  new  users  for 
Kotex,  so  as  to  expedite  nation-wide  distribution  of  the  new  Improved  Kotex, 
we  made  a  special  offer  of  one  box  of  Kotex  free  with  every  two  boxes 
purchased  for  98c.  This  sale  is  now  ended. 

So  overwhelming  was  the  response  to  this  offer  that  we  doubled  our 
output  and  are  thereby  now  able  to  announce  a  permanent  30%  reduction 
in  the  regular  price  of  Kotex  when  sold  by  the  box. 


These  two  exclusive  new  features  have  doubled  Kotex  sales 


1  A  new,  form-fitting  shape  —  non-detect- 
able under  the  most  clinging  gowns, 
because  corners  are  scientifically  rounded 
and  tapered  to  fit. 


2  Softer  wrapping,  fluffier  filler  eliminate 
the  discomforts  of  chafing  and  binding. 

&ALL  THE  FEATURES  AND  PROTECTION 
YOU  HAVE  ALWAYS  KNOWN  IN  KOTEX 
ARE  RETAINED. 


SELDOM  is  a  manufacturer  able  to  pre- 
sent a  greatly  improved  product  at  a 
striking  reduction  in  price.  Only  doubled 
manufacturing  facilities  make  such  a  step 
possible. 

Improved  Kotex  has  been  two  years  in 
the  making;  two  years  of  research,  of  test, 
of  investigation  and  experiment  in  our  lab- 
oratories, and  in  the  laboratories  of  women 
doctors. 


Our  enthusiasm  for  the  perfected  product 
has  decided  a  new  production  program: 
because  of  the  tremendous  demand  we  have 
doubled  our  output.  This  makes  possible 
a  permanent  30%  reduction  in  the  regular 
price  of  Kotex  when  sold  by  the  box. 

New,  form-fitting  Kotex 

And,  at  the  new  price,  you  obtain  a  product 
exclusive  in  design — the  most  radical  devel- 
opment in  intimate  feminine  hygiene  since 
the  invention  of  Kotex  itself. 

A  specially  perfected  process  now  turns 
and  tapers  the  corners  so  that  the  pad  fits 
snugly,  securely  .    .    .  without  affecting  the 


lines  of  modish  gowns.  Appearance  is  con- 
sidered, for  the  first  time  in  the  history  of 
sanitary  devices!  Now,  with  the  assurance 
of  exquisite  grooming,  comes  a  sense  of 
well-being  and  composure  never  before 
possible. 

And  the  gauze  wrapping  is  softer,  the 
downy  filler  even  fluffier  than  before.  Chaf- 
ing and  similar  irritation  is  ended. 

Doctors,  nurses  cooperated 

During  the  past  two  years,  27  women 
doctors,  83  nurses  and  six  specialists  in 
feminine  hygiene  suggested  and  approved 
ideas  not  only  professionally  but  also  from 
a  woman's  point  of  view.  Their  endorse- 
ment carries  special  significance. 

Features  exclusive  to  Kotex 

Kotex  and  Kotex  only  offers  these  exclusive 
new  features.  In  no  other  sanitary  device 
do  you  get  these  improvements.  And  all 
the  former  exclusive  advantages  of  Kotex 
are  retained.  The  remarkably  absorbent 
powers  of  Kotex  remain;  the  same  pro- 
:  area  is  there.     Cellucotton  wadding 


which  is  exclusive  to  Kotex  has  all  the 
advantages  of  any  waterproofed  absorbent, 
plus  its  own  unique  qualities — 5  times  more 
absorbent  than  cotton — discards  like  tissue 
— you  simply  follow  directions;  it  deodor- 
izes thoroughly  while  being  worn. 

Ask  for  Kotex  or  Kotex-Super 

You  buy  Kotex  by  name,  without  embar- 
rassment, without  delay  ...  in  two  sizes, 
Regular  and  Kotex-Super. 

Remember,  nothing  else  is  remotely  like 
the  new  Improved  Kotex.  Buy  a  box  today 
to  learn  our  latest  and  greatest  contribution 
to  woman's  hygienic  comfort.  At  all  drug, 
dry  goods  and  department  stores.  Supplied 
also  through  vending  cabinets  in  rest-rooms 
by  West  Disinfecting  Co. 


Kotex  Company,  180  North  Michigan  Avenue,  Chicago,  IlHnois 


When  you  write  to 


PHOTOPLAY   MAG.4Z1NE. 


Photoplay  Magazine— Advertising  Section 


Brickbats  and  Bouquets 


I  COXTIXUED  FROM  PAGE    10  ] 


FOR      S  A.  U-Ir 


Sal  Hepatka  can  help  you  have  the  clear 
complexion  — the  true,  radiant  beauty — that 
comes  not  from  cosmetics,  but  from  health, 
from  internal  cleanliness. 


liVERY  beauty  authority  will  confess  that 
make-up  and  cosmetics  are  only  a  make-shift 
^true  beauty  comes  from  within. 

And  many  of  these  authorities  point  out 
that  constipation  is  the  greatest  national 
trouble  that  robs  women  of  the  beauty  of  skin 
— the  lustre  of  hair — the  glowing  health  that 
should  be  theirs.  And  they  will  tell  you  the 
most  important  beauty  service  you  can  do  for 
yourself  is  to  keep  internally  clean. 

For  when  intestinal  stoppage  is  permitted 
to  exist,  waste  poisons  are  set  up  which  make 
the  blood  impure.  Then  the  complexion 
sufiFers  in  appearance  and  soon  come  head- 
aches, indigestion,  "nerves"  and  countless 
other  ailments. 

Sal  HEPATICA,  the  standard  effervescent 
saline,  is  the  approved  way  to  promote  inter- 
nal cleanliness.  Containing  the  same  salines 
as  the  famous  European  spas,  Sal  Hepatica 
stimulates  the  secretions  in  the  intestines  and 
flushes  away  the  poisons  of  constipation 
which  cause  so  many  ills  and  beauty  worries. 

Thousands  of  women  find  that  a  dash  of 
Sal  Hepatica  added  to  the  before-breakfast 
glass  of  water  keeps  them  feeling  well  and 
looking  well. 

Send  for  the  free  booklet  which  explains 
more  fully  the  benefits  of  Sal  Hepatica. 

P/MMa</</r«/ BRISTOL-MYERS  CO. 
Dcpt.  G5R.  71  West  St..  N.  Y.  C. 


Sal 
Hepatica 


Getting  Sales  Ideas 

Bismarck,  N.  D. 
I  am  a  salesman  and  I  thank  Providence 
for  the  movies.  I  personally  obtain  more 
original  sales  ideas  from  one  good  movie  than 
from  any  other  source.  Personal  appearance, 
confidence,  approach — three  things  vital  to 
successful  seUing— are  inspired  in  me  by  view- 
ing certain  pictures.  Business  scenes  are  an 
aid  in  selling,  and  I  obtain  a  world  of  ideas 
from  reading  Photopmy  every  month. 

R.  A.  DE.MMEL. 

Did  Elinor  Get  IT  from  Kipling 

Toronto,  Canada 
We  have  all  heard  so  much  about  Elinor 
Glyn  and  her  discovery  of  IT,  that  I  got 
quite  a  shock  the  other  day.  I  was  reading  one 
of  Rudyard  Kipling's  stories,  published  in 
igo4,  and  one  of  the  characters  speaks  as 
follows:  "That's  the  secret.  'T  isn't  beauty, 
so  to  speak,  nor  good  talk,  necessarily.  It's 
just  'it.'"  I  wonder  if  Madame  Glyn  has  read 
this  story. 

A  Photoplay  Reader. 

Why  She  Stayed  Home 

Philadelphia,  Pa. 

Like  thousands  of  other  movie-mad  girls, 
I  visualized  gay  Hollywood,  a  lovely  Spanish 
house,  gorgeous  clothes,  expensive  cars,  huge 
salary  and  numerous  friends.  I  had  almost 
made  up  my  mind  to  ride  to  Hollywood  and 
seek  my  fortune. 

In  a  lucky  hour,  I  bought  Photoplay.  I 
read  "The  jNIother  Confessor  of  Hollywood." 
It  described  the  way  in  which  thousands  of 
"extras"  live.  How  different  from  my  dreams 
and  hopes!  Right  then  and  there,  I  decided 
to  remain  right  where  I  am,  instead  of  wait- 
ing wearily  outside  the  studio  gates.  I  owe 
this  sensible  decision  to  Photoplay. 

Suzanne  Benamy. 


True  Stuff 


Buffalo,  N.  Y. 

The  motion  picture  always  has  been  one  of 
the  sanctuaries  of  the  Outcast.  It  has  been 
dedicated  to  the  glorification  of  the  Inferior 
Man.  It  has  championed  the  cause  of  the 
weak  and  the  defective.  The  poor  were 
always  pious. 

And  now  comes  "The  Last  Command" — 
the  triumph  of  the  xtry  antithesis  of  medioc- 
rity. Emil  Jannings'  concept  of  the  Russian 
aristocrat  is  a  veritable  god-send  in  these 
drab,  standardized  days;  he  gives  us  a  vision 
of  hope — there  may  still  be  splendid  people 
on  this  flat  earth.  Sergiiis  Alexander  may 
be  unmoral,  carnal  and  a  little  too  full-bodied 
for  our  queasy  stomachs,  adapted  to  pre- 
digested  movie  food  in  the  form  of  Chicos 
and  Gaiiclws;  but  he  is  also  magnificent, 
grand  in  body,  regal  in  will,  and  true  in  heart. 
As  played  by  Emil  Jannings,  he  has  that 
fineness,  that  quality  and  grace  of  spirit  which  it 
has  been  rather  ;he  fashion,  in  these  stridently 
democratic  days,  to  deny  to  aristocrats.  The 
picture  leaves  us  with  the  feelings  that,  with 
the  extinction  of  Sergius,  the  world  lost  more 
of  quality  and  beauty  than  can  ever  be 
replaced  by  anything  that  comes  out  of  the 
minds  or  the  bodies  of  his  conquerors,  the 
mass  of  inferior  men. 

Ethel  M.  Hoffman. 

Carrying  a  Good  Thing  Too  Far 

Tallahassee,  Fla. 
For  Homer  to  play  with  history  was  \-ery 
good;  he  immortalized  Helen.  For  Erskine 
to  play  with  Homer  was  still  quite  all  right; 
he  modernized  Helen.  But  for  the  movies 
to  play  with  Erskine  was  a  crime;  they 
ruined  Helen,  as  well  as  Erskine,  Homer, 
History  and  the  dispositions  of  thousands  of 
spectators. 

Virginia  Dean. 


Introducing  the  side  seat  for  the  pup,  made  necessary  by  the  new 
California  law  which  prohibits  dogs  from  riding  unprotected  on 
running  boards.  Marceline  Day  is  trying  out  this  new  device  on 
Flash,  the  dog  star.  The  side  seat  has  a  one-pup  top  and  its  own 
special  door.  The  men  with  Miss  Day  are  R.F.McClellan  and  Henry 
Wright,  two  hu  mane  Court  Supervisors  responsible  for  the  ordinance 

icmi'iit  In  PIIOTOPLAV  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


91 


i=>   » 


\^ 


■%/     I 


/r^ 


A  M  rj  O  O  IM  C  f^^ 


For  the  modepn  woman  — sophisticated,  exquisitely  critical,  trained  in  the  art  of  creating  a  single  perfect 
impression  in  each  costume  —  the  'M'oman  ■who  ■will  not  permit  the  smallest  jarring  note  in  her  aoces« 
sories,  her  jewels,  her  perfumes  —  Pi-»-er  announces  the  Azurea  Ensemble.  A  single  colour-scheme  lor  her 


dressing  table — blue  and  silver  in  four  clever  variations.  A  single  odeur  that  expresses  every  complex 


HER  PERFUME -Elusive,  light,  fresh!  Sweet 
but  not  ingenue.  With  a  bit  of  spice  to  pique  the 
imagination.  A  hint  of  coquetry  — not  easily  won 
. . ,  Azurea  itself,  in  its  blue  and  silver  box.  (4.50. 


HER  COLD  CREME-A  miracle  of  efficiency - 
just  this  minute  launched  in  Paris,  Carrying  a  very 
high  percentage  of  perfume,  so  that  she  sinks  to 
sleep  wrapped  in  the  same  subtle  Azurea  fra- 
grance. In  an  azure  and   silver  container  —  J1.50. 


HER  POWDER— Adherent  and  almost  invisible, 
as  the  mode  demands.  In  five  perfect  shades 
to  care  for  every  complexion — including  the 
eunhrowned  skin,  ultra  chic  at  the  moment. . .  Subtly 
impregnated  with  the  same  Azurea  perfume — $1.00. 


<<oi 

111 8   i 


HER  VANISHING  CREME  -  Equally  new.  So 
light  it  disappears  absolutely,  leaving  a  delicately 
scented  but  invisible  film  to  which  her  perfumed 
powder  clings,  and  clings,  all  day.  Azure  and  silver, 
too,  but  the  shape  has  been  cleverly  varied.  tl.SO. 


HER  NEW  TWIN  COMPACTE-In  silver,  with 
blue  enamelled  tracery  around  the  edge,  the  shape  of 
this  twin  compacte  is  distinctive,  and  it  fits  the  hand 
as  no  compacte  has  ever  done  before.  Rouge  and 
Powder,  in  shades  for  every  complexion,  delicately 
scented  with  Azurea.  And  2  mirrors ...  Price,  $2^50. 


^^.ir-  ip  ir^*/  IE  iR.-  \tp  /m  i».  ii  \^ 

<^tJl€ie$i>t  and  largest  ainoiij*  the  great  perfume  hoiiNes  of  JFraEice» 

18    EAST   M,th  SJJI£ET._J?^E^  YORK  :    Fpndee^en  1174   •   ii_JiX.  ALEX A^■  DER.  STREET..^ MONTEE AL 


92 


Photoplay  Magazine — Advertising  Section 


Bring  the  Touch  of 
Springtime  Beauty 
to  Your  Complexion 

(TTY^INTER'Sdrab  harshness  dis- 
/'jr  appears  with  the  enchanting 
touch  of  Spring.  The  rebirth 
of  life  and  beauty  is  nature's  re- 
minder that  your  appearance  should 
also  enjoy  a  similar  transformation. 


A  Habsburg  Sees  Hollywood 


CONTINUED  FROM  PAGE   -i^ 


Now  is  the  time  to  bring  to  your 
complexion  the  youthful  freshness  so 
effectively  obtained  thru  the  use  of 

GOURAUDS 

ORIENTAL 
CREAM  *• 

"Beauty's  Master    Touch** 

It  renders  to  your  complexion  a  subtile,  fas- 
cinating charm  that  cannot  be  secured  thru 
powders.  Your  skin  assumes  a  soft,  silky, 
even  appearance,  that  will  not  streak,  spot, 
rub  off  or  show  signs  of  moisture.  A  beauty 
that  "stays  on"  without  constantly 
"touching  up."  Every  moment  Gouraud's 
Oriental  Cream  remains  on  your  skin  it  is 
protecting  your  appearance.  The  effective, 
antiseptic  and  astringent  action  it  always 
exerts  helps  correct  and  prevent  blemishes, 
skin  trouble,  wrinkles,  freckles,  flabbiness, 
muddy  or  discolored  skins,  oiliness,  etc. 
Made  in  White,  Flesh  and  Rachel. 

Send  10c.  for  Trial  Size 

FERD.  T.   HOPKINS   &.  SON 
430  La&yette  Strc«  New  York  City 

Check  ihade  desired:   While  n   Flesh  D    Rachel  n 


Strert. 

City_ 


I  ha\e  no  figures  showing  the  number  of  work- 
ers with  contract,  compared  with  the  free-lance 
players. 

The  favorites  are  the  ones  who  get  the  high 
salaries  which  astonish  the  whole  world.  Stars 
and  leading  men  receive  Sl.OOO  to  $18,000  a 
week  and  directors  earn  thousands  of  dollars 
weekly.  But  how  few  these  are!  Fortuna  is 
not  \'er\"  liberal  in  HoUyw'ood. 

Unfortunately,  the  world  only  learns  about 
the  small  minority,  and  so  Holh^vood  exercises 
its  magnetic  power  and  continually  calls  to  new 
talent. 

j\Iany  who  come  to  Hollywood  with  great 
hopes  leave  again  as  soon  as  they  learn  the 
true  conditions.  These  are  the  wise  ones.  But 
thousands  remain.  These  also  ha\'e  some 
reason.  It  may  be  that  these  actors  are  not 
aMe  to  fill  other  positions;  it  may  be  that  they 
sincerely  feel  that  they  are  artists.  The  hope 
for  wealth  is  nowhere  so  great  as  it  is  in  Holly- 
wood. 

rr   is    like    the    roulette    at    Monte    Carlo. 
The   possibilities   are   there    .    .    .    perhaps 
.    .   .   perhaps.   .    .   . 

It  is  the  remote  chance  of  getting  a  golden 
contract  that  lures  persons  with  childish  imag- 
lations. 
And  how  easily  their  hopes  are  raised!     A 


director  speaks  to  an  actor  or  makes  a  few 
casual  remarks.  An  assistant  takes  lunch  with 
ane.xtra.  Fantastic  hopes  are  aroused.  When 
the  extra  gets  home,  he  talks  enthusiastically 
of  the  great  contract  that  will  be  his  within  a 
short  time. 

\J[Y  secretary  who  worked  in  a  technical 
-^  *  ■»-  capacity  for  a  short  time  in  a  studio  had 
a  funny  experience  along  that  line.  Just  one 
example:  He  dreamed  about  his  home  town; 
when  you  are  far  away,  the  thought  of  your 
home  town  is  a  pleasant  one.  As  he  stared  into 
the  empty  studio,  he  saw  in  the  distance  an 
extra  girl.     She  was  a  tj^pical  Viennese  girl. 

The  next  day  I  learned  that  my  secretary 
had  talked  to  the  girl,  complimented  her  on  her 
ability  and  had  told  her  she  was  the  Viennese 
t>-pe.  And  that  little  incident  gave  her  high 
hopes  of  appearing  in  a  Viennese  film.  Poor 
girl!  When  such  trivial  incidents  raise  such 
high  hopes,  you  may  understand  what  the  poor 
actors  have  to  go  through  during  desperately 
hard  times. 

I  believe  I  have  given  my  honest  view's  in 
this  short  article  about  Hollywood. 

To  sum  up:  Hollywood  is  a  Fata  Morgana 
—a  mirage — which  lures  thousands  to  walk 
its  streets,  although  only  a  very  few  reach  the 
lucky  oasis. 


What  with  rumors  of  nieruers  and  changes  at  the  De  Mille  Studio, 

Vera  Reynolds,  like  many  of  the  other  De  Millers,  is  being  "sold 

down  the  river."    Her  new  master  is  Tiffany-Stahl 

tl«i-mi'nl   In  niOTOPLAY  MAG.\ZINB  Is  euarantccd. 


Photoplay  Magazine — Advertising  Section 
t 


93 


Just  that  you  might  say 

"It's  so 
comfortable" 


You  know,  Europeans  complain  that 
American  women  are  pampered.  Pos- 
sibly, but  the  amazing  welcome  given 
Modess  shows  that  women  at  least  appre- 
ciate a  sincere  effort  to  free  them  from 
drudgery  and  old-fashioned  annoyances. 

Four  years  ago,  Johnson  &  Johnson  de- 
termined to  perfect  the  sanitary  napkin. 
Women  were  asked  to  write  the  specifica- 
tions. ""Above  all,"  they  told  us,  "make 
it  more  comfortable — softer!  Get  rid  of 
hard  edges  and  conspicuous  clumsiness. 
Be  sure  it  is  truly  disposable." 

The  great  Johnson  &  Johnson  labora- 
tories, where  so  many  Red  Cross  sanitary 
safeguards  to  health  have  been  created, 
have  labored  four  years  just  that  you 
might  say,  "It  is  so  comfortable." 

We  believe  that  every  woman  who  has 
tried  Modess  has  marveled.  So  will  you. 
Even  the  outer  gauze,  specially  woven  in 
our  mills,  has  been  softened  by  a  process 
known  only  to  us.  The  absorbent  filler  or 
center  is  an  entirely  new  disposable  sub- 
stance, downier  than  fluffiest  cotton,  yield- 
ing, gentle,  amazingly  absorbent. 

To  prevent  irritation,  the  gauze  is 
cushioned  with  a  film  of  down  and  the 
sides  are  smoothly  rounded.  The  back  is 
moisture-proof — your,  confidence  in 
Modess  will  be  complete. 

Modess  is  disposable — it  flushes  away. 
50  cents  for  a  box  of  12. 

So  infinitely  finer 


Uwuk  k  biuj loxes  ol 


Modess 


To  Sales  Person — Johnson  &  Johnson  provide  this 
coupon  to  facilitate  purchase  withoutembarrassment. 


SILENT- 
PURCHASE 
COUPON 

Pencil  in  number  of 
boxes  desired  and 
hand  to  salesperson 


H   J^ 


s  I  X 
SUPERIORITIES 


1.  Gauzespeciallysoftened with 
a  film  of  down. 


2.  Pliant   fluffy   filler   of   amaz- 
ing absorbency. 


3.  Rounded  sides  assuring  com- 
fort and  no  clumsiness. 


4.  A  moisture-resisting  back 
giving  positive  security. 


5.  Disposable — flushes  away. 

6.  Silent-purchase  coupon. 


PHOTOPLAY   M.XOAZIXE 


Photoplay  Magazine — Advertising  Section 


Unhappy   Highbrows 


COXTIXI'ED  FROM  PAG 


E  35] 


mc 


hen  a  Famous  Star 
(joes  Shopping 

Always  under  the  surveillance  of  admiring 
and  critical  eyes,  the  dress  and  accessories  of 
people  in  the  public  limelight  must  be  anything 
but  commonplace. 

At  a  sports  affair,  formal  function  or  duty 
bent  on  a  shopping  jaunt,  the  outfit  worn  must  be 
selected  both  for  personal  pride  and  to  meet 
public  approval. 

Dorothy  Mackaill  goes  shopping,  as  do  other 
famous  ladies,  and  carries  a  "Meeker  Made"  hand- 
bag—charming and  practical  ally  of  her  costume. 

"Meeker  Made"  stands  for  rare  quality  and 
distinctiveness  of  design.  The  name  will  be  found 
imprinted  in  every  genuine  Meeker  Made  bag 

MmadeR 

lUnd-laoUd.  lumd-cnlnrrJ,  impnrlcd  sUcrhidc 

HAND  BAGS 

Pur...    -    Vanitio. 
Billfold.    —     Noveltie. 

Diiplayed  liy  Heller  Dealers  Everywhere 

The  MEEKER  COMPANY,  Inc. 

Joplin,  Mi.M>uri 

L^'fil  Af«ii«/«/i<i»f/  ./  Smrhidi  Ualhir  Gtadi  in  thi  U.  S.  /. 


I   am   not   decrying  education,   mind  3'ou. 

The  tremendous  growth  of  our  colleges  and 
universities  in  every  state  of  the  union  cannot, 
of  course,  be  looked  upon  as  a  bad  sign. 

But  should  everyone  be  allowed  to  enter 
those  higher  institutions  of  learning  who  has 
the  price  of  the  tuition? 

.Vre  not  some  people  perhaps  unfitted, 
rniotionally  and  temperamentally,  for  the 
liiu'hbrow  status,  the  exceptional  intelligentsia? 

1  believe  specialists  in  nervous  disorders 
would  agree  that  higher  education  may  seri- 
ously upset  some  people.  It  does  not  upset 
theni  intellectually  as  much  as  emotionally. 

On  the  emotional  side,  however,  whether  it 
be  roused  by  education  or  just  comes  natural 
the  highbrow  point  of  \iew  and  feeling-tone 
toward  life  most  certainly  hampers  people  in 
the  pursuit  of  happiness.  The  day  will  come, 
I  predict,  when  youth  will  have  emotional  e.x- 
aminations  and  tests  as  well  as  intellectual  ones. 

In  conclusion,  just  a  further  word  about  the 
posers,  the  fake  highbrows. 

I  said  they  were  interesting  psychologically. 

.And  they  are  because  they  have  set  up  a 
"defense"   or  exaggerated   compensation   for 


deep-rooted  convictions  of  inferiority.  It  may 
be  conscious  and  it  may  be  unconscious,  this 
fundamental  belittling  of  the  personality. 

In  any  case  they  pretend,  make  believe  and 
show  off  in  order  to  enhance  their  own  egoes 
and  throw  dust  into  the  eyes  of  their  neighbors. 

These  pseudo-highbrows  knock  the  movies 
and  pretend  to  despise  them  more  than  the 
genuine  variety  of  highbrows. 

They  would  enjo}'  them  if  only  they  were 
honest  with  themselves.  And,  frankly,  from 
my  own  observations  I  would  say  that  most 
highbrows  are  of  the  pseudo  species. 

Each  and  every  human  being  tends  to  re- 
spond to  primitive  emotions. 

These    the    movies    supply. 

Men  like  Roosevelt  and  Woodrow  Wilson 
were  not  ashamed  to  admit  that  they  got  re- 
laxation from  reading  detective  fiction. 

I  am  acquainted  with  educated  people  who 
get  fun  out  of  pictures  too.  Such  indi-\'iduals 
can  like  both  highbrow  and  lowbrow  pursuits. 

That  is  because  their  emotional  lives  are 
adjusted  with  their  intellectual. 

I  feel  constrained  to  repeat  again — poor, 
unhappy  highbrows! 


You've  heard  of  crowning  a  king?  Well,  this  is  a  glimpse  of  that 
impressive  ceremony.  Ramon  Novarro  is  the  owner  of  the  "uneasy 
head,"  and  Harry  Beaumont  and  Hugh  Cummings  are  the  two 


■IIOTOPI.AY  MAGAZINE  i 


Photoplay  Magazine — Advertising  Section 


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The  Shadow  Stage 


rOXTIXUED  FROM 


TURN  BACK  THE  HOVRS-Gotham        THE  FAITHLESS  LOVER-Krelbar        YOU  CAN'T  BEAT  THE  LAW—Rayart 


ANOTHER  of  those  "quickies"  that  boasts 
of  a  cast  of  popular  favorites — M yrna  I.oy, 
Walter  Pidgeon.  Sam  Hardy  and  George  Stone. 
.■\s  for  the  plot — it's  your  old  pal.  "Coward- 
ice," set  against  the  background  of  the  shores 
of  the  Caribbean.  The  e\er-favorite  flag 
n-a\ing  ending  has  been  tacked  on  so  the  hero 
can  stage  a  come-back.  Don't  take  it  too 
seriously! 

SADDLE  MATES— Pathe 

ACO.V\'EN"TION'.\L  Western  featuring 
Wally  Wales.  There's  the  handsome  hero 
with  a  mean  right,  the  gal  and  her  villainous 
brother  who  has  swindled  the  hero,  inter- 
mingled with  a  lot  of  rough  andtiunblefighting 
that  the  kiddies  enjoy. 

FISDERS  KEEPERS— Universal 

T  .\UR.\  L.V  PL.\XTE  cavorts  merrily  in  the 
■Matest  Man,-  Roberts  Rinehart  stor>'  to  reach 
the  screen.  Laura  is  one  of  the  finest  come- 
diennes on  the  screen  and  it  seems  pathetic  to 
see  her  wasted  on  such  trite  stuff.  The  comedy 
is  of  the  two-reel  type.  The  chief  gag  that  tries 
for  the  hearty  laughs  is  Laura  dressed  as  a 
soldier,  a  la  Wally  Beery,  and  continually 
losing  the  trousers.  Since  that  is  the  high 
spot  of  the  picture  )ou  can  just  about  imagine 
what  the  remainder  is  like. 

THE  COUNT  OF  TEN— Universal 

TLTERE  is  a  picture  that  is  not  great  by  any 
-^^means  but  we  assure  you  it  is  entertaining 
in  spite  of  a  few  improbabilities.  The  storj-  is 
of  the  tistic  circles  though  ver>'  different  from 
those  that  you  have  seen  before.  It  affords 
Charles  Ray  a  role  that  takes  us  back  to 
the  days  when  Ray  was  a  favorite.  But  the 
chief  claim  to  your  attention  is  James  Gleason, 
a  legitimate  star,  who  just  tucks  the  picture 
under  his  arm  and  walks  away  with  it.  A  safe 
Ijcl  for  the  family. 

FRENZIED  FLAMES— Ellbee 

r^ULLE.V  L.\XDIS  shows  us  some  hot  stuff 
^— 'in  this  .scorching  cpk  of  the  lire  department. 
Skillfully  directed,  and  accurate  in  all  technical 
details,  the  story  is  of  a  boy  who  climbs  out  of 
the  cradle  into  red  suspenders.  During  his 
baptism  of  fire,  he  gets  cold  feet,  but  gets  them 
warm  again  in  a  thrilling  tenement  blaze  at 
the  finish.  Mary  Carr  and  Virginia  Browne 
Fair  give  effective  characterizations.  If  you 
like  action,  sec  this. 

LITTLE  MICKEY  GROGAN—FBO 

A  S.\CCH.\RI\E  tale  obviously  cut  down 
■'  *■  to  fit  its  half-pint  hero.  Why  must  kid 
stories  l)c  such  a  strain  on  the  crediUity?  Even 
so,  Frankie  Darro  hypnotizes  everj'one  into 
believing  anything  he  does;  the  kid  is  good  and 
deserves  more  honest  stories.  Jobyna  Ralstoji, 
as  the  goo<l  fairy,  looks  and  acts  it;  Carrol  Nye 
is  a  convincing  weakling.  Sloppy  story  re- 
deemed lo  the  pfiint  of  real  diversion  by  good 
acting  and  snappy  titles. 

THE  BLACK  FEATHER-Williani  Pizer 

AN  unreal  melodrama  of  so-called  society 
Mife  which  contains  enough  plot  for  nine 
stories,  and  .several  mysteries  which  are  never 
solved.  A  silly  crof)k  staggers  through  t  he  pic- 
ture Icavmg  black  feathers  as  trademark,  and 
consequently  a  large  cast  goes  about  doing 
strange  thmgs  for  no  reason  at  all.  Don't  go 
unless  you  need  .^Icrp 


THE  best  thing  about  this  picture  is  that  it  is 
only  fi\-e  reels  long.  Raymond  Hackett  is 
The  Faithless  Lover  and  Glad>s  Hulette  is 
the  girl  the  men  fightover.  Eventhe breaking 
up  of  a  dam  that  required  months  to  construct. 
the  consequent  flooding  of  the  town,  and  the 


In  reporting  George  Hackathorne's 
recent  illness,  Photoplay  stated 
that  the  doctors  had  ordered  all 
George's  teeth  removed.  Mr. 
Hackathorne  was  justifiably  per- 
turbed and  had  this  picture  taken 
to  prove  that  he  still  has  all  his 
teeth.  And  very  nice  ones,  too. 
Also  Mr.  Hackathorne  has  com- 
pletely recovered  and  is  returning 
to  the  screen,  which  is  good  news 


timely  rescue  of  the  girl  fail  to  arouse  any 
enthusiasm. 

FANGS  OF  JUSTICE— Bischoff 

A  PICTURE  intended  to  pull  all  the  heart- 
-'  »•  strmgs,  with  too  many  strings  and  not 
enough  heart.  A  playboy,  whose  father  dies 
leaving  two  wills— a  \-illainous  cousin— a  dog— 
a  child — a  \amp — and  a  sweet  young  secretary 
—you  can't  beat  that  combination;  everything 
but  the  parlor  sink !  .So  the  whole  thing  goes  to 
the  dog.  June  Marlowe  and  Johnnie  Walker 
battle  bravely  to  put  life  into  thankless  roles. 

CAME  THE  DAWN—Roach-M.-G.-M. 

A    TWO-REEL    comedy,    in    which    Max 

*■  Davidson,    Polly   IMoran,    Gene   Morgan 

and  others,  are  in  bed  and  out,  upstairs  and 

down,  thmking  they  are  in  a  haunted  house. 

Ihe  practical  jokes  of  the  flapper  daughter 
combmed  with  the  antics  of  a  tactless  parrot 
and  a  tramed  cat  give  the  family  a  wild  night 
Ma\  Davidson  will  give  you  more  laughs  than 
you  pa)' for  in  this. 


no 


CORNELIUS  KEEFE  covers  himself  with 
official  glory  in  this  crook  melodrama. 
He's  a  handsome  young  copper  who  cops  Lila 
Lee's  heart,  but  how  very  disconcerting  to  find 
that  she's  the  sister  of  a  notorious  crook!  Then 
the  daily  puzzle  of  how  to  keep  both  the  girl 
and  the  job.  But  he  does— it  would  be  an 
original  stor>'  if  he  didn't.  The  title  tells  the 
story,  and  the  whole  thing's  really  not  im- 
portant, so  why  bother. 

CREAM   OF    THE   EARTH— Universal 

A/TARION  NIXON  and  Charles  Rogers  per- 
-^  * -^f  ecth'  cast  in  this  vivid  story  of  a  fraternity 
week-end  butterfly  and  a  shy  youth  who  re- 
fused to  let  college  education  interfere  with  his 
studies.  What  happens  to  them  has  been  done 
before,  but  the  way  it  happens  has  never  been 
done!  They  both  show  just  the  right  degree 
of  abandon  and  restraint,  and  make  the  picture 
throb  with  the  poignancy  of  young  love.  Mel- 
ville Brown's  direction  is  unusually  fine. 

THE  DESERT  PIRATE— FBO 

A  WESTERN,  yes,  but  with  a  slight  devia- 
-'*■  tion  in  plot  which  makes  it  bearable.  To 
be  sure,  there  is  all  the  orthodox  clap-trap  one 
always  finds  in  these  pictures  of  the  great  open 
spaces:  fl>ang  bullets,  fists,  lassoes,  cards,  and 
whatnot.  But  the  one  redeeming  feature  is 
Frankie  Darro,  who  is  good  enough  to  pull  any 
horse  opera  together.  Watch  that  baby's 
smoke — he's  knocking  all  of  his  juvenile  con- 
freres into  a  cocked  hat  I 

TILLIES  PUNCTURED   ROMANCE— 
Christie- Paramount 

AN  antiquated  story  done  in  an  antiquated 
-^  ^-manner.  Lions  and  guns  and  circuses  play 
around  with  Louise  Fazenda  in  a  manner  sup- 
posed to  be  funny,  but  which  becomes  only  silh'. 
TiHic,  enamoured  of  the  circus,  follows  in  the 
footsteps  of  her  mother  and  runs  away  to  the 
sawdust.  The  sawdust  moves  to  France  to 
cheer  the  soldiers.  Pity  the  poor  soldiers! 
Tillie  becomes  a  boy — and  is  as  ridiculous  in 
one  sex  as  another. 

NAMELESS  MEN—Tiffany-Stahl 

JUST  one  of  those  pictures.  If  you  must  at- 
tend the  theater  the  night  it  is  shown,  all 
right.  But  we  would  not  advise  passing  up  a 
good  magazine,  book  or  buggy  ride.  It  is  all 
about  prisons  and  secret  service  and  such. 
Claire  Windsor  flutters  prettily  through  it. 

THE  LAW  OF  FEAR— FBO 

A  LITTLE  review  of  the  facts  of  life  as  dogs 
-*  *■  know  them  precedes  the  main  body  of  this 
picture.  Ranger,  the  smart  police  dog,  is 
shown  with  his  wife,  from  the  moment  of  their 
first  meeting,  through  their  courtship  and  mar- 
ried life  up  to  her  untimely  death  at  the  hands 
of  the  villain.  Then  Ranger  takes  his  revenge. 
This  is  a  dog  stor)',  a  Western,  and  a  horror 
picture  all  rolled  into  one.  So  you  ought  to 
get  your  money's  worth. 

THE  BRONCO  STOMPER— Pathe 

A  VERY  nice  little  Western,  even  though  it 
*•  does  omit  the  gorgeous  scener)'  which 
usually  redeems  these  tales  of  the  open  spaces. 
A  couple  of  slimy  villains  brew  a  plot  too  com- 
plicated to  outline  here,  but  the  hero  outwits, 
outshoots,  and  outrides  them.  Don  Coleman 
is  this  champion  bronco-buster  and  ladies' 
man.  Some  entertaining  scenes  from  a  rodeo 
make  up  for  any  other  deficiencies. 

[  ADDITIONAL  REVIEWS  ON  PAGE    112  ] 


COATS     AN 


These  two  stars  are  as  famous  for  chic 
as  for  charm  —  and  they  are  shown  in 
Printzess  Coats  that  enhance  both.  You'll 
look  your  smartest  in  the  styles  favored 
by  America's  best -dressed  women.  A 
leading  dealer  in  your  city  has  Printzess 
Coats — also  "Printzess  Petite"  for  shorter 
figures — "Printzess  Travelure"  for  travel 
and  sportswear.  Ask  for  Printzess  by  name. 
Look  for  the  label.  The  Printz-Biederman 
Company,  Cleveland  —  New  York. 

Printzest  garments  cox  !««  than  you  expect. 

Dreu  Coatt $39. 50  to  $79.S0 

Travelurcs 25.00  to    79.50 

Suits 25.00  to    59.50 


J? 


Louise    Brooks,   itar    of 
"Glorifying  the  American 
Girl",  a   Panmount  Pic- 
ture, sketched  in 
St>Ie  5318. 


Jobyna  Ral: 

"The    Night    Flyer",   i 

Patbe-Oe  Mille    produc 

tion,  sketched  in 

Style  657. 


DISTINCTION     IN    DRESS  — SINCE     1893 


l\a<{itioti   aJJs  in  ou-n  solemnity  to 
the  many  fashionuhle  marriage  cere- 
lately  Nen  OU 
South  Church.  Boston 


TRAIB  genuine 

Orange  mossom 

t'n^agemenl  -lui  llbi/ciing  Kings 


tAal  is  aLwaijs  stuU 

FASHIONS  COME  AND  GO,  but  your  engagement  and  wed- 
ding rings  must  outlive  today's  styles  and  tomorrow's  fads. 
The  vogue  of  Genuine  Orange  Blossom  never  changes  < ' '  for 
it  sets  a  fashion  exclusively  its  own.  Each  season  introduces 
new  and  delightful  variations  of  this  symbolic  pattern,  but  the 
pattern  itself  is  as  eternally  modish  as  a  glorious  gem  or  a  lovely 
flower.  The  better  jewelers  everywhere  display  Genuine  Orange 
Blossom  '  '  r  readily  identified  by  the  trade-mark  of  Traub. 

Our  delifihtful  booklet,  "H'cddinf^  Ring  Setttinicttt",  free  on  request 

TRAUB  MANUFACTURING  COMPANY 
DETROIT  -  -  .  MICHIGAN 


T  R  A  U 


B 


QUESTIONS  ef  ANSWERS 


Read  This  Before 
Asking  iluestions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address;  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  the  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  than  other  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  alt  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


To  THE  Meadow  Lark  Club,  St.  Cath- 
arixe's,  Ont. — Grandpop  is  only  too  clad  to 
help  you  out  with  your  club  scrap-book.  Sorry 
to  disappoint  you,  but  I  do  not  think  that  John 
Gilbert  will  marry  Greta  Garbo.  They  both 
deny  it.  But,  of  course,  you  never  can  tell. 
Ramon  Novarro  has  promised  that  he  won't 
leave  the  screen  for  several  years,  anyway. 
Write  to  Colleen  Moore  at  the  First  National 
Studios,  Burbank,  Calif.  .'\nd  to  William 
Boyd  and  Elinor  Fair  at  the  Cecil  B.  De  Mille 
Studios,  Culver  City.  Calif.  Dousilas  Fair- 
banks' address  is  in  care  of  the  United  Artists 
Studio,  7100  Santa  Monica  Blvd.,  Hollywood, 
Calif.  Tim  McCoy  was  born  in  Saginaw, 
Mich.,  thirty-si.\  years  ago.  Will  you  paste 
this  notice  in  your  scrap-book  and  please  an 
old  man? 

Frank  R.,  New  York,  N.  Y. — Tom  Mix  is 
neither  an  Irishman  nor  an  Italian.  Tell  the 
boys  that  he  was  born  on  a  ranch  near  El  Paso, 
Texas,  and  is  very  much  an  American. 

Jinks,  Winchester,  Mass. — Marion  Davies 
has  three  sisters.  Rose,  Reine  and  Ethel. 
Leatrice  Joy's  picture  appeared  on  the  cover  of 
Photoplay  in  May,  1926.  Raymond  Kcane 
was  the  leading  man  in  "The  Eone  Eagle." 
Gilbert  Roland  is  twentj'-two  years  old  and  is 
a  Mexican.  Yes,  that's  true;  Colleen's  eyes 
aren't  mates.  And  Billie  Dove's  newest  pic- 
tures are  "Heart  of  a  Follies  Girl"  and  "The 
YeUowLUy." 

A.  N.,  Pasadena,  Calif. — Here  I  am 
settling  another  argument.  Just  a  little  peace- 
maker. Sally  O'Neil  and  IMolly  O'Day  are 
sisters;  their  real  name  is  Noonan.  Thelma 
Todd  was  the  heroine  of  "Nevada."  Gary 
Cooper  has  quit  Westerns  to  co-star  in  roman- 
tic comedies  with  Fay  Wray.  Cute  little  couple, 
aren't  the_y?  Greta's  newest  is  "The  Divine 
Woman." 

M.  E.,  Dallas,  Tex. — You  have  an  orderly, 
law-abiding  mind.  Am  I  right?  Lloyd 
Hughes  is  thirty  years  old  and  was  born  in 
Bisbee,  .'\rizona.  Douglas  INIacLean  is  thirty- 
one  years  old  and  married.  Edith  Roberts  was 
the  girl  who  played  in  "Seven  Keys  to  Bald- 
pate"  and  Neil  Hamilton  played  opposite 
Betty  Bronsoa  in  "The  Golden  Princess." 

A.  G.  H.,  Myra,  Tex. — Don't  break  my 
neck;  I'll  answer  your  questions!  And  may  I 
take  this  occasion  to  apologize  to  one  and  all 
for  any  delay  in  my  answers?  There's  a  regu- 
lar epidemic  of  curiosity  sweeping  my  readers 
and  I  never  have  been  so  busy  in  all  my 
career.  So  be  patient  with  an  old  man.  Now 
to  get  down  to  business :  Clara  Bow  appeared 
in  "The  Keeper  of  the  Bees"  and  Shirley 
Mason  played  in  "The  Rose  of  the  Tenement." 
Fred  Thomson  is  married  to  Frances  Marion, 
scenario  writer.  He's  no  relation  of  Dorothy 
Dwan.  Antonio  Moreno,  who  played  in  "It," 
is  married. 


A.  I.  B.,  Wilmington,  Del. — No,  Helene 
Costello  didn't  marry  Douglas  Fairbanks,  Jr. 
She  married  Jack  Regan,  and  now  I  am  pained 
to  hear  that  she  is  suing  him  for  divorce. 
Heigh,  ho!  It's  enough  to  make  a  cynic  of  an 
old  man.  Roy  D'.Arcy  was  born  in  San  Fran- 
cisco, thirty-four  years  ago.  Thelma  Todd 
comes  from  Lawrence,  Mass.,  and  Kathryn 
Carver  is  a  native  of  New  York  City. 

D.  H.  B.,  St.  Kitts,  Ont. — Sorn,'  you  were 
disappointed.  Photopl.^y  goes  on  sale  on 
the  fifteenth  of  the  month,  so  buy  it  early  next 
time.  Ken  Maynard  may  be  reached  at  the 
First  National  Studios,  Burbank,  Calif.  He  is 
thirty-two  years  old  and  born  in  Mission, 
Texas.  Sure,  he's  popular;  I  get  lots  of  ques- 
tions about  him. 


TO  answer  one  of  the  most 
persistent  questions  of  the 
month:  "Love"  was  filmed  with 
two  endings;  in  one,  Anna 
threw  herself  under  the  wheels 
of  the  railroad  train.  In  the 
other,  Anna  and  Vronsky  were 
reunited  after  old  man  Karenin 
had  passed  on.  Hence,  the  con- 
fusion of  the  "fans"  who  saw 
the  picture  twice,  each  time 
with  a  different  finale. 

Now  for  the  other  answers: 
Vilma  Banky  was  born  in  Buda- 
pest, Hungary.  She  has  blond 
hair  and  gray  eyes. 

Charles  Rogers  is  twenty-two 
years  old  and  not  married. 

Ramon  Novarro's  newest  pic- 
ture is  "Across  to  Singapore." 
He's  twenty-nine  years  old. 

Greta  Garbo  was  born  in  1906 
and  has  light  brown  hair  and 
blue  eyes. 

William  Boyd  is  twenty-six 
and  married  to  Elinor  Fair. 

Philippe  de  Lacy  was  born 
July  25,  1917,  at  Nancy,  France. 

In  writing  to  the  stars  for 
photographs,  Photoplay  ad- 
vises you  to  enclose  twenty-five 
cents,  to  cover  the  cost  of  the 
picture  and  postage.  The  stars 
are  glad  to  mail  you  their  pic- 
tures, but  the  cost  is  prohibitive 
unless  your  quarters  are  re- 
mitted. 


M.  J.  S.,  New  York,  N.  Y. — Corinne 
Griffith  was  born  in  Texarkana,  Texas.  Ben 
Lyon  is  his  real  name.  And  Rod  LaRocque  is 
six  feet,  three  inches  tall. 

Kitty  and  Boots,  Amarillo,  Tex. — You 
Texans  lead  all  others  in  curiosity.  You're 
the  fellows  that  keep  an  Answer  Man  so  busy. 
Charles  Farrell  is  twenty-five  years  old  and  not 
married.  He  has  brown  hair  and  brown  ej'es 
and  is  six  feet,  two  inches  tall.  Write  to  him 
at  the  Fox  Studios,  1401  N.  Western  Avenue, 
Hollywood,  Calif. 

Ivy  A.  N.,  Weyburn,  Sask.,  Can. — And 
ne.xt  to  the  Texans.  in  curiosity,  are  the  Cana- 
dians. Laura  La  Plante  is  twenty-three  years 
old;  she  is  married  to  William  A.  Seiter,  the 
director.  Write  to  her  at  the  Universal 
Studios, 'Universal  City,  Calif. 

R.  C,  Sh.\w,  Miss. — Sue  Carol  played  op- 
posite Douglas  MacLean  in  "Soft  Cushions." 
She  is  nineteen  years  old  and  was  born  in 
Chicago,  111.  Her  real  name  is  Evelyn  Lederer, 
married  but  has  a  divorce  suit  pending. 

P.  B.,  New  York,  N.  Y. — Gloria  Swanson 
has  one  daughter  and  an  adopted  son.  Norma 
Talmadge  has  no  children.  Yes,  Emil  Jan- 
nings  is  married. 

M.  J.,  Centralia,  Wash. — Another  argu- 
ment. You  lose  your  bet.  Antonio  Moreno, 
not  Ronald  Colman,  played  opposite  Clara 
Bow  in  "It."  Also  Mr.  Moreno  was  the  hero 
of  "Mare  Nostrum." 

H.\ZEL  C,  Indianapolis,  Int). — John  Gil- 
bert is  thirty  years  old;  divorced  from  Leatrice 
Joy.  Write  to  Billie  Dove  at  the  First  Na- 
tional Studios,  Burbank,  Calif. 

R.  H.  W.,  Tulsa,  Okla.— You  have  a 
sociable  nature,  but  you  are  inclined  to  worry 
over  trifles.  How's  that?  Sally  O'Neil  was 
born  in  Bayonne,  N.  J.  She  is  nineteen  years 
old  and  weighs  104  pounds.  She  is  five  feet, 
one  and  one  half  inches  tall  and  is  not  married. 

Pete,  Chicago,  III. — The  clipping  you  en- 
close concerns  another  Gloria  Hope.  The 
better  known  Gloria  Hope  is  still  happily  mar- 
ried to  Lloyd  Hughes.  So  that's  how  the 
rumors  start. 

Speedy  Swede,  Chicago,  III.— Buck  up, 
boy!  All  the  pretty  girls  aren't  in  the  movies. 
Look  around  and  maybe  you'll  find  a  little 
Clara  Bow  in  your  own  neighborhood.  Clara 
weighs  115  pounds  and  was  born  July  29,  1905. 
She  is  five  feet,  three  and  one-half  inches  tall. 
Also,  fickle  man,  Joan  Crawford's  address  is 
the  Metro-Goldwyn-Mayer  Studio,  Culver 
City,  Calif.  She  is  five  feet,  three  inches  tall. 
Oh,  j'es,  write  to  Clara  at  the  Paramount- 
Famous-Lasky  Studios,  Hollywood,  Calif. 

1  CONTlNtlED  ON  PAGE    145  ] 


Photoplay  Magazine — Advertisixg  Section 


Anita  Rivers  Becomes  Anita  Page 


[  COXTIXUED  FROM  PAGE  41 


Studios.  ]\Ial  St.  Clair  saw  the  test  that  Para- 
mount made  of  her  and  announced  that  she 
was  just  the  tvpe  he  wanted  for  a  picture  he 
was  to  direct  'for  M.-G.-iNI.  So  he  took  her 
out  there  for  a  test.  Sam  Wood,  who  was  to 
direct  "He  Learned  About  Women,"  saw  that 
one  and  decided  that  he  wanted  her  for  his 


St.  Clair  did,  he  got  her. 

So  Anita  Page  has  signed  a  contract  with 
M.-G.-M. 

She  is  beautiful,  is  Anita  Page  and  she  has 


something  of  the  sparkle  that  belongs  to  Clara 
Bow.  An  animated  face  with  tiny  dimples 
which  flash  disconcertingly  to  the  surface  when 
she  smiles — which  is  often,  now-a-days. 

"I'm  awfully  glad  I  came — now,"  she  says, 
"although  I  am  still  sorry  I  came  as  I  did.  I 
should  have  come  later  anyhow  and  coming  in 
this  way  gave  me  a  bad  start.  But  the  people 
who  know  me  know  how  it  was — and  I  am  not 
well  enough  known  to  the  general  public  for 
it  to  hurt  me  with  them,  I  guess.  They  will 
have  forgotten  all  about  it  before  my  first 
picture  is  released." 


YOLA  AnUet  Sandal 


lis  a  Fr 


neel  and 


reveals  a  Xrencliy  toe,  a  dancing  heel  an. 
delicate  straps  —  all  exquisitely  adjusted 
for  perfect  body  balance  .  .  .  Black  Dia- 
mond patent,  satin,  red,  green,  or  parcn- 
ment  kid,  Indian  clotk. 

Every  pair  of  body  balanced 

snoes  conforms,  in  every  particular,  -witk 
Aiunroe-proceis  specifications:  lasts  cor- 
rectly  fitted  from  tall  to  heel,  individ- 
ually adjusted  for  perfect  tody  talance 
regardless  of  teigtt  of  teel  .  .  .  Keels  ex- 
pertly tand-nioulded  and  Kand-fitted  to 
the  tuman  teel,  soles  invisitly  strengtt- 
ened  to  preserve  tte  original  graceful 
lines  of  arct  and  teel  for  tte  lifetime  of 
tte  stoes.    Not  one   last  for  every  foot. 


tut  individual  last, 

Sold  wtere 

you  see  ttis  sign 

displayed 

tof. 
( 

t  individual  feet. 

■^i^^' 

Tlie  Munroe  51ioe  Companv,  Dent.  P-5 

139  Lincoln  S,r„,.  Bo.lon    M..,acl,u,;,„ 
Whrr,  ■„  ih.   n«rc..    Bo.Iy    B.I.nced  Shoe  agency? 
Pice  .md  your  new  S.yle  BooUlel  (FREE)  to 

V^-. 

AJJr,,. 


Peter  Pan  asks  the  way  to  Kensington  Gardens.     Betty  Bronson, 

less  than  five  feet  tall,  asks  directions  from  a  Commissionaire,  over 

SIX  feet  talL     Betty  went  to  visit  the  famous  Gardens  in  London, 

where  a  statue  of  Peter  himself  delights  tliousands  of  children 

icnj.Mit   In  1-1I0T0I'L.\Y   II.VO.AZI.M 


Photoplay  Magazine — Advertising  Section 


TOI 


The  World  was  full  of 
hands  and  shirts 


It  made  a  self-conscious 
fool  out  of  a  fellow,  and 
struck  him  dumb — all  in 
one  wave  of  realization. 

On  such  a  night! — With 
such  a  girl!  How  could  he 
have  been  so  careless! 

He  thought  he  v,'as  well- 
groomed,  but  he  didn't  mea- 


sure up  to  the  standards  of 
the  new  crowd.  Clean,  but 
not  clean  enough  —  they 
dropped  him. 

Young  orold,  rich  or  poor, 
man  or  woman,  there's  no 
charm  like  that  which  comes 
from  being  healthily,  happily 
clean— dean  in  every  particular. 


Th 


ere^s 


self-assurance  in  —  SOAP  z^  WATER 


>Tr     Published  by  the  Association  of  American  Soap  &  Glycerine    w^ 
mU   Producers,  Inc.,  to  aid  the  -work  of  Cleanliness  Institute,    yj 


I'lIOTOPLAY    MAGAZI.N 


I02 


Photoplay  Magazine — Advertising  Section 


In  close 
contact- 


Girls'  Problems 


"Mum" 

is  the  word! 


In  close  physical  contact — -whether  dancing, 
or  strolling  under  the  spell  of  the  moonlight 
— there  is  nothing  which  detracts  from  the  al- 
luring charm  of  feminine  daintiness  so  quickly 
as  perspiration  odor.  In  fact  it  is  unforgiveable. 

"Mum"  prevents  all 
body  odor 

"  Mum"  is  the  dainty  cream  deodorant  that 
not  only  prevents  perspiration  odor  but  rf//body 
odors.  A  touch  of"  Mum"  to  the  underarm 
and  here  and  there  keeps  the  body  fresh  and 
dainty  for  all  day  and  evening. 

"Mum"  is  entirely  safe  to  the  most  del- 
icate skin— so  safe  that  knowing  women  use 
it  regularly  with  the  sanitary  napkin. 

Make  sure  of  the  alluring  charm  of  true 
daintiness.  Get  "  Mum  "  today.  3  5c  and  60c 
at  your  store. 

Special  Offer 

Wc  are  making  a  special  offer  to  introduce  Ban — the 
new  cream  Hair  Remover  that  quickly  and  safely 
diuolvti  all  unwanted  hair,  leaving  the  skin  soft  and 
white.  You  will  be  delighted.  Ban  is  50c  at  your  store. 
Or  tec  Si>ecial  Offer  Coupon. 

Send  Coupon.  Today 


Knclo.d  I, f„r  oflTcr  checked,  n  Special 

Offei — 15C  ".Mum,  for  pcmonil  dainlinc«»,  and  soc 
Ban — the  efficient  and  dcliglitfut-to-UBc  Cream  Hair 
Remover— 8Sc  tvorlh  /or  60c  pottpaid.  D  loc  for 
inirodDctory  aizc^'Muin"  pottpaid. 


[  CONTINtTED  FROM  PAGE    16  ] 


it  on  lightly  two  or  three  times  a  week.  Get 
lots  of  sleep.  This  automatically  makes  the 
eyes  appear  larger.  .And  do  remember,  my 
dear,  that  the  real  beauty  of  the  eyes  comes  not 
from  coloring,  not  from  size,  but  from  the 
active  brain  that  lights  them.  Cultivate  beau- 
tiful thoughts  and  your  eyes  will  reflect  them. 

Jane,  IMalta,  Mont.: 

Medium  brown  hair,  grey  green  eyes,  and  a 
very  fair  complexion — what  a  charming  color 
combination.  Here  are  the  best  colors  for  you. 
White,  golden  and  bronze  brown,  pale  green, 
pearl  and  dove  gray,  violet,  wistaria,  yellow, 
all  delicate  pinks,  navy  and  delft  blue.  E.xer- 
cise  your  thin  arms.  Sweeping  is  a  great  help. 
Swimming,  too. 

G.  L.  L.: 

You  are  slightly  underweight.  Adding  five 
pounds  will  be  just  that  much  health  insurance. 
Long  hair  is  the  smart  mode  for  the  coming 
year.  If  you  really  want  longer  locks,  there's 
no  hope  but  to  face  going  through  that  "awk- 
ward length"  period. 

Unhappy  Punch: 

Correct  breathing  and  exercise  that  strength- 
ens the  back  muscles  will  overcome  your  flat 
chest.  Swimming,  tennis  and  singing  lessons 
will  all  help  you.  Try  always  to  sit  and  stand 
with  the  shoulders  well  back  and  the  arms 
hanging  naturally  loose  at  the  sides.  Each 
night  and  morning  do  this  exercise  before  your 
mirror.  Standing  in  correct  position,  chest 
high,  legs  close  together  and  feet  in  parallel 
lines,  but  not  with  heels  touching,  inhale  so 
that  the  ribs  are  pushed  forcibly  outward. 
Then  exhale  loudly,  keeping  the  mouth  wide 
open  and  the  chest  high.  Your  chest  will  want 
to  fall  when  you  exhale  but  do  not  let  it.  In 
order  to  prevent  it,  try,  while  exhaling,  to  hold 
the  shoulder  blades  tightly  together.  This  is 
rather  difficult  and  requires  practice,  but,  once 
acquired,  it  is  one  of  the  most  beneficial  of 
exercises  for  general  health  and  strictly  prac- 
ticed will  develop  a  fine,  strong  chest. 


"Dot,"  Washtxcton,  D.  C: 

Your  stationery  is  very  correct  and  your  pen- 
manship meets  the  most  important  require- 
ment of  all  handwriting — it  can  be  easily  read. 
I,  who  read  so  many  letters  daily,  know  what 
a  blessing  that  is!  Don't  worry  about  your 
weight.  You're  only  about  a  pound  too  heavy 
and  you  can  lose  that  by  dropping  desserts  off 
your  menu.  That  will  aid  both  your  health  and 
your  purse.  Since  you're  a  rosy  cheeked  bru- 
nette you  can  wear  these  shades:  Cream  and 
ivory  white,  gold,  beige,  nut  brown,  pale  blue, 
silver  gray,  cardinal  and  clear  red,  yellow  in 
every  tone,  black  when  trimmed  with  color, 
and  coral,  old  rose  and  pink. 

"Green  Apple  Sauce": 

Welcome,  friend  from  far-off  Shanghai! 
First,  increase  your  weight  at  least  twenty-five 
pounds.  This  will  practically  remedy  all  your 
present  troubles,  for  the  dandruff,  the  thin 
hair,  the  white  spots  on  the  nails,  the  thin  neck 
and  legs  are  all  due  to  your  being  so  greatly 
underweight.  You  should  get  at  least  ten 
hours  sleep  nightly  until  your  weight  reaches 
126  pounds.  You  should  drink  lots  of  water 
and  take  milk  several  times  a  day,  either  plain, 
hot,  cold,  malted  or  with  chocolate.  Eat  all 
foods  containing  fats,  starch  and  sugar,  also 
butter  and  oils.  Be  sure  you  get  three  full 
meals  a  day  with  such  foods  as  bean,  rice,  bar- 
ley, celery  and  mutton  soups;  potatoes,  toma- 
toes, beans,  spinach,  onions,  beets,  asparagus, 
bacon,  ham,  beef,  mutton,  sausage,  squab  and 
game,  oatmeal,  rice,  whole  wheat,  and  crackers 
of  graham' and  oatmeal  flours  and  as  desserts 
all  cooked  fruits,  cream  and  ice  cream,  plus 
rice  puddings,  tapioca  and  custards.  For 
colors  you  can  wear  ivory  and  cream  white, 
dark  browns  and  blues,  dark  warm  reds,  apri- 
cot, terracotta,  beige,  pink  in  warm  and  pale 
shades.  Unless  j'ou  are  fairer  than  you  in- 
dicate I'd  be  careful  of  the  lilac  and  pale  green. 
If  you're  a  pale-skinned  brunette,  you  can  wear 
them  but  if  you  are  olive-skinned,  as  you  say, 
avoid  them.  Two-inch  heels  are  satisfactory. 
Higher  ones  are  not  so  good. 


Vienna,  Austria. 

America — land  of  boundless  posi- 
bility— land  of  longing  for  all  Euro- 
pean. 

For  that  very  reason,  this  longing 
for  America  is  the  headpoint  why 
all  characteristic  American  motion 
picture  in  Europe  find  so  enthusiasm 
reception. 

That  is  the  secret  of  the  great  at- 
traction and  popularity  of  all  cowboy 
(western)  picture;  that  is  the  secret 
why  Tom  Mix,  Fred  Thomson,  Buck 
Jones,  Ken  Maynard  and  so  many 
other  western  actors  are  so  popular. 

Picture  which  are  taken  up  at  New 
■york,  Chicago,  Frisco,  Los  Angeles 
or  in  other  city  of  the  U.  S.  A.  and 
show  characteristic  American  life, 
American  buildings  (skykraper)  and 
American    proportion,    and    so    are 

advcTllifmeni  In  I'lKIToI'l.AV  MA0.\Z:NE  Is  ciiarii 


hundred  per-cent  American,  will  al- 
ways find  a  great  success  in  Europe. 

Every  European  might  like  over 
the  great  water;  because  he  can't,  he 
go  to  every  motion  picture  who  show 
American  life  in  it,  and  delusion  him- 
self two  hours  that  he  is  yonder  and 
see  all  this  in  actuality.  Once  dreams 
the  girl  from  a  Prince  or  a  Count;  to- 
day every  girl  dreams  from  a 
American  movie  star. 

PHOTOPLAY  reader  in  Europe 
are  very  unfortunate  thereon.  If  a 
picture  is  finish  and  PHOTOPLAY 
Magazine  praise  this  picture  so  very 
well  like  "The  'Way  of  All  Flesh," 
that  is  a  torture  for  PHOTOPLAY 
reader  when  they  must  wait  two  or 
three  months  till  they  see  it  on  the 
screen  in  Europe. 

Hans  Vana. 


Photoplay  Magazine — Advertising  Section 


Do  women  read 

advertisements  ? 

T^O  YOU?  Do  you  clip  recipes  from  the  fascinating 
J— ^  messages  that  advertise  a  new  salad  oil,  a  new 
frying  fat,  a  new  cake  flour?  Do  you  think  twice  about 
your  skin,  those  wrinkles  at  the  corners  of  your  eyes, 
your  tell-tale  past-thirty  neck  because  of  beauty  ads 
that  bring  romance  about  happiness,  love  and  youth? 

IN  planning  advertisements,  the  question  is  often 
asked,  "Do  women  read  advertisements?"  The  experi- 
enced advertiser  answers,  "Yes — if  they  are  interesting 
and  instructive  to  read." 

THIS  is  the  spirit  of  the  best  modern  advertising. 
More  and  more,  the  ideal  is  to  show  you  definitely  how 
a  new  product  can  work  to  your  well-being,  your 
pleasure  in  life,  your  greater  happiness.  By  reading 
advertisements,  you  can  be  a  better  housewife,  a  more 
efficient  home  manager,  a  shrewd  and  thrifty  buyer. 
The  advertising  pages  of  this  magazine  contain  in- 
formation that  is  valuable  and  important.  If  you  do 
not  read  advertisements,  join  the  large  army  of  women 
who  do,  in  order  to  know  the  best  things  to  buy  for 
yourself,  your  children  and  your  home. 


Reading  advertising  regularly  is  keeping  up 

with  the  times  in  the  most 

economical  way 


'IJOTOI'LAY    MAGAZIXE. 


Photoplay  Magazine— Advertising  Section 


Gossip  of  All  the  Studios 

1  CONTI\rED  FROM  PAGE   88  ] 


)i7icr  sleek f  sinning  c/ian 
ids  on   Lyonibmd 


To  ACHIEVE  the  well  groomed  look — and  to 
keep  it,  suggests  regular  care  with  Ace  Hard 
Rubber  Combs.  It  is  the  even  smoothness  of 
finely  moulded  and  polished  teeth  of  these 
well  made  Combs  that  means  successful,  safe 
and  sanitary  hair-grooming.  By  far  the  best 
plan  is  to  use  a  large  (9  inch)  Ace  Dressing 
Comb  in  the  morning.  It  untangles  and 
dresses  the  hair  without  danger  of  pulling  it 
out.  Then  the  Bobbed  Hair  Comb  carried 
in  the  purse,  is  always  ready  to  keep  the 
hair  smoothly  in  place. 

Ace  Combs 

^  GENUINE  Ace  Bobbed  Hair  Comb,  for  example,  may 
be  purchased  at  toilet  goods  and  notion  counters  every- 
where,or  if  you  arc  not  able  to  obtain  it  send  us  twenty-five 
cents  and  wc  will  supply  one  together  with  our  book 
"LovEi-Y  Haih,1ts  Cake  and  Combing". 

fTr^r  Of  Hrrt} 


way  grew  weary  and  lay  down  on  one  of  Mai's 
twin  beds,  announcing  his  intention  of  taking 
a  nap. 

The  other  three  drifted  out  presently,  leav- 
ing Conway  to  peaceful  slumber  and  Mai  left 
I  his  two  friends  to  make  some  calls  of  his  own. 

BARRYMORE  and  Mizner  picked  up  in 
their  subsequent  wanderings  a  little  shriv- 
eled, wizened  man,  who  said  he  was  a  jockey, 
homeless,  hungry  and  forlorn.  Being  kind 
hearted  gentlemen,  they  fed  him  and  then  con- 
ferred about  finding  him  a  place  to  sleep. 

"Mai  has  an  e.xtra  bed.  Let's  put  him  in 
that  I"  one  of  them  suggested  and  forthwith 
they  returned  to  the  bungalow  and  ensconced 
their  protege  in  the  bed  which  Conway  had 
quitted. 

M.\L  came  in  late,  saw  the  figure  under  the 
covers  and  concluded  that  Jack  had  de- 
cided to  remain  all  night. 

Next  morning,  he  awoke,  looked  over  at  his 
still  sleeping  room  mate,  gave  a  cry  of  alarm 
and  rushed  to  the  telephone. 

"Get  a  doctor  quick!"  he  shouted  to  the 
operator.  "Jack  Conway  is  in  my  room  and 
he's  shrunk!" 

AND  during  the  two  months  that 
the  Universal  Studio  was  closed 
down,  the  only  picture  they  made 
was    called    "Lonesome." 

BEBE  DAXIELS  is  always  doing  the  un- 
usual. She  was  the  first  woman  in  Cali- 
fornia to  spend  two  weeks  in  jail  for  speeding. 
Xow  she  is  li\-ing  in  the  Hollywood  Hospital  at 
night  and  working  days  at  the  studio. 

The  accident  which  sent  her  to  the  hospital 
some  weeks  ago  was  a  pretty  serious  affair,  and 


the  doctors  insist  she  must  have  constant 
treatment.  So  rather  than  delay  production 
and  cost  the  Paramount  Company  thousands 
of  dollars,  she  is  reporting  every  day  for  work, 
and  spending  her  nights  in  the  hospital — and 
this  despite  the  fact  that  the  accident,  which 
might  have  proved  fatal  to  Bebe,  was  appar- 
ently caused  through  negligence  on  the  part  of 
the  studio.  I  know  of  no  other  actress  who  has 
Bebe's  pluck  and  courage. 

YE.ARS  ago  Hobart  Henley  and  the  late 
Mrs.  Sidney  Drew  made  a  picture  called 
"The  Gay  Old  Dog."  It  was  a  great  fibn,  but 
so  far  ahead  of  its  time  that  it  never  was 
properly  appreciated.  Paramount  has  pur- 
chased the  film  from  Henley  and  will  re-make 
it  as  a  special  release.  And  Henley  will  direct 
it. 

But  Mrs.  Sidney  Drew,  whose  great  ability 
was,  in  a  large  measure,  responsible  for  "The 
Gay  Old  Dog,"  died  poor,  forgotten  and 
broken-hearted. 

A  CCOMPAXIED  by  a  secretary,  a  maid, 
-•^-sixteen  trunks  and  a  bag  of  golf  sticks  Lya 
de  Putti  started  out  from  Grand  Central  Sta- 
tion headed  for  her  second  invasion  of  Holly- 
wood late  this  month. 

Poor  Lya.  She  is  a  genuine  personality  and 
a  fine  actress,  but  the  breaks  have  not  come  her 
way  in  America. 

In  Germany  it  is  different.  There  she  is  the 
second  most  popular  film  star — the  first  being 
Jannings.  Every  German  studio  yearns  for 
her  signature  on  their  contracts.  Recently 
when  she  sold  the  furnishings  of  her  expensive 
villa  outside  Berlin,  a  crowd  stormed  the  place 
for  days  and  even  her  oldest  shoes  were  re- 
garded as  priceless  sou\-enirs  by  the  bargain 
hunters. 


AMEKICA:.       iI..KlJ       l.LliCI.R      COMPANY 

Dcpt.  H-S,  II  Mercer  Street,  New  York,  N.V. 
Enclosed  ii  1$  cents  (stamps  preferred)  for  book, ^^ Lovely 
Hair,  Its  Care  and  Combing,"  and  sample  Ace  Comb  as 


c.   Pic 


nd  them  I 


Ace  Comb  Cabinet 


One  of  Hollywood's  most  useful  families.  In  the  center  is  Ruth 
Harriet  Louise,  photographer  for  Metro-Goldwyn-Mayer.  You 
probably  have  admired  many  of  her  portraits  of  the  stars  published 
in  PHOTOPLAY.  To  the  left  is  Mark  Sandrich,  Ruth's  brother. 
He  is  a  director  for  Fox.  The  gentleman  on  the  right  is  Leigh 
Jason,  who  directed  "I  Told  You  So."  The  two-reeler  cost  only 
$1,000  but  it  was  so  good  that  Mr.  Jason  got  a  contract  to  make 
features  for  Universal 

Mini'nt   in  PIIOTOI'I.AY  M.\OAZINE  Is  Euarantced. 


Photoplay  Magazine — Advertising  Section 


05 


But  Lya  doesn't  want  to  succeed  in  Ger- 
many. She  has  accomplished  that  and  like 
most  people  an  easv  victory  is  no  fun  at  all  to 
her. 

Wish  her  luck  on  this  second  journey.  At 
least  she  proves  her  spunk  and  courage. 

DOUGLAS  FAIRBANKS,  JR.,  recently  pre- 
sented Joan  Crawford  with  an  exquisite 
diamond  studded  ring. 

Two  months  later  some  bright  newspaper  re- 
porter discovered  the  ring  and  heralded  the 
fact  that  the  two  had  slipped  away  and  were 
married. 

But  Joan  insists  that  it  is  still  just  a  love 
token  and  that  there  just  ain't  going  to  he  no 
marriage! 

npEN  years  ago  Marcia  Manon  was  a  well- 
•'-  known  screen-vampire.  You  will  remember 
her  with  Mary  Pickford  in  "  Stella  Maris." 

Then  she  disappeared  from  the  screen.  For 
seven  years  no  one  knew  what  had  happened. 

The  other  day  an  extra,  playing  the  part  of  a 
modiste  in  his  picture,  caught  Lew  Cody's  eye. 

"Who  is  that  woman?"'  he  asked  Director 
Mai  St.  Clair  and  several  others.  No  one  could 
answer. 

Finally,  Lew  approached  the  woman  and  re- 
marked that  her  face  seemed  familiar.  It  was 
Marcia  Manon.  She  had  married  and  spent 
se\-en  )-ears  raising  horses  on  a  ranch.  The 
death  of  her  husband  and  the  old  urge  for 
drama  has  brought  her  back  into  pictures  to 
begin  once  more  at  the  bottom. 

WHY  don't  we  see  Jack  Holt  in  the  Jack 
Holt  Pictures  any  more?"  asked  the 
public.  The  answer  was  simple.  He  had  been 
cut  off  the  Famous  Players  payroll  and  Gary 
Cooper,  Lang  Chandler,  and  Jack  Luden,  son 
of  the  cough  drop  king,  had  been  cast  in 
western  roles.  One  after  the  other,  these 
youngsters  were  tried,  but  the  barometer  in 
the  box  office  indicated  low  pressure  on  west- 
erns. This  situation  has  now  been  remedied 
by  re-signing  the  favorite.  Everyone  is  pleased 
and  the  light  of  secret  satisfaction  shines  from 
Jack's  face. 

■XyTADGE  BELL.\MY  established  a  record 
-'•^■'•when  she  wed  and  separated  in  four  days. 
It  isn't  as  bad  as  it  sounds,  and  perhaps  Madge 
was  a  wise  girl  when  she  brought  the  matter  to 
a  quick  and  decisive  conclusion  after  she 
realized  she  wasn't  in  for  a  life  of  happiness. 
It  was  just  one  of  those  things  that  young  girls 
do  in  Little  Rock,  Ark.,  as  well  as  in  Kokomo, 
Ind.,  and  Manchester,  England.  She  married 
in  haste  and  wasn't  going  to  take  a  long  time 
to  repent. 

Some  folks  do  say  that  Ma  Bellamy  and 
Madge  were  not  hitting  it  off  so  well,  and  that 
the  daughter  just  up  and  married  without  any 
special  reason.  Anyhow  the  courtship  between 
Madge  and  Logan  Metcalf,  a  Los  Angeles 
broker,  was  almost  as  rapid  as  the  separation. 
Logan,  according  to  people  who  know  him, 
is  a  regular  sort  of  a  person  too.  He  didn't 
waste  time  in  crying  over  the  spilled  milk 
either,  for  he  went  right  about  his  business  and 
sue"d  for  divorce  on  the  grounds  of  desertion. 
So  that's  that. 

npHE  only  thing  more  difficult  than  a 
■*■  chance  in  pictures  is  a  second  chance.  That 
is,  if  you've  fumbled  the  first  one.  But  one 
young  lady  who  had  her  first  break  in  a  De 
Mille  picture  and  failed,  staged  a  comeback 
that  was  not  only  unique,  but  if  adopted  regu- 
larly, would  fill  the  Hollywood  Hospital  and 
considerably  lighten  the  casting  director's  job. 
Not  long  ago,  Mr.  De  Mille  kept  an  expen- 
sive cast  waiting  while  he  labored  with  this  girl 
over  a  certain  scene.  The  poor  kid  was  so 
frightened  that  she  behaved  like  a  perfect 
moron.  As  the  company  was  on  location,  C.  B. 
was  forced  to  use  her,  but  by  the  time  he  had 
some  semblance  of  the  scene  he  needed,  he  was 
so  exasperated  that  he  ordered  her  name  struck 
from  the  casting  roster. 


\.udez  has  made,  aa  entlreLi 

New  Liquid  Polish ! 


CRYSTAL  bright . .  .  Natural  .  .  . 
Light  and  thin  on  the  nails  as  a 
ray  of  sunUght. 

Have   you    longed   for   the   lure   of 
flashing  nails?    Their  glancing  sheen 
with  every  slightest  move- 
ment of  your  hands.? 

Cutex  has  captured  the 
very  sheen  itself  of  such 
nails!  .  .  .  Transformed  it 
into  a  liquid  thin  as  air  .  .  . 
Transparent  as  sunlight . . . 

It  is  an  entirely  new 
formula!  One  look  at  it — • 
clear,  crystal,  fresh-tinted 
— thin  as  water — tells  you. 

For  long  Northam  War- 
ren experimented  to  pro- 
duce a  polish  crystal  clear 
.  .  .  softly  lustrous  .  .  . 
quicker  drying  .  .  .  endur- 
ing. Now  this  triumph 
has  been  achieved  in  his 
laboratories.  It  lasts  more 
than  a  week.  The  Polish 
Remover,  used  first,  cleans 


and  prepares  the  nail  for  the  Polish. 

The  new  formula  is  in  smart   little 

twin  bottles,  bright  as  jewels — one  for 

the  Polish,  one  for  its  Remover.    The 

two  together  50c.   The  new  Polish  and 

Remover  in  standard  size 

packages,  are   35c  each. 

^  If  you  are  frightfully  im- 

yfMjL^  patient  to  try  it — just  tear 

■  ^H|l^  off  the  coupon  and  send 

■^  it  with  6  cents  for  the 

J  ^^  dearest,  shining  little 

Al  M^  sample  bottles! 


ItieJ^. 


'ew 


Natural  Tint — or 
the  neiv  Colorless 
tvitli  separate  Tint 


CUTEX    LIQUID    POLISH 

CRYSTAL    BRIGHT  •  •   NATURAL  •  •  ENDURING 


Mail    coupon     today 

/  enclose  6c  for  samples 
ojnez)  Cutex  Liquid  Polish 
and  Remover.  (If  you  live 
in  Canada,  address  Dept. 
Q.5,  I '01  St.  Alexander 
Street,  Montreal.) 


Warren,  Dept.  Q-5, 
17th  Street,  New  York 


advertisers  plen; 


PHOTOPLAY    MAGAZINE 


io6 


Photoplay  Magazine— Advertising  Section 


EYES 


PJ  A  TWINKLING,  .wonderful 
Winx  makes  eyes  enchanting  pools  of 
loveliness — by  framing  them  in  a  soft, 
shadowy  fringe  of  luxuriant  lashes.  If  you 
want  beautiftil  eyes  that  can  never  be 
denied  a  whim  or  wish,  apply  Winx 
to  the  lashes. 

Fashion  Decrees  This  Cream 


In  this  dainty  com- 
pact is  the  bewitch- 
ing lash  dressing, 
CrcamWinx.which 

fives  to  lashes  and 
rowssmartbeauty. 
Iraisoaidstheirlus- 
trous  growth.  So 
easy  to  carry.    75c 


Some  Prefer  This  Cake 


Safe  and  harmless 
and  simple  to  apply, 
this  wonderful  Cake 
Winx,  preferred  by 
many  fastidious 
women,  makes  eyes 
seem  larger,  more  ex- 
pressive. A  flick  of 
the  brush,  and  it's 
done!  75c  complete. 


The  Originator  of  the  Smartest  Mode 


Everywhere  you'll 
see  eyes  made  love- 
lier by  WinxWater- 
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plete. 


Insist  Upon  Winx 

To  be  sure  of  the  loveliest  lashes 
and  brows,  insist  upon  Cream 
Winx,  ake  Winx  or  Winx  Water- 
proof —whichever  you  prefer.  For 
NVinx  is  now  the  mode.  Obtained 
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beauty. 

WINX 

ROSS  COMPANY 

M3  Wet    17th   Street,   New   York  City 


'HE  made  repeated  attempts  to  crash  the     VW'ERNtER  KLINGLER,  a  German  actor, 


evcnmg,  De  Mille  was  driving  out  the  rear  gate 
of  the  "studio,  when  our  heroine  suddenly  ap- 
peared from  nowhere  and  flung  herself  in  front 
of  his  car.  Only  an  instantly-swerved  wheel 
and  jammed-on  brakes  saved  her  life. 

.\fter  emitting  a  few  choice  remarks  on  her 
foolishness  and  his  annoyance,  the  producer 
assigned  her  a  part  in  his  next  picture.  ['Any- 
one who  wants  a  thing  that  badly,"  he  is  said 
to  have  declared,  "deserves  to  get  it."  This  is 
how  \'iola  Lewis  got  her  part  of  Two  Gun 
Sadk  in  "Chicago." 

IN  Billv  Haines'  new  picture,  "He  Learned 
.Vbout  Women."  Billy  rides  in  a    rickshaw 
down  a  street  in  Shanghai. 

.\  camera  on  a  truck  was  to  follow  Billy  and 
the  Chinese  "coolie"  pulhng  him  was  told  to 
run  as  fast  as  he  could.  When  the  call  came 
for  ".\ction!  Camera!"  the  coolie  sprinted 
away  at  an  alarming  pace  and  the  truck  follow- 
ing them  was  hopelessly  outclassed  as  to 
speed. 

.\fter  several  unsuccessful  attempts  a  mem- 
ber of  the  panting  and  perspiring  truck  team 
called  out,  "Say,  who  is  that  guy,  anyhow?" 

He  turned  out  to  be  Victor  Wong,  crack 
sprinter  of  the  Hollywood  High  School,  who 
was  taking  a  fling  at  the  movies  in  a  spare 
moment. 

So  the  direction  was  changed  to  a  polite  re- 
quest to  Mr.  Wong  to  accommodate  his  pace 
to  that  of  the  truck. 

ALICE  WHITE  says  she  is  now 
going  in  for  aviators.  Dick 
Grace  is  her  latest.  "He  broke  his 
neck  in  'Wings,'  "  she  remarked 
casually.  "But  it  doesn't  seem  to 
have  interfered  with  his  necking." 
Now,  Ahce! 

WE  had  seen  Joan  Crawford  eating  cold 
toast  and  mustard  on  the  set  but  thought 
it  a  gag  in  the  picture.  However,  when  we 
lunched  with  her  the  other  day,  she  ordered 
toast  and  mustard.  Come  to  find  out  that 
toa^l  is  kept  constantly  on  the  ice  for  her  at 
home,  so  that  she  may  begin  every  meal,  even 
breakfast,  with  her  favorite  combination. 

A/TICHAEL  BOHNEN,  the  Emil  Jannings  of 
•'•  ^-l-lhe  MetropoHtan  Opera  Company,  made  a 
film  for  UFA  in  Germany  which  probably  will 
be  released  in  this  country.  It's  called  "Secret 
Power,"  and  it  is  a  story  of  Russian  refugees  in 
Germany.  Bohnen  is  married  to  ]\Iary  Lewis, 
the  prima  donna  who  had  a  brief  fling  in  pic- 
tures years  ago  as  a  Christie  bathing  girl. 


to  come  to  Hollywood  and  become  an  e.xtra. 
He  played  for  more  than  a  year  without  recog- 
nition, when  Emil  Jannings  noticed  him  on  the 
set  of  "The  Last  Command,"  talked  with  him 
and  believed  he  was  good  screen  material. 

He  was  assigned  to  the  role  of  Jannings'  son 
in  "The  Patriot"  when — to  the  dismay  of  the 
boy  and  his  patron — it  was  found  that  a  prom- 
inent shadow  showed  on  his  nose  under  the 
penetrating  eyes  of  the  camera.  It  was  the 
result  of  a  blow  received  during  a  youthful 
boxing  match. 

A  plastic  surgeon  remedied  the  defect  in  a 
few  days.  Again,  all  was  ready — when  a 
swelling  set  in  which  lasted  so  long  that  some- 
one else  was  assigned  to  the  picture. 

Yet  Klingler  is  happier  than  for  many 
months.  He  has  at  least  gained  recognition 
among  Hollywood's  yearning  ten  thousand 
extras. 

RAMON  NOVARRO  gave  a  brilliant  dinner 
the  other  evening.  He  had  the  finest 
caterers,  the  best  florists,  etc.  Yet  not  a 
motion  picture  star  attended.  It  was  for 
twenty-five  of  Ramon's  oldest  friends,  many 
of  them  from  Mexico  City,  just  to  prove  he 
hadn't  forgotten  the  boys  who  gave  him  a 
hand  before  he  became  famous. 

TOBYNA  RALSTON  comes  from  a 
J  small  town  in  Tennessee,  where 
motion  pictures  are  practically  un- 
known. There  is  no  "movie"  house 
and  the  trip  to  the  nearest  city  is  out 
of  reach  of  most  of  the  inhabitants. 

A  short  while  ago,  Jobyna  paid  a 
visit  to  her  birthplace.  An  old  timer 
expressed  a  desire  to  see  the  young 
lady  in  "just  one  picture."  So  Job- 
yna drove  him  up  to  the  big  city. 
When  they  came  out  of  the  theater, 
the  old  man  remarked, 

"That  thar  was  a  fine  picter,  Joby, 
and  the  gal  was  shore  a  good-looker; 
but  I'd  a  heap  rather  seed  you  acting. 
Thought  you  said  you  was  in  it?" 

And  Jobyna  was  the  only  girl  in 
the  entire  production! 

"TTIERE  was  a  mad  rush  to  buy  the  March 
-•-  issue  of  Photoplay  in  Hollywood  by  count- 
less male  swains,  when  it  was  learned  Ruth 
Taylor's,  or  Lorelei  Lee's,  diary  was  printed. 
They  were  all  afraid  they  would  find  them- 
selves mentioned. 

"And  when  they  weren't,  they  were  all  dis- 
appointed," Ruth  told  me.  Then  they  talk 
about  the  contradiction  of  women's  natures. 


Amateur  Movies 


[  CONTINUED  FROM  P.^GE   74  ' 


Panchromatic  film,  via  Dupont,  is  now 
available  for  the  16  mm.  cameras.  Try  it 
sometime. 

piioTOPLAY  continually  receives  this  inquiry: 
■•-  what  is  the  most  useful  lens? 

Obviously,  the  F  3.5  lens  furnished  with 
your  Filmo  and  your  Cine-Kodak  is  the  most 
useful,  since  camera  manufacturers  make  it  a 
part  of  the  regular  equipment.  Plus  a  Ram- 
^Icin   filler,  the  Taylor-Hobson-Cooke   F  3.5 


ball  games  from  a  distant  grand  stand,  you 
will  require  a  telephoto.  .\nd  you  will  find 
the  telephoto  to  be  the  trickiest  of  all  lenses  to 
operate    successfully. 

"LJERE  is  the  dream  of  the  average  movie 
-*•  •'■amateur  come  true.  W.  P.  Henritze,  of 
Roanoke,  Va.,  is  now  in  Rochester  receiving 
the  help  of  the  Eastman  Kodak  Company 
in  editing  and  titling  nearly  three  and  a  half 
miles  of  amateur  film  shot  during  a  recent  tour 


lens,  furnished  with  the  Filmo,  becomes  a  thing  of  the  world 

of  wide  possibilities.     You  can  hardly  fail  to         Mr.   Henritze's  trip  is  believed  to  be  the 

^  n.V    r*^  outdoor  stuff  with  it.  most  extensive  movie  expedition  yet  under- 

<)  her  lenses  are  for  special  purposes.     You  taken   by   an   amateur   movie   photographer. 

i'\.    1    •    """-^      ,         ""■  ^'^'^^  mteriors,  His  pictures  required  twelve  hours  to  project, 

lor    lighted    interior   close-ups,    for   incidents  Only  five  hundred  feet  of  film  out  of  18,000 

r((|uiring    speed,    tor    night    outdoor    shots,  shot  proved  to  be  of  inferior  quality. 
U  h.n  you  vvant  a  large  image  of  a  distant  shot,         The  trip  on  which  Mr.  Henritze  made  his 

V.u  need  a  telephoto  lens.    Thus,  if  you  want  motion  pictures  carried  him  around  the  worid 

to  lilm  exciting  incidents  of  baseball  or  foot-  on  a  route  53,000  miles  long.    The  expedition 
y  odvcrtlspmcnt  In  PIIOTOPLAY  MAGAZINE  Is  Euarantced. 


Photoplay  Magazine — Advertising  Section 


required  two  years.  In  the  course  of  this 
travelling,  as  extremes  of  elevation,  Mr. 
Hcnritze  took  pictures  of  the  Dead  Sea, 
1,300  feet  below  the  level  of  the  Mediterra- 
nean, and  of  Mount  Everest,  29,000  feet  above 
sea  level. 

Mr.  Henritze  has  movies  of  the  South  Sea 
Islands;  of  New  Zealand,  including  "The 
Bluffs,"  the  southernmost  habitation  of  white 
men,  whence  Commander  Byrd  will  leave  on 
his  South  Polar  e.xpedilion;  of  two  albatrosses 
with  a  wing  spread  of  fifteen  feet  at  sea;  of 
Australia  and  the  IVIelbourne  Cup  race,  on 
wliich  25  per  cent  of  the  national  resources 
of  that  continent  are  bet  annually;  of  pearl 
fishing  in  the  Thursday  Islands;  and  of  an 
elephant  hunt  in  Borneo. 

Before  becoming  an  amateur  movie  en- 
thusiast, Mr.  Henritze  made  over  40,000  still 
photographs  in  this  countr>-  and  abroad.  He 
is  building  a  new  home  at  Roanoke,  in  which 
is  being  constructed  a  home  movie  theater 
for  showing  his  own  pictures  and  those  of  his 
friends.  All  of  Mr.  Henritze's  world  tour  film 
were  shot  with  a  Cine-Kodak. 

VXriTH  the  aid  of  Hiram  Percy  Maxim, 
**  president  of  the  Amateur  Cinema  League, 
and  A.  H.  Dockray,  of  the  Eastman  Kodak 
Company,  Hartford,  Conn.,  amateurs  have 
organized.  The  initial  meeting  witnessed  a 
shoxving  of  amateur  films,  the  prize  for  the 
best  shown  being  won  by  Robert  Morris.  The 
club  is  in  the  hands  of  Robert  Morris,  presi- 
dent; F.  N.  Tilton,  vice-president;  F.  L.  Way, 
treasurer;  H.  E.  Cowles,  secretary,  and  L.  W. 
Hatry,  editor. 

A  CINE-SECTION  has  been  organized  in 
the  San  Antonio,  Te.x.,  Y.  M.  C.  A. 
Camera  Club  with  J.  B.  Studer,  director; 
Clyde  Logue,  business  manager;  C.  Perry, 
cameraman;  J.  B.  Horner,  publicity  manager; 
C.  L.  Maule,  scenario  writer;  L.  S.  Morgan, 
treasurer;  J.  Z.  Bessellieu,  property  manager, 
and  W.  L.  Meyer,  assistant  cameraman.  A 
film  contest  is  planned  as  an  early  event  for 
the  Texans. 

THE  Australian  Amateur  Film  Club,  of 
Sydney,  has  turned  out  a  very  ambitious 
film  production  in  "Caste,"  its  first  photo- 
play. This  is  a  war  picture  and  involves 
many  battle  scenes.  Commonwealth  authori- 
ties co-operated  cheerfully  by  lending  troops. 
A  technical  triumph  was  achieved  in  lap  dis- 
solves on  16  mm.  film.  Six  cameras  were  used 
in  the  filming.  This  club  has  one  hundred  and 
fifty  members.  The  director  is  Victor  A. 
Bindley  and  T.W.  Robinson  wrote  the  scenario. 


So  many  of 
us  choose 
the  Golden  State  Limited" 


On  this  famous  transcontinental  flyer, 
Billie  Dove  finds  the  same  rich  sim- 
plicity in  appointments,  the  unobtrus- 
ive, deft  service  as  grace  her  own  home. 
Film  celebrities  and  leaders  in  every 
walk  of  life  choose  the  "  Golden  State 
Limited."  Now  on  a  61^4  hour  sched- 
ule between  Los  Angeles  and  Chicago; 
none  faster  nor  finer. 


Golden  State 

Southern  ^    S  mm^  %4t  £^  tffl     Rock 


Pacific 


Island 


Angela  Murray  Gibson 
She  won  a  place  as  a  professional 
news  photographer  with  her  ama- 
teur film 


F.  S.  McGINNIS,  Passenger  Traffic  Mgr.,  Southern  Pacific  Compa: 

San  Francisco,  California 

L.  M.  ALLEN.  Vice-Pres.  and  Pass.  Traffic  Mgr.,  Rock  Island  Lin 

Chicago,  Illinois 

Hollywood  Ticket  Office  Los  Angeles  Ticket  Office 

6768  Hollvwood  Blvd.  212  West  Seventh 


PHOTOPLAY   MAGAZI.NB. 


io8 


Photoplay  Magazine— Advertising  Section 


J 


Are  you,  too,  one  of  those 
hare  tried  treatment 
after    treatment  for    the 
skin,  yet  withoiU  any  visi- 
*    ■  ble  results? 

ust  beneath 
your  skin 

is  the  complexion  you 
envy  today  in  others 

HOWEVER  marred  or  imperfect  your 
skin  may  be,  you  may  not  be  more 
than  one  short  week  away  from  a  really  radi- 
ant complexion. 

Startling  as  this  statement  may  seem,  it  is 
nevertheless  true;  and  with  thousands  of 
women  today  the  facts  are  being  passed  along 
firom  one  to  another.  It  comes  down  to  a 
simple  truth  about  the  skin  which  physicians 
will  tell  you  is  at  the  root  of  every  skin 
blemish  and  fault. 

Tiny  glands  continually  functioning,  pores 
throwing  off  poisons, 
capillaries  rushing  | 

fresh   blood  in  and  * 

carrying  ofFinfection  , 

—  here  is  a  delicate 
balance  offerees  like 
the  balance  wheel  of 
a  fine  watch.  W,th 
healthy  vigor  and 
activity,  comes  a 
clear,  clean  complex- 
ion. Too  much  or 
too  little  stimulation, 
and  there  starts  that 
long  succession  of 
blemishes  and  faults 
that  women  arc  con- 
stantly seeking  to 
avoid. 

This  method  of  daily  care 

To  cleanse  the  pores  of  dust  and  germs,  to 
carry  ofFinfecti(in,<jn(/Mcn  to  slop  new  infection 
before  it  starts  —  thousands  have  learned  the 
daily  use  of  Resinol  Soap. 

Start  today  to  use  Resinol  on  your  own 
skin.  Within  a  week  you  will  begin  to  notice 
it  has  taken  on  a  finer,  smoother  texture — a 
ruddier  glow.  You  will  notice  a  clearing  of 
the  ugly  little  blemishes. 

Ointment  for  serious  affections 

Resinol  Ointment  has  for  years  been  suc- 
cessful in  relieving  even  stubborn  skin  affec- 
tions. Rashes  and  eczema  — often  itching, 
unpleasant  and  embarrassing — will  in  many 
cases  vanish  promptly.  Thousands  have  won- 
dered at  the  QUICKNESS  of  its  action. 
And  it  is  absolutely  harmless. 

FREE  TRIAL  OFFER 


Dtpt.  9-D.  Rcjinol,  Baltimore,  Md. 

Pleuc  »CTid  m«,  without  charge,  a  trial  size  cafce 
of  Resinol  Soap  and  a  sample  of  Resinol  Oint- 
ment—enough for  several  days'  ordinary  use. 


City. 


HIGH  school  photoplays  are  on  the  in- 
crease. The  latest  reported  is  the  project 
of  the  members  of  the  Enftlish  class  of  the 
East  High  School  of  Rochester,  Ne\y  lork. 
The  scenario,  based  on  high  school  life,  was 
selected  by  competition,  scenes  will  be  laid 
in  the  school  buildings  and  in  homes,  and 
students  wiU  enact  the  roles.  Dr.  ^^  dlis 
Bradstreet  sponsors  the  production. 

MO\TE  clubs  are  developing  rapidly. 
Photopl.ay  readers  will  be  glad  to  know 
that  arrangements  have  been  made  by  which 
anvone  wishing  to  form  an  amateur  club  may 
secure  the  aid  of  the  Club  Consultant  of  the 
.Amateur  Cinema  League,  the  international 
organization  of  movie  amateurs.  The  amateur 
movie  department  of  Photoflay  will  gladly 
put  vou  in  touch  with  this  service  or  you  may 
write  directly  to  .Arthur  L.  Gale,  Club  Con- 
sultant, .Amateur  Cinema  League,  105  West 
40th  Street,  Xew  York  City.    Mr.  Gale's  serv- 


available    to    clubs    already 


ices    are    also 
organized. 

HERE  is  the  story  of  an  amateur  who  has 
won  her  spurs  as  a  professional.  The 
amateur  is — or  rather  was — Angela  Murray 
Gibson  of  Casselton,  North  Dakota.  Miss 
Gibson  submitted  to  Kinograms.  the  news  reel, 
a  striking  reel  of  film  showing  a  rodeo  held  at 
Kildeer,  near  Casselton,  and  she  was  immedi- 
ately signed  by  the  news  picture  service.  The 
pictures  were  sensational,  showing  maddened 
steers  plunging  almost  into  the  camera  lens. 
Miss  Gibson  had  taken  all  sorts  of  chances  in 
catching  the  shots. 

Miss  Gibson  was  born  in  Scotland  and 
studied  motion  picture  work  under  Carl  Gre- 
gory at  Columbia  University.  She  has  been 
photographing  short  subjects  for  two  years  as 
an  independent.  One  of  her  films,  "A  Lesson 
in  Cooking,"  is  now  used  in  the  public  schools 
of  New  York  City. 


Play  Houses 


I  CONTINUED  FROM  PAGE 


the  star  idea."  Curiosity  followed  Jenny  like 
a  shadow,  but  she  rarely  questioned;  she 
used  other  tactics. 

"Well,  I  started  to  tell  }'ou  a  moment  ago 
that  Dale  begged  me  to  get  hold  of  you  and 
take  you  over  there  for  dinner.  Don't  get  ex- 
cited now.  It's  just  dinner,  not  a  social  affair. 
We'll  eat  in  the  kitchen  if  you  like.  Let's  go 
over  right  away.  ' 


that  you — that  \ivid,  vital  you — can  be  suc- 
cessfully projected  on  the  screen.  Millions  of 
people  will  see  your  shadow  and  love  you. 
Millions  will  love  you  and  thousands  will 
thank  me  for  bringing  you  before  them." 

.As  he  spoke  his  thumb  caressed  the  girl's 
polished  fingernails.  Electric  shocks  raced 
in  stair-steps  up  her  arm.  Words  scampered 
from  her,  but  she  closed  her  e)'es  and 


Jenny  clutched   the   bed-post  tighter,   and     saw  the  reel  of  success  unwind  itself.     She 


-b-bu 


isualized  the  golden  heights,  and  saw  them  in 
every  detail.  Then  she  completed  the  picture 
that  Dale  Cameron  was  sketching.  She  saw 
clammy  greasepaint  and  glaring  lights  and 
grinding  cameras  and  foolish  headlines  and 
insistent,  jabbering  crowds,  and  hurry,  and 
hurry,  and  hurry.  She  saw  herself  as  a  tight- 
rope performer  dancing  precariously  on  the 
"gleaming  road." 

She  withdrew  her  hand  and  shook  her  head, 
attempting  to  say,  "No,  no,  no,"  but  the  effort 
resulted  only  in  a  purr. 

Dale  Cameron  mistook  the  meaning  of  the 

""PERH.APS  you'd  never  have  committed  di-     purr.    "Jenny!"  he  cried,  his  voice  a  blend  of 

-•- vorce  if  you  hadn't  taken  up  with  green,     emotions,  "Jenny,"  he  whispered  and  seized 

It's  such  a  serious  color.    Blue  is  light-hearted,     both  her  hands. 


drew  the  other  foot  up  under  her. 

"  But  Ed,  I  suppose." 

"No,  no,  not  Ed.  I  turned  him  down  again 
last  night.  I  do  wish  he'd  quit  asking  me  to 
marry  him.    B-bu — ' ' 

"So  that's  why  he's  all  to  the  good  today. 
You're  afraid  he  believed  that  'no'.  .  .  . 
W'here  are  my  gloves?  .  .  .  Call  a  cab.  .  .  . 
I'll  call  Dale.  ...  I  thought  I  had  a  hat.  .  .  . 
Oh,  that  dress  is  all  right.  .  .  .  Blue  is  so 
I  coldly  sensible.  If  I'd  stuck  to  blue,  I'd 
never  have  committed  matrimony." 


That's  why  it's  sensible." 

Jenny  tightened  her  grip  on  the  bed-post, 
then  released  her  fingers  as  though  they  were 
coiled  wire  springs.  She  was  going  to  Dale 
Cameron's  mansion  for  dinner.  .  .  .  She  w-as 
going  to  watch  a  magnified  shadow  of  herself 
flicker  across  a  luminous  sheet.  .  .  .  She  was 
going  to  hear  the  world's  greatest  cinema 
director  talk  of  art  and  training.  .  .  .  She 
was  going  to  touch  his  finger-tips.  .  .  .  She 
was  going  to  sway  to  the  rhythm  of  his  speech. 
She  curled  her  toes  inside  her  satin  pumps,  and 
a  ripply  chill  swept  over  her,  as  if  she  had 


The  "no"  leaped  to  the  grey  eyes,  and 
Cameron  read  it  there.  But  he  couldn't  read 
the  reason  for  the  "no."  He  arose  abruptly 
and  plowed  through  the  thick  carpet  to  a  full 
length  portrait  of  Eleanora  Duse. 

"JNIy  dear,"  he  said,  addressing  the  picture, 
"I  want  you  to  act — to  be  a  great  actress. 
But  to  act,  you  will  have  to  shed  that  armor 
of  reserve  and  dive  into  the  stream  of  life. 
You'll  have  to  swim,  not  wade;  to  plunge  into 
the  water,  or  even  into  the  mud,  instead  of 
skim  the  surface." 

Jenny  murmured  something  about  a  dragon- 


wriggled  her  bare  toes  in  mire.     Thoughts  of     fly  and  a  hippopotamus,  but  he  didn't  hear  it. 


Dale  Cameron  gave  her  chills  of  that  sort. 

Later,  when  she  recalled  the  incidents  of 
that  evening,  she  knew  that  she  had  eaten  a 
few  nibbles  of  salad  and  sipped  a  few  drops  of 
wine,  had  bantered  with  Jule  and  answered 
questions,  and  that  she  had  spent  a  delightful 
hour  in  a  vast  blue  and  brown  dining  room. 
Hut  she  couldn't  remember  with  what  excuse 
Jule  had  slipped  away,  nor  how  she  came  to  be 
alone  with  Dale  Cameron  in  the  living  room 
where  she  found  herself  seated  on  a  grotesquely 
carved  chaise  longue  with  her  hand  lying  in  his. 
The  ripply  chills  were  splashing  o\er  her,  and 
she  had  the  sensation  of  sinking  in  mire,  but 
this  time,  to  her  knees. 

"Jenny,"  Dale  Cameron  said,  "there  is  a 
gleaming  road  ahead  of  you.  There  is  work, 
and  there  are  disappointments,  of  course,  but 
these  are  mere  pebbles  in  that  shining  road  of 
I  fame.    The  fact  is,  and  the  fact  will  remain, 


"Step  out  from  behind  your  gay-colored 
screen  of  reserve,  Jenny,  and  let  emotion  strike 
j'ou.  Let  it  hurt  you,  sear  you,  chill  you,  but 
let  it  strike  you.  Don't  force  it,  follow  it.  Fed 
a  blood-red  sunset.  Fed  the  roar  of  the  angry 
surf.    Fed  the  song  of  the  nightingale." 


FENNY  turned  wide,  startled  eyt 
I  tired  face  of  Madame  Duse 


to  the  soul- 
Her  voice  came 
back,  full  force.  ".AH  this  feeling  is  terribly 
fatiguing,"  she  told  the  portrait. 

The  director  didn't  hear  her.  "I  want  you 
to  sing,  Jenny,"  he  went  on,  "not  with  your 
voice,  necessarily,  but  sing.  sing.  Pour  out  all 
your  yearning  in  golden  notes  of  harmony. 
And  I  want  you  to  weep,  ^\'eep.  Wring  tears 
from  an  anguished  soul.  And  laugh,  Jenny. 
Not  polite  little  chuckles,  but  laugh,  laugh,  the 
full-toned  cachinnations  of  the  jungle." 

Did   the  painted  eyelid  of  Madame  Duse 


..\V  M.\G.\ZINE  Is  tuaranteed. 


Photoplay  Magazine — Advertising  Section 


flicker?  Jenny  arose  and  moved  stealthily 
■  toward  the  vestibule. 

Dale  Cameron  heard  nothing.  He  flung 
wide  his  arms  and  pleaded  with  the  portrait. 
"And  I  want  you  to  love,  Jenny.  Let  passion 
melt  you,  mold  you." 

She  removed  a  small  hat  and  a  small  bag 
from  the  hatrack. 

Still  Cameron  addressed  the  painted  canvas. 
"Jenny,  I  want  you  to  love — " 

The  door  opened  softly,  and  Jenny  was  gone 
like  a  wisp  of  smoke  in  a  morning  breeze. 
She  shook  her  curls,  and  blinked  at  a  cloud- 
mottled  moonrise.  "\Yhat  a  head  o'  steam! 
What  highly  seasoned  applesauce!"  she  e.\- 
claimed,  stamping  first  one  foot  then  the  other 
with  a  vague  feeling  that  she  had  stepped  out 
of  oozy  mud. 

For  a  moment  she  balanced  on  her  toes,  then 
her  heels  came  down  with  a  thud  of  decision, 
pattered  down  a  narrow  walk,  clicked  onto  the 
rougher  surface  of  the  sidewalk,  and  clacked 
down  the  hill  to  Vine  Street,  and  down  Vine 
Street  and  into  the  Boulevard,  and  on,  and  on. 
This  time  Jenny  Ware  didn't  flutter;  she 
clumped  along,  each  heel  ringing  metallically 
on  the  cement.  If  you  were  on  the  Boulevard, 
she  passed  you  like  a  little  scurry  of  fog;  and 
you  hardly  realized  that  the  swirl  of  blue 
georgette  and  brown  curls  enveloped  Jenny 
Ware.  The  heels  dug  into  cracks  of  a  broken 
sidewalk,  buried  themselves  in  the  dust  across 
the  corner  of  a  lot,  turned  and  went  through  a 
sagging  iron  gate,  scrunched  up  a  sparsely 
gravelled  path  and  thudded  to  a  standstill  on  a 
creaky  porch. 

.\  hoarse  bell  rasped  within,  a  chair  scraped 
on  an  unpolished  floor,  a  pipe  clattered  on  a 
table,  and  a  collie  grunted  a  half  bark.  A  door 
opened.  Light  shone  for  an  instant  on  a  dusty 
magnolia  tree,  the  heels  thumped  over  the 
threshold,  and  the  door  closed  again.  Brown 
curls  were  crumpled  into  the  creases  of  a  blue 
jersey,  and  the  heels  were  lifted  two,  maybe 
three,  inches  from  the  floor. 

The  dog  dozed  again,  for  the  subject  of 
"Play  houses  by  the  sea"  was  not  new  to  him. 


109 


$5,000  Prize  Winner 
Tells  Her  Story 


I  CONTINUED  TROM  PAGE  49  ] 


NOT  a  genius)  until  I  had  woven  a  plot  around 
some  fictitious  characters  who  were  similar  to 
people  I  knew  there.  Then  I  put  it  on  paper 
and  sent  it  to  the  Photoplay-Famous  Players 
Idea  Contest. 

After  the  brain  child  started  on  its  journey,  I 
forgot  about  it.  That  is,  I  tried  ever  so  hard  to 
make  myself  forget  about  it  so  that  I  wouldn't 
be  tempted  to  take  any  of  those  dangerous 
flights  of  fancy.  I  didn't  have  a  regular 
position:  I  was  doing  some  direct  selling  out  of 
a  wholesale  hosiery  house  here.  It  was  hot  in 
the  San  Fernando  Valley  and  in  Orange 
County;  my  Ford  was  trembling  on  the  verge 
of  a  nervous  breakdown,  and  people  didn't 
greet  a  hosiery  saleslady  with  open  arms. 
Everj'  once  in  a  while  I  would  ha\'e  to  reprove 
myself  for  wondering:  "What  if  'Swag'  should 
crash?" 

Perhaps  that  will  give  you  an  idea  of  how 
much  this  has  meant  to  me.  I  could  tell  you 
about  the  stack  of  rejection  slips  I  have  from 
almost  every  publication  in  the  United  States, 
and  of  the  three  or  four  checks  that  came 
rattling  around  all  alone  in  an  envelope  with- 
out even  a  note  from  the  editor  sa\ang  why 
they  were  here;  but  that  doesn't  have  any- 
thing to  do  with  my  winning  this  prize.  In 
fact,  I  feel  as  though  the  credit  doesn't  belong 
to  me  at  all.  It  belongs  to  those  characters 
who  lived  for  so  long  in  my  mind.  They  just 
walked  right  into  that  prize! 


L 


'Does  your  favorite  smoke  go  sour  sometimes?" 

Great  After  Smoking 

"You  smoke  pretty  steadily.  Bill,  don't  you?" 

"Yes,  what  makes  you  ask?" 

"Well,  because  you  always  seem  to  enjoy  it  so 

thoroughly.    But  with  me  my  pet  smoke  goes  sour 

sometimes  ■when  I  smoke  that  way." 

"The  answer  is  easy,"  the  other  man  said,   "Just  eat  a 

few  Life  Savers  after  smoking  and  see  how  much  better 

each  new  smoke  tastes!" 

*       *       * 

More  and  more  smokers  are  doing  the  same  thing.   We  wondered  if 

you  knew  this  about  Life  Savers,  these  little  candy  mints  with  the 

hole;  how  they  freshen  your  mouth  between  smokes,  soothe  your 

nerves  and  make  the  next  smoke  so  much  better. 

It's  a  fact;  Life  Savers  easily  double  your  smoke  enjoyment.    Their 

wonderful  aromatic  flavors  freshen  your  mouth  like  a  good  drink  of 

water  when  you're  really  thirsty  —  and  steady  your  nerves  for  work 

or  play.   Once  you  try  them  this  way  between  smokes  youll  always 

have  a  package  handy. 

Six  popular  flavors:  Pep-O-Mint,  Wint-O-Green,  Cinn-O-Mon, 

Lic-O-Rice,  Cl-O-Ve,  ' 


P.   S. 

Have  you  tried 
LIFE  SAVER 
FRUITDROPS? 
Five  refreshing 
flavors— Orange, 
Lemon,  Lime, 
Anise  and  Grape. 
5c  a  package. 


■IIOTOPLAY   MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


any  12 
10  have  to 


be  told 


X  -V 

ONP!  of  the  most  serious  social 
handicaps  is  so  difficult  to  detect 
oneself  that  almost  all  girls  have  to 
be  told  about  it. 

They  think  they  are  immaculate, 
but  all  the  while  underarm  perspira- 
tion may  be  causing  odor  which  is  un- 
pleasantly noticeable  to  others,  and  is 
ruinous  to  dresses. 

So  women  of  distinction  rule  out  the 
possibility  of  offense  by  keeping  the  under- 
arm dry  all  the  lime,  by  the  regular  use  of 
Odorono.  Other  ways  they  say  are  trouble- 
some, and  mar  the  smart  fit  of  frocks.  But 
with  Odorono  odor  is  impossible — impos- 
sible too,  costly  stains,  odor  tainted  dresses. 

Odorono  was  made  by  a  physician  to  stop 
perspiration  where  it  causes  odor  and  ruins 
clothes,  fhe  underarm  particularly.  Check- 
ing perspiration  in  smallareas withOdorono 
has  no  effect  on  health.  Physicians  recom- 
mend it  where  perspiration  is  annoying. 

Odorono,  (ruby  colored)  stops  moisture 
and  odor  used  once  or  twice  a  week,  the  last 
thing  at  night.  Odorono  No.  S,  milder  (color- 
less) for  sensitive  skins  and  hurried  use, 
used  daily  or  every  other  day,  night  or 
morning,  gives  the  same  protection.  At 
toilet  goods  counters,  35c,  60c.  Odorono 
Cream  Depilatory  50c.  Or  send  lOc  and 
coupon  for  four  samples. 


Vomen  of  breeding  use 
ver  three  million  bottles 
'f  this  medically  atiltroved 
"occlusive"  every  year. 


New  10^ 
Offer: 


■ 

|H| 

RuthMIUer.  24S8lairAve..Cinclonall,0.    Bj 
I  encloK  IOC  for  ■amplcn.                          H| 

5 

^^1^ 

Clty^ State ^H 

(IVInt    name    and    a(ldre»>    plainly)  ^H 
In  Canada  addre«  The  Odorono  <„  ,  ^M 
468   Kln»  St.  We»t.  Toronto.  Onl            WS 

r^ 

Making  a  Million 


[  CONTINUED  FROM  PAGE   82  | 


it  sure  would  have  been  lost  without  Kathryn 
Williams.  I  was  a-guardin'  the  actor  folks  in 
the  day  time  an'  helpin'  to  take  care  of  the 
animals  at  night  time  an'  it  kept  me  pretty 
busv.     But  a-gettin'  my  money  regular. 

I'reckon  what  was  the  biggest  moment  of 
the  picture  came  one  afternoon  Icinda  une.x- 
pected  like.  Not  only  was  it  the  biggest 
moment  of  the  picture  but  it  was  the  biggest 
moment  that  yours  truly  had  e\er  experienced, 
an'  while  I've  had  a  few  excilin'  spells  since 
then  in  pictures,  nothin'  ever  happened  to  me 
quite  as  nerve-rackin'  as  this  scene  I'm  now 
a-goin"  to  tell  you  about. 

MISS  WILLI.\MS  is  lost  in  this  here  jungle. 
There  ain't  nobody  near  or  nothin'  to  hear 
her  cry  for  help.  In  fact,  she  is  miles  an'  miles 
from  no  place,  afoot  an'  wanderin'  'round  in 
this  jungle,  which,  b3'  the  way,  was  built  in  the 
old  fair  grounds  at  Pablo  Beach  about  fifteen 
miles  from  Jacksonville.  Well,  in  this  here  scene, 
Miss  WiUiams  is  a-kneeUn'  down  between  two 
logs  a-tr3an'  to  hide  herself  from  a  lot  of 
leopards  that  is  runnin'  'round  loose  in  the 
jungle  lookin'  for  food.  She  has  heard  their 
crj-  an'  has  listened  to  the  dry  jungle  grass 
a-cracklin'  as  they  pass,  an'  it  ain't  no  pleasant 
moment  for  her. 

We  had  put  Miss  Williams  between  those 
two  logs  an'  then  fixed  to  have  a  leopard 
jump  through  the  air  apparenllj'  at  her,  but 
Big  Otto,  the  animal  man,  a-knowin'  about 
beasts  of  that  kind,  had  arranged  so  that  the 
leopard  really  was  to  jump  over  an'  beyond 
Miss  Williams,  bein'  enticed  by  a  chicken 
fastened  to  a  stake  just  out  of  the  camera  line. 

The  animal  man  figured  that  not  ha\'in'  been 
fed  for  a  coupla  da>'s,  this  leopard  would  sure 
make  a  tl\in'  leap  for  the  chicken.  I  reckon 
c\-er\'thin'  would  have  been  all  right  except 
just  at  the  moment  we  turned  the  leopard  loose 
an'  I'm  a-standin'  by  with  my  Winchester 
ready,  the  wind  blew  in  sharpl)'  an'  fluffed  up 
Miss  Williams'  hair,  so  seein'  that,  instead  of 
springin'  for  the  chicken,  the  hungry  leopard 
sprung  for  Miss  Williams  an',  drove  the  claws 
of  his  fore  paws  into  her  scalp.  Even  at  that 
she  didn't  scream  but  just  kept  perfectly  still. 

I  couldn't  take  no  chance  of  a  shot  without 
danger  of  killin'  ]\Iiss  Williams  so  I  saw  but 
one  thing  to  do,  an'  I  grabs  Mr.  Leopard  by  the 
tail,  gives  him  a  yank  an'  swings  him  clear. 

I  don't  know  how  many  fellers  have  ever 
experienced  the  sensation  of  havin'  a  full  grown 
an'  hungry  leopard  by  the  tail,  an'  at  the  same 
time  trjdn'  to  figure  out  some  way  of  lettin' 
him  go.  I'm  here  to  inform  any  inquirin'  gent 
that  it  ain't  so  funny. 

Down  in  Oklahoma  I'd  seen  college  boys 
a-throwin'  the  hammer  an'  that  struck  me  as 
a  pretty  good  scheme  so  I  commenced  to  throw 
Mr.  Leopard  'round  an'  'round  turnin'  with 
him  just  the  same  as  a  college  athlete  would  do. 
In  the  meantime  I  was  a-tryin'  to  think  out 
what  to  do  next.  I  kept  this  here  leopard  goin' 
so  fast  he  had  no  chance  to  double  under  an' 
scratch  me.  Since  then,  I've  often  wondered 
what  the  leopard  was  a-thinkin'  of  an'  if  he 
was  just  as  worried  jis  me. 

"  Let  him  go!  What  the  hell  do  you  want  to 
hold  onto  him  for?"  said  "Dad"  Turner  a-yclHn' 
at  me. 

"TF  you  fellers  know  more  about  lettin' 
-•■go  of  a  leopard's  tail  than  me,"  I  told 
'em,  "there's  nothin'  to  prevent  any  of  you 
a-comin'  in  here  an'  takin'  him  off'n  my  hands. 
I  ain't  stuck  on  the  job  so  bad  that  I  ain't 
willin'  to  give  him  to  any  of  you.  Otherwise, 
me  an'  this  leopard  is  a-goin'  to  adjust  this 
matter  in  our  own  way." 

Finally  I  saw  what  I  thought  was  a  clear 
chance  an'  turned  Mr.  Leopard  loose.  He  hit 
the  ground  with  a  dead  thump,  gathered  him- 


self an'  with  a  wild  yowl,  started  back  for  me. 
The  rest  of  the  gents,  havin'  no  urgent  business 
in  that  immediate  vicinity,  had  already  went. 

I  got  my  old  six-shooter  loose  an'  sent  two 
shots,  aided  an'  abetted  by  a  good  Methodist 
prayer,  in  the  direction  of  the  leopard. 

The  prayer  was  answered  an'  it  was  just  too 
bad.  "  Dad  "  Turner  had  to  pay  Big  Otto  for 
another  leopard .  Meantime  they'd  got  a  doct  or 
to  fi.x  up  Miss  Williams'  head  an'  to  this  day  she 
carries  the  scars  of  that  wild  old  leopard  of  the 
Jacksonville  jungle.  That  night  I  skinned  him 
an',  somewhere  in  Miss  Williams'  Hollywood 
home  today,  you  will  find  his  hide.  I  might 
add  in  this  connection  that  when  her  head  was 
a  little  better,  that  same  day.  Miss  Williams 
went  back  an'  with  another  leopard,  an' 
another  chicken,  made  the  scene.  This  time  it 
worked  great. 

"T  OST  IN  THE  JUNGLES"  was  finished 
J-'finally  an'  armed  with  a  letter  to  a  motion 
picture  director  in  Hollywood,  who  by  the  way, 
I'm  sorry  to  say,  is  now  glad  to  play  minor 
roles,  which  explains  why  I  ain't  a-mentionin' 
his  name,  I  decided,  on  the  advice  of  "Dad" 
Turner,  Charles  Clary  an'  Bill  Mong,  to  try 
my  luck  in  the  picture  capital  of  America. 

After  payin'  all  expenses  I  had  quite  a  few 
.dollars  an'  came  back  to  Ponca  City,  Okla- 
homa, First  I  wanted  to  pay  Mike  Cunyan 
the  $135  I  owed  him  an'  see  if  anybody  had 
found  or  heard  of  the  spotted  "Quo  Vadis" 
bull  I  \vas  ownin',  which  was  strayed.  An' 
most  important,  I  wanted  to  get  my  horse 
"Old Blue"  an'  my  j'earhn'  colt,  which  I  was 
aimin'  to  take  with  me  to  California.  I 
stopped  in  Kansas  City  an'  bought  myself  a 
fine  silver  mounted  saddle,  which  was  up  to 
that  time  the  best  I'd  ever  owned.  Since  then 
I've  been  foolish  enough  to  pay  as  high  as 
$2500  for  a  saddle,  but  I  always  blame  that 
onto  Tony  because  he  likes  'em  that  way. 

After  paying'  off  all  my  debts  'round  Okla- 
homa an'  havin'  a  coupl'a  seances  with  a 
coupl'a  good  stud  players,  my  bank  roll  was 
down  to  'round  $300.  I  went  to  the  Santa  F'e 
agent  an'  I  found  that  it  would  cost  $316  to 
ship  "Old  Blue"  an'  the  yearlin'  an'  me  into 
Los  Angeles.  Finally  we  figured  it  out  that 
I  could  ship  the  two  horses  into  San  Bernar- 
dino, sixty  miles  from  Hollywood,  an'  through 
ridin'  myself  on  a  stockman's  pass,  hit  the 
California  line  with  a  few  dollars  to  spare. 

SO  it  came  about  that  one  bright  fall  day  back 
in  1910,  me  an'  "Old  Blue"  an'  the  colt 
reached  San  Bernardino.  We  unloaded  at  the 
stock  pens  an'  after  restin'  a  coupl'a  days  an' 
with  $21  in  cash  in  our  pockets  a-ridin'  "Old 
Blue"  an'  leadin'  the  colt,  I  rode  the  sixty 
miles  from  San  Bernardino  an'  from  the  top 
of  Cahuenga  Pass  about  four  in  the  afternoon, 
had  my  first  sight  of  Hollywood,  California, 
my  future  home,  an'  where  I  confidentially 
expected  my  million  dollars  was  a-waitin'. 

Hollywood  didn't  appear  to  be  much  of  a 
towii  when  I  first  saw  it.  I  expected  all  the 
movin'  picture  studios  to  be  grouped  together 
but  they  were  scattered  e\er>'where  an'  no 
more  resembled  the  studios  of  today  than  Sid 
(Jrauman's  Punch  an'  Judy  show  looks  like 
Ringling  Brothers  an'  Barnum  an'  Bailey's 
Circus.  I  found  a  stable  for  my  horse  in  Eden- 
dale,  an'  started  to  look  up  this  director. 

In  a  corner  drug  store  I  was  about  to  ask  the 
man  to  put  me  on  the  right  trail  when  I  heard 
the  sound  of  jinglin'  spurs.  It  sure  was  a  wel- 
come noise  to  me,  for  I  said,  here's  a  bunch  of 
cowhands  passin'  through  an'  I  reckon  that  no 
matter  where  they  are  from,  there'll  be  some- 
body they  know  that  I  know  an'  I  can  make 
myself  \velcome.  A  minute  later  they  all  come 
a-borin'  into  this  here  drug  store. 

I    had    ne\er   before   seen   such   cowhand 


EJvcry  advcrtlscnici 


■IIOTOl'I.AY  M.\0.\z;i.\E  is  Bua 


Photoplay  Magazine — Advertising  Section 


clothes  an'  I  had  rode  the  range  from  Alberta, 
Canada,  clean  down  into  the  State  of  Sonora, 
Old  Mexico.  I  never  had  seen  such  shirts, 
such  boots,  such  six  shooters,  such  handker- 
chiefs an'  such  things  on  their  sleeves  as  cuffs, 
that  these  here  gents  was  a-wearin'.  Anyone 
of  'em  'round  Ponca  City  would  have  been  as 
great  a  curiosity  as  a  long  haired  man  on 
Broadway.  The  only  thing  about  'em  that 
even  looked  like  a  cowhand's  outfit  was  their 
Stetson  hats. 

In  the  center  of  this  bunch  of  strange  lookin' 
gents  wearin'  spurs  an'  six  shooters  was  a  man 
I  recognized  from  havin'  seen  him  on  the  screen 
an"  he  was  in  those  days  a  mighty  well  known 
star.  I  ain't  a-mentionin'  no  names  because 
later  him  an'  me  got  to  be  good  friends  an' 
he  confessed  that  he  was  just  a  actor,  that  he'd 
never  lived  in  a  cattle  country,  so  I  forgave 
him  for  the  clothes  he  was  a-wearin! 

He  had  boots  that  fitted  tight  and  came 
clear  up  to  his  hips.  His  belt  was  almost  a 
foot  wide  an'  resembled  somewhat  the  type 
of  belt  worn  by  the  Gaucho  of  the 
.\rgentine.  His  shirt  was  buckskin,  much 
fringed.  Incidental,  the  only  man  I've  e\er 
seen  a-wearin'  a  fringed  buckskin  shirt  in  my 
life,  an'  I've  been  on  the  plains  for  a  good  many 
}-ears.  was  in  a  wild  west  show.  Not  alone  ^\■as 
the  shirt  buckskin,  but  it  was  beaded  with 
workmanship  an'  design  of  a  kind  that  no 
squa.v  ever  knew. 


7^" 

^ 

A 

P 

/ 

ii/ 

1 

.Since  the  daj's  when  he  was  property 
Ijoy  at  Paramount,  and  was  called  upon 
\o  tjuickly  don  a  leopard  skin  and  play  one 
cf  the  Nubian  slaves  in  Geraldine  Far- 
rar's  picture,  Jack  Donovan  has  been 
tr^'ing  to  forge  ahead — in  pictures  and 
out. 

He  has  been  leading  man  to  some  of  the 
prominent  women  stars;  he  has  been 
starred  by  Pathe  in  thrilling  Westerns;  he 
has  been  awarded  a  Carnegie  medal  for 
life  sa\ing;  he  is  holder  of  a  Red  Cross 
medal  of  honor,  but  nothing  has  given 
him  the  renown  he  has  received  from  Mae 
Murray's  recent  suit  against  him. 

.She  didn't  mean  to  buy  his  house  or  his 
furniture,  but  he  caught  her  in  a  weak 
moment,  as  it  were,  and  she  was  unable 
to  resist  the  soft  music,  the  subdued 
liglits,  the  oriental  rugs,  etc.,'  and  she 
tliinks  the  court  should  make  him  hand 
her  back  a  few  thousand  dollars,  e\en 
after  she  had  the  publicity  of  paying  him 
$85,000  for  it,  when  she  actually  pur- 
chased it  for  $50,000.  And  she  never  dis- 
co\-ered  that  she  had  paid  too  much  for  it 
until  eight  months  later,  when  one  of  the 
$2,000  a  month  payments  came  due. 


Richard  Barthelmess,  starring  in  First  National  Pictures 

Dressing  Up 

In  the  better  photoplays  no  effort  is  spared 
in  making  the  scenes  depicted  true  to  life. 
This  applies  to  both  "properties"  and  dress. 

The  clothes  worn  must  be  authentic,  correct 
— they  must  reflect  good  taste. 

In  scenes  showing  successful  men  at  business, 
at  the  club,  at  social  gatherings,  in  the 
presence  of  ladies — wherever  the  occa- 
sion places  a  premium  on  appearance— a 
Starched  Collar  is  worn. 

Arrow  starched  Collars 

Cluett,  Peabody   &  Co.,  Inc.  Troy,  N,  Y. 
ARROW  SHIRTS,  COLLARS,  UNDERWEAR,  HANDKERCHIEFS 


please  mention  rilOTOPLAY  M.\G.iZIXE. 


Photoplay  Magazine— Advertising  Section 

•Round  this  genfs  neck  was  a  silk  handker-  permanent  at  a  salary  of  $250  a  week  to  make 
chief  knotted  through  what  I  now  know  to  a  string  of  two-reel  western  pictures, 
have  been  a  piece  of  abalone shell  car^•edby  a  That  night  I  went  to  the  boardm'  place  the 
wild  Indian  a  li\-in'  in  Santa  Monica.  His  boys  had  found  for  me  much  elated.  Says  I, 
Stetson  hat 'was  high  crowned  an'  rose  to  a  "Tom,  you  are  now  in  a  fair  way  to  make  j'our 
peak  an'  of  a  type  an'  shape  unknown  in  any  million.  You're  bein'  paid  more  money  than 
man's  cattle  country.  Hangin'  on  his  waist  at  the  Mayor  of  Kansas  City  gets;  you  got  a 
an  an^le  no  cowhand  could  wear  without  bein'  better  job  an'  more  money  than  Chief  of  Police 
cut  inlo  by  the  weight,  was  the  first  an'  only  Tom  Speers  an'^hief^Hale  of  the  Fire  Depart 
pair  of  gold  mounted  six  shooters  I'd  ever  seen. 
His  spurs  was  gold  an'  the  rowells  was  gold. 
His  hip  boots  were  patent  leather  an'  glistened 
an'  crackled  as  he  walked. 

"I  come  out  here,"  said  I  to  myself,  "to  be 
a  cowhand  in  the  movin'  pictures  but  if  I've 
got  to  wear  clothes  such  as  this  gent  an'  the 
rest  of  his  friends  are  a  wearin',  me  an'  'Old 
Blue'  an'  the  colt  is  startin'  overland  to  Ponca 
Citv,  Oklahoma,  in  a  coupl'a  days." 

Later  I  was  to  learn  that  this  mo^-in'  picture 
ranch  owner  an'  his  "cowboy"  gang  at  that 
time,  was  a-wearin'  what  the  East  believed  to 
be  the  proper  clothes  of  a  hard  workin'  an' 
humble  cow  puncher.  I  believe  I've  since 
changed  that. 

Next  day  I  hunted  up  my  friends,  Bill  Mong 
an'  Charles  Clary,  an'  found  the  director. 
The  latter  took  me  over  to  his  studio  at  Eden- 
dale  where,  after  a  little  wranglin',  I  was  hired 


/ING^^ 


CT^HE  clever  woman  today  is  able  to  make 
■'■  her  lips  more  lovely  than  ever  before,  with 
an  entirely  different  kind  of  lipstick. 

Quite  unlike  other  lipsticks,Tangee  changes 
color  as  it  goes  on — from  orange  to  blush- 
rose.Nature's  loveliest  color!  Howsoft  or  how 
deep  this  blush-rose  depends  upon  your  own 
complexion,  and  upon  how  heavily  the  little 
magic  stick  is  applied.  You  may  rest  assured 
that  even  the  closest  scrutiny  will  fail  to  detect 
any  artifice  in  the  loveliness  of  your  lips. 

You'll  like  to  know,  too,  that 
Tangee  is  really  waterproof, 
rubproof,  and  as  permanent  as 
the  day  is  long! 

Ask  for  it  today — on  sale 
everywhere  — and  be  sure  you 
see  the  name  TANGEE 
on  the   carton   and 
the  chic  little  gun- 
metal  case. 
PRICES  — TanRce  Lip- 
stick, $1,  Tangcc  Rouge 
Compact  7  5c,  TanKcc 
Creme  Rourc  \  1  (and  for 
complete  beauty 
treatment: 

Tangee  Day  _     _, 

Cream. Tan-     .  •Xj'«7'?/«£:^ 
gee  N.Kht    ^ 
Cream    and   \^f 

Powder,  %\  I 
each).  25c I, 
high 


mm 
^r  J 


■X: 


THE  POWER  of 
.  .  .  Twenty  Cents 
Twenty  cents  brings  you  the  mini- 
ature Tangee  Beauty  Set  — all  six 
items  and  the  "Art  of  Make-up." 
Address  Dept.  P.P.4.  The  George 
W.  Luft  Co.,  417  fifth  Avenue, 
New  York  City 


ment,  Kansas  City,  ha\-e  got  together.  You 
are  sure  a-goin'  to  get  that  million."  I  felt  fine. 

But  later  that  night  I  had  a  sneakin'  sus- 
picion that  I'd  better  do  a  little  figurin'.  I 
discovered  that  at  $250  a  week  it  would  only 
take  me  3999  weeks  to  get  the  million  that  I 
was  a-needin'.  A  little  more  figurin'  showed 
that  if  I  saved  all  my  salary,  at  the  end  of  76 
years,  10  months  and  24  days,  the  million 
would  be  mine. 

That  didn't  look  so  good. 

But  I  was  in  Hollywood. 

[  TO  BE  CONTINUED  ] 

ISlcxl  nionlh  Tom  Mix  will  continue  his  talc  of 
high  finance  with  his  early  adventures  in  Holly- 
wood. Tom's  plunging  on  to  his  goal.  He's  got 
$21,  "Old  Blue''  and  a  yearling  colt  to  his 
credit.  Watch  for  his  next  article.  It's  full  of 
laughs. 


The  Shadow  Stage 


COXTIXUED   FRO-M  P.AGE   96  ] 


SAILORS'  WIVES— First  National 

THE  sequel  to  "Flaming  Youth,"  so  care- 
fully fumigated  and  deodorized  that  it's 
liarmless  and  practically  meaningless  as  well. 
What  remains  is  the  sombre  story  of  a  girl  who 
renounces  love  and  marriage  because  of  ap- 
proaching blindness.  There  are  some  high- 
society  orgies  in  the  suburbs,  in  an  attempt  to 
justify  the  title  of  the  picture.  Mary  Aster 
has  some  trouble  in  acting  like  a  wild,  wild 
girl.  This  won't  hurt  you,  but  it  won't  thrill 
you  either. 


THE    BATTLES   OF    CORONEL    AND 
FALKLAND  ISLANDS— Artlee 

THE  idiocies  of  war  are  exemplified  in  this 
authentic  record  of  the  two  biggest  naval 
engagements  between  the  British  and  Germans. 
They  were  grudge  battles,  which  did  nobody 
any  good  and  lost  hundreds  of  lives.  But  that 
fact  is  overlooked,  and  you  are  treated  to  a  lot 
of  foolish  heroics,  andanostentatiousdisplayof 
sportsmanship  in  giving  the  Germans  their  due. 
This  aims  at  the  simple  realism  of  "Potemkin," 
but  misses  by  a  mile.    Only  mildly  interesting. 


BEYOND    LONDON'S    LIGHTS— FBO     THE  UPLAND  RIDER— First  National 


"pOIXTING  out  the  awful  consequences, 
-'-  when  the  young  master  starts  getting  famil- 
iar with  the  second  girl.  A  painless  little  story 
of  a  battle  between  the  snobs  and  the  lower 
classes  in  London,  with  the  decision  going  to 
the  lower  classes.  It  has  one  of  those  discon- 
certing endings  in  which  the  girl  suddenly 
finds  she  loved  somebody  else  all  the  time. 
This  is  made  easier  to  bear  by  the  presence  of 
two  pretty  girls,  Jacqueline  Gadsden  and 
Adrienne  Dore. 

STREETS  OF  SHANGHAI— 
Tiffany-Stahl 

""THE  marines  actually  come  to  the  rescue  at 
-»-  the  end  of  this  picture — two  trucksful  of 
them.  Need  I  say  more?  It's  all  about  dirty 
work  in  China,  with  the  inevitable  Sojin 
slithering  around  plotting  horrid  deaths  for  all 
.Americans  in  town.  And  there  is  a  scarlet 
woman  named  Sadie  who  calls  the  marine 
"Handsome."  Where  have  we  heard  that 
before?  Pauline  Starke  and  Kenneth  Harlan 
do  the  best  they  can.    Cheap  melodrama. 

SKINNER'S  BIG  IDEA— FBO 

■"THF.kE  is  nothing  important  or  distin- 
■•■  Ruished  about  this,  yet  it  manages  to  be 
pleasant  entertainment.  The  famous  movie- 
Skinner  always  had  a  lot  of  bright  ideas  and 
when  he  is  called  upon  to  discharge  the  three 
f)ldest  employees  of  his  firm.  Skinner  has  some 
tall  thinking  to  do.  But  everything  ends 
grand  and  glorious  to  the  amuscinent  of  most 
audiences.  Bryant  Washburn,  Martha  Sleeper 
and  Hugh  Trevor  are  in  the  cast. 

y  iHlvorllncmcnt   In  ril0T0I'I,.\y  MAG.VZIXE  Is  cuarantc. 


A  S  thrilling  a  horse  race  as  you  ever  wit- 
■^^■nessed  makes  up  for  many  of  the  story 
deficiencies  in  this  picture.  The  theme  is  the 
old  one  that  the  farm  must  be  saved  by  one 
horse  and  one  rider.  The  neighboring  "coun- 
try home"  owner  who  desires  the  farm  is  the 
menace.  Ken  Maynard  is  a  rider  second  to 
none,  while  his  horse  has  a  bundle  of  new 
tricks  which  will  make  Tony  look  to  his 
laurels.    Splendid  for  children. 

PARTNERS    IN    CRIME— Paramount 

V\^ALLACE  BEERY  and  Ra>Tnond  Hatton 
*v  dive  into  the  underworld  to  dig  up  some 
new  laughs  and  a  few  thrills.  Beery  is  a 
detective  who  discovers  more  by  accident  than 
a  Scotland  Yard  man  could  by  design.  Hatton 
plays  the  double  role  of  reporter  and  gang- 
leader  who  are  constantly  mistaken  for  one 
another.  Like  all  the  comedies  of  this  pair,  the 
picture  depends  upon  gags  and  the  corking 
titles  of  George  Marion  for  much  of  the  interest. 

THE  BRIDE  OF  THE  COLORADO— 
Pathe-De  Mille 

nrHE  Grand  Canyon  of  the  Colorado  River 
-•■  plays  the  lead  in  this  picture.  It  makes 
a  beautiful  spectacle  and  a  desperate  menace, 
but  does  not  lend  itself  to  real  story  interest. 
In  fact,  the  characters  and  the  plot  are  abso- 
lutely incidental  to  the  cathedral  cliffs,  the 
whirling  rapids  and  other  stupendous  beauties 
of  the  canyon.  John  Boles  and  Donal  Blossom, 
a  newcomer  to  pictures,  have  some  intimate 
lo\e  scenes,  but  e\en  here  it  is  the  background 
which  interests. 


Photoplay  Magazine — Advertising  Section 


113 


ALEX  THE  GREAT— FBO 


ALEX  was  a  country  boy,  who  was  "  willinR 
to  give  New  York  a  break. "  How  he  swept 
e\erything  before  him  is  a  succession  of  de- 
lightful situations,  and  another  example  of 
"He  can  who  thinks  he  can."  Even  relatives 
agreed  they  would  believe  him  "if  he  said  he 
pressed  his  pants  with  the  Flatiron  building. " 
The  direction  of  Dudley  Murphy  and  the 
interesting  personality  of  "Skeets"  Gallagher 
make  this  well  worth  seeing. 

HAS  ANYBODY  HERE  SEEN  KELLY? 
— Universal 

J^ELLY,  an  agreeable  Irish  lad  (Tom Moore), 
■^^went  to  war  and  said  to  every  French 
lassie:  "You  must  come  over  to  America  and 
be  my  wife. "  Bessie  Love  came.  Had  he  not 
been  a  "man  of  importance,"  ha\'ing  only  to 
raise  his  hand  to  stop  traffic,  Bessie  might 
never  have  found  him.  The  villainous  at- 
tempts of  Tom  O'Brien  to  thwart  her  purpose 
arouse  your  sympathy,  and  Bessie's  very  ex- 
cellent work  holds  j'our  interest  throughout. 
Splendid,  clean  entertainment. 

THE  HEART  OF  BROADWAY— Rayart 

WHEN  a  pretty  chorus  girl  and  a  young 
hoofer  who  loves  his  "likker"  mix  with 
a  suave  night  club  crook,  there's  bound  to  be 
trouble.  These  three,  played  respectively 
by  Pauline  Garon,  Bobby  Agnew,  and  Wheeler 
Oakman,  stir  up  a  lot  of  trouble  in  this  cabaret 
melodrama.  But  they're  all  so  good  you'll  for- 
get the  saggy  story  of  the  innocent  boy  jailed 
for  the  heavy's  crime.  Fair  program  enter- 
tainment. 

A  TRICK  OF  HEARTS— Universal 

ANOTHER  Western  for  no  reason  at  all 
except  to  give  Hoot  Gibson  a  chance  to  ride 
his  horse  into  a  lather  and  wear  skirts,  extreme- 
ly unbecoming  to  his  particular  style  of  beauty. 
Georgia  Hale,  Hoot's  girl,  goes  anti-marriage 
for  a  political  career  in  a  village  run  by  women. 
This  burns  Hoot  up;  he  and  Manville's  other 
deposed  males  use  strategy  to  recover  their 
lost  prestige  and  women.  Hoot  wins — 
Georgia  sighs  "  My  man! "  and  all's  well. 

THE  TRAGEDY  OF  YOUTH— 
Tiffany-Stahl 

ULTR.\-modern  comedy  drama  illustrating 
the  folly  of  youthful  marriages.  Patsy 
Ruth  Miller  and  Buster  Collier  do  some  clever 
work  as  the  young  couple  who  think  marriage 
will  be  a  waltz  dream  just  because  the}'  are 
perfect  dancing  partners.  Warner  Baxter 
completes  the  inevitable  triangle,  revi\-ing  the 
question:  Do  married  men  make  the  best 
husbands?  A  good  cast,  sophisticated  di- 
rection, and  perfect  titles  by  Frederic  and 
Fanny  Hatton,  make  this  pictorial  marriage 
expose  well  worth  seeing. 

THE  PAINTED  TRAIL— Rayart 

TX  7HAT  dear  old  Hollywood  needs  is  fewer — 
^^  far  fewer — hombres  with  10-gallon  hats 
and  leather  pants,  bosses  with  Tiffany  trap- 
pings, and  titles  with  a  Texas  accent.  But 
Western  pictures,  like  the  poor,  are  always 
with  us.  A  smart  horse  renders  this  one  bear- 
able, however,  by  an  amazing  swimming  and 
diving  act,  with  Buddy  Roosevelt  up.  Other- 
wise it's  nothing  to  gasp  over. 

RIDERS  OF  THE  DARK—M.-G.-M. 

"VVTHAT  a  beastly  shame  to  plaster  this 
»V  canned  horse  opera  with  the  gorgeous 
ISL-G.-M.  lion!  Tim  McCoy  in  plot  number 
four,  with  no  variations.  He's  the  militiaman 
sent  to  a  Western  town  to  shoot  up  the  bully- 
ing villain  for  his  bloody  misdeeds.  Tlie 
famous  d'Arcy  dentals  quite  chew  up  the  fore- 
ground, but  Re.x  Lease  and  Dorothy  Dwan 
are  really  good.    Maybe  you'll  like  it. 


It- 


'^¥fRBUTUS 

%my  TfiADE    MARK      (^ ) 


The  cQateit  in  Wedding  ^ng  Fashion 

Pride  of  Ownership 
Demands  the  Best 

When  you  select  your  -wedding  ring, 
should  it  not  be  "much  better  than  the  best"? 

Let  the  beautiful  sentiment  of  your 
marriage  days  be  forever  reflected  in  the 
delicate,  refined  design  of  an  t^RBUTUS 
Wedding  Ring. 

The  yiEMTUS  trade-mark  plainly  marked 
on  every  genuine  (Arbutus  Wedding  Ring 
is  a  guarantee  of  master  craftsmanship  and 
original  design. 

Made  in  Gold,  Platinum  and  -with  Dia- 
monds from  $10.00  up.    At  better  jewelers. 

Send  for  our  delightful  twenty-page  "Bride's 

Book" — fee  on  request.  It  contains  valuable 

information  for  the  bride-to-be, 

BYARD  F.  BROGAN 

Philadelphia 


HAVE    YOUR    OLD     RING    TRANSFORMED     TO    THIS     L  AT  EST     DESIGN 
write  to  adverUsers  please  mention  PHOTOPLAY  MAGAZIXE. 


Photoplay  Magazine — Advertising  Section 

GOOD-BYE  KISS— Mock  Sennett  THE  ROAD  TO  RUIN— Cliff  Broughton 


OaniijLj  ajudXipstLcL 

Divinely  smart  are  these  exqui- 
site  new  Djer'Kiss  creations  in 
the  chic  octagonal  design  now 
so  favored  in  Paris!  A  double 
compact  that  is  slim,  yet  capa- 
cious! A  lipsticlc  that  glorifies! 
Both  come  in  flattering  tones 
—  that  stay  on  .  .  .  and  pervad- 
ing both  is  the  same  alluring 
fragrance  that  has  made  Djer- 
Kiss  face  poudre  a  reigning 
favorite— the  fragrance  that 
adds  " magnetismc"  to  beauty! 

ki^        l:.,fum  D/rr. 


ALFRED  H.  SMITH  CO., 
Sole  Imporieri.  New  York  Cii 


ROMANCE,  kisses,  comedy,  pathos,  all 
intermingled,  keep  you  laughing  and  cry- 
ing in  this  personally-directed  special  of 
Sennett's.  All  the  principals  go  to  war  and 
such  experiences  as  they  do  have!  Sally 
Kilers  justifies  the  claims  about  her  beauty 
and  ability,  and  Watty  Kemp,  her  leading  man, 
has  much  appeal.  Johnny  Burke  is  a  comedian 
of  first  rank  and  walks  away  with  honors.  The 
picture  has  touches  quite  like  Griffith's  and  is 
well  worth  your  seeing  even  if  it  drags  occasion- 
ally. 

FALLEN  ANGELS— Universal 

NORjNIAN  KERRY  drags  through  a  gloomy 
moral  drama  entirely  unsuited  to  his 
talents  and  those  of  the  good  cast  supporting 
him.  His  is  the  role  of  a  coward,  who,  because 
he  hides  out  during  the  war  and  is  reported 
killed  in  action,  finds  that  he  must  ever  after  run 
from  hfe.  Pauline  Starke  is  convincing  as  one 
of  the  weak  sisterhood  who  gives  up  diamond 
mining  to  make  a  man  of  him.  All  right  if 
you're  not  blue. 

THE  BIG  NOISE— First  National 

JUST  about  as  interesting  as  the  usual  city 
/  election  with  which  it  is  concerned.  But  not 
knowing  what  you  have  planned  for  the  even- 
ing that  this  shows  in  your  theater,  would  not 
ad\ise  you  to  change  your  mind. 

HOT  HEELS— Universal 

WHEN  a  small  town  smart  boy  gives  up 
butter-and-egging  to  buy  a  hick  musical 
show  just  because  he  loves  the  star  in  it.  he 
might  as  well  kiss  his  bankroll  goodbj-e. 
Despite  the  bewhiskered  gags,  this  comedy 
will  keep  you  gasping.  Patsy  Ruth  Miller 
hasn't  much  to  do  because  it's  really  Glenn 
Tryon's  story,  but  as  a  laugh-generating  team, 
Ihey  bubble  with  B.  O.  appeal.  Take  all  the 
kids;  they'll  eat  it  up. 


THOUGH  the  Ju\enile  courts  openly  spon- 
sor this  expose  of  youthful  delinquency  in 
high  schools,  it  belongs  in  the  "Women  Only" 
class.  It  is  a  sensational  portrayal  of  a  de- 
plorable social  e\'il,  with  aU  T's  crossed  and  aU 
I's  dotted.  These  kids  are  painted  black  as 
the  ace  of  spades,  and  necking  is  indicated  as 
the  major  elective  in  secondary  schools.  Not 
entertainment,  but  darn  good  ir^edicine  for 
parents  who  "trust  their  children  implicitly." 

THE  WARNING— Columbia 

TLJrONGKONG  is  the  scene  of  this  mystery 
-'■  -'■melodrama  where  the  English  Secret  Serv- 
ice mix  it  with  a  Chinese  opium  gang.  Jack 
Holt  saves  it  from  heaviness  by  his  characteri- 
zation of  a  British  he-man,  with  ready  fists 
and  a  sense  of  humor.  He  rescues  the  ritzy 
blonde,  Dorothy  Revier,  from  half  of  China 
and  makes  us  believe  it.  Lillian  Ducey  and 
H.  Milner  Kitchin  have  given  us  a  fast  mystery 
story,  full  of  both  laughs  and  thrills. 

THE  APACHE  RAIDER— Pathe 

WHY  do  rugged  gentlemen  in  high  heels 
always  get  all  hot  and  bothered  about  a 
few  stolen  cows?  No  one  seems  to  know.  So 
that's  the  reason,  if  any,  for  Western  pictures. 
Leo  Maloney  (God  sa-^^e  the  Irish)  swings  a 
mean  megaphone  and  a  hot  pair  of  spurs  in 
this  gentle  little  gun  party. 

VAMPING  VENUS— First  National 

A  SENNETT  comedian  turned  loose  in  a 
■^^  comedy  nightmare  of  ancient  Greece, 
falling  over  telephones,  radios,  motorcycles 
and  other  twentieth  century  appurtenances.  A 
synthetic  idea  for  a  farce  based  on  the  sugges- 
tion that  the  old  studio  sets  of ' '  The  Private  Life 
of  Helen  of  Troy"  might  be  used  in  a  nut 
comedy  like  "A  Connecticut  Yankee."  It 
may  turn  out  to  be  a  box  office  wow.  Thelma 
Todd  furnishes  the  beauty  and  Charlie  Murray 
and  the  titles  the  fun. 


Shooting  a  scene  at  Truckee,  California,  perhaps  the  most  popular 
location  in  the  world.  There  is  always  snow  at  good  old  Truckee, 
which  makes  it  just  great  for  those  who  go  in  for  Russian  dramas. 
An  important  sequence  of  "The  Red  Dancer  of  Moscow"  was 
filmed  here.  Above  you  see  Raoul  Walsh,  the  director,  and  Charles 
C.  Clarke,  head  cameraman.  The  screens  are  reflectors,  used  to 
regulate  the  difficult  glare  from  the  sun  on  the  snow 


Photoplay  Magazine— Ada eriisino  Section 


THOROUGHBREDS— Universal 

"NJOTHING  particularly  new  in  this 
•^^  story  of  the  wholesome  country  boy 
who  goes  to  the  city  and  falls  into  the  hands  o'f 
wild  women.  A  nice  girl  finally  saves  him. 
Richard  Walling  does  a  nice  piece  of  work  as  a 
jockey,  and  good  direction  makes  this  a  picture 
that  will  be  liked  by  most  any  audience. 

THE  BODY  PUNCH— Universal 

THIS  is  the  first  feature  picture  directed  by 
Leigh  Jason  and  he  makes  good.  There  is  a 
ring  performance,  a  bout  between  a  wrestler  and 
a  bo.xer,  that  any  man  will  take  a  night  oflf  to 
see.  There  is  comedy,  intrigue,  romance. 
Virginia  Browne  Fair  furnished  the  lo\e  in- 
terest and  George  Kotosnaros  and  Jack 
Daugherty  do  the  fighting.  Enough  entertain- 
ment for  all  the  family. 

THE  ESCAPE— Fox 

AN  old  time  melodrama  from  which  there 
-'•-is  no  escape.  It  might  have  been  better  to 
leave  it  where  Griffith  finished  with  it  years 
ago.  It  adds  little  to  the  honors  of  Virginia 
Valli  and  William  Russell  who  are  featured, 
but  it  does  show  off  Nancy  Dre.xel  to  advan- 
tage and  gives  Charles  Meeker  another  oppor- 
tunity to  prove  that  blond  leading  men  do 
have  appeal. 

CHINATOWN  CHARLIE— 
First  National 

JOHNNY  HINES  in  one  of  his  very  best 
;  productions.  Full  of  gags  and  laughs.  Re- 
freshingly free  from  the  usual comedyformula. 
Good  melodrama,  a  few  thrills,  colorful  back- 
grounds and  a  splendid  supporting  cast  gi\e 
you  your  money's  worth. 

THE  PLAY  GIRL— Fox 

A  LIGHT  farce,  which  plainly  shows  that 
-'*■  gold  diggers  are  born,  not  made.  Madge 
Bellamy  is  "the  good  little  girl"  who  won't 
give  in,  and  Anita  Garvin  slinks  about  in  low 
cut  gowns,  showing  our  innocent  Madge  a 
thing  or  two  about  diamond-fed  babies  who 
take  all — give  nothing — and  make  'em  hke  it. 
Johnny  Mack  Brown  and  Walter  McGrail 
complete  a  diverting  foursome.  Norman 
McLeod's  titles  cram  this  picture  with  laughs. 

THE  PIONEER  SCOUT— Paramount 

AFTER  "Jesse  James"  this  picture  does 
not  do  Fred  Thomson  and  his  white  horse, 
Silver  King,  justice.  Yet  it  is  an  average 
Western  with  the  hero  plajang  a  dual  role  of 
half  wit  and  range  leader — determined  to 
capture  a  band  of  robbers  and  save  the  mine 
of  his  sweetheart's  father.  Edna  Murphy  is 
attractive  enough  to  spur  any  man  to  super- 
action.    If  you  like  Westerns,  see  it. 

POWDER  MY  BACK— Warners 

TRENE  RICH  in  a  delightfully  improbable 
J-comedy  directed  and  titled  with  extreme 
sophistication.  Andre  de  Beranger  gets  the 
chuckles  as  a  perfectly  darling  gentleman  who 
adores  flowers.  The  frothy  plot  has  to  do  with 
Irene's  determination  to  get  some  dirt  on  the 
town  politician  who  stopped  her  show  for 
moral  reasons,  thereby  checking  her  career  as 
its  star.  Anders  Randolf  is  well-cast  as  the 
man  who  gave  up  work  for  politics,  and  pol- 
itics for  love. 

FIVE  AND  TEN  CENT  ANNIE— Warners 

npHE  romance  of "  Five  and  Ten  Cent  Annie, " 
■*-  "a  nice  girl  at  any  price,"  starts  out  with  a 
bang,  but  wanders  all  over  the  studio  lot  be- 
fore they  get  through.  Louise  Fazenda  is  a 
show  all  by  herself.  Clyde  Cook  is  lured  into 
fearful  situations  by  the  wiles  of  Gertrude 
Astor  and  is  only  saved  when  "his"  baby  turns 
out  to  be  a  forty  year  old  midget  in  disguise. 
Joe  Jackson's  titles  keep  the  laughs  going. 


115 


c^Q^  cv£3Go  o3€lr,  T^gGo  ^9€lo  -^Xlr,  ~3€?^  ^£M2^  c3Go  r^DO^  r.9(U  c-OQ-r,  c-DQ^  c^SKl- 


Uke  OVloist  Charming 


yoa  6rer  Sry&yed  / 

Amazind  Results  are  Immediate  -' 


■^^2-- 


EVERy  worriAn  will  be  fasci^ 
riAtcci  by  this  new  beauty 
'  bath— it  is  so  luxurious,  so 
easily  prepared— so  economical— 
and  results  are  immediate. 

After  this  marvelous  beauty  bath 
your  skin  instantly  feels  soft,  smooth, 
supple- a  delishtful  sensation. 

Merely  dissolve  a  half  package 
of  UNIT  (the  remarkable  starch 
discovery  sold  by  growers)  in  a 
half  tubful  of  moderately  warm 
water — bathe  as  usual,  using  your 
favorite  soap  and  then,  feci  your 
skin  — 

The  rarest  velvet  couldn't  be 
smoother  and  the  down  on  the  most 
delicate  flower  couldn't  be  softer! 

This  soft,  satiny  ''feel"  comes 
from  an  extremely  thin  layer'  of 
UNIT— invisible  to  the  eye- left 
on  the  skin  after  the  bath.  This  thin 

Com  Producti  Refining  Co.,  Depai:me 


porous  coating  of  powder  is  evenly 
spread  — not  in  spots  that  it  may 
clog  the  pores  —  but  thinly  and 
evenly  distributed  over  all  parts 
of  the  body. 

And  the  most  astonishing  thing 
about  this  new  I^INIT  Beauty  Bath 
is  that  the  cost  is  negligible. 

If  you  cannot  believe  that  a  fine 
laundry  starch  like  LINIT  also 
makes  a  marvelous  beauty  bath, 
we  suggest  that  you  make  this 
simple  test: 

After  dissolving  a  handful  or 
so  of  LINIT  in  a  basin  of  warm 
water,  wash  your  hands.  The  in= 
stant  your  hands  come  in  contact 
v/ith  the  water  you  arc  aware  of 
a  smoothness  like  rich  cream— and 
after  you  dry  your  hands  your  skin 
has  a  delightful  softness.  You'll  be 
convinced -INSTANTLY! 

^  P.,  n  Battery  Place,  New  York  City. 


C^j^-O  C^^^jv:.  C^Q^^  C^Qg^  C^Q^J^  C^QQ^  C^Q^JO  c.;^^  c,^^^  c,.^ 


ention   PHOTOPLAT   M.VG.VZIXE. 


ii6 


Photoplay  Magazine — Advertising  Section 


a  meMT  face 
for  siprin^ 

Does  this  gayest  of  the  seasons 
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Brief    Reviews  of   Current   Pictures 


[  CONTINUED  FROM  PAGE    14  ] 


LADIES'  NIGHT  IN  A  TURKISH  BATH— First 

National. — Then-  are  lots  of  laughs  in  this  adaptation 
of  the  stage  farce.  Not  subtle,  but  funny.  With 
Dorothy  Wackaill  and  Jack  Mulhall.    (March.') 

LADY  OF  VICTORIES,  THE— Metro-Goldwyn- 
Maycr. — The  romance  of  Napoleon  and  Josephine, 
gorgeousb-  presented  in  Technicolor.  Only  two  reels, 
but  very  much  worth  seeing.     (March.) 

*LAST  COMMAND,  THE  —  Paramount.  —  A 
powerful  and  tragic  story  of  a  cousin  of  the  Tsar  of 
Russia  who  becomes  a  Hollj-ivood  "extra."  Thanks 
to  the  magnificent  acting  of  Emil  Jannings,  this  film 
is  the  most  popular  crying-fest  of  the  season.  (March.) 

LAST  MOMENT,  THE— Fine  Arts.— An  inde- 
pendent film,  built  around  the  theory  that  a  drowning 
man  sees  his  w'hole  life  pass  in  review  in  a  few  seconds. 
Terribly  overacted.      (February.) 

LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  that  needs  music — and  a  certain 
verbolen  beverage — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  howl     (December.) 

LATEST  FROM  PARIS,  THE— Metro-Goldwyn- 
Mayer. — Norma  Shearer  plays  a  travelling  sales- 
woman.    Bright,  snappy  entertainment.    (March.) 

LAW  OF  THE  RANGE,  THE— Metro-Goldwyn- 
Mayer.— Tim  McCoy  in  a  thriller  that  has  heart 
interest.  Joan  Crawford  plays  a  sweet,  old-fashioned 
girl.    That  ought  to  send  you  to  see  it.    (March.) 

LEAVE  'EM  LAUGHING— Hal  Roach-M.-G.-M. 
— It  does.    In  two  reels.    (March.) 

*LEGION  OF  THE  CONDEMNED,  THE— Para- 
mount.— More  heart-gripping  than  "Wings."  It's  a 
story  of  the  exploits  of  a  French  Flying  Squadron. 
(February.) 

LEGIONNAIRES  IN  PARIS  —  FBO.  —  A  bur- 
lesque of  what  happened  to  the  American  Legion  in 
Paris  last  summer.  You'll  laugh  and  laugh  and  laugh. 
(February.) 

♦LEOPARD  LADY,  THE— Pathe-De  Mille— A 
story  with  a  new  slant  and  a  surprise  ending.  It  all 
takes  place  in  a  Continental  travelling  circus.  A  fine 
performance  by  Jacqueline  Logan.      (March.) 

LES  MISERABLES— Universal.- The  Victor 
Hugo  story  is  great,  but  the  acting,  photography  and 
settings  prove  that  fifty  million  Frenchmen  can  be 
wrong  when  they  make  movies.     (November.) 

LIGHT  IN  THE  WINDOW,  A— Rayart— Simple 
tear  jerker  with  some  sincere  acting  by  Henry  B. 
Walthall.      (February.) 

LIGHTER  THAT  FAILED,  THE  —  Metro- 
Goldwyn-Mayer. — Hal  Roach  builds  a  comedy  on  a 
giftfad.    Little,  but  oh,  my  I    (February.) 

LONDON  AFTER  MIDNIGHT  —  Metro- 
Goldwyn-Mayer. — Lon  Chaney  in  a  grand  murder 
mystery.    Mr.  Chaney  plays  a  dual  r51e.     (February.) 

LONE  EAGLE,  THE— Universal.— Another  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Keane.      (December.) 

*LOVE — Metro-Goldwyn-Mayer.^ — Anna  Karen- 
ina?  Not  so's  you  could  notice  it.  But  John  Gilbert 
and  Greta  Garbo  melt  the  Russian  snow  with  their 
love  scenes.  Will  it  be  popular?  Don't  be  silly  I 
(November.) 


LOVE  AND  LEARN  —  Paramount.  —  Wherein 
Esther  Ralston  keeps  Papa  and  Mamma  from  getting 
a  divorce.    Smart,  light  comedy.      (March.) 

LOVELORN,  THE  — Metro-Goldwyn-Mayer.— 
The  talc  of  two  sisters  who  could  have  avoided  a  lot  of 
tragedy  by  heeding  the  wisdom  of  Beatrice  Fairfax. 
Not  for  the  sophisticated.    (January.) 

LOVE  MART,  THE— First  National.— Pictorially 
fine  romance  of  old  Louisiana,  with  Billie  Dove  and 
Gilbert  Roland.     (February.) 

LOVE  ME  AND  THE  WORLD  IS  MINE— Uni- 
versal.— Dowdy  story  of  war-time  Vienna,  with  a 
Daddy  Browning  romance  between  Marv  Philbin 
and  Henry  B.  Walthall.  Betty  Compson  is  the  only 
live  thing  in  the  show.      (April.) 

MAIN  EVENT,  THE  — Pathe-De  Mille.  — Prize- 
fight stuff.  The  story  is  old;  the  directorial  twists  are 
new.  The  acting  is  above  par.  That's  all.  (Janu- 
ary.) 

MAN  CRAZY— First  National.— Dorothy  Mac- 
kaill  and  Jack  Mulhall  in  a  comedy  about  a  couple  of 
Down  East  high-hats  who  go  in  for  adventure. 
Pleasant  light  fiction.    (January.) 

*MAN,  WOMAN  AND  SIN— Metro-Goldwyn- 
Mayer. — Scandal  in  a  Washington  newspaper  oflSce, 
with  some  good  capital  atmosphere  and  ,=ome  con- 
ventional movie  melodrama.  John  Gilbert  does  well, 
but  Jeanne  Eagels  is  no  Greta  Garbo.     (January.) 

*MILE-A-MINUTE  LOVE— Universal.  — Regi- 
nald Denny  hands  this  picture  to  Janet  La  Verne,  a 
five-year-old.  You'll  love  her  and  you'll  love  the 
picture.     (November.) 

MUM'S  THE  WORD— Fox.— Another  two-reel 
comedy  with  Nick  Stuart  and  Sally  Phipps  that 
deserves  your  kind  attention.    (January.) 

*MY  BEST  GIRL— United  Artists.— Some  of  Mary 
Pickford's  best  comedy  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Mary  at  her 
greatest.    The  children,  of  course  1     (December.) 

MY  FRIEND  FROM  INDIA— Pathe-De  Mille.— 
The  sort  of  thing  that  made  'em  laugh  when  girls  wore 
long  skirts  and  high  laced  shoes.    (January.) 

NEST,  THE— Excellent.— Pauline  Frederick  brings 
her  great  gifts  to  the  sincere  portrayal  of  a  mother 
role.      (December.) 

NIGHT  FLVER,  THE— Pathe-De  Mille.  —  Big 
doings  amorg  the  railroaders,  witli  William  Boyd's 
charm  triumphing  over  a  dirty  face.      (April.) 

NIGHT  LIFE— Tiffany.— An  engrossing  drama  of 
Vienna,  before  and  after  the  war.  The  crook  stuff  has 
an  originjil  twist  and  Eddie  Gribbon,  Johnnie  Harron 
and  Alice  Day  contribute  some  fine  acting.  (January.) 

*NOOSE,  THE— First  National.— Richard  Barth- 
elmes?  again  gets  a  picture  worthy  of  his  talents.  An 
extra-fine  melodrama  that  will  hold  you  spell- 
bound.    (March.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  with  Mary  Astor  and  Lloyd 
Hughes.      (December.) 

NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Beery  and  Raj'mond  Hatton  show  signs  of  weak- 
ening under  the  strain.  They  need  a  fresh  line. 
iOecember.) 


Dayton,  O. 

Have  you  ever  been  in  a  foreign 
country,  lonely,  homesick  and  ready  to 
cry  from  sheer  misery?  A  little  over  a 
year  ago,  I  was  just  that.  Ireland's 
climate  is  not  much  at  best,  and  in 
mid-'winter,  it  is  cold,  damp,  murky 
and  dreary.  Muddy  too,  and  Dublin 
mud  doesn't  come  out  of  a  light  silk 
stocking. 

One  day,  when  I  felt  the  worst,  I 
went  into  town  to  the  Metropole.  I 
don't  remember  what  picture  was  there 
and  I  am  sure  it  doesn't  matter;  but  I 

adviTllcmtnt  In  riIO'n)PI..\Y  M.\G.\ZIXE  Is  fruarante 


forgot  my  loneliness,  in  my  interest  in 
the  story  before  me,  and  I  came  out 
cheered  and  happy.  I  was  gay  with  the 
laughter  of  America.  And  when  a  beg- 
gar woman  clung  to  my  arm,  it  was  not 
pennies  I  gave  her,  but  shillings. 

I,  with  the  others,  waited  for  Thomas 
Meighan  In  front  of  the  Shelboume; 
and  I,  too,  hindered  him  when  he 
wished  to  take  pictures  in  St.  Stephen's 
Green.  But  I  am  sure  he  will  forgive 
me  when  he  knows  how  glad  I  was  to 
see,  not  only  an  actor,  but  a  man  from 
home.  H.  M. 


Photoplay  Magazine — Advertising  Section 


117 


ONE  ROUND  HOGAN— Warners.— Wherein  love 
saves  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.  Not  so  bad.  (De- 
cember.) 

ONE  WOMAN  TO  ANOTHER— Paramount.— It 
is  a  farce  about  nothing  at  all,  but  charmingly  told 
and  ingratiatingly  acted  bv  Florence  Vidor  and 
Theodor  von  Eltz.      (.November.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comedy,  but  Marie  Prevost,  aided  by  James  Cruze, 
should  do  better  than  this.     (.December.) 

ON   YOUR   TOES— Universal.— Well,    there's   a 


OPEN  RANGE— Paramount.— Lane  Chandler 
and  his  horse,  "Flash,"  in  one  of  the  best  Westerns 
now  leaping  across  our  screens.    (January.) 

OUT  ALL  NIGHT— Universal.— Reginald  Denny 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      (December.) 

PAJAMAS-  Fox.— Olive  Borden  as  one  of  those 
terrible  movie  society  girls  that  ought  to  be  slapped  to 
sleep.      (February.) 

PARIS  OR  BUST— Universal.— Glenn  Tr>-on  as  a 
bov  who  knew  he  was  a  flyer  "because  his  mother 
gave  his  father  the  air."  Anyway,  you'll  laugh  at  it. 
(December.) 

PERFECT  GENTLEMAN,  A— Pathe.— Monte 
Banks  in  a  series  of  unusually  good  gags.  Good  fun. 
(November.) 

PHANTOM  OF  THE  RANGE— FBC— Not  the 
kitchen  range,  Geraldine,  but  the  wide  open  spaces. 
However,  don't  let  the  title  fool  you;  it's  a  good 
film  and  it  features  Tom  Tyler  and  little  Frankie 
Darro.     (April.) 

PRETTY  CLOTHES— Sterling.— Moral:  Don't 
let  a  man  give  ^■ou  a  charge  account.      (February.) 

PRICE  OF  HONOR,  THE— Columbia.— An  old- 
time,  tear-jerking,  heart-stirring  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.      (December.) 

PRINCE  OF  PEANUTS,  THE— Universal.  — 
Nutty  farce  with  Glenn  Tryon.      (.4  frU.) 

♦PRIVATE  LIFE  OF  HELEN  OF  TROY,  THE— 

First  National. — Not  the  satireof  Erskine's  novel,  but 
a  movie  burlesque  of  Homer  with  wise-cracking  titles. 
Maria  Corda  is  a  fascinating  new  t>'pe.    (January.) 

RACING  ROMEO,  THE  —  FBO.  —  '  Red  " 
Grange  in  a  motor  maniac  yarn.  A  weak  one. 
(January.) 

RAGTIME— First  Division.— Just  a  lot  of  cellu- 
loid.    (January.) 

*RAMONA  —  United  Artists.  —  A  pictorially 
lovely  version  of  Helen  Hunt  Jackson's  novel  of  early 
California.  Dolores  Del  Rio  is  excellent  as  the  Indian 
girl.      (March.) 

RED  RIDERS  OF  CANADA— FBO.— Heroic  stuff 
about  the  Great  Nortliwest.    Okay.     (February.) 

RENO  DIVORCE — Warners. — Ralph  Graveswrote 
the  story,  directed  it  and  acted  in  it.  The  strain  was 
too  much  for  him.  A  fair  film  with  May  McAvoy  as 
its  ornamental  heroine.      (November.) 

ROAD  TO  ROMANCE.  THE— Metro-Goldwyn 
Mayer. — Joseph  Conrad's  novel  comes  out  as  an  un- 
real movie.  Not  congenial  stuff  for  Ramon  Novarro. 
(December.) 

ROSE-MARIE  —  Metro-Goldwyn-Mayer.  — 
Adapted  from  the  musical  comedy.  Exciting  doings 
and  hot  romance  among  the  fur  traders  of  Canada. 
With  Joan  Crawford  and  James  Murray.      (March.) 

*ROSE  OF  THE  GOLDEN  WEST— First  Na- 
tional.— Flappers  will  be  more  interested  in  the  ro- 
mantic love  scenes  between  Gilbert  Roland  and  Mary 
.\stOT  than  they  will  be  in  the  story.  It's  a  beautiful 
picture.      (November.) 

RUSH  HOUR,  THE— Pathe-De  Mille.— Conven- 
tional stuff,  ornamented  by  Marie  Prevost  and  Seena 
Owen.  Oh.  dear,  these  eternal  working  girls!    (April.) 

*SADIE  THOMPSON— United  Artists.  —  Gloria 
Swanson  triumphs  over  the  censors.  A  racy,  ironic 
and  dramatically  fine  story,  with  a  swell  performance 
by  Lionel  Barrymore  and  Gloria's  finest  acting  to 
date.  Not  for  eiehth-grade  intelligences,  but  real 
stuff  for  persons  of  normal,  healthy  mentalities. 
(April.) 

SAILOR  IZZY  MURPHY— Warners.— George 
Jessel  in  a  comedy  that  has  thrills  and  a  bit  of  pathos. 
Lots  of  laughs.     (November.) 

SAILOR'S  SWEETHEART,  A  —  Warners  — 
They  have  nerve  to  call  tliis  "comedy."  Don't  do  it 
again.  Louise  Fazenda!    (December.) 

SAN  FRANCISCO  NIGHTS— Gotham.— Mae 
Busch.  as  a  cabaret  girl,  rescues  Percy  Marmont 
from  life  in  the  underworld.  Mae's  a  good  trouper. 
(April.) 

SATAN  AND  THE  WOMAN— Excellent.— Show- 
ing how  a  narrow-minded  small  town  can  be  mean  to 
a  pretty  girl  like  Claire  Windsor.  Fie  on  them! 
(April.) 

SCARLET  YOUTH— S.  S.  Millard.— Supposed  to 
have  a  big  social  message;  one  of  those  medical  films 
that  plays  to  "men  only"  and  "women  only"  audi- 
ences. Don't  let  them  kid  you.  It's  just  to  get  the 
easy  money  of  anyone  simple  enough  to  be  taken  in  by 
the  sensational  advertising.      (April.) 


It's  zvorrj/— not  work—t\\2it 


WORRY  and   nerves,  in  so 
many  cases,  are  a  woman's 
own  fault. 

Neglect  of  the  proper  care  of 
herself,  or  misunderstanding  of 
the  facts  about  personal  hygiene 
often  lead  to  listlessness,  prema- 
ture old  age,  needlessly  unhappy 
marriage. 

But  in  this  enlightened,  frank 
day  a  woman  can  scarcely  be  for- 
given for  not  knowing  the  truth 
aboutthisvitalsubject.  Thebook- 
let  offered  below,  called  "The 
Scientific  Side  of  Health  and 
Youth,"  was  written  for  women 
by  a  woman  physician.  It  con- 
tains the  explicit  professional  ad- 
vice and  simple  rules  which  every 
woman  should  have  for  constant 
reference.  It  is  offered  to  you  free 


ages  a  woman 

by  the  makers  of  "Lysol"  Disin- 
fectant. Send  the  coupon  now. 
The  booklet  will  reach  you  in  a 
plain  envelope. 

"Lysol"  Disinfectant  has  been 
the  safe  and  certain  antiseptic  for 
over  30  years.  Don't  experiment 
with  new  preparations.  Don't 
take  unnecessary  chances.  Buy  a 
bottle  of  "Lysol"  Disinfectant  at 
the  nearest  drugstore  today. 
Complete  directions  come  with 
every  bottle. 

"Lysol"  Disinfectant  is  sold  at 
retail  only  in  the  brozvn  bottle 
packed  in  the  yellow  carton. 

MaJe  by  Lysol,  Incorporated,  a  division  of 
Lehn  &  Fink  Products  Company.  Sole  dis- 
tributors Lehn  &  Fink,  Inc.,  Bloomfield,  N.  J. 
In  Canada,  Lysol  (Canada)  Limited.  Dis- 
tributed bv  Lehn  &  Fink  (Canada)  Limited. 


Lehn&Fink,  Inc.  1928 


,         Lehn&F.nk,  Inc 

,  Sole  Distributors,  Dep 

t.l44 

BIoomi^eld.N.J 

Please  send  me 

,  free,  your  bo 

oklet. 

--J 

"The  Scie 

tific  Side 

of  Health  an 

d  Yo 

'"-" 

Name 

Street                                                                                                                                              II 

City 

Stat 





^1 

PHOTOPLAT   MAGAZI.VE. 


Photoplay  Magazine — Advertising  Section 


i^owL  Data  art 

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SECRET  HOUR,  THE— Paramount.— A  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted,"  which  proves  that  you  can't  make  pictures 
to  please  the  censors  and  have  'em  good.    (December.) 

SERENADE — Paramount.- — Holding  a  stethoscope 
to  the  fluttering  heart  of  a  musician.  One  of  Adolphe 
Menjou's  best,  and  brightened  by  the  presence  of 
Katliryn  Carver.      (February.) 

SHANGHAIED— FBO.—Eat-cm-up  love  story 
about  a  sailor  and  a  dance-hall  girl.  You'll  laugh  in 
the  wrong  places.      (November,) 

SHEPHERD  OF  THE  HILLS— First  National.— 
Pure  Harold  Bell  Wriglit  and  very  sweet  and  clean. 
But  just  a  teeny,  weeny  bit  slow.     (March.) 


tames  his  proud  spirit.    A  swell  evening.    (January.) 

SHIELD  OF  HONOR— Universal.— Help  your- 
self, if  you  like  crook  stories.     (December.) 

SHOOTIN'  IRONS— Paramount.— Jack  Luden 
and  Sally  Blane  in  a  jitney  story  of  the  great  hokum 
places.     (November.) 


SILVER  SLAVE,  THE— Warners.— How  mother 
saves  daughter  from  the  clutches  of  a  villain  by  vamp- 
ing him  herself.  Ah,  these  self-sacrificing  mothersl 
(February.) 

"  '     ~  ~         "■      as   a    re- 


SIMBA — Martin  Johnson  Corp.  —  Those  charm- 
inp  travellers,  the  Martin  Johnsons,  have  made 
another  one  of  their  entertaining  jungle  pictures. 
Grert  studies  ol  wild  animals  in  their  native  haunts. 
(.ipril.) 

SINEWS  OF  STEEL— Gotham.— A  story  of  big 
business  showing  how  the  big  steel  corporations  eat  up 
the  little  ones.     (November.) 

SKY-SCRAPER— Pathe-De  Mille.— Love  among 
the  riveters.  The  locations  are  thri.hng,  althouKh  the 
plot  is  hackneyed.  With  Sue  Carol  and  Wiiiiam 
Boyd.      (April.) 

SMART  SET,  THE— Metro-Goldwyn-Mayer.  — 
William  Haines  takes  up  polo.  Always  the  same, 
fresh  kid.  But  good,  if  you  go  in  for  flippant  youth. 
Lipril.) 

SOFT  CUSHIONS— Paramount.— Douglas  Mac- 
Lean  tries  Broadway  gags  in  a  Bagdad  harem.  A  lot 
of  wise-cracking  and  a  real  hit  by  a  newcomer — Sue 
Carol.     (November.) 

SOFT  LIVING — Fox.— Adventures  of  a  stenog- 
rapher who  finds  that  it  is  easier  to  get  alimony  than 
work  for  a  living.  But  love  saves  ail.  With  Madge 
Bellamy  and  Johnny  Mack  Brown.      (April.) 

*SORRELL  AND  SON— United  Artists.— Herbert 
Brenon  has  made  a  touchingly  beautiful  picture  of 
this  story  of  a  father's  love  for  his  son.  Superbly 
played  by  H.  B.  Warner  and  a  fine  cast.    (January.) 

SPORTING  GOODS— Paramount.— Richard  Dix 

plays  an  enterprising  salesman  in  one  of  the  very  best 
current  light  comedies.     (March.) 

SPOTLIGHT,  THE— Paramount.— How  the  bu- 
colic Lizzie  Slakes  became  Roslova,  the  Russian  star. 
Nice  kidding  of  our  craze  for  foreign  names  and  tem- 
perament.   With  Esther  Ralston.     (January.) 

SQUARE  CROOKS— Fox.— Original  variations  of 
the  usual  crook  business  lift  this  comedy  above  the 
ordinarj'.  Jackie  Coombs,  a  three-year-old  kid,  runs 
away  with  the  laughs.      (A  pril.) 

STAND  AND  DELIVER— Pathe-De  Mille.— Rod 
La  Rocquc  joins  the  French  Army  and  goes  on  a  ban- 
dit hunt.  Once  more  Lupe  Velez  registers  a  hit. 
(February.) 

STRANDED— Steriing.— A  little  girl  goes  to  Hol- 
lywood to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  wrote  the  story.     (December.) 

*STREET  ANGEL— Fox.— Janet  Gaynor  and 
Charles  Farrcll  continue  to  remain  in  Seventh 
Heaven.  A  human,  appealing  story,  adorably  acted. 
By  all  means  see  it.      (April.) 


•STUDENT  PRINCE,  THE— Metro-Goldwyn- 
Ma>er. — Ramon  Novarro  in  one  of  the  best  love 
st9rics  ever  written.  Unfort  unately  Norms,  Shearer  is 
mis-cast  and  Lubitsch  isn't  completely  in  his  element. 
Very  much  worth  seeing,  nevertheless.  (November.) 
*SUNRISE-Fox.-F.  W.  M  urnau  makes  the  camera 
do  everything  but  talk.  Short  on  story  interest  but 
long  on  beauty.     (December.) 

SYMPHONY,  THE— Universal.— Rather  wooden 
story  that  tries  to  be  another  "Music  Master." 
Redeemed  by  a  good  performance  by  Jean  Hersholt. 
(January.) 

TEA  FOR  THREE— Metro-Goldwyn-Mayer.— 
The  second  of  the  Lew  Cody-Ailcen  Pringle  comedies, 
neatly  and  subtlely  acted.     (November.) 

TELL  IT  TO  SWEENEY— Paramount.— Chester 
Cnnkhn  and  George  Bancroft  in  a  comedy  that  is  just 
plain  nickelodeon.      (November.) 

TENDERLOIN-Warners.— This  time  the  dirty 
crooks  olame  the  robbery  on  Dolores  Costello.  thereby 
giving  her  an  excuse  to  register  a  lot  of  anguish. 
(March.) 

r-IIOTOri-AT  MAQAZINB  Is  guarantee 


TEXAS  STEER,  A— First  National.— WUl  Rogers, 
as  star  and  title-writer,  pokes  fun  at  our  poUticians! 
A  picture  that  papa  will  enjoy.    (January.) 

THANKS  FOR  THE  BUGGY  RIDE— Universal. 

— Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and,  incidentally,  Laura  La'  Plante's 
best.      (December.) 

THIRTEENTH  HOUR,  THE  —  Metro-Goldwjn- 
Maycr.— In  spite  of  trapdoors,  secret  panels  and 
underground  passages.  Napoleon,  the  crafty  canine 
outsmarts  the  villains.      (February.) 

TIGRESS,  THE— Columbia.— How  much  Dor- 
othy Revier  looks  like  Gloria  Swanson!      (February.) 

*TRAIL  OF  '98,  THE— Metro-Goldwyn-Maver 
— .\  mighty  panorama  of  the  Klondike  rush,  told  with 
power  and  breath-taking  realism.  Congratulations 
to  Clarence  Brown  for  making  a  really  thrilling  film. 
(April.) 

TREE  OF  LIFE,  THE— Zenith.— The  storv  ot  the 
world's  creation,  no  less!  L.  H.  Tolhurst,  with  the 
assistance  of  the  Universitj-  of  California,  prepared 
the  scientific  data.  Educational  and  worth  vour 
while.      (April.) 

*TWO  ARABIAN  KNIGHTS— United  Artists.— 
Proving  that  there  can  be  something  new  in  war 
comedies.  Bright!  Original!  Entertaining!  With 
Louis  Wolheim  and  WiUiam  Boyd.  See  it  by  all  ' 
means.      (November.) 

TWO  FLAMING  YOUTHS  —  Paramount.  —  In- 
troducing a  new  co-starring  team— W.  C.  Fields  and 
Chester  Conkhn.  Great  fun  for  all  but  the  chronic 
weepers.     (March.) 

TWO  GIRLS  WANTED— Fox.-Adapted  from 
John  Golden  s  stage  success,  it's  a  nice,  amusing  storv 
about  a  modern  working  girl.  With  the  adorable 
Janet  Gaynor.    (February.) 

*UNCLE  TOM'S  CABIN-Universal.— Harriet 
Beecher  Stowe's  storj-  re-written  to  include  the  CiWl 
War  and  Sherman's  March  to  the  Sea.  An  effective 
picture,  if  you  don't  mind  the  violence  done  to  the  old 
favorite.    (January.) 

UNDER  THE  BLACK  FLAG— Metro-Goldwjn- 
Mayer. — Flash,  "the  wonder  dog,"  shows  that  the 
doggies  did  their  share  in  fighting  the  war.     (March.) 

UNDER  THE  TONTO  RIM— Paramount — 
More  gold  rush.  Richard  .'\rien  and  Mary  Brian  in  a 
fairly  exciting  Zane  Grey  story.      (April.) 

*VALLEY  OF  THE  GIANTS,  THE  —  First  Na- 
tional.— Splendidly  presented  drama  of  the  Big  Tree 
Country,  stiYringly  acted  by  Milton  Sills  and  Doris 
Kenyon.      (February.) 

VERY  CONFIDENTIAL— Fox.— The  little 
sales-girl  ensnares  the  heart  of  society's  pet.  An  old 
story  m  new  clothes,  with  Madge  Bellamy  as  the 
lucky  gal.      (February.) 

WALLFLOWERS— FFO.— One  of  those  stories 
(Atr'a  5"°"^'^'^'^  ^^'  ^  "■"^'^  "  '"•    Light  but  adequate. 

WANTED,  A  COWARD— Steriing. -If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

13  WASHINGTON  SQUARE  —  Universal.  —  A 
mediocre  mystery  story  with  a  bit  of  comedy  and  a 
good  performance  by  ZaSu  Pitts.  Also  with  AUce 
Joyce  and  Jean  Hersholt.  Only  fair.  (March.) 
„.W.EST  POINT  -  Metro-Goldwyn-Maver.  - 
VVilliam  Haines  in  a  gay  and  amusing  comedy  of  the 
U  S.  Military  Academy.  Joan  Crawford  is  the  girt. 
(February.) 

WHIP  WOMAN,  THE-First  National. -A  pic- 
ture so  badly  made  the  audience  laughed.  Through 
bad  )udgment  of  a  reviewer,  we  failed  to  warn  you 
how  bad  it  was.     (March.) 

^'^J^^^^,^'^S^™^r,y-SwceTe  presentation  of 
Martha  Ostenso  s  novel,  with  a  fine  characterization 
by  Russell  Simpson.    (January.) 

*WIND  THE— Metro-Goldwyn-Mayer.— Lillian 
Gish  in  a  fine  and  impressive  drama  of  life  on  a  Texas 
ranch.  Excellent  support  by  Lars  Hanson  and 
Montagu  Love.      (November.) 

WISE  WIFE,  THE-Pathe-De  Mille.— One  of 
those  stones  about  How  to  Hold  a  Husband— if  you 
are  interested.    (January.) 

WIZARD,  THE— Fox.— One  of  Monsieur  Leroux's 
most  thrilling  mystery  yarns  enacted  by  Edmund 
Lowe  and  other  capable  performers.    (February.) 

WIZARD  OF  THE  SADDLE,  THE— FBO- 
Westcrn  hokum  made  enjoyable  bv  the  horse- 
manship of  Buzz  Barton,  the  freckled  kid.  (February.) 

WOLF  FANGS— Fox.— Ranger,  the  dog.  saves  the 
poor  gal  from  her  brutal  step-father.  Elemental 
amusement.      (February.) 

WOMAN  WISE— Fox.— Showing  the  downfall  of 
a  hard-boiled  bachelor.  With  Walter  Pidgeon  and 
JuneCollyer.    (February.) 

WOMEN'S  WARES-Tiffany.— Evelyn  Brent  as 

a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.      (December.)  ojeuoy 

A.^'^^Sf'  OF  THE  HESPERUS,  THE-Pathe-De 
?'^'''?-— Elmer  Clifton,  who  made  "Down  to  the  Sea 
l?„ff  "^  i^f,  ^S,a'n  turned  out  some  glorious  sea 
.;,  ,.f""g'''"°w  s  ballad  has  been  movie-ized,  but 
you  11  hke  Virginia  Bradford.     'February.) 


Photoplay  Magazine — Advertising  Section 


Hollywood's  Garden 
of  Truth 


[  CONTINI,TED  FROM  PAGE   63  ] 

Another  deprecatory  grin  from  me. 

'"I'll  teUyou\vhat"suddenlyf  rem  D'Almonde. 
"It's  stuffy  in  here.  Let's  go  out  into  the  Garden 
of  Truth,  and  finish  our  little  chat." 

That's  the  way  it  happened — just  like  that. 
I  cannot  tell  3'ou  exactly'  wh}'.  but  a  feeling  of 
elation  suddenly  possessed  me  as  I  trudged 
contentedly  along  with  Vincent  D'Almonde  on 
the  way  to  the  Garden  of  Truth. 

IT  K'(7.j  comfortable  there — quiet,  cool, 
arboreal.  Birds  were  twittering.  .  .  .  Vincent 
lolled  at  ease  upon  a  cushioned  seat;  while  I 
sat  erect  with  pencil  poised,  and  gazing  ex- 
pectanth-  through  my  thick  lenses. 

Suddenly  D'.Umonde  seemed  to  be  lapsing 
into  a  sort  of  reverie;  and  as  I  gazed,  a  subtle 
change  appeared  to  steal  over  him.  It  was 
difficult  to  describe — as  if  the  color  and  tone  of 
a  light  within  a  transparency  had  suddenly 
been  changed.  His  exterior  remained  the  same 
to  the  e3'e;  but  I  seemed  to  sense  an  intangible 
change  in  his  psychic  emanations — if  you  get 
me. 

And  then  I  became  aware  of  a  change  within 
myself.  I  suddenly  became  possessed  of  a 
desire  to  speak  with  absolute  frankness — to 
tell  tills  bombastic  egg  exactly  what  I  thought 
of  him.  Heavens!  Could  it  be  that  there  was 
something  about  this  Garden  of  Truth  .  .  .  ? 

I  curbed  my  desire.  "You  were  speaking  of 
your  books  and  your  music — "  I  suggested. 

Vincent  snapped  out  of  it  with  a  bit  of  a 
start,  and  gazed  at  me  with  perplexity.  "What 
books? — what  music?"  he  interrogated. 

"Why,  the  books  in  your  libran,'  and — " 

"Horseradish!  '  he  exploded.  "I  haven't 
any  library.  Those  rows  of  books  aren't  really 
books — they're  just  the  hacks  of. books;  and  I 
keep  my  liquor  back  of  them.  'Walter  Scott' 
means  Scotch.  'Shakespeare'  spells  gin. 
'Dickens'  and  'Thackeray'  stand  for  Bourbon 
and  Rye. 

''And,"  Vincent  suddenly  leaned  forward  to 
punctuate  this  with  finger-prods  against  my 
knee,  "and,  if  you  ever  find  yourself  in  my 
librar3^  and  you  feel  like  a  slug  of  Benedic- 
tine or  a  shot  of  Absinthe,  just  pull  out 
Volumes  1  and  2  of  Victor  Hugo  and  see  \Ahat 
greets  the  eye!" 

I  heard  with  surprise  my  voice  replying, 
"I  alwaj's  knew  you  were  a  rum  hound;  but 
how  about  these  stories  about  your  'cello 
playing?    Do — " 

'■What's  that  about  a  rum  hound?" 
bristled  Vincent;  but  immediately  he  cooled. 
"Mc  pla\-ing  the  shello?  Don't  it  beat  hell, 
the  way  that  kinda  tripe  gets  spread  around 
about  a  fella?  Why  should  I  play  the  shello? 
I  got  plenty  of  music — a  radio,  two  phono- 
graphs and  a  player-piano.  I  tickle  the  'uke' 
once  in  a  while  and  sing  a  little  'blue'  stuff. 
But — Shello!    Boloney!" 

''V\  TELL,  at  least  you  read  your  parts  over, 

*V  don't  you?"    This  from  me. 

"Why  should  I?"  demanded  D'Almonde, 
with  a  petulant  expression.  "I  got  a  director, 
ain't  I? — and  he's  got  a  script,  ain't  he?  He'll 
tell  me  what  to  do  when  I  get  on  the  set.  My 
directors  are  all  kings,  Old  Son — y'  know  that, 
don't  you?     Read  parts — hell!" 

"As  a  matter  of  fact,"  I  required  to  know, 
"you  are  not  very  bright  anyway,  are  you?" 

"Lissen,  scribe,"  he  said,  with  the  pahn  of 
his  hand  parallel  to  the  ground,  "I'm  gonna 
tell  you  something.  I'm  not  only  not  bright — 
I'm  just  plain  dumb! 

'■^Iaybe  you  don't  know  it,  but  I  was  an 
'extra'  before  I  got  the  break  and  became  a 
star.  Not  in  Hollywood — in  New  York.  A 
scenario  writer  fell  for  me.  Of  course,  you 
remember  'Redemption' — made  a  star  of  me 


BOUR-JOIS 


PAP.IS 


^ 


HE  vigorous,  happy,  uprising  gen- 
eration—  confident  always  of  its 
secret,  irresistible  charm — tolerates 
nosecond  quality.  Andsotheyoung 
modern,  ever  careful  and  discern- 
ing in  this  luxurious  age,  shows 
steadfast  devotion  to  this  per- 
fect  powder   from   Paris. 


MAMDN 
LESCAUT 

FACE    PO^^DER- 


Mlllllllllllllllllllllllllllllllllil 


IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 


When  you  write  ' 


ncntion  PHOTOPLAY  M.VGAZIXE. 


The  Way 

Remove 
COLD  CREAM 

is  the  important  thing,  say  beauty 

experts  .  .  .  this  new  method  is 

both  dainty  and  inexpensive. 


Photoplay  Magazine 

You 


-Advertising  Section 


7-Day  Test  Free 

SKIN  specialists  find  that  careless  re- 
moval of  cold  cream  is  often  respon- 
sible for  sallow  skin,  clogged  pores, 
unsightly  blemishes. 

Cold  cream  cloths,  old  linen  and  other 
unsanitary  makeshifts  are  giving  way  to 
a  new  method — fresh,  dainty  and  eco- 
nomical, too. 

Kleenex  'Kerchiefs  are  delicate  tissues, 
thin  as  gossamer  and  soft  as  cotton, 
made  just  for  the  purpose  of  removing 
make-up  thoroughly,  effectively.  They 
absorb  all  surface  oils,  leaving  the  skin 
radiant,  glowing.  You  use  them  once, 
then  discard.  Laundry  bills  are  lowered, 
towels  are  saved  (for  cold  cream  ruins 
towels,  you  know). 

Because  this  method  is  both  delight- 
fully convenient  and  economical,  stars  of 
stage  and  screen  have  adopted  it  in  amaz- 
ing numbers.  You,  too.  will  find  it  best. 
Buy  a  package  of  Kleenex  now  and  see. 

FOR  COLDS 

For  colds.  Kleenex  'Kerchiefs  eliminate  damp 
handkerchiefs,   possible   reinfection   and   irri- 
tation. You  use  them  once,  then  discard  them. 
Absorbent,  non-irritating,  economical. 

KLEENEX 


A  B 


S  O  R  B  E  N  T 

"^.CHIEFS 


At  all  drug  and  toilet  goods  counters 

In  2  ii>f  paciaf.t,  Ohtrts  90  ig.  in.)     Inlroduclory  si;t 
Igenrroui  lupply)    3y.     Regular  lite    (230  sheet,)  }oc 


17. Day 

Supply  . 

-FRe'e'i 

KLEE.VEX   CO.,                                             PH-S     \ 

LaUe-Mlchlgan  BI<1r.,  Chicago.  III. 

Please  i>cnd  Kample  of  Kleenex  'Kerchlefa.    ! 

i   Va-.„                                                                               i 

i 
AddrLKB                                                                             ' 

'   City 

state 

over  night.  Well,  this  old  writer  girl  put  me  "There 
in  it.  She  had  to  fight  for  me;  and  prob'ly  Vincent 
wouldn't  have  cut  the  buck,  if  it  hadn't  been 
that  the  director  was  pulling  like  hell  to  land 
his  sweetie  (another  e.xtra,  like  myself)  for 
the  feminine  lead.  My  sweet  mama  played  me 
against  the  director's  patootie — and  wc  both 
cut  it:  The  director  O.  K.'d  me — my  httle 
scenario  scribbler  O.  K.'d  Angel-Face.  Presto! 
Stars  over  night,  both  of  us.  That's  history. " 
D'.\lmonde  suddenly  appeared  to  lapse  into 


you  are,  Big  Boy,"  concluded 
Does  that  prove  what  I  said  about 
being  dumb?    I'll  say,  plenty!" 

"You  didn't  need  to  prove  it  to  me,  "I  re- 
joined, "and  as  an  actor,  I  think  you  are  a 
perfect  imitation  of  a  large  slice  of  cheese." 

"Yeah? — is  that  so?"  came  backD'Almonde, 
with  wrinkled  nose  and  lowered  lids.  "Well, 
I'll  tellya,  Slim.  I've  read  some  of  your  stuff, 
and  as  a  writer,  I  think  you  are  an  i\-\  stewer  of 
tripe!     So   I   guess   we're   fifty-fifty   on   that 


a  retrospective  mood.    He  sat  limply  slumped     admiration  stuff . " 

—eves  slarinsr  straisht  ahead.     "Ge't  him  out         Time  was  shoving  on  towards  noon.     "One 

thing  more,"  I  requested.  "You  dearly  love 
your  wife,  and  your  home  hfe  is  very,  very 
happy,  is  it  not?" 


eyes  staring  straight  ahead.  "Get  him  out 
of  it,  boy!"  I  to  myself. 

"Smoke  up,"  I  said,  stepping  over  to  him 
and  sticking  the  cigarette  between  his  lips. 

"Thanks,"  mumbled  Vincent,  roUing  his 
eyes  up  at  me  as  I  gave  him  a  light.  "What 
was  I  telling  you?  Oh,  yes,  about  that  break  of 
mine.  Well,  what  I  was  getting  at  is  this — I 
told  you  that  I  was  just  plain  dumb. 

"This  little  writer  friend  of  mine  was  wor- 
ried about  me  being  an  extra  for  a  couple  of 
)'ears.  She  made  me  change  my  name  from 
Tony  Luchetti  to  what  it  is.  We  did  every- 
thing we  could  to  cover  up  my  'past,'  and 
thought  we  had  it  pretty  well  done,  when 
some  louse  from  the  publicity  department  of 
one  of  the  studios  sends  me  prints  of  about  two 
dozen  'stills'  with  this  pan  of  mine  looming  up 
more  conspicuous  than  even  the  principals! 

"D'  y'  get  the  slant?  That  boy  wanted 
money  for  'em — plenty  jack!  I  was  just 
boob  enough  to  think  that  it  would  do  me 
some  good  to  shove  this  mush  of  mine  up  in 
front  of  the  camera  every  time  I  got  a  chance. 
This  egg  threatened  tospill  the  beans  if  I  didn't 
come  across,  and  buy  the  negatives. " 

"Did  you?"  I  asked. 

"No,  /  didn't;  but  it  cost  my  scenario  mama 
one  thousand  round  berries  for  'em!  There 
was  a  lot  of  publicity  out  about  me  being  a 
new  'find'  from  Buenos  Aires.  What  the  hell 
else  was  there  to  do? 


VIXCENT  sat  bolt  upright,  and  gazed  at  me 
with  the  reproachful  eyes  of  a  chastised  dog. 

" Now,  w^ait  a  minute,  fella, "  he  said.  ^'Wt 
been  on  the  up-and-up  with  you,  ain't  I?  I've 
given  you  cold  turkey  on  a  lotta  things,  ain't 
I?    Well  then,  be  regular  and  lay  off  that  stuff. 

"You  know  the  whole  world  understands  that 
I  am  the  shining  example  of  an  ideally  married 
star.  My  contract  states  that  any  time  I  go 
haywire,  or  the  wife  goes  haywire,  I'm  out  of 
a  job. 

"  So  show  some  appreciation  for  what  I  been 
telling  you,  and  lay  off  that  stuff." 

"But  someone  loves  your  wife!"  I  ventured. 

"Well  then,  why  not  let—" 

"And  you  love  someone — ?" 

"Say!  just  one  more  question  like  that,  and 
a  sock  in  the  nose  for  you,  ink  shnger!  I'll  ..." 

Of  a  sudden  D'.\lmonde's  ferocious  aspect 
deserted  him;  and  he  slumped  back  into  that 
odd  brooding  mood — eyes  fixed,  body  limp. 

Scribbhng  "Thanks  for  the  Interview"  upon 
a  slip  of  paper,  I  inserted  it  between  the  fingers 
of  his  inert  hand,  in  substitution  for  the  ciga- 
rette that  was  burning  there,  and,  pocketing 
my  notes,  stole  quietly  away  from  the  Garden 
of  Truth. 


Suicide  Never  Pays 


[  CONTINUED  FROM  PAGE  33  ] 


father.  Not  a  word  was  spoken.  Just  her 
mother's  cry— then  her  mother's  prostrate 
body  on  top  of  her  father's. 

Those  long  months  of  mother's  illness.  Of 
course,  she  was  better  now.  She  knew  Evelyn 
and  her  grandmother.  She  knew  what  she  was 
doing.  The  New  York  doctors  had  helped, 
but  even  they  said  there  would  come  another 
time,  when  mother  would  be  unable  to  re- 
member. 

'"yHERE'S  no  use.  They  won't  tell  me.  But 

-•-  I  know  there's  darned  httle  money.  And 
neither  of  them  can  work.  It's  up  to  me. 
Besides,  I  want  to  be  an  actress!" 

So,  instead  of  going  to  school,  as  mother  and 
grandmother  had  intended,  the  fourteen-year- 
old  youngster  hurried  to  the  offices  of  the 
various  casting  directors  in  New  York  City. 
.\nd  because  she  was  plucky  and  shrewd  aiid 
pretty  and  would  work  for  five  dollars  a  day 
at  anything  offered,  she  became  one  of  the 
sleady  extras  at  the  World  Film  company  at 
Fort  Lee,  across  the  Hudson  from  the  big  city. 

"But  there's  always  a  day  of  reckoning," 
the  twenty-six  year  Evelyn  told  me  as  she  re- 
counted the  studio  wanderings  of  the  fourteen- 
year-old  youngster.  "  They  decided  to  give  me 
a  contract  at  twenty-five  dollars  a  week.  But 
instead  of  telling  me  about  it,  they  wrote  me  a 
letter.  Mother  opened  it.  She  went  down  to 
(he  school  and  found  I  had  never  been  present. 
When  I  came  home,  they  asked  me,  and,  not 
knowing,  I  lied  like  a  trooper." 

Evelyn  hesitated  to  tell  about  the  scene 
which  followed.  It  wasn't  a  pretty  picture. 
Mother  and  grandmother  hurt  and  discouraged 
because  their  little  girl  should  scorn  an  educa- 


tion; Evelyn  proud  and  disdainful,  displaying 
the  money  she  had  been  saving.  Finally,  they 
all  went  to  the  studio  where  she  had  been 
working.  And  that  visit  won  her  her  first  life 
battle.  She  became,  permanently,  a  motion 
picture  actress. 

It  was  fortunate,  indeed.  For  only  a  few 
weeks  later,  the  little  mother's  mind  forgot 
again;  and  the  grandmother,  heartbroken  and 
ill,  passed  to  a  land  where  there  are  no  troubles. 

"  I  had  exactly  forty  dollars  left  after  grand- 
mother was  buried,"  she  told  me.  "And 
mother^well,  mother  loved  violets.  I  used  to 
bring  her  some  every  time  I  could  afford  it. 
One  day  I  came  in  to  find  she  had  gotten  hold 
of  a  violet  colored  silk  cord.  She  was  tying  it 
around  her  neck.  I  had  to  take  her  up  to  a 
farm  house  in  Connecticut,  where  there  was  a 
doctor  who  could  look  after  her  every  minute. " 


■to  join  the  grandmother  and  the  husband, 
where  Evelyn  knew  she  would  be  more  happy. 

There  came  a  slump  in  the  motion  picture 
profession.  The  girl  with  whom  she  shared  a 
seven-dollar  a  week  room  became  discouraged 
and  married  a  man  who  had  a  steady  position. 

"I  did  play  one  lead  at  this  time.  With 
Lionel  Barrymore  in  'IVIillionaire's  Double.' 
It  was  absolutely  the  happiest  day  of  my  life — 
and  my  last  job  for  many  months, "  she  added. 

"I  took  a  test  for  Sclznick  for  a  dramatic 
part.  But  they  said  I  hadn't  enough  expe- 
rience and  hired  Martha  Mansfield.  That 
seemed  my  last  chance.  There  seemed  nothing 
whatever  left  for  me. " 

Evelyn  hesitated  a  moment  at  this  point  of 
her  story. 


Every  advcillscnicnl 


rilOTOrr.AY  JIAOAZINE  is  suarantecd. 


"Pneumonia  and  pleurisy 
didn't  have  any  money  at  all.  A  friend  of 
grandmother's  had  taken  me  to  her  house.  But 
I  didn't  like  that.  I  was  used  to  earning  my 
own  hving.  All  that  I  asked  of  Hfe  was  to  be 
a  dramatic  actress — and  that  seemed  for- 
bidden. 

"The  doctors  had  given  me  morphine.  I 
took  the  whole  bottle.  A  stomach  pump  was 
all  I  got  for  my  trouble!" 

A  LL  she  got — at  the  moment.  But  a  month 
-'^•later,  the  woman  with  whom  she  was  living 
sailed  for  France  and  took  Evelyn  with  her. 

"  That  was  the  most  carefree  time  of  my  life ! 
We  li\'ed  in  the  French  quarters  and  saw  only 
French  people. 

"Oh,  the  French  people,  the  real  middle- 
class  French  people,  know  how  to  be  always 
happ3'." 

Came  time  to  return  to  the  home-country. 
Two  weeks  in  England  was  scheduled.  And 
there,  fate  began  playing  with  the  life  of 
Evelyn. 

She  was  dining  in  the  Piccadilly  hotel  one 
afternoon  when  she  met  the  famous  Maurice, 
the  dancer.  Now,  of  course,  men  are  always 
attracted  by  EveljTi.  Maurice  was  no  ex- 
ception. When  he  found  she  was  an  actress, 
he  exclaimed,  "I  know  an  American  producer 
who's  tied  himself  into  knots  hunting  for  an 
American  girl  for  his  play.  I'm  going  to  tell 
him  about  you. " 

.Although  Evelyn  insisted  to  both  Maurice 
and  the  producer  that  she  knew  nothing  of 
stage-craft,  she  was  given  the  part — and  stole 
the  show  in  the  bargain. 

The  leading  man  was  AAorking  in  a  motion 
picture,  between  performances.  Evelyn  went 
with  him  and  in  a  few  days  was  making  three 
hundred  fifty  dollars  a  week  between  the  two 
occupations. 

"jNIy,  but  I  thought  I  was  wealthy!"  she 
laughed  a  little.  "I  made  fourteen  pictures  in 
England,  saved  up  quite  a  lot  of  money  and 
thought  my  life  was  straight  sailing — but,  I 
fell  in  love!" 

Another  almost  imperceptible  pause  in  her 
recitation. 

"He  was  a  married  man.  It  was  hopeless 
from  the  very  beginning.  He  had  a  wife  and 
children.  Although  he  had  not  been  living 
with  them  for  sometime,  what  could  I  offer  in 
comparison?  I  wouldn't  give  up  my  career 
for  an}'  man  living.     Oh,  it  was  just  no  use. 


Photoplay  Magazine 

followed.       I 


— Advertising  Section 


'  Among  some  of  the  young  moderns, 
the  anklet  takes  the  place  of  the 
engagement  ring.  Sue  Carol  wears 
a  platinum  anklet,  but  she  denies 
that  it  means  she  is  going  to  marry 


Nick  Stuart 


Teeth  may  be 

flashing  white 

STILL  .  . 

Pyorrhea  attacks 
4  out  of  5 


So  long  as  you  neglect  to 
combat  dread  Pyorrhea, 
health  is  jeopardized. 

This  grim  foe  which  ignores 
the  teeth  and  attacks  the  gums 
takes  as  its  victims  4  out  of  5  after 
forty  and  thousands  younger. 

Take  this  precaution:  See 
your  dentist  every  six  months. 
And  start  using  Forhan's  for  the 
Gums,  today. 

As  a  dentifrice  alone,  you 
would  prefer  it.  Without  the  use 
of  harsh  abrasives,  it  helps  to 
keep  teeth  clean  and  restore 
their  natural  whiteness.  Also  it 
protects    them    against    acids 


which  cause  decay. 

But  Forhan's  is  more  than  an 
ordinary  dentifrice.  If  used  regu- 
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gums  and  keeps  them  sound  and 
healthy.  And  Pyorrhea  seldom 
attacks  healthy  gums. 

Get  a  tube  of  Forhan's  today! 
Use  this  dentifrice  everymorning 
and  night.  Massage  your  gums 
daily  with  it,  following  directions 
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This  good  habit  is  health  insur- 
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Formula  of  R.  J.  Forhan,  D.  D.  S. 

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Forhaii's  for  the  gums 

I  YOUR      TEETH      ARE      ONLY      AS      HEALTHY      AS      YOUR      GUMS 

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Vi»  Dressmgi 


But  it  was  the  first  time  1  had  been  in  love. 
I  told  him  he  must  go.    He  went  to  America  to 

get  away  from  me. 

"  Funny,  how  one  heartache  leads  to  another, 
isn't  it?  He  had  no  more  than  gone,  when 
there  came  a  slump  in  the  English  productions. 
They  couldn't  compete  with  the  Americans. 
I  couldn't  find  a  thing  to  do.  Finally,  there 
came  a  chance  on  the  stage.  It  was  my  last 
hope. 

"On  the  fourth  day— I  caught  cold.  All  I 
can  remember  is  getting  home.  They  found 
me  on  the  floor  of  the  bathroom,  six  hours 
later,  unconscious." 

Pneumonia,  pleurisy  and,  this  time,  rheuma- 
tism with  it.  Easter  Sunday  was  to  be 
Evelyn's  last  day,  according  to  the  physicians. 
But  again  she  defied  the  fates.  Four  weeks  in 
the  country  with  a  trained  nurse,  and  she  re- 
turned to  London  without  a  penny  left  of  her 
savings. 

AND  the  day  she  returned,  a  cablegram  in- 
formed her  that  the  man  she  had  loved  had 
died  in  New  York  City. 

She  was  thin,  ill,  haggard.  The  legitimate 
stage  did  not  want  her.  The  motion  pictures 
were  still  closed. 

What  was  there  left  for  her? 

"  1  took  iodine  this  time.  I  didn't  know  that 
a  person  cannot  swallow  enough  iodine  to  kill 
them.  Another  illness  was  all  1  had  this  time 
for  my  trouble ! 

"AJmerica!  I  wanted  to  get  back  to  my 
own  country.  But  boats  cost  money.  I  didn't 
know  which  way  to  turn. 

".\nd  the  very  next  day  after  1  decided  1 
must  get  home,  someway,  an  agent  called  up 
and  asked  if  I'd  like  to  play  a  part  in  a  picture 
that  the  Cunard  line  was  going  to  make  on  a 
ship  going  to  America.  Would  I  like?  They 
gave  me  fifty  pounds  and  my  passage  to  New 
York  City.  And  you  know  the  rest  of  my 
story." 

Yes,  we  know  the  rest.  Douglas  Fairbanks 
had  seen  one  of  her  English  pictures  in  his 
projection  room  in  Hollywood  and  determined 
he  would  like  her  for  his  leading  lady.  When 
he  found  she  was  in  New  York  City,  doing 
extra  work  again,  he  signed  her  on  a  contract 
and  brought  her  to  California.  Then,  for  a 
whole  year,  she  didn't  play  in  a  picture! 
Perhaps  this  was  the  most  heart-breaking 
point  of  Evelyn's  entire  life  storj'.  In  the 
meantime  she  had  met  and  married  B.  F. 
Fineman,  an  executive  at  Paramount-Famous- 
Lasky;  but  her  heart  yearned  to  continue  her 
attempts  to  become  a  real  dramatic  actress. 
Finally,  her  husband  secured  her  release  from 
her  contract  and  Evelyn  began  Hollywood 
freelancing. 

"And  to  show  how  experiences  dove-tail 
together,"  Evelyn  concluded.  "Von  Stern- 
berg had  been  an  assistant  something-or-other 
in  England.  I  didn't  remember  him,  but  for- 
tunately, he  remembered  me.  He  insisted  on 
having  me  for  the  lead  in  'Underworld'  with 
George  Bancroft,  which,  after  twelve  years, 
was  my  first  real  break  in  pictures." 

■KTO,  Evelyn  is  no  longer  Mrs.  Fineman.  But 
•1-^  she  and  Mr.  Fineman  are  seen  lunching  to- 
gether at  least  once  a  week  in  the  Cinema  City. 
"  He  is  still  my  best  friend.  We  just  get  along 
better  as  friends  than  we  do  as  husband  and 
wife,"  was  her  candid  explanation. 

"If  }'ou  want  to  geta  moral  outof  my  story," 
she  added,  as  she  uncurled  herself  from  the 
cushioned  chair,  in  which  she  had  been  half- 
hiding,  while  she  was  talking,  "just  say  that 
suicide  doesn't  pay.  It's  foolish.  Every  time 
I  tried  it,  the  next  day  something  splendid 
happened.  You  get  just  so  low  in  life,  and  then 
something  good  is  sure  to  happen.  Suicide 
doesn't  help  any.  If  you  succeed,  you  pass  out 
and  never  know  the  break  that  is  just  around 
the  corner;  if  you  don't,  you're  downright 
sick  and  feel  like  a  dumb-bell  for  causing  so 
much  trouble.  It's  taken  me  twenty-six  years, 
ut  I've  gotten  there  and  I'm  happy.  Anyone 
else  can  do  the  same  thing  without  being  half 
as  foolish." 


Enry  aavcrtiscracnt  In  I'lIOT(>I'I,.\Y  MAGAZINE  Is  guaranteed 


Photoplay  Magazine — Advertising  Section 


123 


Flaherty,  Great 
Adventurer 


[  CONTI.VUED  FROM  PAGE   58  ] 

plain  and  David  Thompson.  Radisson  is 
merely  the  name  of  a  hotel  in  Minneapolis 
now,  and  Champlain  is  a  lake  in  upper  New- 
York  state.  Flaherty  is  the  sole  sur\'ivor  of  his 
clan. 

The  masters  of  the  movie  world  do  not  quite 
understand  this  strange  Flaherty.  And  for  all 
his  knowledge  of  men  and  their  ways,  from 
Cree  to  Kanaka  and  from  Eskimo  to  Maori, 
Flaherty  does  not  quite  understand  the  movie 
magnates. 

A  STRIFE  results.  Perhaps  it  is  not  very 
•'»■  consciously  conducted,  but  it  is  strife. 
There  is  a  striving  to  make  Flaherty  and  his 
pictures  into  what  they  call  "box  olBce,"  by 
force  of  movie  conventions.  Meanwhile 
Flaherty  struggles  to  record  a  real  world  as 
seen  through  his  eager,  earnest  ej'es. 

.\bou',  seven  years  ago  Flahert)',  unheralded 
and  unknown,  came  down  out  of  the  north 
with  his  pictures  of  Xanook.  Within  a  year 
he  had  become  a  conspicuous  name  in  the 
world  of  the  motion  picture,  but  with  a  fame 
which  was  largely  outside  of  it.  With  a  single 
picture,  simply  made  and  unostentatiously 
presented,  he  attained  international  note. 

Now  Flaherty  has  three  pictures  to  his 
credit,  presented  to  the  world  through  as  many 
conspicuous  film  corporations,  but  for  all  his 
name,  it  is  just  the  same.  The  story  of  the 
man  himself  and  the  greater  personal  drama 
behind  his  screen  attainments  has  never  been 
told. 

Meanwhile  the  screen  works  of  Flaherty 
have  added  importantly  to  the  status  of  the 
motion  picture  as  an  instrument  of  expression. 
as  a  teller  of  true  tales,  more  vital  than  the 
studio  fancies  of  Hollywood. 

The  motion  picture  has  drawn  its  personnel 
and  manpower  from  many  and  varied  sources 
— furs,  gloves  and  cloaks-and -suits,  medicine 
shows,  newspapers,  politics,  banks  and  bars, 
but  Flaherty's  background  is  uniquely  iron — 
iron  ore.  He  is  the  son  of  the  late  Robert  H. 
Flaherty,  one  of  the  foremost  figures  in  the 
history  of  ore  exploration  for  his  day  in  the 
Northwest  and  Canada. 

So  properly  enough  young  Bob  Flaherty  was 
born  at  Iron  ^lountain  in  ]\iichigan.  It  was  in 
the  snowy  February  of  1884.  He  grew  up  in 
the  iron  mining  regions  and  the  gold  camps  of 
the  north.  He  followed  the  travels  of  his 
father,  who  was  made  nomadic  by  his  pur- 
suits as  a  mining  engineer.  Bob's  friends  and 
playmates  were  the  miners.  From  them  and 
with  them  he  got  a  hard  rock  education  in  the 
code  of  give  and  take.  He,  as  the  lone  boy  of 
the  camps,  was  given  to  many  devilments. 

Up  at  the  Golden  Star  mine  in  Ontario  the 
boss  of  the  blasting  crew  kicked  Bob's  dog. 
Off  at  the  edge  of  the  camp  was  a  cabin  where 
dynamite  was  stored.  A  stove  with  a  low  fire 
burned  all  the  while  to  keep  the  e.xplosive  from 
freezing.  There  were  tons  of  it  there.  That 
night  Bob  stoked  the  fire  with  wet  wood  and 
stuffed  the  chimney.  Then  he  alarmed  the 
camp  to  view  his  first  motion  picture  effect. 

CMOKE  poured  from  every  crevice  of  the 
^building.  The  camp  was  in  terror.  The  sur- 
rounding hills  were  filled  with  wild-eyed 
miners  in  sock  feet  and  shirt-tails,  running 
through  the  snow  of  a  Canada  winter  night  to 
escape  the  destruction  to  come. 

When  the  fugitives  got  back  at  dawn  they 
found  Bob,  with  his  dog,  comfortably  asleep 
in  bed.  He  had  turned  in  as  they  left,  knowing 
that  presently  his  smudge  fire  would  burn  out 
without  harm. 

.\fter  a  series  of  such  episodes  as  these, 
Flaherty's  father  decided  to  give  the  young 
man  the  influences  of  civilization.     Bob  went 


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HERE  WE  SHALL  TRY  TO  GIVE 
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il 

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Its  appeal  is  to  delicacy,  to  the  appreciation  every 
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So  point  three  in  favor  of  Princess  Pat  is  perfume  of 
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Even  beyond  all  these  advantages.  Princess  Pat 
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For  Princess  Pat  powder  is  good  for  the  skin.  Not 
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Vou  know  how  confidently  you  depend  upon 
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Almond  in  Princess  Pat  face  powder  has  the  self- 
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Constant  use  of  Princess  Pat  powder  is  one  of  the 
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Princess  Pat  has  been  called  "the  powder  your  skin 
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please  mention  PHOTOPLAY  MAGAZI.NE. 


124 


Photoplay  Magazine— Advertising  Section 


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away  to  school,  ^^'ith  considerable  velocity  he 
passed  through  Upper  Canada  College  in 
Toronto  and  the  Michigan  College  of  Mines  at 
Houghton.  His  college  life  is  said  to  have  been 
more  marked  by  its  intensity  than  its  duration. 
If  he  ever  got' a  degree  from  either  of  these 
schools  they  must  have  thrown  it  at  him  as  he 
went  past. 

Bob  was  in  a  burn',  being  at  least  two  hun- 
dred and  fifty  years'behind that  "Company  of 
Adventurers''  which  sailed  on  the  Nonsuch. 
Out  of  school  he  took  to  the  woods  and  waters 
of  the  Canadian  wilderness,  working  with  his 
father  in  the  exploration  of  the  mineral  re- 
sources of  northern  Ontario.  He  learned  to 
paddle  a  canoe  like  a  Cree  and  to  carry  a  pack 
"keanOjibway. 

THERE  was  romance  and  a  feeling  for  life  in 
the  youth.  He  carried  a  violin,  along  with 
the  transit  and  geologist's  hammer.  They 
were  all  instruments  of  his  career. 

By  the  Hght  of  a  thousand  campfires  he 
lieard  the  lore  of  the  north  countr\',  the  weird 
tales  of  "La  Chasse  Gallerie,"  and  the  ad- 
\-entures  of  voyageurs  in  all  the  wildernesses 
from  Nanaimo  to  the  Straits  of  Belle  Isle. 
With  them  he  drank  and  fiddled  and  sang: 
•En  Roulant  ma  Boule"  and  "J'aimerai 
Toujours." 

Soon  he  added  a  kodak  to  his  pack,  along 
with  the  violin.  He  wanted  someway  to 
record  and  interpret  this  fascinating  world  of 
the  Big  North.  And  even  his  first  amateurish 
snapshots  had  something  of  poetry  in  them. 

Far  out  on  the  west  coast  of  \'ancou\-er 
Island  Flaherty  found  an  out-crop  of  wonderful 
marble.  He  spent  three  years  quarrvdng  there 
and  trjdng  to  develop  a  business.  His  marble 
was  too  far  from  the  monument  trade.  The 
northwest  coast  is  healthy.  Flaherty  did  not 
mind  much.  He  was  not  so  anxious  to  be  a 
businessman  anyway. 

Flaherty  turned  east  to  Toronto.  He  was 
looking  about.  His  real  career  was  still  ahead 
of  him.  The  Canadian  government  was  pro- 
jecting a  railway  that  would  carry  the  wheat 
of  the  prairie  provinces  to  ships  on  Hudson 
Bay,  a  short  cut  to  European  markets.  Sir 
William  Mackenzie  was  building  the  Canadi 


iron  strata  too  poor  in  metals  to  offer  com- 
mercial value.  Flaherty  was  ready  to  turn 
back  for  the  long  cold  journey  back  to  civiliza- 
tion, six  hundred  miles  to  the  southward,  with 
a  report  of  disappointment. 

Nero,  an  Eskimo  dog  driver,  came  up  to 
Flaherty,  as  he  stood  looking  out  across  the 
endless  leagues  of  sea  ice.  "Big  land  over 
there!"  The  Eskimo  pointed  out  into  the 
emptiness  of  Hudson  Bay. 

FLAHERTY  was  curious,  incredulous,  but 
hopeful.  He  had  come  to  find  iron,  and  there 
was  not  enough  iron  in  the  Nastapokas.  His. 
maps  and  charts,  with  all  of  the  due  authority 
of  the  British  Admiralty  and  two  and  a  half 
centuries  of  navigation  of  these  waters,  showed 
a  tiny  cluster  of  dots  out  there  in  the  big  bay, 
labelled  Belcher  Islands,  mere  pin  points  of 
geography.  What  the  Eskimo  said  must  of 
course  be  an  exaggeration,  a  campfire  tale. 
But,  there  was  a  chance.  Flaherty  remem- 
bered one  Wellatok,  an  Eskimo  at  Charlton 
Island,  who  had  told  tales  of  his  one  tinie  home 
and  hunting  grounds  on  a  great  land  up  in  the 
bay.  Wellatok 's  stories  were  always  discount- 
ed at  Charlton  Island  by  the  canny  fur  traders. 
They  knew  the  maps  were  right. 

But  science  and  the  scientific  spirit,  which  is 
so  closely  akin  to  the  spirit  of  ad\'enture,  too, 
will  have  its  way.  All  that  long  journey  back 
to  ci\'ilized  Canada,  Flaherty  was  pondering 
the  possibilities  and  remembering  one  tempting 
fact.  Years  before  in  the  iron  prospecting  of 
Ontario,  Flaherty  and  his  father  had  come 
upon  interesting  bits  of  ore,  just  scraps  and 
shards  of  it  in  the  tangle  of  glacial  gravel  heaps. 
It  had  come, ages  before,in  the  bigice  sheet,  from 
somewhere  north.  Never  had  they  been  allc 
to  find  the  mother  lode,  the  source  of  these 
glacial  borne  fragments.  But  there  was  the 
tempting  certainty  that  somewhere  in  th.- 
mystery  of  the  Big  North  that  rich  ore  \^■as 
sleeping  under  the  snow  and  ice. 

In  Toronto  Flaherty  made  his  report  on  the 
Nastapokas  and  told  Sir  William  Mackenzie 
about  the  rumors  of  the  big  unknown  land  in 
Hudson  Bay.  Up  at  Ottawa  the  Government 
officials  smiled  and  pointed  to  the  charts. 
There  were  deep  sea  soundings  on  the  maps 


Northern  railway.    With  this  talk  of  Hudson     where  Wellatok  had  placed  his  tales  of  hunt- 
Bay  development  in  the  air  he  conceived  the     ingin"thebigland. "' 


possibility  that,  if  reports  of  mineral  deposits 
were  true,  there  would  also  be  a  traffic  in  iron 
ore  from  the  great  bay  to  the  markets  of  the 
world.     He  sent  for  Flaherty. 

ONE  August  day  in  1910  Flaherty,  with  one 
companion,  dropped  a  seventeen  foot  canoe 
into  the  water  of  Ground  Hog  river  at  the  last 
northern  frontier  station  of  the  Grand  Trunk, 


Mackenzie  sent  Flaherty  back  to  prospect, 
and  to  see  about  that  big  land,  be  it  myth  or 
fact.  So  again  Flaherty  went  into  the  north, 
taldng  a  motor  to  put  into  a  boat  for  the 
voyage  in  quest  of  the  unknown  islands.  .\ 
quest  of  years,  filled  with  adventure  and  dis- 
asters, had  begun.  The  motor  boat  was 
wrecked  upon  the  Great  Whale  coast.  Flaherty 
waited  for  the  sea  ice  of  deep  winter,  and  a 
and  pushed  off  for  the  north,  down  to  the     storm  came  and  broke  up  the  ice  the  day  he 


Mattagami  and  on  into  the  big  Moose  river. 
At  last  Flaherty  was  on  his  way  to  complete 
the  work  of  the  expedition  of  the  Nonsuch,  in 
the  quest  of  "Minerals  and  other  Considerable 
Commodities."  He  was  bound  for  the  Nasta- 
polca  Islands  where  according  to  rumor  there 
was  iron,  eleven  hundred  miles  above  the  rim 
of  civUizadon. 

Up  and  up  into  the  northland  Flaherty  with 
canoe,  laden  with  tea  and  pemmican  and  beans 
and  flour,  and  a  fiddle,  traxelled  day  upon  day. 


was  ready  to  set  forth  on  the  big  drive  tow  ard 
WeUatok'sland. 


A  GAIN  Flaherty  returned  south 
-'   *-had  audience  with  Macken 


again 

Mackenzie. 
"Get  a  ship,"  Mackenzie  decided.  Then 
one  brave  day  in  summer  "The  Laddie,"  a 
stout  Arctic  schooner  sailed  from  the  harbor  of 
St.  Johns  in  Newfoundland,  with  Flaherty 
aboard.  This  time  he  carried,  instead  of  the 
kodak,  a  motion  picture  camera.    It  was  1913 


he  Jori-st^  gave  wav  to  the  open  plains  of  the  and  Flaherty  had  seen  the  first  of  the  feature 
'  '        '      '  '        dramas  on  his  short  sojourn  in  the  cities  of 

Canada. 

The  cruise  of  the  Laddie  brought  many  new 
adventures,  by  shore  and  sea.  The  schooner 
was  wrecked,  sal^'aged  and  repaired.  At  last 
Flaherty  found  the  land  of  his  quest,  Wellatok's 
islands.  Here  was  a  great  domain  of  some 
thousands  of  square  miles — and  on  it  nearly  a 
hundred  square  miles  dotted  with  outcroppings 
of  rich  iron  ore. 

Thus  posthumously  the  mission  of  the  ketch 
Nonsuch  and  that  company  of  gentlemen  ad- 
venturers from  London,  now  after  two  hundred 
and  fifty  years,  was  fulfilled.    And  for  all  those 


north  with  their  miles  of  muskeg,  broken  only 
licre  and  there  by  stunted  windbeaten  trees. 
C;n  an  island  in  the  great  river  they  came  at  last 
to  Moose  Factor)',  for  two  and  a  half  centuries 
a  norlhern  center  for  the  Hudson's  Bay  Com- 
pany with  its  fringe  of  Indian  cabins,  little 
patches  of  garden,  teepees,  red  church,  and 
everywhere  sprawling  sledge  dogs,  lazy  in  the 
later  summer  sun. 

But  this  was  only  a  place  of  taking  breath 
on  the  long  trail.  Seventy  miles  out  in  the  bay 
at  Chariton  Island,  Flaherty  outfitted  lor  the 
push  north  to  the  Nastapokas.  Winter  was 
ven  then  bearing  down  from  tlie  north.     At 


Fort  George  he  waited  for  the  sea  ice  to  spread  two  and  a  half  centuries  the  annual  cruise  of 

over  Hudson  Bay  and  at  last  drove  out  across  the  Fludson's  Bay  Company  fur  ships  into  the 

the  frozen  wastes  to  the  Nastapoka  Islands,  big  bay  had  passed  within  a  few  hours'  saU 

I'lve  days  of  prospecting  there  revealed  the  from  these  unknown  islands. 


Every  iidvcrllscmenl  In  I'TlliTOl 


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Photoplay  Magazine — Advertising  Section 


I'lalicrty  was  \'indicated  and  honored  among 
^leograpkers.  Presently  he  was  to  be  elected  to 
I  he  Royal  Geographical  Society,  and  author- 
ized to  write  F.  R.  G.  S.  after  his  name. 

]\Ieanwhile  Flaherty  industriousl)'  recorded 
the  life  of  the  people  of  the  north,  the  battle 
for  life  of  the  Fskimos,  on  film.  He  had  come 
to  know  it  and  understand  it  on  terms  no 
white  man  had  ever  shared  before.  He  wanted 
to  bring  back  to  the  civilized  world  that 
dramatic  saga  of  ice  and  sea. 

.\t  last  Flaherty  reached  Toronto  and  sat 
down  in  the  comforts  of  civilization  to  put 
his  picture  together.  Then  as  the  job  neared 
completion,  and  his  picture  was  all  in  neat 
rows  of  rolls  piled  up  before  him  on  the  cutting 
table,  he  dropped  a  cigarette.  There  was  a 
burst  of  flame.  Flaherty  ^^■as  thrown  across 
the  room,  burned  deep  by  the  blast,  scorched 
as  though  he  had  stepped  into  the  roaring 
\orte.x  of  a  giant  blow-torch.  He  struggled 
out  of  the  room  and  ran  to  the  street  in  a 
frenzy  of  pain,  clothes  afire.  Weeks  later  he 
recovered  in  a  hospital.  •  His  treasured  film 
record  of  the  life  of  the  northland  had  vanished 
completely  in  that  one  searing  explosion. 

"DUT  creative  zeal  was  upon  this  determined, 
-'-'adventuring  Flaherty.  On  his  intermittent 
sojourns  in  the  cities  of  civilization  he  had 
seen  the  rise  of  the  feature  drama.  He  had 
watched  the  screen  begin  as  a  recorder  of 
novelty  and  develop  into  a  medium  of  ex- 
pression. Only  the  screen  could  tell  this  wild, 
sweeping  story  of  the  big  north  which  Flaherty 
had  made  so  completely  his  own. 

At  last  Flaherty  determined  to  go  back 
north,  no  longer  concerned  with  iron  and  other 
"Considerable  Commodities,"  but  with  pic- 
tures alone.  John  Revillion  and  Captain 
Thierry  Mallet  of  Revillion  Freres,  the  world 
famous  fur  concern,  agreed  to  finance  the 
project.  One  may  pause  for  a  parenthesis  of 
whimsy  to  regard  this  fact,  for  what  with  all 
the  retail  furriers  who  have  become  the  build- 
ers of  the  screen  empire  it  seems  oddly  coinci- 
dental that  now  at  last  the  great  super- 
trappers  and  traders  of  the  snowy  north 
should  also  enter  the  picture.  For  twenty-odd 
years  there  has  been  an  amazing  affinity  be- 


Since  Chinese  gentlemen  prefer 
'em  too,  Anna  May  Wong  dons  a 
blonde  transformation.  This  young 
Oriental  flapper  is  playing  a  role 
with  Ramon  Novarro  in  "China 
Bound" 


YShy  is  your  face 

older  than  the  rest  of  you? 

TLJ  AVE  you  ever  wondered  why  the 
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than  the  skin  of  your  shoulders  ?  '  ] 

Weathering  is  the  reason. 

Your  shoulders  are  covered— pro-  \ 

tected.  Your  face  is  exposed. 

The  sun  weathers  it.  Cold  and 
wind  and  dust  weather  it.  Steam  heat 
weathers  it.  Too  frequent  washing 
weathers  it.  No  wonder  the  natural 
oils  dry  out — that  the  skin  dries,  ages. 

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too,  a  skin  already  roughened. 

Just  pat  on  Hinds  Cream,  and  pow- 
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night — in  the  morning — every  time 
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been  protected   from 

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126 


Photoplay  Magazine— Advertising  Section 


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tween  furriers  and  films,  from  pelt  to  pellicle. 

One  August  day  Flaherty's  ship  let  go  anchor 
in  Innusuk  river,  the  harbor  for  the  Revilhon 
po'it  at  Cape  Dufferin  in  Hudson  Bay.  There 
Flaherty  picked  a  dozen  Eskimos  and  their 
famines'  for  his  picture  making.  Chief  of 
them  all  was  one  Nanook— meaning  The  Bear. 

The  motion  picture  which  gave  Flaherty 
\\orld  fame  is  a  faithful  accounting  of  the 
battle  for  existence  of  the  Eskimos.  But  like 
most  good  reporters  he  kept  himself  and  his 
personal  ad\-entures  mostly  out  of  the  telling 
of  that  story.  ,  .        ,         . 

Xo  masterpiece  was  ever  achieved  under 
more  desperate  difficulties. 

THE  Nanook  expedition  faced  all  of  the  perils 
of  the  Tactic  winter,  storm,  starvation  and 
disaster. 

There  was  a  desperate  week  when  Flaherty 
had  to  burn  precious  rolls  of  film  to  melt 
snow  for  tea  water,  out  on  the  barren  wastes, 
blizzard  bound  and  facing  death. 

Out  on  the  ice  a  thousand  miles  from  a 
dental  surgeon,  Flaherty  was  stricken  with 
dental  trouble  involving  an  abscessed  tooth,  so 
painful  it  made  him  helpless.  With  a  file  and 
a  nail  he  fashioned  a  drill,  and  mth  that 
crude  instrument  and  no  anaesthetic,  he  direct- 
ed an  operation  performed  by  a  clumsy  Eskimo. 
Infections  resulted  and  the  Nanook  story  came 
near  ending  there. 

There  were  technical  difficulties  without 
end.  Flaherty  found  that  at  37  degrees  below 
zero  the  brittle  film  broke  into  flakes  like  glass 
when  he  tried  to  put  it  through  the  camera. 
He  had  to  warm  the  film  in  the  igloo  at  the 
camp  and  wrap  it  in  clothes  that  could  ill  be 
spared  to  keep  it  warm  until  it  could  be  ex- 
posed. 

.'\fter  the  year  long  campaign  in  the  north, 
Flaherty's  ship,  the  little  schooner  .Annie, 
sailed  into  the  Innusuk  river  one  .August  day 
and  a  week  later  he  stood  at  the  rail,  waving 
farewell  to  Nanook,  who  had  followed  out 
to  sea  in  his  kayak. 

Two  years  later  the  once-a-year  ship 
brought  back  word  to  Flaherty  that  Nanook 
was  dead.  The  annual  migration  of  fish  had 
failed  and  the  Eskimo  chief  died  of  star%'ation. 
]Meanwhile  incident  to  Flaherty's  film  labors 
Nanook  had  become  the  most  famous  I'^skimo 
in  history.  His  picture  had  gone  all  over  the 
world,  even  to  the  deserts  of  .Africa  and  .\=ia 
where  the  magic  of  snow  had  to  be  explained 
to  the  amazed  native  audiences. 

THE  triumph  of  the  pictures  of  Nanook  took 
Flaherty  away  from  his  quest  of  iron  and 
changed  the  whole  course  of  his  career. 

Jesse  Lasky,  the  only  film  magnate  with  a 
feeling  of  the  great  outdoors  and  the  adven- 
tures of  the  far  places,  commissioned  Flaherty 
to  go  into  the  South  Seas  and  record  the  native 
life  of  that  region  as  he  had  in  the  North. 
"Moana,"  an  idyll' of  Samoa,  resulted,  after 
a  series  of  adventures  quite  as  remarkable  as 
the  filming  of  Nanook — but  that  is  yet 
another  story  for  another  day. 

Meanwhile  the  influence  of  Flaherty's 
technique  in  "Nanook  of  the  North"  began  to 
exert  itself.  There  was  a  quickening  of  interest 
in  "natural  drama."  "Grass"  made  by 
Merian  Cooper  and  Ernest  Schoedsack,  the 
spectacular  tale  of  a  migration  in  the  Persian 
highlands,  found  a  release  with  Famous 
Players  through  Lasky's  interest.  And  in 
sequel  Cooper  and  Schoedsack  made  that 
current  success,  "Chang,"  in  the  jungles  of 
Siam,  with  a  parallelism  to  the  Nanook  idea. 

Again  Flaherty  is  oflf  lo  the  far  away  lands, 
in  Tahiti  now,  to  make  a  screen  record  based 
on  Frederick  O'Brien's  "White  Shadows  in 
the  South  Seas."  So  indeed  in  this  fateful 
way,  Flaherty  has  fulfilled  through  the  films 
the  quest  of  his  confreres  of  the  ketch  Non- 
such, which  sailed  that  day  in  1668  "for  the 
Discovery  of  a  new  Passage  into  the  South 
Sea. " 

Flaherty  ashore  in  Papeete  has  just  landed 
at  the  end  of  the  cruise  that  began  two  hun- 
dred and  sixty  years  ago  in  London  river. 

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Photoplay  Magazine- 


The  Story  of 
Greta  Garbo 


[  CONTINUED  FROM  PAGE   37  ] 


"Xo,  I  had  never  been  out  of  Stockholm 
except  to  my  own  country  before.  I  was  not 
so  excited" — Greta  Garbo  hesitated,  crossed 
both  hands  on  her  breast  and  waited.  One 
moment,  two,  three,  perhaps  se\'en.  Then,  very 
slowly,  pausing  between  each  word  of  explana- 
tion: "I  do  not  know — as  I  should  tell  this. 
People  may  not  believe  what  I  say — but  I  have 
the  most  amazing  feeling, — I  feel  I  have 
lived — before.  I  am  never  terribly  surprised  at 
anything.  I  feel  alwa>'s,  I  have  been  there 
before — that  it  is  not  entirely  a  new  experience. 
I  cannot  describe — but  in  here — "  her  hands 
\^■orked  on  her  breast — "I  feel  it. 

'  -X/riSS  LUNDEQUIST,  a  very  big  Swedish 

■'■ '■'•actress,  who  played  in  the  picture,  went 
with  us.  She  is  a  most  marvellous  person.  She 
has  the  most  amazing  eyes  of  any  person.  So 
much  soul  and  so  tired,  aLvays. 

"Berlin  was  wonderful  to  us.  Oh,  yes,  it  was 
a  very  big  opening.  Everything  that  Mr. 
Stiller  does  in  Europe  is  big.  There,  he  is  the 
master.    Everybody  goes  to  see  his  pictures. 

"We  went  on  the  stage.  They  sent  us  many 
tlo\A-ers.  They  had  sent  way  to  Stockholm  for 
us  and  they  made  it  a  very  big  time  for  us. 
The  German  people  are  wonderful.  They  do 
not  touch  you,  yet  they  have  their  arms  around 
you — always. 

".\nd  Ber-lin!"  Would  that  we  could  repro- 
duce Greta  Garbo's  enunciation  of  Ber-lin.  The 
lo\'e  there  is  in  it.  "I  will  never  forget  when  I 
came  to  it.  The  smell  of  the  city.  An  amazing 
smell  that  has  everything  in  it.  You  can  feci 
it  in  your  breast,  when  it  is  coming.  I  had  not 
been  in  a  big  city  before — where  there  were  so 
many,  many  people.  But  I  could  feel  the  smell 
long  before  we  were  really  inside  the  city — it 
was  as  though  I  had  smelled  it  before,"  her 
voice  lowered,  "been  there  before,  as  I  told  you. 

"While  we  were  there,  that  one  week  for  the 


Since  odd  and  ornate  jewelry  is 
very  much  the  fashion,  Elinor  Fair 
wears  a  combination  ring  and 
bracelet.  The  ornament  is  of 
beaten  silver,  set  with  brilliants 
and  turquoises.  The  turquoise  is 
Elinor's  birth-stone.  A  trick  like 
this  should  only  be  attempted  by 
girls  with  well-shaped  hands  and 
arms 


'S 


^ 


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> 


Advertising  Section 


N£v- 


127 


% 


O 


IN    MAKE-UP 


■^ 


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Dorothy  Gray's  new  Vanity  Case  ingeniously  holds  rouge,  powder  and  an 
ample  mirror,  lipstick,  tiny  eyebrow  brush  and  fweezers.'Eyeshadow  and Lashique. 


THERE  was  a  time  when  ladies 
shrank  from  make-up,  and  wisely! 
For  then  women  truly  "painted  their 
faces" ;  then  crudely  shaded  cosmetics 
were  spread  with  a  lavish  hand,  and 
make-up  of  doubtful  purity  was  even 
used  to  cover  blemishes  in  the  skin. 
Fortunately  all  this  has  passed.  The 
intelligent  woman  of  today  first  gives 
her  skin  a  natural  loveliness  through 
sane  and  scientific  treatment,  then  em- 
phasizes this  natural  beauty  with  a 
subtle  touch  of  rouge,  a  light  film  of 
powder,  a  gay  dash  of  lipstick. 


Dorothy  Gray's  treatments  and 
preparations  first  look  to  the  scientific 
cleansing  and  lubrication  of  the  face 
and  throat  and  to  the  stimulation  of  a 
normal  healthy  circulation  by  gentle 
patting  along  the  contour  lines. 

Dorothy  Gray's  exquisite  finishing 
preparations  protect  the  delicate  skin 
from  dust  and  exposure,  and  her 
rouges  and  powders  are  subtly  shaded 
to  accent  the  charm  efface  and  throat, 
lips  and  eyes. 

At  the  leading  shops  and  drug  stores 
you  will  findMissGray'spreparations. 


DOROTHY  GRAY 

753  FIFTH  AVFNTJE.  NEW  YORK 

Flease  send  me  The  Story  of  Dorothy  Gray.  ] 

particularly  interested  in:    D  The  Treatment  cf 

Lines  and  Wrinkles  D  The  Treatment  for  Double 

Chin  n  The  Treatment  for  Relaxed  Muscles  and 

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Name 

Address - 


>  >>> 


DOROTHY  GlEkAir 


753    FIFTH    AVENUE 


<<  <  < 


rnOTOPI-AT   MAGAZIXB. 


128 


Photoplay  Magazine— Advertising  Section 


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'•    Shin  Lotion. 


«IW«YI  «.k  For  DENISON'S-52  Tears  ol  Hits 

Comsdy-lJramnii,    ft!    ■  U A    Vaudeville  Acts. 
MonolofTS,  DialoKS, 

.-, —    Kntertainmcnts, 

,  Compdy  SonKs.  Chalk  Talk  Books.  Mln- 

"  )r,oorls.     CataloR  FKBB. 

ath,  Oapt.  7  CHICAGO 


Here  is  a  film  scene  that  is  causing  international  complications. 
An  English  company  made  the  story  of  Nurse  Edith  Cavell,  shot  as 
a  spy  by  the  Germans  during  the  war.  Protests  from  Germany, 
claiming  that  the  picture  would  only  stir  up  unnecessary  bitterness 
and  revive  old  hates,  caused  the  film  to  be  banned,  as  a  concession 
to  international  amity.  This  particular  scene  caused  the  strongest 
protest.  The  picture,  its  title  is  "Dawn,"  has  been  brought  to  the 
United  States.  Arch  Selwyn,  an  American  theatrical  producer,  is 
going  to  show  it.     What  do  you  think? 


opening,  people  spoke  to  Mr.  Stiller  about  our 
coming  to  .\nierica.  He  talked,  but  he  did 
nothing,  ^\'e  went  back  to  Stockholm,  to  get 
read>-  to  make  a  German  picture. 

IN  a  month  we  went  back  to  Berlin  and  then 
on  to  Constantinople,  where  we  were  to 
make  the  picture.  There  were  to  be  many 
Turks  in  it. 

"Constantinople!  I  do  not  know  how  to 
describe  it.  It  isn't  like  what  people  say  about 
it.  They  are  not  in  costume.  They  dress  like 
European  people.  Except  the  very  old  Turks, 
who  are  dirty. 

"The  streets — narrow  vnth  dirty  little  shops; 
dirty  cafes  filled  with  food  which  is  oily.  The 
lazy  Turks — they  are  fascinating. 

"One  day  I  was  walking  alone  on  the  street 
and  I  followed  along  behind  one  of  the  old 
Turks;  the  dirty  one  with  the  funny  pants. 
You  know  them?  I  do  not  know  how  many 
hours  I  followed  him.  He  did  not  go  anywhere; 
did  not  have  anywhere  to  go  but  wander.  He 
was  so  dirty,  but  so  fascinating. 

"We  never  started  on  that  picture.  The 
company  went  broke.  Mr.  Stiller  had  to  go 
back  to  Germany  to  see  about  the  money 
which  was  not  coming.  I  was  alone  in  Con- 
stantinople. Oh,  yes,  Einar  Hansen,"  she  paused, 
"the  Swedish  boy  who  was  kiUed  here  in 
Hollywood  not  so  long  ago — was  there,  too. 
He  was  to  play  with  me  in  the  picture.  But  I 
did  not  see  him  often. 

"I  was  invited  to  the  Swedish  embassy.  I 
went  two  times,  but  I  did  not  like  it.  I  did  not 
want  to  be  around  people.  I  liked  to  be  alone 
in  Constantinople.  I  went  to  the  bazaars.  I 
had  a  guide  with  me.  They  are  so  big,  you 
could  never  find  your  way  out  of  them  without 
someone  to  guide  you. 

"I  was  so  restless.  It  was  a  very  big  dis- 
appointment not  to  have  the  money  for  our 
picture.  But  I  was  not  lonely.  I  walked  around 
the  old  city  by  myself  mostly. 

"  T  LOVE  to  travel.  I  would  like  just  to  have 
-'•  enough  money  to  travel.  I  have  no  place  I 
want  to  go— except  back  to  Sweden.  I  want 
to  go  every  place!  Back  in  the  hills  of  China. 
To  Japan.  The  Chinese  and  the  Japanese  have 
such  strange  faces.  I  wonder  what  must  be  on 
the  inside  of  them.    I  would  like  to  touch  in 


China  the  little  things  that  have  been  so  many 
thousand  years  on  earth.  I  would  not  care  for 
company.  It  is  not  necessary  to  have  company 
when  you  travel. 

"If  I  go  back  to  Sweden,"  she  sighed.  "I 
do  not  know.  One  month,  two — three.  Per- 
haps it  will  be  too  small  for  me — I  want  to  go 
everywhere  and  see  every  people. 

"Yes,  I  would  like  to  go  back  to  Con- 
stantinople. But  I  would  not  like  to  live  there. 
The  colors  of  that  country.  You  cannot  de- 
scribe them.  I  would  like  to  see  them  again, 
but  not  stay  longer  than  the  one  month  I  was 
there  then. 

"TT  was  a  shock,  about  not  making  that  pic- 
■^ture.  But  it  was  none  of  my  fault.  .Although 
I  was  so  restless,  why  should  I  ha\^e  worried? 
There  were  other  companies  and  I  was  young — 
and  was  alone  in  a  big,  wonderful  city. 

"Mr.  Stiller  came  back  and  took  me  to  Berlin 
and  had  roe  make  another  picture  which  he  ^vas 
not  directing.  It  was  'The  Street  of  Sorrow.' 
It  was  a  very  bad  picture.  When  it  ran  in  New 
York,  the  people  did  not  like  it. 

"Louis  B.  Mayer  was  in  Berlin.  He  wanted 
to  sign  a  contract  with  us  for  his  company. 
Whatever  Mr.  Stiller  said,  I  knew  was  always 
the  best  thing  to  do.  I  would  say,  'Is  it  good?' 
and  if  he  say,  'It  is  good,'  I  would  do  it. 

"When  I  met  Mr.  Mayer,  he  hardly  looked 
at  me.  I  guess  he  looked  at  me  out  of  the 
corner  of  his  eye,  but  I  did  not  see  him.  All 
of  the  business  was  done  with  Mr.  Stiller. 

"I  signed  a  three  year  contract.  The  money 
was  to  be  four  hundred  dollars  a  week  and  six 
hundred  and  seven  hundred-fifty  for  forty  weeks . 
each  year. 

"I  do  not  really  know  what  I  got  in  Europe. 
That  is  the  truth. 

"■XyfR.  STILLER  gave  it  to  me.  And  it  came 
■'•"■'■and  it  went  like  all  money.  I  am  not  a 
good  business  woman. 

"I  went  back  to  Stockholm  to  get  ready. 

"It  was  strange;  a  very  strange  feehng.  I 
was  looking  forward  to  something  I  had  never 
seen.    I  did  not  know  how  it  would  turn  out. 

"People  here  do  not  know  what  it  means  to 
my  people  when  somebody  goes  to  .America. 
There  is  always  much  crying — a  feeling  that 
they  will  never  come  back  to  their  own  country 


Every  odvcrtlscn 


..\Y  M.VOAZINE  is  euaranteed. 


Photoplay  Magazine — Advertising  Section 


and  their  own  people.  jMy  people  do  not  realize 
how  short  the  world  is.  They  do  not  know  how 
the  boats  and  the  trains  go.  They  feel  they  are 
going  away  forever. 

"My  mother  didn't  say  much.  She  said, 
'I  think  you  know  better.  I  want  you  to  go 
where  you  should.' 

"My  mother  and  my  sister  and  my  brother 
went  to  the  railroad  station.  My  little  mother 
stood  there  and  looked  at  me.  Her  eyes  were 
swollen — big. 

"My  brother's  name?  My  sister's?  What 
does  that  matter?  They  are  my  people.  Why 
should  I  tell  their  names  to  other  people? 
Names  do  not  matter.  If  I  should  read  them — 
it  would  hurt.    Hurt  here." 

Her  hand  covered  her  heart  as  though  to 
protect  it  from  hurting. 

"T  WAS  very  brave.    All  I  said  was,' I  will  be 

-'■  back  in  one  year.  It  is  only  twelvemonths. ' 
I  have  been  away  two  and  one-half  years. 

"My  sister.  I  call  her  my  little  sister,  but 
she  was  two  years  older.  In  only  eight  months 
after  I  had  gone,  she,  one  of  my  people,  has 
passed. 

"That  is  the  hardest.  To  be  so  far  away  when 
something  happens.  Your  own  flesh  and 
blood — 

"I  couldn't  understand.  She  had  always  been 
so  healthy.  She  was  so  beautiful.  Then  she 
got  sick — just  a  little  sick — then — " 

A  sob  escaped  the  lips  of  Greta  Garbo. 

She  bit  back  another,  hurried  on  with  her 
story — 

"I  would  have  brought  her  here  by  now. 
She  would  have  been  in  pictures — 

"But  the  way  things  are  here  now.  The 
way  you  have  to  work  to  get  the  results! 
Perhaps,  it  is  better — my  sister — 

"We  sailed  from  Gutenberg.  Oh,  that  was 
marvellous,  on  the  ocean.  I  would  love  to  do 
that  trip  over  and  over.  You  feel  free  on  the 
ocean.  There  you  are — and  you  cannot  walk 
away. 

"Unless  you  want  to  walk  on  the  water.  It 
lifts  a  stone  from  you.  You  are  almost" — her 
voice  lowered  to  a  half  whisper — "You  are 
almost  happy. 

"Happy,"  she  repeated. 

"Happy  is  too  big  a  word  to  use  very  often. 
It  means  so  much  to  our  country — the  word 
happy,  that  we  hardly  speak  of  it.  Here  you 
use  it  so  common. 

"I  had  a  heavy  coat  on  me  and  walked  around 
on  the  deck  and  watched  the  ocean.  I  played 
that  game  where  you  push  things  back  and 
forth,  a  little.  I  did  not  talk  to  anyone  but 
a  tiny  boy.  Little  Tommy.  I  wanted  so 
madly  to  give  him  cakes.  But  he  had  never 
eaten  cakes.  His  mother  and  father  were  very 
careful. 

"/CHILDREN  don't  get  close  to  you.    You 

^^^can  say  intelligent  things  to  children. 
When  you  talk  silly  things,  they  just  look  at 
you,  and  you  feel  they  are  thinking,  'Why  are 
you  saying  such  silly  things  for?'  Children  are 
very  sensible  persons. 

"We  came  into  New  York  harbor  in  the  night. 
When  we  saw  the  lights,  lots  of  people  screamed. 
They  were  from  New  York  City.  You  felt  it 
with  them. 

"They  felt  like  you  will  feel  when  you  go 
back  to  Sweden. 

"I  thought  that  America  will  be  all  flowers. 
I  thought  there  would  be  almost  carpets  of 
flowers  on  the  streets  of  New  York  City.  I 
wasn't  terribly  excited. 

"I  do  not  get  excited.  But  I  was  ready  to 
see  the  flowers  on  the  streets  of  the  American 
cities." 

Did  Miss  Garbo  find  flowers  on  the  streets  of 
the  American  cities?  Probably  no  woman  in 
pictures  has  had  a  more  hectic  career  than  Miss 
Garbo.  "Temperamental,"  "Hard  to  handle," 
"A  woman  who  says,  '/  will  go  home!'  "  is  the 
way  she  has  been  heralded  in  this  country.  Why 
this  has  been,  she  will  tell  you  in  the  last  in- 
stallment of  her  career  in  the  next  Photoplay 
issue. 


FUDSTI  ILL  A 

a  spring  dress  for  your  skin  / 


l/ar  lovelier  than  New  Hats 
and  New  Gowns — is  the  Radi- 
ant Glow  of  a  Youthful  skin. 

Now  that  winter  has  had  its  say, 
with  sleet  and  wind  and  cold  — 
now  that  the  world  is  young 
again — bring  back  the  freshness 
of  your  skin — with  Frostilla! 

You  can  count  upon  its  cooling 
balm  to  heal  the  ravages  of  win- 
ter weather — to  soothe  the  sting 
of  wind-burn — to  smooth  away 
those  rough,  red  surfaces  —  to 
banish  that  dry  condition  that 
brings  in  its  wake  tell-tale  wrink- 
les and  premature  lines. 


This  fragrant  lotion  has  unique 
ingredients,  that  conspire  with 
nature  to  soften,  whiten  and 
satinize  the  skin. 

Rely  upon  Frostilla  in  the  fickle 
days  ahead.  Use  it  at  night  to 
repair  the  mischief  of  keen  winds 
and  exposure.  Use  it  in  the  morn- 
ing, to  prepare  your  skin  for  the 
weather's  whims.  For  there's 
nothmg  like  Frostilla  to  keep  the 
skin  young  and  petal-smooth. 

A  new  family-size  bottle  is  $1;  a  gen- 
erously large,  every-day  size  is  50c. 
Sold  everywhere  and  by  mail  from 
The  Frostilla  Co. ,  Elmira,  Nenv  York. 

Sales  Representatives:  Harold  F.  Ritchie  *  Co..  Inc. 
Madison  Avenue   at    34tb    Street.   New  York  QtJ 


FROSTILLA  for  the  SPRING  MONTHS 

Corrects  chapped  hands  and  "catchy"  fingers.  Heals  cracked 
lips.  Satinizes  dry,  sensitive  skin.  Persuades  powder  to  adhere 
evenly.  Soothes  and  protects  hands  during  spring  cleaning. 
(Men   find  it  a  real  comfort  after  shaving  and  golfing.) 


?ca, 


Send  for  this  Unusual  Sample! 

Write  for  the  Frostilla  Sam- 
ple bottle.  You  will  find  a  dozen 
uses  for  it — it  fits  in  purses,  grips 
and  desk  drawers.  Yours  for  a 
dime,  with  a  handy  booklet  en- 
titled "Keep  Your  Dates." 
Address  The  Frostilla  Co., 
Dcpt.  629,  Elmira,  New  York. 

write  to  advertisers  please  mention  THOTOPLAY   MAGAZINE. 


The  Frostilla  Co.,  Dept.  629,  Elmira,  N.  Y. 

Please  send  me  your  handy  sample  bottk  of 
Frostilla— and  the  useful  Memo  Booklet  "Keep 
Your  Dates."  1  enclose  lOe.  stamps  or  coin. 

City 

I  In  ('anada:  Address  10  McCaiil  Street.  Toronto) 


130 


Photoplay  Magazine— Advertising  Section 


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Funny  Old  Fool 


CONTINUED  FROM  PAGE   66  ] 


"WTiy.  I  think  you"d  look  grand  in  tights," 
IMattie  interrupted.  "You've  got  the  legs  for 
it  and  ...  I  can  just  see  you  ranting  up  and 
down — " 

••Slivlock's  tishts  were  not  visible,"  he  dep- 
recated, "and  in  my  interpretation  of  the  role 
I  never  rant.  In  passing  on  the  Rialto  I  walk 
in  this  manner — "  Before  the  admiring  eyes  of 
the  rosy  httle  old  woman,  Campbell  Mandare 
sauntered  slowly  up  and  down.  Her  eyes  were 
as  the  sah-os  of  his  long  vanished  audience. 

'  nrO  satisfy  my  public  I  frequently  prolong 

-L  the  walk,  often  turning  around  in  this  at- 
titude to  the  royal  bo.^.  .  .  ." 

He  turned,  averting  his  eyes  in  a  deferential 
courtes\-  to  the  emblazoned  box  of  his  memon,^ 

"The  ver\-  skull  cap  I  wore  at  my  last  com- 
mand performance  of  the  role  was  eagerly 
sought  by  a  Liverpool  patron  of  the  arts 
and  .  .  ." 

]Mattie's  action  snapped  him  out  of  his 
reverie.  She  had  risen.  "Must  be  on  the  set 
on  time,"  she  said,  turning  awaj-. 

Mandare  stood  before  her,  a  gallant  figure, 
hat  in  hand.  He  invited  her  to  tea,  almost 
automaticaUj'. 

"Well,  now,  that's  real  nice."  She  bright- 
ened like  a  girl.  "WTiat  time  do  folks  that 
have  tea  have  it?  " 

"Usually  at  four."  He  was  himself  again. 
"It's  quite  the  custom  among  civUized  peoples, 
\-ou  know." 

"Pshaw!"  ]SIattie  exclaimed,  "I  can't  go. 
I've  got  to  work  until  five,  and  it  takes  me  half 
an  hour  to  get  this  make-up  off,"  she  paused. 
"  I  could  go  to  supper  if  you'd  ask  me.  I'd  like 
to  real  well!" 

^Nlandare  indicated  that  he  would  be 
charmed,  and  she  suggested  that  he  be  wait- 
mg  for  her  at  the  car. 

"Righto!"  he  called,  with  a  new  and 
youngish  note  in  his  \-oice,  tapped  on  his  hat 
and  strode  up  the  road  briskly  until  he  remem- 
bered that  he  wasn't  going  any  place.  His 
thoughts  even  then  pleased  him.  By  a  chance 
meeting  he  had  brought  a  little  cheer  into  a 


poor  old  woman's  life,  had  given  her  an  exalted 
moment  from  one  of  his  greatest  roks.  Be- 
sides, he  had  lunched.  He  thrust  his  hands  into 
his  pockets  with  almost  a  gesture  of  buoyancy. 
Then  the  smite  left  his  face.  His  pockets  were 
empty. 

Mandare  didn't  mind  being  hungry  him- 
self. He  was  unembarrassed  by  anj-  land- 
lord who  ever  lived,  and  he  knew  that  a  paid 
tailor  gets  out  of  hand.  But  he  could  not, 
without  money,  in\-ite  a  lady  to  dinner. 

It  was  but  one  o'clock  and  the  man  who 
couldn't  raise  a  pound  by  five  was,  he  thought, 
not  truly  of  the  profession.  He  set  oflF  down 
Cahuenga  Pass. 

An  hour  later  he  was  at  the  portal  of  the 
British  Gentleman's  Club  of  Hollywood. 

Colonel  T.  Thaddington  Smythe  sat  with  his 
feet  in  the  window  over  Hollywood Boule\ard. 
He  was  on  the  last  of  ^lajor  Windham 
Ketchum's  pipe  tobacco,  and  between  the  two 
was  the  silence  of  men  who  know  that  nothing 
can  be  gained  from  the  other.  Asleep  on  the 
table,  his  feet  on  Tlic  lUuslralcd  News  and  his 
head  on  The  Manchester  Guardian,  was  Leslie 
Sundun.  waiting  for  something  to  turn  up. 

Mandare  stepped  toward  the  telephone. 
"Xo  go.  old  fellow.  They  shut  that  off  yester- 
day. Quite  right,  too.  Xo  one  ever  calls  up 
e.xcept  to  want  money  and  all  that  sort  of 
nuisance."    Alandare  stamped  from  the  room. 

CAHUENGA  PASS  tires  young  legs.  In 
fact  young  legs  never  try  it.  They  are 
carried  over  in  expensive  motors,  theirs  or 
the  others.  People  in  cars  almost  always  offer 
a  lift  on  the  grade  except  to  short,  bandy- 
legged old  gentlemen  with  caps,  high  color  and 
thick  sticks,  because  these  invariably  are 
Britishers  who  walk  for  the  love  of  it. 

Mandare  toiled  up  Cahuenga  Pass  and  con- 
fronted the  casting  director. 

"I  say,"  he  began,  "I've  about  decided  to 
play  Shylock.'' 

The  casting  director  was  versed  in  motion 
picture  art. 

".\w,  I  got  that  all  cast,"  he  began,  then 


Oh  see  the  movie  actors!  These  South  Sea  Island  natives  are  taking 
part  in  "Southern  Skies,"  a  picture  being  filmed  by  Robert  Flaherty 
in  the  South  Seas.  Mr.  Flaherty  is  the  gentleman  seated  in  the 
center  and  the  cameraman  at  the  extreme  right  is  Clyde  De  Vinna 


iY  .M.\G.\/.I.NB 


RE-JUR'S 

Compacts  and  face  powders  -  in  a 

NEW  ODEUR 


mm 


Photoplay  Magazine — Advertising  Section 

seemed  to  reconsider.  "  But  you  can  have  it  if 
you  wanna  play  it  for  five  bucks.  Otherwise  I 
gotta  give  it  to  a  guy  from  the  Jewishagency." 

"But  I  am  considered  the  greatest  Shylock 
ever  in  the  role.  .  .  .!"      His  voice  trembled. 

The  casting  director  was  not  impressed. 

''  Well,  this  Jewish  guy  is  no  bum  and  besides 
he's  got  his  own  spinach  .  .  .;"  he  held  his 
hand  opposite  his  stomach  to  show  the  length 
and  splendor  of  the  opposition  beard. 

"T'LL  play  it,"  Mandare  almost  whispered. 

■'■Then  he  spoke  with  averted  eyes.  "I'm — 
I'm  in  a  bit  of  a  hole,  sir — could  I  have  the 
trifling  advance  of  five  dollars  .  .  .  ?" 

The  casting  director's  eyes  narrowed  to 
squint. 

"Lissen,"  he  said,  "to  get  five  bucks  advance 
around  this  studio  you  gotta  be  born  in 
Germany — and  have  the  president  remember 
it.  If  you  wanna  play  Shylock  be  here  at  eight 
o'clock  tomorrow  morning  with  a  gray  muff; 
thas  all  I  could  do  for  you." 

Mandare  walked  slowly  toward  Mattie's 
battered  car.  He  would  write  a  note,  he 
decided,  regretting  that  a  professional  engage- 
ment had  deprived  him  a  charming  lady's 
company  at  dinner.  Time  was  when  his  signa- 
ture alone  would  have  been  worth  a  dinner  at 
any  cafe  in  London.  Pie  sat  down  on  the  dusty 
running  board  and  wrote,  then  tucked  the 
sheet  of  paper  under  the  controls  of  the  steer- 
ing wheel  and  turned  away.  He  was  curious  to 
see  if  he  could  walk  down  Cahuenga  Pass  with 
the  stride  of  a  man  who  had  not  walked  up  it. 

The  keen  eyes  of  Mattie  Carpenter  saw  him 
from  the  window  of  the  casting  office  and  she 
heard  from  young  Mr.  Ginsberg  himself  of 
Mandare's  attempt  to  borrow  five  dollars. 

She  stopped  his  paroxysms  of  mirth.  "Look 
here,  son,"  she  said  quickly,  "do  something  for 
me  and  I'll  bake  you  a  pie  that  will  make  the 
last  one  look  like  a  pancake!" 

Ginsberg  analyzed  Mattie  Carpenter's  pies 
as  economical  and  tasty. 

"Whaddya  wan  me  to  do?"  he  ventured. 

M.\TTIE  thrust  a  five  dollar  bill  into  his 
hand.  "Skip  out.  Tell  old  Mr.  IMandare 
you  decided  to  give  him  an  advance." 

Julius  Ginsberg  saw  that  he  could  not 
possibly  lose  by  the  transaction  and  was  off 
before  Mattie  had  closed  her  purse. 

He  overtook  Mandare  before  the  latter  had 
time  to  put  a  spring  in  his  step. 

Mandare  thrust  the  bill  into  his  vest,  and 
waited  until  Julius  turned  in  at  the  studio. 

A  little  bit  of  money  in  his  pocket;  running 
like  molten  silver  in  his  veins.  He  strode 
toward  the  car,  snatched  off  the  note,  and 
continued  up  the  road  as  though  he  never 
could  get  enough  walking  and  was  knocking  off 
a  few  e.xtra  miles  until  his  next  appointment. 

He  was  back  at  half  after  five  in  time  to  see 
Mattie  elbowing  her  way  eagerly  through  a 
home-going  crowd  of  workers.  As  she  ap- 
proached the  car,  IMandare  bowed  with  the 
grace  of  a  man  with  five  dollars  in  his  pocket 
and  the  evening  before  him. 

"I  would  offer  to  drive,"  he  said,  "but  I  am 
not  familiar  with  this  sort  of  a  motor." 

"Hop  right  in  on  the  other  side,"  Mattie 
answered.  "Henry  himself  couldn't  drive  this 
thing.  If  a  strange  driver  takes  the  wheel,  it 
either  rares  or  goes  sideways." 

The  car  coughed  itself  down  Cahuenga  Pass 
toward  the  lights  of  Hollywood  glowing 
through  the  twilight  fog. 

"Men  always  took  me  to  church  suppers," 
Mattie  observed.  "Now,  I  crave  some  gilded 
cafe  where  they  have  a  cow-bell  orchestra — I 
know  the  very  nlace." 

They  were  on  Hollywood  Boulevard  and  an 
electric  sign  beckoned.  They  found  the 
Rendevouz  crowded  with  the  great  and  the 
anti-great. 

Mattie  elbowed  cheerfully  to  a  table  at  the 
edge  of  the  dance  floor.  She  was  smiling — a 
pink  and  white  little  old  lady  on  a  lark. 

The  orchestra  leader  saw  her  and  motioned 
to  his  men.  In  answer  came  the  melody  of 
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Matlie  anpeared  not  to  hear,  but  "When 
Vou  and  I  \Vcre  Younsr,  Maggie,"  began  and 
ended  plaintively,  she  turned,  indignantly, 
beckoned  the  orchestra  leader  to  her  side,  drew 
a  silver  dollar  from  her  purse  and  handed  it  to 
the  astonished  musician  before  Mandate  could 
stop  her. 

"Look  here,  son,"  she  said,  "if  you  think  we 
want  to  have  your  orchestra  call  attention  to 
our  ages,  you're  cuckoo.  Play  something  with 
a  kick  in  it;  go  on  now,  that's  a  good  boy!" 

HER  dollar  purchased  a  deafening  half  hour 
in  which  the  sa.xophones  pleaded  with  the 
public  to  be  carried  back  to  Ole  \"irginia  and 
the  strings  whined  for  ^^'aikiki  and  bells 
jangled  for  a  day  in  June  to  come  soon. 

Slattie  drummed  the  rhythm  of  it  all  on  the 
table  with  her  knife.  I\[andare  derived  his 
first  satisfaction  from  being  unknown. 

Then,  abruptly,  the  orchestra  stopped  and 
the  leader  turned  toward  the  door.  He 
bowed,  and,  behind  him  blared  his  trumpets 
and  traps  in  fanfare  salute. 

Standing  in  the  doorway,  to  sop  up  every 
honeyed  drop  of  adoration,  was  one  whose  face 
is  a  household  laugh.  He  stood  there,  a 
majestic  figure,  full  five  feet  four.  He  seemed 
justifiably  aware  that  he  was  Smiling  Sammy 
Snyder,  the  most  gifted  artist  that  ever  stopped 
a  custard  pie,  and  nodded  to  his  world  before  he 
sat  down.  The  eyes  of  the  cafe  were  still  upon 
him  as  he  turned  the  diamond  on  his  finger. 

"Who,  may  I  ask,  is  the  miserable  little 
bounder?"  IVIandare  inquired.  INIattie  told 
him.  "Worked  in  one  of  his  pictures,"  she 
added.  "He's  a  big  star,  draws  better  than 
SI, 000  a  week  and  he  gets  a  cut  on  his  pictures. 
I  don't  relish  him  any  too  well  myself — but  give 
him  his  due.  He  never  had  a  day's  schooling, 
but  now  he's  going  to  write  his  memories,  or 
whatever  they're  called." 

"How,"  Mandare  asked,  with  almost  a  note 
of  belligerence,  "did  this  dreadful  little 
creature  win  the  plaudits  of  the  world;  how  did 
he  force  himself  to  the  attention  of  the  man- 
agers; by  what  right  was  he  allowed  to  appear 
suddenly  as  a  star  before  millions  of  thinking 
people — " 

".\ren't  thinking  people;  just  laughing 
people,"  INfatlie  interrupted.  "People  pay 
money  to  laugh.  They  get  their  thinking  fcr 
nothing.  If  you  mean  how-did  he  get  started, 
he  got  him  a  ^^'ampas." 

"I  do  not  understand  3'ou,"  ]\Iandare  said. 

"V\  TELL — a  Wampas  is  a  glorified  press- 

''V  agent,"  Mattie  explained. 

"Sammy  Snyder  came  here  from  a  Chicago 
cabaret.  First  pop  out  of  the  bo.x  he  hired  him 
a  Wampas  who  planted  his  picture  in  every 
paper  with  a  story  that  Smiling  Sammy  Snyder 
was  even  better  than  Sammy  himself  thought 
he  was.  Nothing  happened  for  two  or 
three  days,  but  just  as  he  was  getting  panicky  a 
comedy  studio  sent  for  him.  He  grabbed  his 
hat  and  began  running.  Almost  at  the  door  of 
the  studio  he  met  his  Wampas.  Sammy  told 
him  all  about  his  good  luck.  The  Wampas 
took  him  by  the  arm,  marched  him  home. 
'Don't  be  crazy,'  he  told  him,  'sit  here  until 
they  call  again.' 

"Sammy  was  pretty  near  frantic.  He  was 
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taken  five  dollars  a  day.  But  his  Wampas 
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"TDEFORE  Sammy  could  answer,  the  door 

-^opened  and,  sure  enough,  it  was  the  pro- 
ducer. 'Lookit,  Mr.  Snyder,'  he  said,  'I 
got  to  talk  to  you,  not  to  some  lousy  sec- 
retary. I  give  you  $500  a  week  if  I  got  to  sell 
the  studio  to  make  payments.  You  will  come 
for  one  picture,  yes? '  Sammy  took  the  job 
and  that  was  the  start." 

"Ye  gods  .  .  ."  Campbell  Mandarc 
breathed. 

"Eat  your  victuals,"  Mattie  ordered.  "I 
won't  say  another  word  if  it  kills  me." 

Mandare  ate  mechanically,  his  eyes  drawn 
with  morbid  fascination  to  the  lowest  comedian 
on  the  heights  of  fame. 

When  they  left — and  he  was  glad  to  Iea-\-e — 
he  sat  in  mortal  fear  in  Mattie's  car  as  they 
turned  from  the  traflic  of  Hollywood  Boule\'ard 
into  a  tree-lined  side  street  and  stopped  before 
a  bungalow  court.  "Here's  where  I  live,"  she 
said,  "all  by  myself.  I've  got  a  sister-in-law 
who  wants  to  live  with  me,  but  she  enjoj-s  her 
misery  so  much  that  I  wouldn't  have  her  if  I 
had  to  burn  the  spare  bed.  Where  do  >ou 
live?"  she  asked. 

The  man  of  slow  speech  lacked  time  to 
answer,  particularly  since  he  couldn't  just 
explain  where  he  lived  at  the  moment,  before 
she  continued. 

"See  here— we'ye  both  got  to  be  on  the  set 
at  eight  tomorrow  morning.  Come  in;  you  can 
lop  in  the  spare  bed  and  we  can  ride  out  to- 
morrow morning  in  the  vibrator." 

Before  he  could  think  of  an  excuse,  they 
were  indoors,  Mattie  had  snapped  on  the 
light,  trundled  a  bed  from  a  hole  in  the  wall, 
turned  down  the  covers,  set  a  screen,  and  di,  - 
appeared  through  another  door. 

"Dig  yourself  a  gully  in  that  feather  mat- 
tress," she  called.  "You  can  reach  the  light 
switch  from  there;  snap  it  off  when  you're  in." 

"Merciful  powers!"  she  called  a  moment 
later.  "I  forgot  j'our  nightie  .  .  .  here  ..." 
She  opened  the  door  and  tossed  a  flannel  night- 
gown over  the  screen. 

"  This  is  most  extraordinary  .  .  ."Mandare 
managed  to  say. 

"Yes,"  Mattie  answered,  "I  made  it  for 
length  and  warmth.  The  Chamber  of  Com- 
merce says  you  don't  need  it  in  this  climate, 
but  it's  mighty  cozy." 


About  two  years  ago  our  little  nephew 
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depths. 

We  tried  to  get  him  to  let  us  take 
him  to  the  movies,  but,  at  first,  he 
steadfastly  refused.  However,  we 
finally  wore  down  his  resistance  and 
one  night  we  carried  him  to  the 
neighborhood  picture  house.  The  pic- 
ture was  "The  Cat  and  the  Canary." 

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seat  and  the  picture  began.  As  the 
film  unreeled,  our  little  nephew  became 
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our  surprise  when,  during  one  of  the 
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Photoplay  Magazine — Advertising  Section 

And  before  the  bewUdered  Knight  Errant  of 
Yesteryear  could  collect  his  wits  to  answer, 
Mattie  was  sound  asleep. 

On  the  edge  of  a  feather-bed  in  the  boudoir 
of  a  lady  whom  he  had  only  met  that  morning, 
sat  Carnpbell  Mandare  in'the  strangest  situa- 
tion in  sixty  years. 

His  first  impulse  was  to  tip-toe  into  the  night 
and  pace  the  sprawling  city.  But,  he  decided, 
that  would  be  discourteous.  And  he  was  tired, 
tired.  He  allowed  himself  to  slip  back  into  the 
pillow,  gradually.  He  could  well  rest  that  way 
until  dawn,  he  thought,  without  loss  of  dignity. 

Coffee  and  The  London  Times  had  been 
Campbell  Mandate's  breakfast  for  thirty 
years;  yet  there  was  an  aroma  in  the  air  that 
set  him'  wondering,  mildly,  who  could  be  cook- 
ing in  or  near  his  apartments.  He  sat  up 
abruptly.  He  retained  his  trousers  and  shirt, 
but  his  shoes,  collar  and  coat  had  been  removed . 


IT; 


HEY  breakfasted  on  coffee,  ham  and  eggs. 


wildered  for  conversation;  ]Mattie.  chatty.  The 
dishes  washed,  she  pointed  to  a  chair. 

"  Xow  sit  right  down  and  I'll  make  you  up." 

"But,  my  dear  hostess,  I  am  a  master  of 
makeup,"  Jilandare  sputtered. 

"You  may  be  all  right  for  the  speakies,"  she 
said,  "  but  the  camera  is  the  greatest  liar  in  the 
industry.  Unless  you're  made  up  right  you'll 
look  like  happy  half-hours  with  apoplexy  or  a 
heathen  albino.  ..." 

]\Iandare's  habit  of  opposition  was  being 
broken.  He  sat  down.  Mattie  tucked  a  towel  £^ 
around  his  neck,  tipped  his  chin,  and  covered 
his  face  with  a  Hght  grease  paint.  Then  she 
dusted  him  ^^^th  pink  powder,  blacked  the  lids 
of  his  eyes,  outlined  his  mouth  and  allowed  him 
to  arise 


"V\  THEN  you  find  out  what  this  Shylock 

'^  is  supposed  to  look  like,"  she  explained, 
"you  can  putinthe  crows-feet  yourself .  Asitis, 
you  are  line  for  priests,  butlers  and  bankers." 

Cahuenga  Pass  fell  behind  as  Mattie  swung 
them  dizzily  through  the  studio  gates.  There 
she  left  Mandare  and  skipped  through  a  great 
barn  of  a  stage-building  to  her  own  set. 

Julius  Ginsberg,  checking  in  the  talent  of  the 
day,  pointed  to  the  general  dressing  rooms 
assigned  male  extras  and  called,  "Make  it 
snappy,  goof,"  as  Mandare  stalked  toward 
them.  Mandare  entered  a  room  and  snapped 
the  door  behind  him. 

Half  an  hour  later  Shylock  stepped  out, 
blinking  with  rheumy  eyes  at  the  little  old 
woman  to  whom  he  was  indebted. 

Mattie  was  impressed.  "Well,  if  you  don't 
look  for  all  the  world  like  some  old  Jew,"  she 
tittered. 

"I'll  take  you  to  the  set.  Your  director's 
name  is  Gallant  Grandee.  His  real  name  is 
Ted  Whiffen,  but  don't  for  land  sakes  call  him 
by  it.  He  was  a  property  boy  but  he  went  to 
previews  and  stamped  his  feet  and  whistled  so 
the  director  made  him  second  assistant,  and 
after  a  year  at  that  he  met  the  president's 
train  at  San  Bernardino  and  yessed  him  all  the 
way  to  Los  Angeles,  and  when  they  got  out  to 
the  studio  from  the  station  he  was  a  director." 

"Mr.  Grandee,  meet  Mr.  Mandare." 

Grandee  turned  to  nod  to  Mattie  and  gave 
Mandare  a  perfunctory  bob  while  Mandare 
studied  him  rather  more  carefully.  He  was 
well  dressed  for  steeple-chasing.  Mandare 
could  find  nothing  missing  but  the  high  hat  and 
the  horse.  He  was  booted,  spurred,  caned  and 
wore  a  bright  red  coat. 

"Thas  a  pretty  fair  makeup,"  he  said,  turn- 
ing to  look  at  the  old  man.  Mandare  bowed. 
".Now,"  continued  the  director,  "I  wanna 
see  you  do  your  stuff  just  like  you  was  acting 
apart  on  the  stage. 

".\ow  you  gotta  play  this  swell.  This  old 
pawnbroker  was  meaner  than  hell  and  you 
gotta  put  a  lot  of— a  lot  of — well,  do  you  know 
what  I  mean  by  soul,  into  it?" 

Mandare  knew.  When  he  played  Shylock 
the  acid  compounded  in  the  crucible  at  the 
Crucifix  seared  in  his  veins. 

Hate  flared  high  in  his  heart.  Given  from 

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the  Jehovah  of  the  Jews  was  his  hour  of  retJ 
bulion.     He  was  Shylock — a  great  Shylock. 

pORTIA  was  looking  at  him,  and  he  at  her. 
*■  His  impulse  was  to  indicate  that  he  would 
receive  the  fortunate  young  actress  who  was  to 
be  a  member  of  his  company.  When  he  would 
have  spoken  she  drew  the  smoke  from  a 
cigarette  into  her  lungs,  deeply.  "This  is  a 
lousy  troupe,"  she  observed. 

ilandare  did  not  hear.  He  was  not  even 
t  here.  His  gracious  queen  had  commanded  him 
to  equerry  her  to  the  heights.  He  could  see  her. 
From  the  royal  bo.x  she  watched  for  his  en- 
trance and  inclined  her  head,  slightly  but 
definitely,  at  his  appearance.  He  had  been  a 
magnificent  Shylock  that  night  and  later  word 
had  come  from  Buckingham  house  that 
\ictoria  was  pleased. 

Gallant  Grandee  slumped  in  his  chair.  He 
turned  with  a  cigaretteyet  clinging  to  his  lower 
lip  and  spoke  to  Mandare. 

"Stand  in  there  so's  the  cameraman  can  get 
a  line  on  you,"  he  said.  "There — whoa — now 
then,  turn  your  back  to  the  camera  and  start 
arguing  with  the  judge.     Get  it  over,  now." 

Mandare  faced  the  Duke  of  Venice  and  began 
his  impassioned  plea  for  the  fulfillment  of  his 
bond. 

"Thaasgood — "  the  director  said,  "only  you 
don't  have  to  talk  so  loud.  Keep  your  fanny 
to  the  camera  because  we  gotta  feature  j\Iiss 
Fairlove's  reaction  to  what  you  are  saying. 
Now  we'll  take  it.  Get  in  there — whoa— start 
doing  your  stuff— CAMERA!" 

As  he  bellowed  "Camera,"  Mandare  turned. 
"Cut!"  roared  Grandee,  "what  in  hell  did  you 
do  that  for?  They  count  footage  around  this 
studio,  and  every  retake  gets  a  squawk  outta 
the  office  like  it  was  murder.  Do  that  again 
and  keep  that  wrinkled  pan  of  yours  outta  the 
lens.  .  .  .  Ready.  .  .  .  CAMER.\!" 

The  words  were  knots  in  the  lash  that  cut  an 
old  man's  heart.  Grandee  flailed  with  the 
valor  of  ignorance. 

"Go  on — go  on — start  your  racket,"  he 
shouted  when  the  old  actor  delayed  in  con- 
fusion.    "Hop  up  and  down!" 

Mandare  looked  into  blinding  lights  through 
a  scalding  mist.     Then  his  eyes  cleared. 

He  was  before  the  Duke  of  Venice;  not  a 


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Photoplay  Magazine— Advertising  Section 


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swarthv  e.xtraman  who  hunched  over  the 
bench.'  Before  him  stood  Portia,  his  Portia; 
not  a  dull  eyed  trollop  in  a  X'assar  gown. 

The  world  could  stone  him  only  to  the 
sanctuar>-  of  his  role.  There  he  left  the  world. 
Not  a  penniless  old  man,  capering  for  bread, 
not  the  echo  of  a  splendid  name,  but  Shyloch; 
Slivlock,  cantor  of  the  dirge  written  by  Destiny 
for  a  mighty  race.  The  greatest  Shylock  of  the 
greatest  stage. 

GO  on — go  on — say  something."  The 
director's  booming  voice  was  like  the 
buzzing  of  a  gad  fly.  "If  you  don't  know  the 
lines,  fake  anything." 

Mandate  laughed  to  the  sidelines. 

Then  came  the  proper  moment  in  the  course 
of  the  drama  when  he  might  speak,  and  he 
turned  on  Christendom. 

Malignant  as  IMacklin.  hysterically  fiendish 
as  Cooke,  cringing  as  Henderson,  profound  as 
the  elder  Keen,  he  whined  for  Christian  flesh. 

The  lights  went  out. 

"Tha's  swell,"  Grandee  grinned.  "You  sure 
know  your  onions.  Lissen,  we  gotta  shoot  a 
night  sequence  down  to  Venice.  We  leave  at 
fi\-c,  so  be  here;  the  prop  boy  will  give  you  a 
box-lunch  to  eat  on  the  way." 

The  old  man  trembled  from  the  passion  of 
his  role.  He  had  done  a  great  thing.  He  had 
given  the  best  of  his  heart.  A  fragment  of  the 
characterization  had  been  his  finest  drama. 
He  knew  that  the  characters  were  not  as  he 
would  have  had  them  and  that  the  setting 
seemed  crude,  yet,  he  thought,  the  strange 
young  mechanical  art  would  in  some  Avay 
correct  the  errors  and  he  was  content. 

Who  could  tell,  he  mused,  bfit  that  this 
strange  path  might  lead  him  back  again  to 
the  heights?  He  would  give  the  screen  the 
heart's  blood  of  his  own  beloved  role. 

He  saw  Mattie  bustling  across  the  lot  and 
called  "Heigh  ho!"  with  a  ringing,  cheery  note 
in  his  voice.  When  she  had  joined  him  he  bent 
to  kiss  her  hand  and  said: 

"I've  won  new  spurs  today!" 

"Land  sakes,"  she  answered  with  an  em- 
barrassed little  titter,  "I've  been  looking  all 
over  the  lot  and  now  you've  got  me  all  fussed. 
I've  got  a  tradelast  for  you.  I  heard  all  about 
it  from  Grandee.  You  tell  me  first  and  then 
I'll  tell  you  what  he  said!" 

iSIandare  looked  down  into  a  radiant  face. 
Mattie  Carpenter  was  bearing  the  kind  of  tale 
she  relished.    Her  choice  bit  of  gossip  would 


make  the  person  concerned  happier  for  hearing 
it.    She  could  scarcely  wait.     She  didn't. 

"They  say  you  were  a  perfect  scream,"  she 
began  happil\',  "wobbling  on  your  legs  and 
pulling  your  face  down  and  making  everybody 
laugh.  Cirandee  himself  said  the  scene  would 
be  a  'Super-belly  wow'  and  that  is  the  way  a 
director  explains  something  so  funn}'  the  walls 
of  the  theater  will  go  in  and  out  like  an 
accordion." 

It  came  to  Mandare  slowly.  The  little  old 
woman's  words  of  praise  beat  on  his  brain  like 
hammers.  She  was  smiling,  proudl)-;  and  the 
hammers  beat  new  tissue.  They  beat  in- 
cessantly. 

Comedy!  Great  God!  .  .  .  not  whimsy, 
not  a  droll  twist  to  a  sincere  thought  .  .  .  but 
low  comedy  .  .  .  slap-stick  comedy  .  .  .  like 
the  German  knockabouts  in  the  cheap  halls  of 
impersonal,  distant,  hearsay.  The  viol  in  his 
breast  that  had  been  a  heart  snapped  its  major 
string.     He  laughed  and  strode  away. 

A  property  boy  found  him  pacing. back  and 
forth  in  the  twilight,  chuckling  to  himself.  He 
shoved  him  into  a  many-seated  bus  and  thrust 
a  cardboard  box  into  his  hands.  The  bus  started. 


DOWN  Cahuei 
though  to  pit 


Cahuenga  Pass;  swer\ing  curves — as 
lunge  into  the  swimming  sea  of 
lights  in  Hollywood  below. 

Mandare  saw,  for  the  first  time,  that  he 
clutched  a  box  of  food  and  hurled  it  I  o  the  road. 
Beside  him  sat  swarthy  men  in  garish  costumes; 
ill-smelling  vestments  of  a  thousand  plaj-s.  He 
laughed  until  the  tears  drilled  furiDws  in  the 
paint  on  his  face.  ^Mandate,  the  clown,  he 
thought;  and  the  thought  set  up  new  laughter 
that  he  could  not  quench  with  tears. 

Hollywood  left  off  and  Beverly  Hills  began. 
ISIandare  stared,  detached,  at  the  dim  outhne 
of  terraced  villas  set  in  silhouette  to  fringe  the 
hills.  It  was  merciful  ignorance  that  allowed 
his  eyes  to  sweep  the  gates  without  recognizing 
the  synthetic  heraWry  emblazoned  on  the 
crests. 

There  was  Pickfair,  sheltering  fellow  artists 
of  whom  Mandare  had  not  heard. 

Then  a  towering  mansion  built  by  the 
whimsy  of  an  Oklahoma  cowpuncher. 

And  a  third.  Mandare  had  heard  of  him. 
His  contact  had  been  a  faint  echo  of  the  music 
haUs. 

The  bus  stopped.  The  company  was 
assembled  on  a  bridge  that  spans  a  canal  in  the 
strange  little  beach  town  that  callsilsdf  Venice. 


Here's  a  piece  of  make-up  that  should  make  Lon  Chaney  tear  his 
crepe  hair.  The  mild-looking  man  at  the  right  is  able  to  transform 
himself  into  the  fierce-looking  gorilla,  glaring  at  you  on  the  left. 
He  is  Fred  Humes  and  you  will  see  his  remarkable  animal  imper- 
sonation   in    the    Dane-Arthur    comedy,    "Monkey    Business" 


ll»cnnnl  In  PnaTOPL.\T  M.\0.\ZIN"E 


Photoplay  Magazine — Advehtising  Section 


^Z7 


The  sea  runs  under  its  arches.  Gondolas  may 
be  rented  on  summer  afternoons  and  the  build- 
ings are  fashioned  as  architects  fancy  the  build- 
ings of  Venice  appear. 

A  BEWILDERING  activity  pricked  at  the 
old  actor's  numbed  sensibilities  as  he  left 
the  bus.  Hissing,  chattering  lights  fed  by  a 
roaring  generator  cut  away  the  night  and  sil- 
vered the  water.  Men  darted  in  and  out  of  the 
path  of  the  light  like  hobgoblins  and  onlookers 
from  the  town  circled  the  scene  like  beasts 
come  out  of  the  forest,  ]Mandare  thought. 

Grandee  greeted  jMandare  boisterously; 
then  looked  at  him  closely. 

"Stuff  was  funny  enough  to  gag  a  goat,  to- 
day," he  said,  smiling.  "If  you  pin  it  on  big 
tonight,  I'll  slip  you  another  five  buck  ticket." 

Mandare  laughed  and  thanked  him  with  a 
courtly  bow. 

"I  dare  say  I'll  be  jolly  amusing  tonight 
.  .  .  depend  upon  me  to  do  my  Ijest,  Oh 
Master  of  Jesters." 

".Uta  baby!"  Grandee  smiled,  "we  gotta 
kick  'em  in  the  pants  in  this  comedy  business 
or  the  flatheads  don't  know  when  to  laugh." 

Mandare  looked  over  the  bridge. 

.\  moment  later  Grandee  returned  to  him, 
breathless.    He  poked  him  with  his  linger. 

"Lissen.  .  .  .!"  He  was  laughing  as  though 
trying  to  groom  his  listeners  for  laughter. 
"Lissen  ...  got  a  great  gag.  If  this  gag 
don't  make  'em  tear  up  the  seats  I'll  take  a 
bath  in  Hamberger's  window.  Lissen  .  .  . 
this  is  the  idea  .  .  .  we're  going  to  have  the 
wop  that  is  supposed  to  be  the  hero  sock  Portia 
so  hard  that  she  spits  out  her  teeth  .  .  .  false 
teeth,  see  .  .  .  they  fall  overboard  and  you 
jump  in  after  them.  You  see  the  gag  is  that 
you  are  a  pawnbroker  and  we'll  get  it  over  in 
a  title  that  there's  gold  in  the  teeth  .  .  . 
y'know  what  I  mean.  .  .  ." 

Mandare  bowed  recognition  but  Grandee 
could  only  control  his  laughter,  gradually. 
When  he  had  drained  the  situation  of  its  dregs 
of  humor  he  called  a  property-boy.  "  Get  into 
this  guy's  Shylock  suit  and  make  a  jump  from 
the  bridge,  will  you?" 

"  Not  at  all,  sir,  not  at  all!"  Mandare  shook 
his  head,  smiling.  "Couldn't  think  of  being 
under-studied.  I'll  pop  over  the  side  quite  all 
right." 

"  Naw,  that  water  ispretty  cold  and  there's  a 
tide  going  out.  .  .  .  You're  no  flapper,  you 
know,"  Grandee  objected. 

"Marvelous  swimmer,"  Mandare  put  in, 
eagerly.  "Swam  the  English  Channel  just  a 
fortnight  ago.    I  really  must  insist,  sir." 

Grandee  agreed,  but  with  a  doubtful  shake 
of  his  head. 

Mandare  climbed,  buoyantly,  to  the  railing. 
"Quite  ready!"  he  called  over  his  shoulder. 

"Jump  right  after  the  teeth  hit  the  water," 
Grandee  ordered.   .  .  .  "Jump!  .  .  ." 

Camnbell  Mandare  jumped.  From  the 
bridge  it  sounded  as  though  he  laughed. 

Sixty  years  flashed  by  in  orderly  array;  year 
by  year — years  divided  off  into  seasons  with 
the  earthly  spring  smell  of  Kent  in  its  place  and 
the  biting  cold  of  a  London  Christmas  to 
remember  as  that  year  turned  and  another  took 
its  place.  There  was  even  time  to  spare;  time 
to  dwell  on  the  success  that  had  been  his.  The 
years  passed — and  he  waited  for  the  first  shock 
of  the  water.  The  calling  waters  that  would 
stop  a  chattering  laugh  and  wash  away  tears. 
He  waited.  Then  his  heart  jumped  to  meet 
Rest.  The  seaward  stream  turned  his  eyes 
into  the  lights  on  the  bridge  and  he  could  hear 
shouts. 

T_rE  should  not  hear  much  longer;  didn't  the 
-•■  -Lraiiibling  old  wreck  of  a  heart  know  that  it 
had  finished? 

Through  the  dulling  drone  of  voices  came  the 
staccato  beating  of  hand  on  hand. 

Applause!  Tribute  from  the  gallery!  His 
last  performance  had  been  a  triumph. 

Lights  were  sweeping  the  water.  He  turned 
his  face  into  a  glowing  circle.  The  spotlight. 
He  smiled.    And  closed  his  eyes. 


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138 


Photoplay  Magazine — Advertising  Section 


I  Used  To  Be 
a  'StyKsh  Stout' 


Hollywood's  Own  Real  Genius 


[  CONTINUED  FROM  PAGE   39  ] 


The  personal  story  of 
a  woman  who  made 
herself  over  into  a 
slim,  graceful,  buoy- 
ant healthy  person — 
free  from  the  ill-ef- 
fects of  obesity. 


housework  quickly  tired  me. 
My  heart  would  beat  too 
fast  if  I  hurriedj  I  was 
airaid  to  accept  invitations 
because  I  knew  people 
would     always    be    talking 

what  misery  fat  caused  me 
— aches  and  pains  in  my 
body    as    well    as    mental 

"Biit  that's  all  over  now. 
and  all  the  credit  for  my 
wonderful  improvement 
goes  to  Annette  Keller- 
mann.  I  had  heard  how 
she.  called  the  world's 
most  perfectly  formed 
woman,  had  once  been  a 
puny,  ailing  sickly  child. 
I  found  out  that  her  figure 
had  not  changed  by  a  frac- 
tion of  an  inch,  or  bv  the  least  part  of  an  ounce,  in 
over  16  years.  I  wrote  to  Mi?s  Kcllermann.  told  her 
all  about  myself,  and  asked  what  she  could  do  for  me. 

"In  replv  she  sent  me  a  charming  letter  and  a  copy  of 
her  delightful  book  called.  The  Body  Beautiful.  That 
book,  I  can  truly  say.  was  the  turning  point  in  my  life. 
It  rescued  me  from  the  misery  of  fat.  and  showed  me 
the  way  to  make  myself  exquisitely  slim  in  a  short  while. 
And  it  w*«  BO  very  easy.  Actually,  it  was  a  delight 
for  me  to  follow  her  instructions — light  exercise  for  only 
IS  minutes  a  day.  and  plenty  of  the  right  kind  of  satis- 
fying food  that  produced  energy  instead  of  fat.  It 
was  a  revelation,  even  to  me,  how  quickly  my  weight 
began  to  decrease,      I  felt  better  from  the  vcr>^  first  day. 

"Please  don't  think  that  my  case  is  unusual.  Miss 
Ketlerraann  has  helped  me  wonderfully.  But  she  has  also 
helped  35.000  other  women.  So.  if  you  are  inclined  to 
stoutness,  write  at  once  for  Miss  Kellermann's  book  and 
get  her  advice  on  reducing.  It  may  be  worth  more  than 
you  realize  in  greater  vitality,  better  health  and  a  more 
beautiful  figure." 

Miss  Kellermann  will  be  glad  to  send  you,  free,  a  copy 
of  her  book.  "The  Body  Beautiful."  She  will  also  toll 
you  about  her  method  of  reduction — a  sane,  sensible. 
scientific  way  that  takes  off  your  weight  and  at  the  same 
time  increases  your  energy  and  strength.     Simply  send 

Ann*ette   Kellermann.  225\\^es"39th  ¥treet!**New^Yirk! 
Suite  465. 

Annette  Kellermann, 

Suite  465,  22S  West  39th  St..  N.  Y.  C. 

Dear  Miss  Kellermann:  Please  send  me,  entirely  free  of 
cost,  your  new  book.  "The  Body  Beautiful."  I  am  par- 
ticularly   interested    in    Reducing    Weight. 

Kindly  Print  Name  and  Address 
City State 


Stops  the  torturinf?  pain  of  the  most  f 


bu 
N 

KAY  LABORATORIES,  Dept. 

lllln.l. 

Ota. 

1  order,  ship  nothing  C.  O.  D.) 


technician  with  a  gorgeous  and  sophisticated 
sense  of  humor. 

Von  is  the  only  one  from  whom  genius  flows 
like  water  from  a  well.  Perhaps  charged  water, 
fizzing  and  hissing  out  of  a  siphon  bottle, 
would  be  a  better  description. 

I  helped  Von  write  "The  Wedding  March." 
During  those  long  weeks  I  learned  to  have  for 
him  a  real  and  genuine  affection.  And,  most  of 
the  time,  I  wanted  to  shoot  him.  Or  boil  him 
in  oil  if  I  were  sure  it  would  hurt  worse. 

IT  was  a  wonderful  and  maddening  e.xperi- 
ence.     I  was  a  wreck  at  the  end  of  it. 

We  worked  in  a  little  cottage  at  La  Jolla  on 
the  clifis  about  ninety  miles  south  of  Los 
.Angeles.  Von  got  up  every  day  about  noon — 
cleaned  and  polished  as  though  for  an  inspec- 
tion of  the  Emperor's  Life  Guard  Mounted. 

For  two  or  three  hours  we  mapped  out  the 
scenes.  Then  Von  went  down  to  the  beach 
with  a  serretary  and  dictated  them,  .-\fter 
dinner  we  talked  over  some  more  scenes;  and 
he  sat  up  until  3  a.  m.  dictating  them. 

Some  of  the  problems  we  argued  were  amaz- 
ing. In  the  ston,'  there  was  to  be  a  motherless 
girl.  \'on  said  he  couldn't  write  about  a 
motherless  girl — unless  he  knew  what  her 
mother  was  like. 

So  we  had  to  sit  down  and  spend  days  on  end 
manufacturing  the  life  storj-  of  a  woman  who 
was  never  intended  to  appear  in  the  stoPi'.  We 
told  how  she  fell  in  love  with  her  husband; 
their  early  struggles  together;  the  coming  of 
wealth;  his  temptations;  and  her  sorrow. 
Finally  her  illness  and  death. 

.Actually,  \'on  made  me  invent  a  placard  to 
be  placed  outside  her  house  when  she  was 
d>-ing:  "Please  walk  your  horses  quietly 
through  this  street:  serious  illness  within." 
.-\nd  he  translated  it  into  German.  And — 
mind  you — this  woman  was  never  to  appear  in 
the  story. 

"Now,"  said  Von,  when  we  properly  killed 
off  the  lady,  "  I  know  what  the  girl  is  like." 

.Another  time,  he  made  me  lay  out  a  huge 
war  map,  with  hospitals,  ammunition  dumps, 
and  trenches  because  he  said  he  had  to  "feel" 
a  cavalry  regiment  that  was  to  go  passing  by 
another  scene.  This  sounds  sUly.  Well,  it 
isn't.  Cavalry  that  has  been  in  action  has  an 
entirely  different  "feel"  from  cavalrj-  that 
hasn't.  Just  so,  you  can't  understand  any  girl 
until  you  have  seen  her  mother.  If  you  knew 
the  mothers  of  all  the  Hollywood  stars  .  .  . 

Some  of  this  reality  he  carries  to  absurdity. 
He  had  all  the  undies  of  the  soldiers  in  "The 
Merry  Widow"  marked  with  the  coat  of  arms 
of  a  mythical  country.  Paid  SI  1,000  to  have 
special  medals  designed  for  an  imaginary  army. 
In  "Foolish  Wives"  he  had  a  complete  electric 
bell  system  put  in  a  prop  hotel.  It  was  on  the 
other  side  of  the  scenery  where  it  couldn't  be 
seen;  but  he  had  to  feel  that  it  was  there. 

I  THINK  it  is  aU  due  to  his  Teutonic  sense  of 
t  horoughness.  It  is  the  same  thing  that  made 
him  use  up  7000  feet  of  film  and  three  weeks' 
time  on  a  little  episode  in  "The  Wedding 
March"  that  should  have  taken  fifty  feet  and 
half  an  hour.  If  that  story  had  been  filmed  the 
way  he  wanted  to  write  it,  the  thing  would  have 

j  run  for  seventy-five  reels.  It  just  has  to  be 
"right"  whether  or  not  it  ever  gets  into  the 
picture. 

I  The  truth  is,  Von  knows  better;  but  there 
is  something  in  his  soul — artistic  conscience  if 

I  you  care  to  call  it  that — that  will  not  let  him  do 
any!  hing  in  a  slipshod  way.    If  somebody  asks 

I  him  to  write  his  name  on  a  photograph,  he 

I  will  work  an  hour  on  a  good  inscription. 

Like  all  x'cry  imaginative  people,  he  is  as 
superstitious  as  a  Georgia  crap  shooter.     A 

I  spider  in  the  morning,  shoes  on  the  bed,  a  cat 
^  I  crossing  his  path  simply  give  him  the  heebee- 

Bvcry  advcrllscment  In  PHOTOPLAY  MAGAZINE  Is  guarantee.! 


geebees.  I  was  always  careful  to  see  that  his 
first  sight  of  a  new  moon  should  be  over  his 
right  shoulder. 

One  night,  we  had  a  terrible  time  over  it.  He 
was  taking  a  big  scene  with  an  overhead  ex- 
pense like  the  French  national  debt.  I 
beckoned  him  to  a  studio  doorway  to  see  the 
moon  crescent.  But  he  was  stopped  by  a 
sudden  panic.  It  seems  that  it  is  no  good  un- 
less you  jingle  silver  in  your  right  pocket. 
And  Von  had  no  silver.  I  offered  him  two 
dimes.  No  good.  Had  to  be  his  own  money. 
I  suggested  he  do  something  for  which  I  would 
pay  him  twenty  cents.  Great  idea.  I  sug- 
gested that  he  walk  across  the  set  and  back. 
No;  no  good.  In  the  end  we  had  to  go  over 
to  his  bungalow  where  he  painstaking!}'  worked 
out  a  suitable  scene.  I  paid  him  the  two  dimes. 
The  night  was  saved. 

ONE  of  Von's  lovable  points  is  his  perfect 
courtesy.  One  day  we  argued  until  we  were 
both  exhausted;  and  glaring  at  each  other.  I 
was  thinking  how  I  would  like  to  run  that  big 
cavalry  sabre  through  his  gizzard  (he  always 
carries  one  when  he  writes).  Suddenly  he 
jumped  up.  .Apologized  almost  abjectly.  He 
had  given  me  a  cigarette;  but  had  forgotten  to 
light  a  match  for  me. 

No  matter  how  rushed  he  is,  I  have  never 
seen  him  fail  to  bow  and  click  his  heels  if  the 
humblest  extra  man  comes  up  to  speak  to  him. 

Like  all  genius,  he  pendulums  between  e.x- 
treme  humihty  and  arrogance.  Psychologists 
tell  me  all  of  them  are  like  that.  One  of  my 
jobs  was  to  stand  behind  the  camera  while  he 
acted  his  own  scenes.  He  always  came  up, 
shaking  his  head  mournfully  and  despairingly. 
"No  good;  huh?"  he  would  say.  Once  I  was 
so  swept  away  by  his  genius  as  an  actor  that 
I  told  him  it  was  good  the  very  first  time.  He 
gave  me  a  look  of  hurt  reproach.  Treachery  is 
hard  indeed  to  bear  from  a  friend.  "Harry," 
he  said,  "you  know  that  you  are  the  only  one 
I  have  to  depend  on;  and  you  know  what  this 
picture  means  to  me;  and  yet  3'ou  tell  me  it  was 
good!" 

THE  next  time,  I  made  him  repeat  the  scene 
seven  times.  At  the  end,  he  walked  over  to 
the  leading  lady;  bowed  «ith  a  click  of  his 
heels;  shook  her  hand  and  said:  "The  two 
rottenest  actors  in  Hollywood." 

When  he  first  came  to  America,  a  young 
aristocrat  from  the  .Austrian  ca\-alr\',  he  had 
to  take  any  job  he  could  find  to  keep  from 
starring.  He  was  a  section  hand  on  a  railroad; 
a  boatman  at  Lake  Tajo,  a  roustabout,  book 
agent  and  what  have  you.  i\Iany  Hollywood 
celebrities  like  to  conceal  these  experiences:  not 
\'on.  I  remember  one  day,  when  he  was 
making  the  pageant  in  "The  Wedding  March," 
a  large  herd  of  saddle  horses  were  brought  up. 
Von  took  one  look  at  them  and  turned  on  the 
livery  stable  help  in  a  fury.  "That  isn't  the 
way  to  groom  a  horse, "he  yelled.  "I  groomed 
horses  in  this  very  stable  myself  and  I  would 
ha\e  been  ashamed  to  have  sent  out  a  horse 
like  this." 

One  thing  I  never  could  get  over  was  Von's 
prodigious  memory.  One  day,  in  one  of  the 
wine  garden  scenes,  he  had  ordered  some  extras 
uniformed  as  gendarmes  from  the  Austrian 
Tyrol.  I  thought  he  was  going  to  throw  an 
apoplectic  fit  when  he  saw  them.  AA'hen  he 
calmed  down  to  the  point  of  coherent  language, 
it  developed  that  the  corporal  of  gendarmes 
wore  a  rain  coat  which  clasped  with  a  metal 
clasp;  whereas,  before  1914,  their  rain  coats 
buttoned. 

I  would  like  to  ask  anybody  who  reads  this 
to  go  out  and  look  at  a  policeman;  then  come 
back  and  accurately  describe  his  uniform. 
And  remember  that  Von  hadn't  seen  a  Tyrolean 
gendarme  for  seventeen  years;  then  only  in  the 


Photoplay  Magazine — Advertising  Section 


most  casual  way — without  special  notice  or 
purpose. 

His  mind  seems  to  be  like  a  photographic 
plate. 

People  often  ask  me  this  about  Von  Stro- 
heim:  they  hear  the  most  terrible  stories  of  his 
brutal  treatment  of  actors;  why  then  are  the 
actors  always  so  crazy  about  him? 

You  will  remember  that  they  fired  Von 
Stroheim  in  the  middle  of  "The  Merry  Go 
Round."  The  new  director  told  me  what  hap- 
pened when  he  took  charge  and  introduced 
himself  to  the  actors.  He  first  introduced 
himself  to  Norman  Kerry,  the  leading  man. 
Kerry  could  not  speak  for  crying.  His 
shoulders  began  to  heave;  tears  ran  down  his 
cheeks. 

I  LOVED  Von  so,"  he  sobbed;  and  fled  to  his 
dressing  room.     Mary    Philbin  gave    one 
wild  boo-hoo  and  rushed  off  the  stage. 

And  yet  everything  they  say  about  him  is 
true.  In  "The  Wedding  March,"  if  every 
scene  hadn't  ended  with  Fay  Wray  in  hysterics, 
we  would  have  thought  something  wasn't 
running  true  to  form.  He  used  to  shriek  at 
her  to  go  back  to  the  cow  operas  whence  she 
came. 

I  remember,  at  the  end  of  one  scene — the 
marvelous  confession  scene — that  he  threw  his 
megaphone  clear  across  the  stage  and  stalked 
in  a  white  fury  from  the  scene.  Another  time, 
she  got  so  panic-stricken  that  she  couldn't  cry 
in  a  scene. 

In  his  rage,  he  made  her  eat  half  a  bottle  of 
Spanish  chili  peppers.  If  you  have  ever  eaten 
one,  you  will  know  that  you  can  take  a  live 
coal  afterward  to  cool  your  throat. 

ZaSu  Pitts  used  to  be  driven  almost  to  the 
point  of  suicide. 

George  Nichols  had  to  be  carried  from  the 
sets  in  a  state  of  collapse. 

Yet  they  all  adore  Von.  There  are  several 
reasons.  For  one  thing,  being  all  actors,  they 
get  a  certain  kick  out  of  the  melodrama  of  it — 
as  he  does  himself.  I  ne\'er  was  able  to  decide 
how  much  of  this  rage — and  the  hysterics — 
was  "acting";  and  how  much  genuine. 

For  another  thing,  they  know  he  doesn't 
mean  a  thing  by  it.  Two  seconds  after  he  has 
told  them  they  are  all  idiots  who  ought  to  be 
locked  up,  he  is  doing  something  sweet  and 
thoughtful.  He  is  so  generous  he  would  give 
anybody  his  shoes.  The  greater  reason,  how- 
ever, is  that  they  know  he  is  making  them  act. 
Rather,  that  he  is  keeping  them  from  "acting"; 
and  is  making  them  do  simple,  natural  and 
sincere  things. 

The  difference  between  genius  and  the  com- 
monplace is  only  a  narrow  hairbreadth  line. 
Take  a  horse  race:  one  horse  wins  and  is  sold 
for  a  fortune  before  he  leaves  the  track. 
Another  horse  is  given  away  in  disgust  to  a 
vegetable  peddler. 

Yet  only  a  few  feet  between  the  winner  and 
the  loser  at  the  finish. 

The  difference  between  a  world-famous 
crack  shot  and  a  bad  marksman  is  only  a 
deviation  so  slight  that  the  eye  could  not  detect 
it  at  the  end  of  the  gun  barrel. 

IT  is  the  little  extra  touch  that  is  hard  to 
get.  Von  can  get  it;  so  he  is  one  of  the  great 
geniuses  that  this  age  has  known.  The  actors 
feel  this  by  instinct.  They  are  willing  to  suffer 
with  him  for  that  little  last  extra  crack  that 
opens  the  secret  door  to  let  the  great  white 
light  flood  in. 

At  the  end  of  every  picture,  it  is  whispered 
around  Hollywood  that  Von  is  now  ruined. 
No  other  producer  will  ever  touch  him  with 
a  forty  foot  pole. 

He  is  finished. 

Von  always  agrees  with  them.  Right  now, 
I  have  no  doubt  that  he  is  debating  methods  of 
suicide. 

He  is  resigned  to  go  back  to  his  section  gang 
with  a  pick  and  a  red  flannel  shirt. 

But  Yon  will  never  be  ruined.  They  never 
can  find  another.  You  might  as  well  try  to 
stage  an  imitation  of  Niagara  Falls  or  the 
Yosemite. 


139 


Bf/VIOUS 

Feet 

..how  they're  kept 
free  from  corns 


Dorothy  Dilley's  Famous  Feet 

"Dancing  with  a  corn  is  like  attempting 
a  trans-Atlantic  flight  with  a  grand 
piano.  Let  Blue=jay  check  your  excess 
toe-baggage." 

So  writes  the  charming  Dorothy 
Dilley,  who  is  leading  ingenue  in  the 
new  Broadway  hit,    "Take  the  Air." 


Blue-jay  has  been  starred  for  28 
years  as  the  safest  and  gentlest  way 
to  remove  a  corn.  The  "longest  run" 
of  any  corn-remover  .  .  .  and  going 
stronger  than  ever.  To  its  millions 
of  friends,  the  new  Blue-jay  offers 
some  pleasant  surprises.    A  creamy-white  pad 
instead  of  the  old-style  blue  one.   A  more  flex- 
ible disc  and  an  improved  package.    Now   at 
all  drug  stores.    For  calluses  and  bunions  use 
~'ue~jay  Bunion  and  Callus  Plasters. 


'VMen^ 


©  B.  6?  B.,  1928 

THE       SAFE      AND      GEN 


uejay 


LE       WAY       TO       END      A       CORN 


HIDDEN  GOLD'-'     ^ 

in  your  hair  too! 

Re-discover  it,  tonight,  in  one 
shampooing! 

A  treasure  hunt — in  your  hair!  Hidden  there  is 
something  precious — loveliness  undreamed  of;  a 

sparkling  radiance  that  is  YOLTH— key  to  popularity, 
romance,  happiness!  You  can  revive  this  charm,  tonight, 
with  Golden  Glint!  Rich,  generous  lather  cleanses  each 
hair.  You  rinse — remove  all  trace  of  soap.  Your  hair  ap- 
pears shades  lighter.  Then  you  apply  the  e-xtrti  touch — the 
"plus"  that  makes  this  shampoo  different!  Instantly — new 
gloss — new  finish!  All  trace  of  dullness  gone!  Millions  use 
regularly!  Nothing  to  bleach  or  change  natural  color  of 
your  hair.  Just  a  wonderful  shampoo — plus  !  At  your  fa- 
vorite dealers',  or  if  not,  send  25  cents  to  J.  W.  Kobi  Co., 
Dept.  E,  604  Rainier  Ave.,  Seattle,  Wash. 

Golden  Glint 

^^SHAMPOO/"^ 

MAGIC    KEY  TO    YOUTHFUL  "LOCKS" 


PHOTOPLAT   M.VG.VZIXE. 


Lure 

and 

Loveliness: 


Two  ail-compelling  attributes  of 
maid  and  matron. 

No.  4711  Eau  de  Cologne:  an  ever- 
seductive  aid  to  beauty!  The  unobtrusive 
fragrance  of  No.  4711  is  a  constant  de- 
light. And,  just  before  the  application  of 
cosmetics,  it  is  worth  a  king's  ransom — 
for  it  is  at  once  gently  astringent,  re- 
freshing, stimulating. 


<^^^ Eau  de  Cologne     f^ 

1  (In  the  bottle  with  the  blue-anj-      >  »»■' 


;  bottl 

gold  label) 
Made  ,7!  U  S  A.  By  ,^^^_ 

Mulhens  &  Kropff,  Inc.    ^^ 
25  W  45th  Street 
New  York 


40 


Photoplay  Magazine — Advertising  Section 


NEDWAVBUr^M 


« 


the  Follies  and  over  (>»( 

direction    contributed 
the  success  of  Marilvn 
Penninnton.   Gilda   Gri 
Adele     Astaire.     Mary     Eat 
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Roeers.  Oscar  Shaw  and  mi 
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trainini!  in 


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career  includes  far  more  than  learning  how 
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ng.  wTile  for  Booklet  UF. 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


NED  WAVSURN 

Studios  of  Stage  Dancing  Inc. 

1841  Broadwav,(Ennon60ihSt.iSnidioUF 


".-\LEX  THE  GRE.\T  "— FBO.— From  the  story 
bv  H.  C.  Witwer.  Directed  bv  Dudlev  Murphy.  The 
cast:  Alex.  Richard  "Skeets  '  Gallagher;  Ed,  Albert 
Conti;  Muriel,  Patricia  Avery;  Alice,  Ruth  Dwyer; 
Brmvn,  Charies  Byer. 

"A  NIGHT  OF  MYSTERY"— Par.\mount.— 
From  the  play  by  Victorien  Sardou.  Adapted  by 
Ernest  Vadja.  Directed  by  Lothar  Mendes.  The 
cast:  Captain  Ferreol,  Aaolphe  Menjou;  Therese 
D'Egremonl,  Nora  Lane;  Jerome  D'Egrtmoni,  William 
Collier,  Jr.;  Marcasse,  Raoul  Paoii;  Cilherle  Bois- 
martel,  Evelyn  Brent;  Marquis  Boistnarlel,  Claude 
King;  Rochemore,  Frank  Leigh;  Rochemore's  Secre- 
tary, Margaret  Eiirt. 

"APACHE  RAIDER,  THE"— P.^the.— From  the 
story  by  W.  D.  Hoffman.  Scenario  bv  Ford  I. 
Beebe.  Directed  by  Leo  D.  Malonev.  The  cast: 
■■Apache"  Bob,  Leo  Malonev;  Dixie  Slillwell,  Eu- 
genia Gilbert;  Griffin  Dawson.  Tom  London;  Dal 
Carlwrighl,  Don  Coleman;  ■'Breed"  Arlwcll,  Jack 
Danzhorn;  Juanita  Wharlon,  loan  Renee;  Ray 
Wharton.  William  Merrill  McCormeck;  "£//" 
Ward,  Frederick  Dana;  Ed  SliUu'eli,  Whitehorse; 
■■Blaze"  Le  Mare,  Robert  L.  Smith;  '■pang"  Jaccard, 
Walter  Shumway;  Don  Felix  Bernal,  Murdock  Mac- 
Quarrie. 

"A  TRICK  OF  HEARTS"— UxivERSAL.—From 
the  story  by  Hcrry  Irving  Dodge.  Adapted  bv 
Arthur  Statter.  Directed  bv  Reaves  Eason.  The 
cast:  Beniamin  Franklin  Tiilly.  Hoot  Gibson;  Connie 
Meade,  Georgia  Hale;  Black  Jack.  Joe  Rickson:  Sheriff 
Carrie  Patience,  Rosa  Gore;  Dad  Tullv.  Howard 
Truesdale;  Ne.gro  Comic,  Heinie  Conklin;  White 
Comic.  George  Ovey;  Mayor.  Nora  Cecil;  Ex-Sheriff, 
Dan  Crimmins;  Constable,  Grace  Cunard. 

"  BARE  KNEES"— Gotham.— From  the  story  by 
Adeie  Buffington.  Scenario  by  Harold  Shumate. 
Directed  by  Erie  C.  Kenton.  The  cast:  Billie  Durey, 
\irginia  Lee  Corbin;  Larry  Cook,  Donald  Keith;  Jane 
LongKorth,  Jane  Winton;  Paul  Gladden,  Johnnie 
Walker;    John   Longworlh,    Forrest   Stanley;    Bessie, 


"BEYOND    LONDON'S    LIGHTS"  — FBO  — 
From  the  sti.ry  by  J.  J.  Bell.     Continuity  bv  Jean 
Dupont.^  Directed  by  Tom  Terriss.    Photography  by 
John  Risk,  Lee  Sh'um- 


'immond,  Gordon  Elliott;  Symingto, 


Herbert  Evans;  Lady  Dorothy.  Jacqueline  Gadsden; 
Mrs.  Drtimmond,  Florence  Wix;  Stephen  Carslairs' 
Templar  Saxe;  Mrs.  Bundle,  Blanche  Craig;  Kittv 
Carstairs,  Adrienne  Dore;  Landlady,  Katherine  Ward'. 

"BIG  NOISE.  THE"— First  National.— From 
the  story  by  Ben  Hecht.  Adapted  by  Tom  Geraghtv. 
Directed  by  Allan  Dwan.  The  cast:  John  Sloval 
Chester  Conklin;  Sophie  Sloval,  Alice  White;  Ma 
Sloval.  Bodil  Rosing;  Philip  Ilurd,  Sam  Hardv 
Bill  Hedges,  Jack  Egan;  William  Howard,  Fred 
Spark;    Managing  Editoi,  David  Torrence. 

"BLACK  FEATHERS,  THE"— William  Pizer. 
— From  the  story  by  L.  V.  Jefferson.  Continuity  bv 
L.V.Jefferson.  Directed  bv  John  E.  Ince.  The  ca-it  • 
Allan  Forrest,  Wheeler  Oakman,  Sallv  Rand,  Mau- 
rice Costello,  Ruth  Reavis,  Dot  Fariev,  Dave  Morris 
George  Towne  Hall,  Johnny  Sinclair,  Cedith  Saun- 
ders, John  Clayton  Poole. 

"  BODY  PUNCH,  THE"— Universal.— Directed 
by  Leigh  Jason.  The  cast:  Paul  Steineri,  Georee 
Kotsonaros;  The  Detective,  Arthur  Millett;  Natalie 
Sulherlin.  Virginia  Browne  F"aire;  Jack  Townsend, 
Jack  Daugherty;  Manager,  Monte  Montague; 
Peyson  Turner,  Wilbur  Mack. 

"  BRIDE  OF  THE  COLORADO,  THE"— Patiie- 
De  Mille. — From  the  story  by  John  Farrow  and  J. 
R.  Bray.  Continuity  by  Denison  Clift.  Directed  bv 
Elmer  Clifton.  The  cast:  John  Barrmus,  John  Bole=- 
Mary  Jenkins,  Donal  Blossom;  Fritz  Mueller,  William' 
Irving;  Regan,  Henry  Scdlev;  Old  Man  Jenkins,  Cart 
Stockdale;  Dirk,  Richard  Alexander. 

"BRONCO  STOMPER,  THE"— Pathe.— From 
the  story  by  Barr  Cross.  Scenario  by  Ford  I.  Beebe. 
Directed  by  Leo  Maloney.  The  cast:  Richard 
Thurston,  Don  Coleman;  Yea  Bo  Smith,  Ben  Corbett; 
Alan  Riggs,  Tom  London;  Slim  Garvey.  Bud  Osborne- 
James  Hollisler.  Frank  Clt'rk;  R.  M.  Thompson,  the 
Ranger,  Frederic  Dana;  To^cn  Marshall,  Whitehorse; 
Deputy  Marshall,  Ray  Walters;  Rodeo  Manager, 
Robert  Burns;  Mrs.  Hollisler,  Florence  Lee;  Daisy 
Hollister,  Eugenia  Gilbert. 

"CAME  THE  DAWN"— Hal  Roach-M.-G.-M. 
—Directed  by  Arch  Heath.  The  cast:  Max,  M?x 
Davidson;  Viola.  Viola  Richards;  Gene,  Gene  Morgan- 
Polly,  Polly  Moran. 

"CHINATOWN  CHARLIE"— First  Nation.^l. 
—From  the  story  by  Owen  Davis.  Directed  by 
Charles  Hines.  The  cast:  "Chinalcnon  Charlie," 
Johnny  Hine-^;    Annie  Gordon,  Louise  Lorraine;    Red 


(QotcdSalurdavs; 


.  E<ccpi   Sundivi. 


KEEP  BLONDE  HAIR 

always  lovely — 
with  special  new  shampoo 


and    fade 


rjON'T  let  your  blon.le  h.iir  <l.nrke 
r\,  »■'"•"  j»''t  a  little  (.pccial  rare  will  ke 
fully  I'Kbt  aiui  lustrous.  Blondex,  the  8har:,p<.o 
"Pccialiy  Buiteri  to  the  sensitive  texture  of  blonde-  huir, 
prirvenla  liBrkeninK — brinxs  back  the  true  cnlden 
Kparkle  to  dull,  foiled  heir.  Not  a  dvc.  No  har-h 
ehemicali).  Fine  for  Bcalp.  Over  a  "million  a^-r-i. 
At  all  kwmI  drug  and  department  Htorei  or  m-iil 
coup.jn  below  for  generou!-  Free  Trial  Package. 


npoo  I.ahoratorlcfl. 


iew  sno^'^  H  ^  ^'^  '*'""^  *'*"''  presents  Estelle  Taylor  with  a 
A  nho^r  tT'i  ^"^  ^•'"  '"^  '^"^  *his  camera  trick  is  worked? 
LJlc  H^  **  "/  ***^  automobile,  much  reduced  in  size,  is  super- 
imposed on  a  picture  of  Jack  with  his  arms  outstretched.  If  you 
look  carefully,  you  will  see  where  the  picture  has  been  cut  in 

«.Mi.nl    l„   I')IOTor'J,.XY   MAGAZINE  U  guaranteed. 


Photoplay  Magazine — Ai)m:iviisinc,  Section 


14.1 


Mike,  Harry  Gribbon;  Oswald,  Scottcr  Lowry;  The 
Mandarin,  Sojin;  His  Sweetheart.  Anna  May  Wona; 
Hip  Sing  Toy,  George  Kuwa;  Monk,  Fred  ICohlcr; 
Gyp,  John  Burdette. 

"COUNT  OF  TEN,  THE"— Universal.— From 
tlie  story  bv  Gerald  Beaumont.  Continuity  by  Harrj- 
O.  Hoyt.  Directed  by  James  Flood.  The  cast:  Billy 
Williams,  James  Gleason;  Johnny  McKinney,  Charles 
Ray;  Betty,  Jobyna  Ralston;  Mother,  Edythe  Chap- 
man; Brother,  Arthur  Lake;  Boland,  Chas.  Sellon. 

"CREAM  OF  THE  E.^RTH "— Univers.^l.- 
From  the  story  by  Percy  Marks.  Adapted  by  E.  T. 
Donohoe.  Directed  by  Will  Brown.  The  cast: 
Cynthia  Day,  Marion  Nixon;  Hugh  Carver,  Charles 
Rogers;  Carl  Peters,  Stanley  Taylor;  "Pop"  Moulton, 
Havden  Stevenson;  Prof.  Fountain,  Andy  de  Vine; 
Roacli,  Robert  Seiter;  Norris  Parker.  Hugh  Trevor. 

"DESERT  PIRATE,  THE" — FBO. — From  the 
story  by  Frank  Howard  Clark.  Directed  by  James 
Dugan.  The  cast:  Tom  Corrigan,  Tom  Tyler; 
Jimmy  Rand,  Frankie  Darro;  Ann  Farnham,  Duane 
Thompson;  Norton,  Edward  Hearne;  Shorty  Gibbs, 
Tom  Lingham. 

"  DEVIL'S  SKIPPER, THE"— Tiff  anv-Stahl.— 
From  the  story  by  Jack  London.  Adapted  by  John 
Francis  Natteford.  Directed  by  John  G.  Adolfi.  The 
cast:  TheDevil Skipper,  Belle  Bennett; A/a/e, Montagu 
Love;  John,  CuUen  Landis;  The  Skipper's  Daughter, 
Marv  Mc.\Iister;  Her  Father,  Gino  Corrado;  Seaman, 
G.  Raymond  Nye;  First  Male,  Pat  Hartigan;  Second 
Mate,  Adolph  Millar;  Arabian  Ttader,  Phillip  Slee- 
man;  Planter's  Father,  Frank  Leigh;  Slaves,  Stephin 
Felchit,  Carolynne  Snowden. 

"DRESSED  TO  KILL"— Fox.— From  the  story 
by  William  Conselman.  Scenario  by  Howard  Esla- 
brook.  Directed  by  Irving  Cummings.  The  cast: 
Mile  Awav  Barry,  Edmund  Lowe;  Jeanne,  Mary 
Astor;  Nick,  Ben  Bard;  Professor,  R.  O.  Pcnncll; 
Ritzy  Hogan,  Robert  Perry;  Joe  Brown,  Joe  Brown; 
Levine,  Tom  Dugan;  Biff  Simpson,  John  Kelly; 
Detective  Gilroy,  Robert  E.  O'Connor. 

"ESCAPE.  THE" — Fox. — From  the  story  by 
Paul  Armstrong.  Scenario  by  Paul  Schoficld.  Di- 
rected by  Richard  Rosson.  The  cast:  Jerry  Magee, 
William  Russell;  May  Joyce,  Virginia  Valli;  Jennie 
Joyce.  Nancy  Drexel;  Dr.  Don  Elliott.  George 
Meeker;  Trigger  Caswdl,  William  Demarest;  Jim 
Joyce,  James  Gordon. 

"FAITHLESS  LOVER,  THE"— Krelear.— 
From  the  story  by  Baroness  d'Arville.  Adapted  by 
Jack  Murray.  Directed  bv  L.  C.  Windora.  The  cast: 
Austtn  Kent,  Eugene  O'Brien;  Mary  Callender, 
Gladys  Hulette;  Harry  Ayers,  Ra\'mond  Hackett; 
Bert  Rogers,  James  S.  Barrett;  Mrs.  .Seelon,  Jane 
Jennings:  Charles  Dunbar,  Charles  de  Colton. 

"FALLEN  ANGELS"— Universal.— From  the 
storv  by  Arthur  Sommers  Roach.  Scenario  by 
Charles  Logue.  Directed  by  Ed.  Laemmle.  The 
cast:  Ranee  Rogers,  Norman  Kerry;  Julia,  Pauline 
Starke;  Bella  Rogers,  Marion  Nixon;  Senator,  Byron 
Douglas;  Bill,  Kenneth  Harlan;  Wade.  Crauford 
Kent. 

"FANGS  OF  JUSTICE"— BISCHOFF.— From  the 
storv  bv  Adele  Devore.  Directed  by  Mason  Nncl 
Smith.  The  cast:  Silverstreak,  June  Marlowe, 
Johnnie  Walker.  Cecille  Cameron,  Wheeler  Oakman, 
Freddy  Fredericks,  Frank  Hagney. 

"FINDERS  KEEPERS"  —  Universal.  —  From 
the  storv  by  Marv  Roberts  Rinehart.  Adapted  by 
Beatrice  Van.  Directed  by  Wesley  Ruggles.  The 
cast:  Barbara  Archibald,  Laura  La  Plante;  Carter, 
John  Harron;  Colonel  Archibald,  Edmund  Breese; 
Percy,  Arthur  Rankin;  Bozo,  Bill  Gorman;  Ken,  Eddie 
Phillips;  Chaplain,  Joe  Mack. 

"FIVE-AND-TEN-CENT  ANNIE"— Warners. 
— From  the  story  by  Leon  Zurade.  Scenario  by 
Chas.  R.  Condon.  Directed  by  Roy  Del  Ruth.  The 
cast:  Five-and-Ten-Cent  Annie,  Louise  Fazenda; 
Elmer  Peck,  Clvde  Cook;  Briggs,  William  Demarest; 
The  Blonde,  Gertrude  Astor;  Adam  Peck,  Tom  Rick- 
etts;  The  Judge,  Douglas  Gerrard;  Orchestra  Leader, 
Andre  Beranger;  Gwes/.  Flora  Finch;  Giicrf,  Sunshine 
Hart;  Guest.  Bill  Franey;   The  Midget.  Eddie  Haffner. 

"FRENZIED  FLAMES"  — Ellbee.  — Directed 
by  Stuart  Paton.  The  cast:  Danny  Grogan.  Cullen 
Landis;    Mrs.    Grogan,    Mary_  Cjirr;    Alice    Meagan, 


"GOOD-BYE  KISS,  THE"— Mack  Sennett.— 
Directed  by  Mack  Sennett.  The  cast:  Sally  Filers, 
Matty  Kemp,  Johnny  Burke,  Alma  Bennett,  Car- 
melita  Geraghty,  Lionel  Belmore,  Wheeler  Oakman. 

"HAROLD  TEEN"— First  National.— From 
the  comic  by  Carl  Ed.  Directed  bv  Mervvn  LeRov. 
The  cast:  Harold  Teen,  Arthur  Lake;  Giggles,  Alice 
White;  Grandfather  Teen,  Jack  Duffy;  Dad  Jenks. 
Lucien  Littlefield;  Lillums  Lovewell.  Mary  Brian; 
Cousin  Harold.  Jack  Egan;  Aunt  Maria.  Jane 
Keckley;  Beezie  Binks,  Lincoln  Stedman;  Percival, 
William  Bakewell;  Goofy,  Ben  Hall. 

"HAS  ANYBODY  HERE  SEEN  KELLY?"— 
Universal. — From  the  story  by  Leigh  Jason. 
Scenario  by  John  Clvner.  Directed  by  William 
Wyler.  The  cast:  Mitzi.  Bessie  Love;  Ke«y,  Tom 
Moore;  Mrs.  O'Grady.  Kate  Price;  Mrs.  Hickson. 
Addie  McPhail;  Mr.  Hickson,  Bruce  Gordon;  Sergl. 


^.T,.,T-,T   ,,,rT-,T,^  ..  rFm  ■        .       i    ,1     ■  Madamc  Bcrthc,  Soecialist,  Dcpt.  928 

CARMEL  MYERS  says:       ZIP  w  certainly  the  •  5^2  FIFTH  AVE.,  NEW  YORK 

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142 


Travel  the  ^^ 


Photoplay  Magazine— Advertising  Section 

CLASSIFIED 
ADVERTISING 


First! 


D.S-C.  Slearmrs  Cu  ided  by  Radio  Compass  Signals 

To  Lovers  of  Sea,  Sky  and  Drifting  Clouds: 
Summer  is  just  around  the  cor- 
ner, and  it  is  in  order  to  suggest 
a  cruise  on  the  Great  Lakes  as 
part  of  your  vacation. 
We  would  be  pleased  to  help 
you  plan  an  outing  of  two,  four, 
six  or  eight  days*  duration  on 
the  Lower  Lakes,  and  supply 
you  with  pictures  and  descrip- 
tions of  pleasant  places:  Niagara 
Falls,  Mackinac  Island,  and 
others. 

If  you  contemplate  an  auto- 
mobile tour,  plan  to  make  part 
of  the  journey  by  boat.  Our 
overnight  service  between  Buf- 
falo and  Detroit;  Cleveland  and 
Detroit,  is  used  extensively  by 
automobilists.  If  you  desire  a 
longer  voyage  our  line  between 
Cleveland  and  Chicago,  via 
Detroit,  Mackinac  Island  and 
St.  Ignace,  will  appeal  to  you. 
Dancing,  concerts,  radio  enter- 
tainments, deck  games  on  ship- 
board— not  a  dull  moment. 

A.  A.  ScHANTZ,  President. 


^^LakeLines 


Fares:  Buffalo  to  Detroit,  $5;  Cleve- 
land to  Detroit.  $3:  meals  and  berth 
extra.  For  the  Chicago-Mackinac 
Island  tours  fares  given  are  for  the 
round  trip,  and  include  every  expense 
on  steamers:  Buffalo  to  Mackinac 
Island.  $49:  to  Chicago.  $79.  Cleve- 
land to  Mackinac  Island.  $41.50;  to 
Chicago,  $7!  50.  Detroit  to  Mackinac 
Island.  $30  (JO:  to  Chicago.  $60.  Slop- 
overs  at  Mackinac  Island  and  other 
ports.  For  reservations,  address  E. 
H.  McCracken.  G,  P.  A..  Detroit  and 
Cleveland  Navigation  Co..  Detroit. 
Mich. 


Fast    freight 
at  low  rates. 


irvicc   on    all    d 


■.  Alfrca  .\llen;  Buck  Johnson. 
William.  Bcnge;  French  Molhe. 
Dorothy  Wolbtrt. 


•HEART  OF  A  FOLLIES  GIRL,  THE"— First 

XuioN^i  —From  the  storv  by  ..\dela  Rogprs  St. 
lolHK  Diricled  bv  John  Francis  Dillon.  The  cast: 
r,d,iv  O'/'.iv  Billie  Dove;  Derek  Calhoun.  Larry 
Ki  nt-  Roccr  'Wmlhrof.  Lowell  Sherman;  Caroline 
Winl'hrop'    Clarissa     .Sehvynne;     Florine,     Mildred 


"HEART  OF  BROADWAY.  THE"— Rayart.— 
-om  the  storv  bv  Arthur  Hocrl.  Directed  by  Duke 
•(irne  Photocraphy  bv  Walter  Griffen.  The  cast: 
-^herla  Clemmons.  Pauline  Garon;  Billy  Winters. 
i.bbv  Aqnew;  -Dandy  Jim"  Doyle.  Wheehr  Oak- 
an-' Dan-  Richards,  Oscar  Apfel;  Sherwood,  Duke 


"HOLD  'EM  YALE"— P.ithe-De  Mii.le.— 
From  the  storv  bv  Owen  Davis.  Adapted  by  Georne 
DroniBold.  Directed  bv  Edward  H.  GriiSth.  The 
c:isf  Jaime  Emmanuel  Alvarado  Monlez,  Rod  La 
Rocqiie:  Helen.  Jeanette  Loff;  Oscar.  Hugh  Allan; 
Professor.  Joseph  Cawthorn;  Detective,  Tom  Kennedy; 
Valet.  Jerry  Mandy. 

"HOT  HEELS"— Universal.— From  the  story 
bv  Ha^^^■  O.  Hovt.  Directed  by  William  Craft.  The 
ciist:  Gicn.  Glen  Trvon;  Palsy.  Patsy  Ruth  Miller; 
Fannie  Gretel  Yoltz;  Mr.  Filch.  James  Bradbury, 
Sr.;   Jockey.  Tod  Sloane;    Manager,  Lloyd  Whitlock. 

"L.ADY,  BE  GOOD" — First  N.a.tional. — From 
the  stage  production  by  Guy  Bolton.  Fred  Thompson 
and  George  Gershwin.  Directed  by  Richard  Wallace. 
The  cast:  Jack.  Jack  Mulhall;  Mary,  Dorothy 
Mackaill;  Murray.  John  Miljan;  Madison,  Nita 
Martan;  Texas  West.  Dot  Farley;  Trelawney  West. 
lames  Finlavson;  Landlady,  Agsie  Herring;  Dancer. 
lav  Eaton;  Dancer,  Eddie  Clayton;  Assistant,  Yola 
d'Avril. 

"LAW  OF  FEAR"— FBO.— From  the  story  by 
William  Francis  Dugan.  Directed  by  Jerome  Storm. 
Photography  by  Robert  De  Grasse.  The  cast: 
Ranger,  Himself;  Marion.  Jane  Reid;  Bud  Hardy. 
.Sheriff.  Sam  Nelson;  Steven  Benton,  The  Hunchback, 
Al  Smith. 

"LITTLE  MICKEY  GROGAN "—FBO.— From 
the  storv  by  Arthur  Guv  Empey.  Continuity  by 
Dorothy  Yost.  Directed  by  Leo  Meehan.  The  cast: 
Mickey  Grogan,  Frankie  Darro;  Susan,  Lassie  Lou 
Ahern;  Winifred  Davidson,  Jobvna  Ralston;  Jeffrey 
Shore.  Carroll  Nye;  Al  Nevers,  Billy  Scott;  Crooked, 
Vadim  Graneff. 

"MAD  HOUR"— First  National.— From  the 
story  bv  Elinor  Glyn.  Adapted  by  Tom  Geraghty. 
Directed  bv  Joseph  C.  Boyle.  The  cast:  Cuddles, 
Sally  O'Neil;  Aimee,  Alice  White;  Jack  Hemingway, 
Jr.,  Donald  Reed;  Elmer  Grubb,  Larry  Kent;  Joe 
Mack,  Lowell  Sherman;  Hemingway.  Sr.,  Norman 
Trevor;  Red,  Eddie  Clayton;  Inspector,  James 
Farley;  Modiste,  Rose  Dione;  Lawyer,  TuUy  Mar- 
shall; Maid,  Margaret  Livingston;  Chauffeur,  Jack 
Eagan;  Jail  Matron,  Kate  Price;  Police  Matron,  M 
Foy;  Bride,  lona  Holmes. 

"MAN  WHO  LAUGHS,  THE"— Universal.— 
From  the  story  by  Victor  Hugo.  Adapted  by  J 
Grubb  .Alexander.  Directed  bv  Paul  Leni.  The  cast 
Gwynplaine,  Conrad  Veidt;  Dea,  Mary  Philbin;  Dr 
Hardquanonne,  George  Siegmann;  Comprachico  tht 
'?/>y.  Torben  Mvers;  Barkilphedro  the  Jester,  Brandor 
Hurst;  Queen  Anne,  Josephine  Crowell;  Duchesi 
Josiana.  Olga  Backlanova;  Ursus.  Caesar  Gravina 
Lord  David  Dirry-Moir,  Stuart  Holmes;  King  Jame' 
the  Second.  S^m  De  Grasse;  Lord  Chancellor.  Edgar 
N'orti.n;  The  Wapentake,  Nick  De  Ruiz;  "Homo"  th 
Wn'f.  Zimbo  the  Dog;  Gwynplaine  as  Child,  Juliu 
Molner. 

"MOTHER  MACHREE"— Fox.— Story  by  Rida 
Johnson  Young.  Scenario  by  Gertrude  Orr.  Directed 
by  John  Ford.  The  cast:  Ellen  McHugh.  Belle 
Bennett;  Brian  McHugh,  Phillippe  De  Lacv;  Robert 
De  Puyster,  Pat  Somerset;  Boze  Giant  Kilkenny, 
\'ictor  McLaglen;  Harpist  of  Wexford,  Ted  Mc- 
Namara;  Rachel  Van  Studdiford,  Eulalie  Jensen; 
F.dilh  Cutting,  Constance  Howard;  Brian  McHugh, 
Sr.,  Rodney  Hildebrand;  Brian  McHugh  in  later 
years.  Neil  Hamilton;  Ptpps.  William  Piatt;  il/(5. 
Cutting,  Ethel  Clayton;  Signor  Bellini,  Jacque 
Rollens;  Edith  Cutting  at  four  years,  Joyce  Wirard. 

" NAMELESS  MEN "— Tiffanv-Stahl.—  From 
the  story  by  E.  Morion  Hough.  Continuity  by  Jack 
Matteford.  Directed  by  Christy  Cabanne.  The  cast: 
Hob,  Antonio  Moreno;  Mary,  Ciaire  Winasor;  Hughie. 
Mary's  Brother,  Ray  Hallor;  Blackie,  Eddie  Gribbon; 
Maizie,  Cabaret  Dancer,  Sally  Rand;  Bell-boy,  Steppin 
I'etchit;  Carolynne,  Carolynne  Snowden;  Mysterious 
Stranger,  Charles  Clary. 

"PAINTED  TRAIL,  THE"— Rayart.— From 
the  story  by  Tom  Roan.  Directed  by  J.  P.  Mc- 
Gowan.  Photography  by  Bob  Cline.  The  cast: 
Blaze  Marshall,  Buddy  Roosevelt;  Betty  Winters, 
Hetty  Baker;  Bluff  Gunter,  Leon  de  la  Mothc;  Dan 
Winters,  Lafe  McKce;  Badger  James,  Tommy  Bay. 

"PARTNERS  IN  CRIME"  —  Paramoitot. — 
Directed  by  Frank  Slrayer.  The  cast:  Mike  Doolan. 
Wallace  Beery;  "Scoop"  McGee,  Raymond  Hattnn: 
"Knife"  Reagan,  Rsiymond  Hatton;  Marie  Burke 
Mary  Brian;  Smith,  William  Powell;  Richard  Deming 
Jack  Luden;  Barton,  Arthur  Housinan;  Knnelii' 
Albert  Roccardi;  Chief  of  Police,  Joseph  W.  C.irard' 
B.  R.  Cornwall.  George  Irving;  Dodo.  Bruce  Gordon- 
Jake,  Jack  Richardson. 


FORMS  FOR  JULY  ISSUE  CLOSE  MAY  TENTH 
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AGENTS    AND    SALESMEN 


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WOl'.K      FOR 


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A  BOOKLET  BY  DR.  DENSMORE  ON  TREATJIENT 

or  reduction  of  corpulency  will  be  mailed  without  charge 
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HOW    TO    ENTERTAIN 


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Photoplay  Magazine — Advertising  Section 


H3 


"PATSY,  THE"— M.-G.-M.— From  the  stors'  by- 
Barry  Connors.  Continuity  by  Apnes  Christine 
lohnston.  Directed  by  King  Vidor.  The  cast: 
I'alncia  Harringlon,  Marion  Davies;  Tony  Anderson, 
Orville  Caldwell;  Ma  Harringlon,  Marie  Dressier;  Pa 
Harringlon,  Del  Henderson;  Bill,  Lawrence  Gray; 
Grace  Harringlon,  Jane  Winton. 

"PIONEER  SCOUT,  THE"— PARAMOtiNT.— 
From  the  storv  bv  Frank  Clifton.  Directed  by  Lloyd 
Ingraham  &  Alfred  L.  Worker.  The  cast:  Freil, 
Fred  Tliomson;  Mary  Baxter.  Nora  Lane;  Handy 
Andei  son,  TomWi\son;  Old  £/«,  Wihiam  Coiirtright. 

"PLAY  GIRL,  THE"— Fox.— From  the  story  by 
John  Stone.  Directed  by  Arthur  Rosson.  The  cast: 
'Madge  Logan,  Madge  Bellamy;  Bradley  Lane, 
Johnny  Mack  Brown;  David  Courlney,  Walter  Mc- 
Grail;  Greek  Florist,  Lionel  Belmore;  Sales  Girl, 
ThelmaHill;  Jlfi^if,  Anita  Garvin;  Chauffeur,  IUtty 
Timbrooke. 

"POWDER  MY  BACK"— Warners.— From  the 
story  bv  Jerome  Kingston.  Scenario  by  Robert 
Lord.  Directed  by  Roy  Del  Ruth.  The  cast:  Fritzi 
Fny,  Irene  Rich;  Ruth  Stevens,  Audrey  Ferris; 
Claude.  Andre  Berangtr;  Rex  Hale,  Anders  Randolf; 
Jack  Hale,  Carroll  Nye. 

"  RED  HAIR  " — Paramount. — From  the  story  by 
Elinor  Glyn.  Directed  by  Clarence  Badger.  The 
cast:  "Bubbles"  McCoy,  Clara  Bow;  Robert.  Lane 
Chandler;  Minnie  Luther.  Jacqueline  Gadson;  Dr. 
Eustace  Gill.  William  Austin;  Judge  Rufus  Lennon, 
Lawrence  Grant;  Thomas  Buike,  Claude  King; 
"  Demmy,"  William  Irving. 

"RIDERS  OF  THE  DARK"— M.-G.-M.— Story 
bv  W.  S.  Van  Dyke.  Continuity  by  W.  S.  Van 
Dvkc.  Directed  by  Nick  Grinde.  The  cast:  Lieu- 
tenant Crane.  Tim  McCoy;  Molly  Graham,  Dorothy 
Dwan;  Jim  Graham.  Rex  Lease;  Eagan,  Roy  D'Arcy; 
Old  Man  Redding.  Frank  Currier;  Sheriff  Snodgrass, 
Bert  Roach;  Rogers,  Dick  Sutherland. 

"ROAD  TO  RUIN,  THE" — Ci.iff  Broughton. — 
Directed  bv  Norton  S.  Parker.  The  cast:  Florence 
Turner.  Grant  Withers,  Helen  Foster,  Charles  Miller, 
\^irginia  Roy. 

"SADDLE  M.^TES"— Pathe. — From  the  story 
bv  Harrington  Strong.  Continuity  by  Frank  L. 
Inghram.  Directed  bv  Richard  Thorpe.  The  cast: 
John  Benson.  Wally  Wales;  Tim  Mannick.  Hank 
Bell;  Morgan  Shelby.  J.  Gordon  Russell;  Betty  Shelby, 
Peggy  Montgomery;  Bob  Grice,  Chas.  Whitaker; 
"Grouchy"  Ferris,  Lafe  McKee;  George  Lemmer, 
Edward  Cecil;  M}s.  Saunders,  Lillian  Allen. 

"SAILORS'  WIVES"— First  National.— From 
the  story  by  Warner  Fabian.  Adapted  by  Bess 
Meredyth.  Directed  by  Joseph  E.  Henabery.  The 
cast:  Carol  Trent.  Mary  Astor;  Dorr  Manning.  Llovd 
Hughes;  Max  Slater.  Earle  Foxe;  Dr.  Bobs,  Burr 
Mcintosh;  Pat  Scott,  Ruth  Dwyer;  Carey  Scott,  Jack 
Mower;  Careth  Lindsey.  Olive  Tell;  Tom  Lindsey, 
Robert  Schabie;  Warren  Graves,  Gayne  Whiteman; 
Deuces  Wild,  Bess  True. 

"SHOWDOWN,  THE"  —  Paramount.  —  From 
the  story  by  Houston  Branch.  Scenario  by  Hone 
Loring  and  Ethel  Doherty.  Directed  by  Victor 
Schertzinger.     The  cast:     Cardan,  George  Bancroft; 


Terre  Haute,  Ind. 

We  have  been  engaged  for  three 
years  and  financial  conditions  bid 
fair  to  make  it  still  longer.  One 
Sunday,  not  so  long  ago,  we  decided 
not  to  try  to  go  on  any  longer.  To 
know  that  this  particular  Sunday 
evening  together  was  to  be  the  last 
one  meant  very  little  to  either  of  us. 
There  was  nothing  more  to  discuss; 
we  had  already  worn  out  every  topic 
of  conversation.  However,  there  is 
always  the  theater  and,  with  total 
indifference,  we  bought  our  seats. 

I  must  tell  you  that  the  play  was 
"Seventh  Heaven,"  so  that  when  I 
tell  you  that  this  picture  changed  our 
lives  just  at  this  point,  you  will  un- 
derstand. 

We  decided  to  start  anew.  How 
could  we  help  it  with  a  Seventh 
Heaven  possible  for  us?  Besides, 
this  friend  of  mine  was  a  soldier  in 
the  World  War  and  is  "a  very  re- 
markable fellow." 

M.  J.  F. 


KISSPROOF  LIPSTICK  stays  on 

No  matter  WHAT  one  doesl 
Please  Accept  Special  Offer  to  Test 


"My  DEAR,  you  simply  can't  imAGINE 
what  a  FIND  this  new  KISSproof  LIPstick 
isl  It's  WATERproof  and  really  just 
doesn't  come  OFF  no  matter  WHAT  one 
does!  I  was  just  the  hit  of  the  PARty  last 
night,  no  LESS!  I  didn't  have  to  STOP 
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Kissproof  tells  no  tales — never  embar- 
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Kissproof  is  youth's  own  lipstick  — an  indescrib- 
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Sibyl  Shellon.  Evelyn  Brent;  Tl'iUon  Shellon,  Neil 
Hamilton;  Wiriler,  Fred  Kohler;  Coldie,  Helen  Lynch; 
Hugh  Pickerell,  Arnold  Kent;  KUgore  Shellon,  Leslie 
Fenton;   Willie,  George  Kuwa. 

"SKINXER'S  BIG  IDE.^"— FBO.— From  the 
storv  bv  Henry  IrWng  Dodge.  Continuity  by  Matt 
Tavior.  Directed  by  Lynn  Shores.  The  cast: 
Skinner,  Bryant  Washburn;  Hemingway,  William 
Orland;  Carllon,  Jas.  Bradbury,  Sr.;  Cihbs,  Robt. 
Dudley;  Perkins,  Ole  M.  Ness;  McLaughlin,  Chas. 
Wellesley;  Dorothy,  Martha  Sleeper;  Jack  Mc- 
Laughlin, Hugh  Trevor;  Mrs.  Skinner,  Ethel  Grey 
Terry. 

"SOMETHING  .ALWAYS  HAPPENS"— P.\R_\- 
MOUNT. — From  the  story  by  Frank  Tuttle.  Directed 
b  '  Frank  Tuttle.  The  cast:  ZJiawa.  Esther  Ralston; 
Roderick.  Neil  Hamilton;  Chang-Tzo.  Sojin;  Perkins, 
Charles  ScUon;  George,  Roscoe  Karns;  Earl  of 
Rochester,  Lawrence  Grant;  Clark,  Mischa  Auer; 
Mysterious  Feel,  by  themselves. 

"  SPEEDY  "  —  Lloyd-Para-MOUNT.  —  From    the 
5rev,  Lex  Neale,  Howard  Roger: 
Directed  by  Ted  Wilde.     The 
tieedy,  Harold  Llovd;  His  Sweetheart.  Ann  Christv; 
George    Herman,     Babe     Ruth;    Pop     Dillon,     Bert 
Woodruf ;  Steve  Carter,  Brooks  Benedict. 

"  STREETS  OF  SHANGHAI"  —  Tiffa-VY.  — 
From  the  story  by  John  Francis  Natteford.  Con- 
tinuity by  John  Francis  Natteford.  Directed  by 
Louis  J.  Gasnier.  Photography  by  Max  Dupont  and 
Earle  Walker.  The  cast:  Mary  Sanger,  Pauline 
Starke;  Lee.  Kenneth  Harlan;  Sadie,  Margaret 
Livingston;  Swede,  Eddie  Gribbon;  Eugene  Fong, 
Jason  Robards;  Mary's  Companion,  Mathilde 
Comont;  Fong  Ktang,  Sojin;  Su  Quan.  Anna  May 
Wong;  Chang  Ho,  Tetsu  Komai;  Girl  Wife.  Toshiye 
Ichioka;  F'aien  Shi,  Media  Icliioka. 

"THOROUGHBREDS"— Unjversai..— Directed 
by  Robert  Hill.  The  cast:  Johnny  Spencer,  Pichard 
Wnllinii;  Lucy  Calhottn,  Marion  Nixon;  Morrissey, 
Sam  Dp  Grasse;  Walter  Sinclair,  Montagu  Love; 
Sybil  Morrissey,  Mary  Nolan;  McKee  (Valet).  Otis 
llarUin:  Judge  Clifford,  David  Torrence;  J/rt.  Cal- 
houn, Claire  McDowell;  Ellis,  John  Fox;  Trainer, 
Haydcn  Stevenson. 

■TILLIE'S  PUNCTURED  ROMANCE" 
— Christie-Paramount. — From  the  storv  bv  Monte 
Brief .  Scenario  by  Monte  Brice.  Directed  bv  Edward 
Sutherland.  Thecast:  The  RingMasler,\\.C.F\e\iis,; 
Tillie,  a  runaway  girl,  Louise  Fazenda;  The  Circus 
Owmr,  Chester  Conklin;  Tillic-s  Father,  Mack  Swain; 
The  Heroine,  Doris  Hill;  The  Hero,  Grant  Withers;  The 
Properly  Man,  Tom  Kennedy;  The  Strong  Woman, 
Babe  London;    The  Midget,  Billy  Platt. 

"TRAGEDY  OF  YOUTH,  THE"  —  T!FF.a,n-y- 
Stahl.  —  From  the  story  by  ,A.lbert  Shelby  Lcvino. 
Directed  bv  George  Archainbaud.  Scenario  bv  Olga 
Printzlau.  The  cast:  Paida,  Patsy  Ruth  Miller;  Dick, 
William  Collier,  Jr.;  Frank  Gordon,  W'arner  Baxter; 
Mother,   Claire   McDowell;     Father,   Ilaryey   Clark; 


"TURN     BACK    THE    HOURS"— Goth.^m.— 

From  the  play  by  Eaward  E.  Rose.  Scenario  by 
Jack  Jungmeyer.  Directed  by  Howard  Bretherton. 
The  cast:  Tiza  Torreon,  M\  rna  Lov;  Phillip  Drake, 
Walter  Pidgeon;  "Ace"  Kearney.  Sam  Hardy; 
"Limey"  Stokes,  George  Stone;  "Breed,"  Sheldon 
Lewis;  Col.  Torreon,  Josef  Swickard;  Maria,  .Ann 
Brody;  A  Dancer,  Nanette  Villon;  A  Canlina  Girl, 
Joyzelle  Joyner. 

"TWO  LOVERS"— United  Artists.— From  the 
?torv  by  Baroness  Orczy.  Directed  by  Fred  Niblo. 
The  cast:  Mark  Van  Rycke.  Ronald  Colman;  Donna 
Lenora  de  Vargas.  Vilma  Banky;  The  Duke  of  Alva, 
Noah  Beerv;  Prince  of  Orange,  Nigel  de  Brulier; 
Crete,  Virginia  Bradford;  Inez,  Helen  Jerome  Eddy; 
Madame  ^'an  Rycke,  Eugenie  Besserer;  Ramon  de 
Linea,  Paul  Lukas;  Meinherr  Van  Rycke,  Bailiff  of 
Ghent.  Fred  Esmelton;  Jean,  Harry  Allen;  Marda, 
Maicella  Day. 

"UPLAND  RIDER,  THE"— First  National.— 
From  the  story  by  Marion  Jackson.  Directed  b\-  .Al 
RopoU.  The  cast:  Dan  Dailey,  Ken  Maynard;  Sally 
Graham,  Marian  Douglas;  John  Graham.  Lafe 
McKce;  Ross  Cheswick.  Sidney  Jarvis;  Bent.  Robert 
\\'alker;  Shorty.  Bobbv  Dunn;  Red,  David  Kirby; 
Slim,  Robert  Milash;  Tarzan,  Himself. 

"VAMPING  VENUS"— First  N.a.tiO;.-.a.i..— From 
the  storv  by  Howard  J.  Grten.  Direct;  d  by  Eddie 
Cline.  The  cast:  Michael  Ca^sidy  (King  Casstdy  of 
Ireland).  Charlie  Murray;  Maggie  Cassidy  (Circe), 
Louise  Fnzonda;  Mme.  Venezetos,  the  dancer  (1  Vmm.s), 
Thelma  Todd;  Pete  Papavlos  (Bacchus),  Ru.ss  Powell; 
Simonidrs,  the  strong  man  (Hercules).  Joe  Bonomo; 
.Mars,  Big  Bov  Williams;  Western  Union  Boy  (Mer- 
ciuy'i.  Spec  O'Donnell;  Vulcan,  Fred  O'Beck; 
Jupiter,  Gustav  von  Seyffertitz;  Shopkeeper,  Gus 
Pnrtos;  Juno,  Janet  McLeod;  Stenographer,  Yola 
d'Avril. 

"WARNING,  THE"— Columbia.— From  the 
story  by  Lillian  Ducey  and  H.  Milner  Kitchin. 
.\dapted  by  George  B.  Siitz.  Directed  by  George  B. 
Seitz.  The  cast:  Tom  Fellows.  Col.  Robert  Wellsley, 
Jack  Holt;  Mary  Blake,  Dorothy  Revier;  Tso  Lin, 
Frank  Lacktecn;  London  Charlie,  Pat  Harmon;  No. 
24.  Eugene  Strong;  Ah  Sun^.  George  Ku\va;  5i> 
James  Cordon,  Norman  Trevor. 


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Do  You  Really  Know  What  Happens 

WHEN  YOU  DIE? 

HAVE  YOU  LOVED  ONES  WHO  HAVE 
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"THE  GREAT  KNOWN" 

By  J.  E.  Richardson,  TK. 

34  Chapters,  including  Spiritual  Sight;  Communica- 
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"YOU  CAN'T  BEAT  THE  L.A.W"— R.^y.^rt.— 
From  the  story  by  H.  H.  Van  Loan.  Directed  bv 
Chas.  J.  Hunt.  Photography  by  Ernest  Depcw.  The 
cast:  Patricia  Berry,  Lila  Lee;  Jerry  Judd,  Cornelius 
Keefo;  Bo7i'ery  Blackie,  Warner  Richmond;  Bessie, 
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Questions  ^Answers 


[  CONTINUED  FROM  P.AGE   99  ] 

A.  M.  G.,  Buffalo,  N.  Y.— You  win  the 
argutnent.  Mary  Pickford  is  thirty-five  years 
old  and  Douglas  Fairbanks  is  forty-four.  Tell 
your  friend  that  Mary  wasachild  actress,  so  it 
is  possible  that  she  remembers  seeing  her  a  long 
time  ago.  Nevertheless,  Mary  was  born  in 
April,  1893,  and  is  one  of  the  stars  who  is  quite 
honest  about  her  age.    Give  her  credit ! 

Del  p.,  Oakland,  Calif. — Thanks  for  the 
photograph.  But  I  can't  conscientiously  ad- 
vise any  boy  or  girl  to  go  to  Hollywood.  It's  a 
tough  game  for  a  beginner.  But  one  word  from 
me  and  you'll  do  as  you  please.  If  you  have  a 
friend  who  has  worked  as  an  "extra,"  he  will 
tell  you  how  hard  it  is.  Mae  Murray  is  playing 
in  vaudeville.  It's  no  great  secret  that  Mae 
and  Von  Stroheim  didn't  get  on  very  well  while 
making  "The  Merry  Widow."  But  Von  cer- 
tainly did  make  Mae  look  like  a  million 
dollars. 

A.  V.  W.,  Baltimore,  Md. — Billie  Dove 
played  opposite  Douglas  Fairbanks  in  "The 
Black  Pirate." 

S.  F.  S.,  San  Francisco,  Calif. — I  have  no 
record  of  any  such  picture  starring  Lillian 
Gish.  It's  probably  an  old  fikn  re-issued  under 
a  new  title.  Lillian  Gish  is  thirty-one  years 
old.  Old  films  have  a  w-ay  of  making  the  play- 
ers seem  older  than  they  really  are.  If  you  will 
get  some  snapshots  of  yourself  taken  several 
years  ago,  you'll  see  how  old  photographs  can 
make  a  person  feel  like  an  old  man.  Theater 
owners  should  tell  their  patrons  when  they 
run  these  ancient  drammers.  It  isn't  very 
square  to  show  a  film  starring  a  popular  player 
and  try  to  pass  it  off  as  a  new  one. 

W.  E.  C,  Lancaster,  Wis. — Lon  Chaney 
and  William  Haines  played  in  "Tell  It  to  the 
Marines."  Haines  is  twenty-eight  years  old 
and  not  married. 

Juliana  F.,  Chicago,  III. — Lois  Wilson 
isn't  married.  And  Norma  Talmadgc  is  an 
.'\merican,  with  a  strain  of  Irish.  ]\Iae  Murray 
tells  me  that  she  is  thirty-four  years  old.  Not 
an  eensy,  weensy  bit  of  trouble. 

M.  B.  and  B.  R.,  Richmond,  Va.— Yes,  I 
think  Joseph  Striker  is  among  the  comers.  He 
is  twenty-seven  years  old,  an  American  and 
unmarried. 

W.  M.,  New  York,  N.  Y.— Joan  Crawford 
has  reddish  brown  hair.  Dolores  Costello  is 
about  nineteen  years  old.  And  Patsy  Ruth 
Miller  is  twenty-four.  Donald  Keith  played 
the  son  in  "The  Way  of  All  Flesh." 

Helene,  Rochester,  N.  Y. — Nils  Asthcr 
played  Kit  in  "Sorrell  and  Son."  Where  has 
he  been  all  these  years?  He's  been  in  Sweden. 
He  was  born  at  Malmo,  Jan.  17,  1902,  and 
worked  in  German  pictures  before  coming  to 
this  country.  He  has  brown  hair  and  hazel 
eyes, 
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I   LUCILLE  YOUNG,   865  lucilk  Young  Bnilding,  Chicago,  111.   | 

J       Send  me  ;our  new  discorery  (or  growinu  eyela jiie.  and  eyebrows      ' 
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9S  plus  few  cents  postape.  It  moneys) 
.  Tostn^e  is  prepaid.  Stale  whelbei 
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146 


Photoplay  Magazine— Advertising  Section 


I 


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'We  are  advertised  by  our  loving  friends'' 


Children  of  Mrs.  George  Saliagian,  Beachmont,  Massachusetts 

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with  -- 

THE   CANDY  MfNT  WITH  THS   HOUE 

THEY  AID   DIGESTION   AND    SWEETEN  THE   BREATH 


Photoplay  Magazine — Advertising  Section  3 

tiow  modern  dentists 
crusade  against  "pink  tooth  brush" 


specialists  point  out  both 
the  reason  and  the  remedy 
for  troubles  of  the  gums 

From  a  standard  text : 

"The  use  of  natural  foods  has  been 
replaced  by  highly  processed  substi- 
tutes from  which  the  coarseness  is  re- 
moved, so  that  the  need  for  mastica- 
tory effort  is  greatly  diminished,  with 
the  resulting  detrimental  effect  on  the 
teeth  and  their  supporting  structures. 

From  an  article  in  a  denta  1  j  ournal : 
"If  the  gum  tissue  is  artificially  stim- 
ulated, a  change  takes  place  in  the 
texture  which  .  .  .  seems  to  act  as  a 
protective  armor  .  .  .  and  makes  in- 
gress of  infection  extremely  difficult." 

From  a  well-kno%vn  practitioner: 

"The  instant  the  gums  are  brushed 
properly,  the  blood  starts  to  flow 
more  rapidly  and  new  life  and  color 
make  their  appearance." 


THE  very  real  relation  between  our  diet  quotations  are  from  published  works,  and  in  gentle  frictionizing  with  the  blush  or  with  the . 
and  our  gum  troubles  is  recognized  by  them,  as  becomes  professional  etiquette,  there  fingers.  It's  very  simple.   It  takes  but  a  mo- 
each  and  every  dental  authority  whose  words  is  no  urge  to  the  use  of  any  special  produa.  ment  of  time,  and  it  may  help  you  avoid 
are  quoted  above  in  the  panel  on  the  very-  g^^  ^^^^^  ^^^  thousands  of  good  dentists  ^^^'^  ^^  "o^^le. 
page  you  are  reading.  ^^^  ^^^^  ^^^  ^^^  ^^  jp^^^  ^^^^^  p^^^  ^^                   n^/.         /•  //    •          l          z. 

Our  soft  foods  have  damaged  our  gums  their  patients-as  the  medium  for  massage                   "^^■>'  ^/«^^-«^^  tube  makes 

—  have  made  them   tender.    Today  gums  of  the  gums  as  well  as  for  the  regular  clean-           the  better  test  of  Ipana  Tooth  Paste 

bleed  too  easily.  "Pink  tooth  brush"  appears  ing  of  the  teeth.  „,       .,            ,                    u..,,l- 

-a  sign  ofweakened  gums,  a  very  possible  1,                  •      •       ,       ,                    ■        ■  Below  :s  the  usual  coupon,  which  w.ll  bring 

forerunner  of  more   stubborn  troubles  to  J^^ ''''°"  ''  '""PI"'    ^m'  '°"'''"'  ''"'  T"  ^^^-day  test  of  Ipana-enough  to  judge 

come-gingivitis,  Vincent's  disease,  and  per-  '°''  ^  P-P""'^'^  -"^  well-known  antisep-  us  delicious  taste,  its  fine  flavor  and  its  power 

haps  even  fhe  more  infrequent  pyorrhea  '''  ^"'^  hemostatic  properties^    Ziratol  gives  to  make  your  teeth  clean,  white  and  brilliant. 

^          ^'  Ipana  the  power  to  tone  and  stimulate  the  No  tooth  paste  excels  Ipana  in  these  respects. 

The  way  to  have  firm,  f™!'  ^^^^^^&  ^^em  to  sound  and  sturdy            But  a  full-size  tube  contains  more  than  one 

U     uu                  \        .-f  1       AV    ,    ,A  health.  This  property  of  Ipana  IS  one  of  the  hundred  brushings  and  will  last  overamonth 

healthy  gums-beauttful,  white  teeth  important  reasons  for  the  hearty  professional  _i„„g  ,„„,gh  for  Ipana  to  demonstrate  its 

Read  what  these  authorities  say  about  soft  support   it  has  enjoyed  ever  since  the  day  benefits  to  your  gums.  So  make  this  fairer 

food.  Regard  carefully  how  they  recommend  "  ^^  P^^ced  upon  the  market.  tg^t  ^j^h  a  large  tube  from  the  nearest  drug 

gum  massage  to  restore  to  the  tissues  the  So  follow  the  sound  advice  of  these  spe-  store.  Get  it  today  and  let  Ipana  start  its  good 

exercise  and  stimulation  they  require.  These  cialists.   Give  your  gums,  twice  a  day,  this  work  for  you  tonight. 

.a  PAN  A  Tooth  Paste     > 

^MADE  BY  THE  MAKERS  OF  SAL  HEPATICA,J^ 

^Si      ^  -"        J  — xTcP^^jP^^^^arx  BRI.STOL-MYERS  CO.,  Dept.  I  6S  73  West  Street.  New  York  Cit| 
^       -^     **^    C^O  ,J^^m\  Kindly  send  me  a  trial  tube  of  IPANA.   Enclosed  is  a  fwo4 

J  2  O  I  |t___fj       \  cent  stamp  to  cover  partly  the  cost  of  packing  and  mailing.' 

5>    '.^^     i/J  o  "3  /J^^BH          f^-         N^nii 

s  >_Li^^3-^    ■'''"" 

City Stale ; 

.     ffljft::aJiW 

\W\m  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


^     Youth   of  Today- 
Stars  of  Tomorrow! 


^  Paramount,  the  star  maker!    Clara  Bow,  Richard  Dix,  Bebe 
Daniels,  Esther  Ralston,  George  Bancroft —  a  few  of  today's 
favorites.  Paramount  made!  fl  Paramount  policy  is  to 
constantly  seek  new  faces  to  enrich  the  screen  and 
new  personalities   to  keep  pace  with  changing 
public  taste.    Developing  them,  encouraging 
them,  with  the  best  in  story  and  directorial 
talent  and  with  unlimited  resources, 
physical    and   financial.      ^   Para- 
mount takes  pride  in  presenting 
here,  ten  of  its  most  promis- 
JAMES  HALL  ing  candidates,  the  youth  MARY  BRIAN 

of  today,    stars    of 
tomorrow!    Give 
them  a  hand! 


FAY  WRAY  and 
GARY  COOPER 


CHARLES  ROGERS 


/T^-kA  LOUISE 


Coming  in  August!  The  great  new  Paramount  "Whole  Show  Program  for 
1928-29."  Soon  your  Theatre  Manager  will  be  planning  your  Fall  and  Winter 
entertainment.    Now  is  the  time  to  tell  him  that  you  prefer  Paramount. 

zramnuHuit  S^ictwes 

Produrcl  hy  Paramount  Famous  Lasky  Corp.,  Adolph  Zukor,  President,  Paramount  Bldg.,  New  York 


advcrtlscmi'nt   In  I'llOTilI'I.AY  MAGAZINE 


The  World's   Leading   MotionPicture   Publication 


ITBEDERICK  JAMBS    SMITH 


Contents 


For 

June 

1928 


Vol.  XXXIV 


James  R.  Quirk 

=  LDITOR    AND   PUBLlbHER 


No.  1 


The  High-Lights  of  This  Issue 


Cover  Design  Charles  Sheldon 

Marion  Da\'ies — Painted  from  Life 

As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures  8 

A  Gmde  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  10 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck    16 
Photoplay's  Personal  Service  Department. 

Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

What  Price  Matrimony  in  Hollywood 

Earl  Wingart    30 
It  Takes  a  Fortvme  to  Win  a  Famous  Baby  Star 

Jack  Gilbert  Writes  His  Own  Story 

Jack  Gilbert    32 
The  Screen's  Most  Brilliant  Actor  Talks  About  Him- 
self 

What  Makes  You  Laugh?    Dr.  Louis  E.  Bisch    34 

Comedies  Are  Prescribed  as  a  Cure  for  Mental  Fog 


Sadder  but  Wiser  Lois  Shirley 

Mary  MacLaren  Is  Back  in  Hollywood  Trying  to 
Forget  Her  Nightmare  Romance  in  India 

Misinformation  Ruth  Biery 

The  Spotlight  Is  Turned  on  the  Holly^vood  Rumor 
Market 

Sketches  from  Hollywood 

His  Imperial  Highriess, 
Archduke  Leopold  of  Austria 

A  Habsburg  Gives  Some  Impressions  of  the  Amer- 
ican Film  Capital 


39 


40 


42 


Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

Stepping  Stones  (Fiction  Story)     Grace  Mack 

A   Hollywood  Expert   on  Sex  Finds  Love — in  a 
Restaurant 

The  Shadow  Stage 

Reviews  of  the  Newest  Pictures 

Two  More  Nutty  Biographies 

Have  You  Joined  in  This  Interesting  Contest  for 
$500  in  Cash  Prizes? 

$5,000  in  Fifty  Cash  Prizes 

Here's  the  Start  of  Photoplay's  Annual  Cut  Picture 
Puzzle  Contest 

The  Story  of  Greta  Garbo 

Conclusion  of  This  Star's  Interesting  Narrative  as 
Told  by  Her  to  Ruth  Biery 

$2,000  in  Prizes  for  Amateur  Movies 

Frederick  James  Smith 
Awards  Are  Made  in  Pioneer  Photoplay  Contest 

Sexes  and  Sevens  (Fiction  Story) 

Harry  L.  Reichenbach 

A  Clever  Story  by  the  Screen's  Cleverest  Press  Agent 

Making  a  Million  Tom  Mix 

Tom's  Counted  Up  and  Finds  He  Has  a  Million 
— Maybe  More 

What  Was  the  Best  Picture  of  1927? 

Cast  Your  Ballot  for  the  Photoplay  Medal  of  Honor 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film  Folk 

Eat  Well  and  Be  Your  Weight 

Photoplay's  Cook  Book  Tells  You  How 

Casts  of  Current  Photoplays  141 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


44 
48 

52 
56 

58 


A  complete  list  of  all  photoplays  reviewed  in  the  Shadow  Stage  this  issue  will  be  found  on  page  la 


Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  III. 

The  International  News  Company.  Ltd..  Distributine  Agents.  5  Bream's  Buildine.  London.  Enzland 

James  R.  Quirk,  President  Robert  M.  Eastman.  Vice-President  Kathryn  Dougherty.  Secretary  and  Treasurer 

Ybarly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba;  $3.00  Canada;  $3.50  to  foreign  countries.    Remittances 

should  be  made  by  check,  or  postal  or  express  money  order.    Caution— Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24.  1912.  at  the  Postoliice  at  Chicaeo.  111.,  under  the  Act  ol  March  3.  1879. 

Copyright.  1928.  by  the  PHOTOPLAY  Publishing  Company.  Chicago. 


As  We  Go  to  PRESS 


Last  Minute  News        from  East  and  West 


RICHARD  DIX  is  recovering  from  an 
attack  of  pneumonia,  following  an 
operation  for  appendicitis.  Mr.  Dix 
was  critically  ill  and  it  will  be  some  weeks 
before  he  will  be  able  to  resume  work  be- 
fore the  camera. 

MARY  PICKFORD  and  Doug  Fairbanks 
sailed  for  Italy  from  New  York  on 
April  21st.  Following  the  death  of  Mary's 
mother,  all  film  plans  were  cancelled.  The 
two  will  visit  the  Riviera,  then  go- 
ing to  Rome.  From  Rome  they 
will  hop  by  Fokker  airplane  to 
Athens,  Crete,  Cairo,  the  Holy 
Land,  Constantinople,  Budapest 
and  Vienna. 


films.  Boyd  is  being  loaned  to  United  Art- 
ists to  appear  opposite  Lupe  Velez  in  "La 
Paiva."  Pathe  is  reported  undecided  about 
taking  up  Rod  La  Rocque's  option.  He  will 
do  one  more  film  for  Pathe,  anyway. 

RICHARD  BARTHELMESS  married 
Mrs.  Jessica  Sergeant  in  Reno,  Nev., 
on  April  20th.  The  bride  is  the  divorced 
wife  of  Stewart  Sergeant,  New  York  broker 
and  clubman. 


FIRST  NATIONAL  is  aimouncmg  some 
ambitious  plans.  George  Fitzmaurice  is 
to  film  a  big  production  of  "La  Tosca"  in 
Italy.  This  will  star  Billie  Dove.  Alice 
White  has  been  awarded  the  coveted  role 
of  the  girl  in  "The  Barker."  Molly  O'Day 
was  to  have  been  given  this  part  but  she 
could  not  get  all  the  buttons  and  hooks  of 
the  costume  to  meet.  Milton  Sills  will  be 
starred  in  "The  Barker"  and  the  cast  will 
include  Betty  Compson  and  Doug  Fair- 
banks, Jr. 


A  LEGAL  fight  between  Tif- 
fany-Stahl  and  Fannie  Hurst 
is  impending  over  the  sale  of  Miss 
Hurst's  novel,  "Lummox,"  to 
Herbert  Brenon.  Meanwhile, 
Brenon  is  going  ahead  with  his 
production  plans.  Three  actresses 
are  still  being  considered  for  the 
leading  role:  Louise  Dresser, 
Anna  Q.  Nilsson  and  Louise  Fa- 
zenda. 

T  ILLI  DAMITI,  the  blonde 
-'—'Parisian  actress  engaged  by 
Samuel  Goldwyn  during  his  recent 
trip  abroad,  will  play  opposite 
Ronald  Colman  in  his  next  film. 
Walter  Butler,  an  English  actor, 
was  engaged  to  appear  opposite 
Vilma  Banky  in  her  future  films. 
Mr.  Butler  has  shifted  his  name 
to  Byron  for  film  purposes.  His 
engagement  ends  the  reports  that 
Miss  Banky  will  appear  opposite 
her  husband,  Rod  La  Rocque. 

TT  is  reported  that  the  option  on 
■^■Eleanor  Boardman  was  not  tak- 
en up  by  Metro-Goldwyn  before 
Miss  Boardman  and  herhusband, 
King  Vidor,  departed  on  their 
European  vacation.  The  Vidors 
will  be  abroad  for  some  time. 
They  have  taken  their  little 
daughter  with  them. 

pECIL  B.  DE  MILLE  will  con- 
^^tinue  to  produce  and  release 
through  Pathe,  at  least  until  Fall. 
Pathe  has  placed  Lina  Basquette 
and  George  Duryea  under  long 
term  contract.  Pathe  will  star  or 
feature  Jacqueline  Logan,  Allan 
Hale,  William  Boyd,  Phyllis  Ha- 
ver and  Victor  Varconi  in  future 


Sit 

UP 


Eto 

1^ 


P.  &  A.  Photos 


Here  is  the  first  film  to  be  sent  from  one 
city  to  another  by  telephoto.  This  film,  a 
close-up  of  Vilma  Banky,  made  in  Chicago, 
was  received  in  New  York  over  long  distance 
telephone  wires.  Perhaps  this  suggests  the 
future    rapid-fire    transportation    of    films 


-who  made  "Sadie  Thompson" 
and  "What  Price  Glory,"  has  been 
given  a  new  William  Fox  contract 
at  a  reported  salary  of  $7,500  a 
week. 

T  UCY  DORAINE,  of  Hungary, 
-'—'has  been  signed  by  Para- 
moimt.  She  is  reported  as  a  suc- 
cessor to  Pola  Negri. 

SYLVIA  THALBERG  will  marry 
Lawrence  Weingarten,  Metro- 
Goldwryn  producer,  in  Jxme.  Miss 
Thalberg  is  Irving  Thalberg's  sis- 
ter. 

"DETTY  BRONSON  has  been 
-•--'given  the  leading  role  in 
Metro-Goldwyn's  visualization  of 
the  mystery  story,  "The  Bellamy 
Trial."  Anita  Page,  who  was  to 
have  played  this  part,  will  appear 
opposite  Lon  Chaney  in  "Easy 
Money." 

nPHE  Fox  Studios  have  changed 
-*-  the  name  of  Maria  Casajuana, 
the  young  Spanish  actress,  to 
Marta  Alba. 

"PRANK  CURRIER,  tlie  veteran 
-*-  character  actor,  died  April  22nd 
n  Beverly  Hills  from  septic  poison- 
ng,  the  result  of  crushing  a  finger 
n  an  automobile  door. 

MARY  PICKFORD  was  be- 
queathed the  bulk  of  the  es- 
tate of  her  mother,  Mrs.  Charlotte 
Pickford.  The  will  also  provides 
generously  for  Mrs.  Lottie  Pick- 
ford  Forrest,  Mary's  sister,  and 
for  Jack  Pickford.  Each  will  re- 
ceive in  trust  $200,000.  After 
ten  years  they  also  will  get  $5,C0O 
a  year  for  ten  years  and  one- 
twentieth  of  the  trust  amount  for 
the    following    twenty  years. 


Photoplay  Magazine — AD\EirnsixG  Si 


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V,  Preserver  S^°tedby 
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""^i^^'^lnd  'Sl^!.' For  wen  and  tog,,. 


*  Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


Brief  Reviews  of 

Current  Pictures 


ABIE'S  IRISH  ROSE— Paramount.— The  preat 
and  original  Irish- Jewish  comedy,  played  by  a  hkeable 
cast  headed  by  Charles  Ropers.  Nancy  Carroll,  Ber- 
nard Gorcey  and  Ida  Kramer.  If  this  aoesn't  amuse 
you,  you  are  in  the  minority.     (Aprtl.) 

ACROSS  THE   ATLANTIC— Warners.— A   war 

and  aeroplane  story  that  furnishes  routine  entertain- 
ment.     (February.) 

ALEX  THE  GRE.\T— FBO.— The  funny  adven- 
tures of  a  countrv  bov  who  comes  to  New  York  to 
"Press  his  pants  with  the  Flatiron  building."  With 
"Skeels"  Gallagher.     (May.) 

ALIAS  THE  LONE  WOLF— Columbia.— Bert 
Lytell  returns  to  the  character  that  made  him  famous 
ten  years  ago.  .A  crook  story,  well  told,  agreeably 
acted  and  safely  presented  for  the  family.  (January.) 

AMERICAN  BEAUTY— First  National.— Billle 
Dove  has  her  fling  at  playing  a  modern  Cinderella. 
Frothy  but  nice.      (December.) 

APACHE  RAIDER,  THE— Pathe.— Leo  Maloney 
gets  all  hot  and  bothered  about  a  few  stolen  cows. 
(Hay.) 

BABY  MIN'E— Metro-Goldwyn-Mayer.  —  Karl 
Dane,  George  K.  Arthur  and  Charlotte  Greenwood  in 
an  old  farce,  dressed  up  in  new  gags.    (February.) 

BARE  KNEES— Gotham.— Proving  that  the 
flappers  are  not  as  bad  as  their  big  sisters.  With 
Virginia  Lee  Corbin  and  Jane  Winton.      (May.) 

BATTLE  OF  THE  CENTURY.  THE— Metro- 
Goldwyn-Mayer. — More  than  three  thousand  pies 
were  used  in  one  sequence  of  this  two  reel  comedy.  A 
burlesque  on  the  fistic  doings  in  Chicago.  (January.) 

BATTLES  OF  CORONEL  AND  FALKLAND 
ISLANDS,  THE— Artlee.— An  authentic  record  of 
two  big  naval  engagements  between  Germany  and 
England.  The  picture  tries  to  be  a  "Potemkin" — 
but  misses.     (May.) 

♦BEAU  SABREUR— Paramount.— Not  another 
"Beait  Geste,"  but  a  thrilling  and  picturesque  tale, 
neverthekss.  You'll  like  Evelyn  Brent.  Gary  Cooper, 
William  Powell  and  Noah  Beery.     (March.) 

BECKY  —  Metro-Goldwyn-Mayer.  —  Again  the 
jxxiT  working  girl  goes  on  the  stage.  A  light,  routine 
comedy  brightened  by  the  antics  of  two  Irishers — 
Sally  O'Ncil  and  Owen  Moore.     (February.) 

BEYOND    LONDON'S    LIGHTS— FBO.— The 

young  master  gets  familiar  with  the  second  girl  and 
the  result  is  a  battle  between  the  high  hats  and  the 
lower  classes  in  dear  old  London.    (May.) 

BIG  CITY.  THE— Metro-Goldwyn-Mayer.- Lon 
Chaney  and  Betty  Compson  re-united  in  a  crook 
«tory  in  which  Lon  prove.s  that  he  needs  no  trick 
make-up  to  make  him  a  fascinating  person.     (March.) 

BIG  NOISE,  THE— First  Nation.nl.— Concerning 
a  city  election.    And  just  about  as  interesting.  (May.) 

BIRDS  OF  PREY— Columbia.— Prisdlla  Dean 
goes  in  for  a  little  ladylike  banditry.  The  results 
arcn  t  thrilling.      (December.) 

BLACK  FEATHER.  THE— Wm.  Pizer.— Very 
odd  mystery  drama  with  what  is  known  as  a  "society 
background. "  Some  of  the  characters  seem  a  little 
demented.     (May.) 

BLONDE  FOR  A  NIGHT.  A— Pathe-De  Millr.— 
A  light  domestic  (arce  made  agreeable  by  the  cheering 
presencrs  of  Marie  Prevost.   Harrison  Ford  and  T. 


BLONDES  BY  CHOICE-Gotham.-The  ad- 
ventures of  Claire  Windsor,  as  a  beauty  expert,  in  a 
community  of  women  with  "plenty  of  sex  but  no 
appeal.'     Not  bad.  Mortimer!     (December) 


BODY  AND  SOUL— Metro-Goldwyn-Mayer.— 
Should  a  surgeon  kill  his  wife's  boy  friend?  Even  the 
acting  of  Aileen  Pringle.  Lionel  Barrymore  and  Nor- 
man Kerry  can't  enliven  this  cheery  little  problem. 
(December.) 

BODY  PUNCH,  THE— Universal.— All  the  mak- 
ings of  a  good  picture  and  some  ring  stuff  that  %vill  go 
big  with  the  men.    You'll  like  it.    (May.) 

BOY  OF  THE  STREET,  A— Rayart— Wherein  a 
little  brother  reforms  a  crook.  Young  Mickey  Ben- 
nett makes  the  sentimental  yarn  agTeeah]e.(January.) 

BRANDED     SOMBRERO,     THE— Fox.— Buck 

Jones  plays  Buck  Jones  in  a  conventional  picture  that 
is  only  enlivened  by  a  good  fight.      (March.) 


Pictures   You 
Should  Not  Miss 

"The  Big  Parade" 

"The  King  of  Kings" 

"Beau  Geste" 

"Sorrell  and  Son" 

"The  Circus" 

"The  Last  Command" 

"Love" 

"Abie's  Irish  Rose'' 

"The  Trail  of  '98" 

"The  Patent  Leather  Kid" 

"The  Noose" 

"Speedy" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  si.\  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con 
cisely  how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


BRASS  KNUCKLES— Warners.— More  crooks  re- 
'?,■:";•  i''""''s';"  t'"!  sweet  presence  of  Betty  Bronson. 
With  Monte  Blue  and  Bill  Russell.  And  rather  good, 
at  that.      (January.) 

BREAKFAST  AT  SUNRISE-First  National.- 
I.ively  httlr-  French  farce  about  one  of  those  trick 
marriages.  Deftly  played  by  Con.stance  Talmadge. 
The  children  will  prefer  Tom  Mix.     (December.) 


BRIDE  OF  THE  COLORADO,  THE— Pathe- 
De  Mille. — Starring  the  Grand  Canyon  of  Colorado. 
And  what  a  great,  big  canyon  it  has  grown  to  bel 
Nice  scenery,  but  the  picture  offers  little  story 
interest.      (May.) 

BRINGING  UP  FATHER— Metro-Goldwyn- 
Mayer.— Rolling-pin  humor  built  around  the  char- 
acters of  the  comic  strip.  Polly  Moran  and  Marie 
Dressier  are  funny.      (April.) 

BROADWAY  MADNESS— Excellent.— Proving 
that  people  who  go  to  the  deuce  on  Broadway  always 
reform  at  the  first  whifl  of  country  air.    (December.) 

BRONCO  STOMPER,  THE— Pathe.— It  is  Don 
Coleman's  turn  to  outwit  the  villains  in  this  Western. 
Some  good  pictures  of  a  rodeo.     (May.) 


Malcolm  McGregor.  Eddie  Gribbon 
Putti  and  ZaSu  Pitts  are  the  members  of  an  excellent 
cast.    (January.) 

BURNING  DAYLIGHT— First  National.  —  An 
exciting  tale  of  gold  rush  days  that  makes  splendid 
entertainment.  You'll  like  Milton  Sills  and  Doris 
Kenyon.      (April.) 

♦BUTTONS— Metro-Goldwyn-Mayer.— A  sea  story, 
with  Jackie  Coogan  as  a  cabin  boy  on  a  big  ocean 
liner.  A  real  thriller  with  gallant  work  by  Jackie. 
For  the  whole  family.      (December.) 

BY  WHOSE  HAND?— Columbia.— Those  dog- 
gone jewels  are  missing  again.  The  result  is  the  usual 
ga-ga  crook  stuff.      (March.) 

CABARET  KID,  THE— Peerless.— Made  in  Eng- 
land and  France,  with  Betty  Balfour,  the  Belle  of 
Britain,  as  its  star.  Some  good  scenes  but  a  discon- 
nected story.    (January.) 

CAME  THE  DAWN— Ha!  Roach-M.-G.-M.— 
Max  Davidson  and  Polly  Moran  have  some  bad 
moments  in  a  haunted  house.  A  short  comedy,  but 
funny.      (May.) 

CASEY  JONES— Rayart.— "Come  all  you  round- 
ers if  you  want  to  hear."  Simple  melodrama  with 
Ralph  Lewis  as  the  brave  engineer.     (February.) 

CHASER,  THE— First  National.— Harry  Lang- 
don  and  a  lot  of  gags- — some  of  them  too  rough  to  be  in 
good  taste.     Don't  cry  if  you  miss  it.      (A  pril.) 

CHEATING  CHEATERS  —  Universal.  —  Fun 
among  a  lot  of  unusually  agreeable  crooks.  With 
Betty  Compson  and  Kenneth  Harlan.    (February.) 

CHEER  LEADER,  THE— Gotham.— This  time 
the  cheer  leader  rushes  in  and  wins  the  game  for  dear 
old  Alma  Mater.  All  right,  if  you  still  have  a  taste  for 
college  pictures.      (March.) 

♦CHICAGO  —  Pathe-De  Mille.— A  shrewd  satire 
on  the  lady  murderess,  beloved  of  the  newspapers. 
And  Phyllis  Haver.  Grown-up  entertainment.  See 
it.      (February.) 

CHICAGO  AFTER  MIDNIGHT— FBO —Ralph 

Ince  in  a  vigorous  melodrama  built  around  the  suffer- 
ings of  another  one  of  those  innocent  crooks.  (March.) 

CHINATOWN  CHARLIE— First  National.— 
Johnny  Hines  cuts  down  on  the  gags  and  builds  up 
the  plot,  and  the  result  is  one  of  his  best  pictures. 
(May.) 

CHINESE  PARROT,  THE— Universal.— Who 
swiped  the  pearl  necklace?  The  mystery  is  well  sus- 
tained and  the  Oriental  backgrounds  are  interesting. 
And  .Sojin  does  a  real  Lon  Chaney.    (January.) 

[  CONTINUED  ON  PAGE  12  ] 


PiioroPLAY  Magazine — Advertising  Section 


man 


Fate  has  tossed  a  ui^c  y^ 
into  Lois  Moran's  lap — but  love-hungry  Loia 
can't  decide  whether  to  grab  him  on  the  spot 
or  wait  to  see  if  love  will  bring  handsome 
Larry  Gray  to  his  senses! 

Wise  little  Marjorie  Beebe  knows  what  si 
do — and  in  doing  it  she  reveals  a  genius  for 
light  comedy  that  gives    her   an    undisputed 
place  in  the  front  rank  of  screen  comediennes! 

The  doubts  and  longings  of  the  two  young 
lovers,  worrying  over  the  universal  problem 
of  how  to  be  happy  though  married  on  $40  a 
week,  make  "Love  Hungry"  both  human  and 
humorous.  It's  a  laugh-feast  from  st; 
finish.    Don't  miss  it  at  your  favorite  theatre. 


ANOTHER, 


iZMiBIlD: 


to  adveitisera 


PHOTOPLAY   MAGAZINE. 


Brickbats  and  Bouquets 


LETTERS   from 

PHOTOPLAY 

READERS 


Three  prizes 

are  giveti  every  month 

for  the  best  letters-^ 

$23,  $10  and  $5 


The  Real  Critics,  the  Fans,   Give  Their  Views 


The  Monthly  Barometer 

DO  motion  picture  producers  believe  that 
there  are  two  definite  classes  of  intelli- 
gence in  America — city-dwellers  and 
hicks?  Photoplay's  readers  in  small  towns 
have  been  rising  up  and  complaining  about  the 
"happy  ending"  version  of  pictures  sent  to 
their  communities.  The  practice  of  ha\'ing 
two  denouements — one  happy  and  one  tragic — 
receives  a  sound  roasting  from  those  who  feel 
that  the  PoUyanna  \er5i0n  slipped  over  on 
them  smacks  of  condescension. 

Photopl.w  readers  also  urge  producers  to 
lift  the  Westerns  out  of  their  rut  by  giving 
them  an  historical  background. 

Clara  Bow's  "Life  Story"  still  receives 
loads  of  bouquets.  "Seventh  Heaven,"  "The 
Last  Command."  "Sorrell  and  Son,"  and 
"Wings"  are  the  most  popular  of  current 
pictures.  John  Gilbert,  Charles  Rogers, 
Charles  Farrell,  Greta  Garbo  and  Janet  Gay- 
nor  are  the  most  widely  praised  stars. 

The  Rev.  Heber  C.  Benjamin's  prize-win- 
ning letter  to  Photopi..\y  received  more  bou- 
quets than  any  other  contribution  from  a 
"fan." 

What  ha\-e  you  to  say  for  yourself?  This 
department  is  your  open  forum  where  you 
may  air  your  likes  and  dislikes. 

$25.00  Letter 

Gary,  Ind. 

Three  young  Hoosiers  inhabit  our  humble 
domicile,  undoubtedly  the  peppiest,  noisiest, 
most  coltish  offspring  that  Indianians  ever 
worried  over. 

After  a  week  of  their  whooping  it  up,  and  a 
Sunday  morning  bu.sied  in  breakfasting  them, 
getting  them  into  their  best  togs  and  off  to 
church,  serving  a  big  Sunday  dinner,  I'm  ab- 
solutely dizzy.  To  keep  my  mental  balance,  I 
must  dispense  with  these  kids  on  Sunday  after- 
noon. L)ad,  tfK),  craves  their  absence.  Who 
can  read,  with  balls  rending  the  windows, 
bawls  rending  the  air,  and  neighbors  remarking 
"Drat  those  Still  kids!  Why  can't  they  act 
their  name?" 

It  answered  a  mother's  prayer  when,  last 
Fall,  a  fine  movie  theater  was  built  in  our 
suburb.  A  trip  there  is  the  Sunday  treat  for 
the  children.  It's  wonderful  to  be  able  to  park 
those  kids  a  couple  of  hours  for  thirty  cents. 

10 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  this  department — to 
register  complaints  or  compliments — 
to  tell  just  what  they  think  of  pictures 
and  players.  We  suggest  that  you 
express  your  ideas  as  briefly  as  pos- 
sible and  refrain  from  severe  per- 
sonal criticism,  remembering  that  the 
object  of  these  columns  is  to  exchange 
thoughts  that  may  bring  about  better 
pictures  and  better  acting.  Be  con- 
structive. We  may  not  agree  with  the 
sentiments  expressed,  but  we'll  pub- 
lish them  just  the  same !  Letters  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


Safe  and  sound,  gaining  wholesome  knowledge, 
I  don't  need  to  worry  about  them  clashing 
with  traflSc.  I  can  drop  my  nervous  tension 
and  take  my  rest  cure.  Those  quiet  hours 
charge  my  brain's  battery  and  a  renewed, 
thankful  mother  welcomes  her  brood  home. 

Sunday  movies?  I'll  say.  They  are  my 
mental  safety  valve. 

Mrs.  F.  a.  Still. 

$10.00  Letter 

Beverly,  Mass. 

Here  is  a  question:  What  is  the  difference 
between  the  moral  susceptibilities  of  the  in- 
habitants of  a  large  city  and  those  of  a  small 
city?  Oh,  but  there  is  a  difference.  .\sk  the 
wise  producers!  They  should — and  do — seem 
to  know. 

I  live  in  a  comparatively  small  city,  eighteen 
miles  from  Boston.  The  much  advertised,  and 
more  discussed,  "Love"  came  to  our  theater 
recently.  We  all  came  away  mu^h  disap- 
pointed and  angry.  Why?  Most  of  us  had 
read  the  review  in  Photoplay.  We  e.vpected 
to  see  what  others  had  seen  (seemingly  uncon- 
taminated) — a  stormy,  tragic  drama,  with  an 
unhappy  ending.  We  had  yet  to  learn  that  we 
weren't  "grown-up"  enough  for  this  version. 

Most  conventionally,  Anna's  husband  di- 
vorces her,  Wronsky  marries  her.  .At  the  end, 
instead  of  committing  suicide,  A  nna  is  reunited 


with  Wronshy  after  a  three  year  separation. 
Shades  of  Tolstoy ! 

Quite  ironicallj',  censor-loving  Boston  showed 
the  original  film  whOe  we,  eighteen  miles  away, 
gazed  on  a  garbled,  doctored,  Polh-annish 
version!  Do  eighteen  miles  have  such  an  eflect 
on  our  morals? 

What  is  the  answer? 

Evelyn  La  Ch.\pelle. 

.$5.00  Letter 

York.  Pa. 

Gloria  Swanson  deserves  a  great  amount  of 
praise  for  producing  W.  Somerset  Maugham's 
"Sadie  Thompson,"  the  short  story  from 
which  "  Rain"  was  made. 

The  play  was  a  sordid  thing,  a  beautiful  and 
awful  drama  of  life  v>-hich  even  reformers  and 
censors  must  admit  exists,  and  not  onl}-  in 
rain-drenched  Pago-Pago.  The  picture  has 
emerged  into  a  conventional,  yet  forceful  and 
amazingly  interesting  study  of  a  professional 
girl  and  her  professional  saviour,  who  found 
vice  even  in  his  own  being. 

I  have  been  told  that  the  august  board  of 
Pennsylvania  censors  found  cause  to  delete 
"Sadie  Thompson"  in  thirty-eight  different 
places.  Despite  their  fervid  endeavors,  it  is 
still  a  worth-while  photoplay. 

Personally,  I  do  not  appro\^e  of  the  morals, 
or  language,  or  gaudy  clothes  of  Sadie,  nor  is 
this  in  defense  of  lurid  photoplays.  But  I  do 
think  that  Miss  Swanson  deserves  all  the 
credit  possible  to  bestow  for  her  efforts  in  giv- 
ing the  public  what  the  public  wants,  thereby 
combatting  the  censorship  menace  which  is 
besetting  us  on  all  sides. 

George  F.  Shewell. 

Clara  Hears  from  a  Friend 

Xew  York,  X.  Y. 
I  have  just  finished  reading  Clara  Bow's  Life- 
Story  in  your  magazine  and  I  don't  think  I 
have  ever  enjoyed  one  so  much.  I  happen  to 
know  phases  of  Clara  Bow's  life  and  I'm  proud 
and  glad  to  say  that  Clara  has  told  the  truth. 
-V  star  is  apt  to  glide  over  the  sordid  parts  of  her 
life,  but  not  Clara  Bow.  She's  a  peach  and 
whatever  happiness  she  has  gotten  out  of  her 
life  in  Hollywood  she  really  deserves. 
Let's  give  her  a  big  hand! 

LOL^SE  MtRPHY. 
[  COXTI.NfEU  ox  PAGE  92  ] 


fHOTOPLAY    MAGAZINE — ADVERTISING    SECTION 


Big  Stars 
And  Pictures 


TENTH 

AVENUE^ 

WITH 

PHYLLIS  HAVER 


Victor  Varconi  and  Joseph  Schild- 
kraut.  A  William  C.  deMille  Pro- 
duction.  Adapted  by  Douglas 
Doty  from  the  stage  play  by  John 
McGowan   and    Lloyd    Griscom. 


JAMES 

CRUZE 

production 


THE  RED 
MARK 


with  Nena  Quartaro, 
Gaston  Glass,  Gustave 
Von  SeyfFertitz  and  Rose 
Dione.  Adapted  by  Juli- 
en  Josephson  from  the 
story  by  John  Russell. 
Personally  directed  by 
James  Cruze. 


with 
LINA 

BASQUETTE 
and  a  tremend- 


SHOW 
FOLKS 

From  the  original  story 
by  Philip  Dunning,  co- 
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DeMille  Studio  Produc 
tion. 


Introduce 

Pathe  Program  of 
Super  Entertain- 
ment for  1928-29 


A 


WILLIAM  BOVD 
THE  COP 


with  Alan  Hale,  Jacqueline  Logan 
and  Robert  Armstrong.  A  Donald 
Crisp  Production  from  the  story  by 
Elliott  Clawson.  Screen  play  by  Tay 
Garnett.     Produced  by  Ralph  Block  , 

for    DeMille     Pictures   Corporation.       ^ 


LEATRICEjOy 

MAN;(HWOMEN 

with  H.  B.  Warner,  John  Boles  and 
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ROD  LAROCQUE 
LOVE  OVER  NIGHT 

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Brief  Reviews   of   Current    Pictures 


[  CONTINUED  FROM  PAGE   8  ] 


CIRCUS  ROOKIES— Metro-Goldwyn-Mayer.  — 
Reviewed  under  the  title  of  "Monkey  Business." 
With  Karl  Dane,  George  K.  Arthur,  and  a  comedy 
gorilla.     Good  slapstick.      (March.) 

♦CIRCUS,  THE— United  Artists.— The  triumphant 
return  of  Charles  Chaplin.  Must  we  waste  space  ad- 
vising you  to  see  it?    {January.) 

COHENS    AND    KELLYS    IN    PARIS,    THE— 

Universal. — It  was  funny  the  first  time,  but  not  so 
good  in  repetition.     Time  to  call  a  halt.      (April.) 

COLLEGE  WIDOW,  THE— Warners.— Dolores 
Costello  vamps  the  football  team  and  the  boys  win 
the  game  for  dear  old  Whoozis.  Just  another  one  of 
those  things.    (January.) 

COMBAT — Pathe. — Bad  direction  and  heavy 
mugging  by  George  Walsh  eliminate  this  as  entertain- 
ment.   .  (December.) 

COME  TO  MY  HOUSE— Fox.— Olive  Borden  and 
Antonio  Moreno  flounder  around  in  a  lot  of  insipid 
doings.      (February.) 

COMRADES— First  Division.— Again  comes  the 
World  War  I  The  story  of  a  brave  boy  who  takes  the 
place  of  a  cowardly  one.  With  Helene  Costello, 
Gareth  Hughes  and  Donald  Keith.     (March.) 

COUNT  OF  TEN,  THE— Universal.— Something 
different  in  the  way  of  a  prize-fight  story,  with  James 
Gleason,  stage  star,  stealing  the  show.  Charles  Ray. 
too,  deserves  mention  for  a  good  performance.  (May.) 


CREAM  OF  THE  EARTH— Universal.— The 
romance  of  a  week-end  butterfly  and  a  shy  college 
youth,  beautifully  acted  by  Marion  Nixon  and 
Charles  Rogers.    A  Grade  A  picture.     (May.) 

CRIMSON  CITY,  THE— Warners.— Drama  be- 
tween a  couple  of  victims  of  bad  luck  in  Singapore. 
Lots  of  action — and  you'll  like  Myrna  Loy.    (March.) 

*CROWD,  THE  —  Metro-Goldwyn-Mayer.  —  The 
story  of  a  white-collar  man  and  his  wife  and  their 
struggles  in  a  big  city.  Truthfully  and  beautifully 
told  by  King  Vidor  and  sympathetically  acted  by 
James  Murray  and  Eleanor  Boardman.  A  high-spot 
in  movie  making.      (December.) 

CRUISE  OF  THE  HELLION,  THE— Rayart.— 

In  which  a  bad  boy  is  reformed  by  an  energetic  papa. 
It's  good  stuff.  With  Donald  Keith  and  Edna  Mur- 
phy.     (December.) 

CUPID'S  KNOCKOUT— Hercules.— Just  a  fair- 
to-middling  comedy,  for  evenings  when  you  have 
nothing  better  to  do.      (April.) 

*CZAR  IVAN  THE  TERRIBLE— Sovkino.  —  A 

really  great  picture,  made  in  Russia  that,  in  acting 
and  technical  excellence,  never  has  been  surpassed.  A 
marvellous  performance  by  L.  M.  Leonidoff.  If  this 
comes  your  way,  don't  miss  it.      (April.) 


DEAD  MAN'S  CURVE— FBO.— An  auvomobile 
\-arn  that  is  a  flat  tire.  Douglas  Fairbanks,  Jr.,  heads 
the  cast,  in  case  you  care.    (February.) 

DEATH  VALLEY— Chadwick.— Just  a  lot  of  hor- 
rors.    Stay  home  and  catch  up  with  the  darning. 


DESERT  PIRATE,  THE— FBO.— Filled  with  the 
usual  clap-trap  of  the  orthodox  Western  but  made 
bearable  by  a  plot  with  some  originality  and  the 
charming  presence  of  little  Frankie  Darro.     (May.) 

DESIRED      WOMAN,      THE— Warners.— Irene 
Rich  in  a  drama  that  proves  that  English  women 
es  have  a  rotten  time  in  India.    (February.) 


*DEVIL  DANCER,  THE— United  Artists.— Gilda 
Gray  among  the  Llamas  of  Thibet.  The  lady  can  act. 
and  her  dancing  would  insure  the  success  of  a  far  less 
interesting  picture.  A  good  show  for  the  grown-ups. 
(January.) 

DEVIL'S  SKIPPER,  THE— Tiffany-Stahl.— Lots 
of  meat  in  this  picture,  what  with  slave  ships,  piracy, 
mutin\-  and  revenge.  Also  a  remarkable  performance 
by  Belle  Bennett.     (May.) 


*DIVINE  WOMAN,  THE  —  Metro-Goldwj-n- 
Mayer. — How  an  ugly  duckling  becomes  a  great 
actress.  With — goody,  goody! — Greta  Garbo.  And 
Lars  Hanson  is  a  great  help.  Naturally,  you'll  go  and 
see  it.     (March.) 

DOG    OF   THE   REGIMENT— Warners.— Rin- 

Tin-Tin  plus  a  good  story  plus  good  acting.  In  other 
words,  a  good  picture.     (December.) 

*DOOMSDAY  —  Paramount.  —  Florence  Vidor's 
sympathetic  and  intelligent  portrayal  of  a  farm 
woman  who  marries  to  escape  drudgerj-  merks  your 
attention.      (April.) 

DOVE,  THE— United  Artists.— Norma  Talmadge 
is  starred,  but  it  is  Noah  Beery's  picture,  the  naughty 
thief!  An  exciting  stage  play  becomes  a  rather 
languid  movie.      (March.) 

*DRESSED  TO  KILL— Fox.— A  tale  of  the  under- 
world that  holds  your  attention  every  second.  It's 
all  action  and  suspense.  And  splendid  work  by 
Edmund  Lowe,  Mary  Astor  and  Ben  Bard.  Rec- 
ommended.    (May.) 

*DRESS  PARADE— Pathe-De  Mille.— The  making 
of  a  man  at  the  United  States  Military  Academy  at 
West  Point.  Real  entertainment,  thanks  to  William 
Boyd,  Bessie  Love  and  Louis  Natheaux.    (December.) 

DRUMS  OF  LOVE— United  Artists.— D.  W. 
Griffith  tells  the  Paolo  and  Francesca  legend,  but 
spoils  it  by  changing  the  locale  and  by  overloading  it 
with  pageantry.  Marj'  Philbin  branches  out  with 
lots  of  IT  and  Don  Alvarado  gives  a  good  perform- 
ance.     (.April.) 


Learn  about  a  secret  method — how 
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sauty  Troallss.      Wrlls  MARVO, 
1700  Broadway,  NewYork  City.  Dept.  31-X 


^^H   Beauty  >ro 


Photoplays  Reviewed  in  the  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out 
your  evenings  entertainment.     Make  this  your  reference  list. 


Page 

Across  to  Singapore — M.-G.-M 54 

Actress,  The— M.-G.-M S3 

Adorable  Cheat,  The— M.-G.-M 82 

After  the  Storm — Columbia 55 

A  Horseman  of  the  Plains — Fox 82 

Almost  Human— Pathe-De  Mille 82 

A  Million  for  Love — Sterling 82 

Avenging  Shadow,  The— Pathe 82 

Baby  Mother,  The— Plaza 82 

Burning  Up  Broadway — Sterling 82 

Canyon  of  Adventure,  The — First 

National 82 

Chorus  Kid,  The — Gotham 118 

Devil's  Cage,  The— Chadwick 118 

Diamond  Handcuffs— M.-G.-M 54 

Easy  Come,  Easy  Go — Paramount.    .54 

Fandango — Educational 82 

Fashion  Madness — Columbia 118 

Fire  and  Steel— Elbee 118 

Fools  For  Luck— Paramount 55 

Honor  Bound — Fox 82 

Laugh,  Clown,  Laugh— M.-G.-M 52 

Little  Shepherd  of  Kingdom  Come — 

First  National 54 


Page 

Love  Hungry — Fox 54 

Love  Is  Incurable — Paramount 54 

Man-Made  Women— Pathe-De  Mille. .   55 

Matinee  Idol,  The— Columbia 82 

My  Home  Town— Rayart 82 

On  the  Go— Action 82 

Out  of  the  Past— Peerless 1 18 

Patriot,  The — Paramount 53 

Pay  As  You  Enter — Warners 82 

Phantom  of  the  Turf— Rayart 118 

Phyllis  of  the  Follies— Universal 55 

Pinto  Kid,  The— FBO 82 

South  Sea  Love— FBO 82 

Sporting  Age,  The — Columbia 55 

Stocks  and  Blondes— FBO 118 

Tempest— United  Artists _ 52 

Temptations  of  a  Shopgirl — First 

Division 82 

Their  Hour— Tiffany-Stahl 55 

Thief  in  the  Dark,  The— Fox 82 

Three  Sinners — Paramount 52 

Why  Sailors  Go  Wrong— Fox 82 

Wickedness  Preferred— M.-G.-M 53 

Willful  Youth— Peerless 118 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


EAST  SIDE,  WEST  SIDE— Fox.— A  modern 
Horatio  Alger  story  of  New  York,  with  some  fine 
realistic  backgrounds.  Well  played  by  George 
O'Brien.    See  it.    (January.) 

♦ENEMY,  THE— Metro-Goldwyn-Mayer.— Anti- 
war propaganda,  told  in  the  terms  of  a  tragedy  that 
befell  a  Viennese  household.  Lillian  Gish's  most  human 
and  appealing  j>erformance  makes  it  worth  seeing. 
(February.) 

ESCAPE,  THE — Fox. — .\n  ancient  melodrama 
that  should  have  been  allowed  to  rest  in  peace.  With 
Virginia  Valli  and  William  Russell.    (May.) 

FAIR  CO-ED,  THE — Metro-Goldwyn-Mayer. — 
Marion  Davies  at  her  very  funniest  in  a  pretty  fair 
college  yarn.    The  gal  is  a  real  comic.     (December.) 

FAITHLESS  LOVER,  THE— Krelbar.— The  dam 
bursts  again.  But  aside  from  that,  this  is  just  a  lot 
of  mediocre  celluloid.     (May.) 

FALLEN  ANGELS— Universal.— Norman  Kerry 
drags  through  some  gloomy  doings  in  the  role  of  a 
man  who  must  play  dead.  Interesting  but  hardly 
cheerful.      (May.) 


FEEL  MY  PULSE— Paramount.— Bebe  Daniels  is 
terribly  annoyed  by  William  Powell  and  his  rum 
gang.  But  Richard  Arlen  comes  to  her  rescue. 
Fairly  good,  but  not  up  to  Bebe's  standard.      (April.) 

FINDERS  KEEPERS— Universal.— Laura  La 
Plante,  who  deserves  a  better  fate,  wastes  her  talents 
and  charm  on  a  lot  of  trite  gags.     (May.) 

FIVE-AND-TEN-CENT  ANNIE— Warners.— 
This  one  starts  good  but  goes  goofy.  However, 
Louise  Fazenda  is  a  show  in  herself.    (May.) 

FLYING  LUCK— Pathe.— Monty  Banks  gets 
some  laughs  in  the  adventures  of  an  amateur  aviator 
in  a  home-made  flying  machine.    (December.) 

FORBIDDEN  WOMAN,  THE— Pathe-De  Mille. 
— Dramatic  doings  in  Morocco,  well  played  by  Jetta 
Goudal  and  Victor  Varconi  and  over-acted  by  Joseph 
Schildkraut.     Worth  your  money.     (December.) 


FORTUNE  HUNTER,  THE— Warners.— Syd 
Chaplin  messes  up  a  good  comedy.  Why  people  stay 
home.      (March.) 

FOURFLUSHER,  THE— Universal.— Pleasant, 
youthful  comedy  about  a  smart-aleck  in  big  business. 
Ornamented  by  Marion  Nixon.     (December.) 

♦FOUR  SONS — Fox.— Reviewed  under  title  of 
"Grandma  Bernle  Learns  Her  Letters."  The  screen 
rises  to  real  greatness  in  this  story  of  a  war-stricken 
German  mother.      (January.) 

FREEDOM  OF  THE  PRESS,  THE— Universal.— 
Reviewed  under  the  title  of  "Graft."  Wherein  a 
newspaper  reporter,  bless  his  little  heart,  tries  to 
clean  up  the  big  city  grafters.  Interesting  perform- 
ances by  Henry  B.  Walthall  and  Lewis  Stone.  (April.) 

FRENCH  DRESSING  —  First  National.  —  In 
which  the  dowdy  wife  outvamps  the  vamp.  Swell 
trouping  by  Lois  Wilson,  Lilyan  Tashman  and  Clive 
Brook.      (February.) 


FRESH  EVERY  HOUR— Universal.— Reviewed 
under  the  title  of  "The  Prince  of  Peanuts."  Nutty 
farce  with  Glenn  Tryon.     (.April.) 

GALLAGHER— Pathe-De  Mille.— Richard  Hard- 
ing Davis'  charming  story  of  the  adventures  of  an 
office  boy  in  a  newspaper  office.  Young  Junior 
Coghlan  merits  applause.      (February.) 

GARDEN  OF  EDEN— United  Artists.— Just  a  so- 
so  vehicle  for  Corinne  Griffith.  Miss  Griffith  and 
Charles  Ray  are  hampered  by  a  second-rate  chorus 
girl  yarn.      (February.) 

GATEWAY  OF  THE  MOON— Fox.— Dolores 
Del  Rio  gets  coy  in  a  South  Sea  Island  picture.  This 
star  should  keep  her  clothes  on.    (March.) 

*GAUCHO,  THE— United  Artists.— Love,  life 
and  religion  among  the  bandits  of  the  Andes,  excit- 
ingly and  picturesquely  enacted  by  Douglas  Fair- 
banks. Keep  your  eye  on  Lupe  Velez,  his  new  leading 
woman.    Fine  for  the  younger  set.    (January.) 

GAY  DEFENDER,  THE— Paramount.— Richard 
Dix,  in  Spanish  get-up,  strays  by  accident  into  a 
Douglas  Fairbanks  plot.  A  pleasant  evening. 
(February.) 

♦GENTLEMEN  PREFER  BLONDES  —  Para- 
mount.— If  you  don't  want  to  see  this  film  version  of 
.^nita  Loos'  story,  something  is  wrong  with  you.  It  is 
all  laughs,  thanks  to  Ruth  Taylor,  Alice  White  and 
Ford  Sterling.      (February.) 

GENTLEMEN  PREFER  SCOTCH— Fox.— Just 

a  short  comedy  but  better  than  most  features.  Keep 
your  eye  on  Nick  Stuart  and  Sally  Phipps.  (De- 
cember.) 


Photoplay  M.\gazine — Advertising  Section  -  i ;? 

Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 


^ 


Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 
Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found 
this  easy  way  to  take  'oflF  2  to  4  pounds  once 
or  twice  a  week.  These  women  take  refreshing 
Fayro  baths  in  the  privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same 
natural  mineral  salts  that  make  effective  the 
waters  of  twenty-two  hot  springs  of  America, 
England  and  Continental  Europe.  For  years 
the  spas  and  hot  springs  bathing  resorts  have 
been  the  retreat  of  fair  women  and  well 
groomed  men.  '^ 

Excess  weight  has  been  removed,  skins  have 
been  made  more  lovely,  bodies  more  shapely  and 
minds  brighter. 

The  Hot  Springs  Are  Now  Brought  to  You 

Painstaking  analyses  of  the  active  ingredients  of 
the  waters   from  twenty-two  of  the  most   famous 
springs  have  taught  us  the  secret  of  their  effective 
ness.  You  can  now  have  all  these  benefits  in  your  own 
bath.     Merely  put  Fayro  into  your  hot  bath 

It   dissolves   rapidly.     You    will    notice    and    enjoy    the 
pungent  fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating 
perspiration,  forces  lazy  body  cells  to  sweat  out  surplus 
fat  and  bodily  poisons.  Add  Fayro  to  your  bath  at  night 
and  immediately  you  will  lose  from  2  to  4  pounds  in  an  —  - 

easy,  refreshing  and  absolutely  harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that  Fayro  is  certain 
to  do  the  work,  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds,  x'^nd  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  As  soon  as  you  are  the  correct  weight  for  your  height 
do  not  try  to  reduce  further.  No  need  to  deny  yourself  food  you 
really  want.  No  need  for  violent  exercise.  No  need  for  drugs  or 
medicines.  Merely  a  refreshing  Fayro  bath  in  the  privacy  of  your 
own  home. 

Try  Fayro  at  Our  Risk 

Theregular  price  of  Fayro  is  Si. oca  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  I2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S    PROOF 

Read  what  Fayro  Baths 
have  done  for  others 

"Three  Fayro  baths  reduced 
my  weight   11   pounds  in   8 
days.     I  feel   better   than   I 
have  fell  for  years." 
"I  weigh  16  pounds  less  and 
feel  younger  and  sleep  belter 
Fayro  is  wonderful. 
"My  double  chin  vanished  in 
the  magic  of  Fayro  baths." 
"My  hips  were  always  too 
prominent  until  I  commenced 
Fayro  baths.     I  have  lost  IZ 

pou  nds. "_ 

"Thank  you  for  Fayro.  1 
lost  14  pounds  in  three  weeks; 
feel  belter  and  certainly  look 

belter."  

"Since  childhood  my  thick 
ankles  have  always  been  a 
source  of  embarrassment. 
Fayro  baths  have  reduced 
them  beautifully.   Thank  you 

For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  has  been 
authorized  and  names  and 
addresses  will  be  given  on 
request. 


fAYRO 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  withouta  question. 
You  risk  notliing.     Clip  the  coupon  and 


Fayro,  Inc.  ph.6-28 

821  Locust  St.,  Pittsburgh,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  the  necessary' postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use.  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


City State 

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Do  You  Ask  Yourself 
These  Questions? 


Is  it  a  good  picture? 

Is  it  the  kind  of  picture  I  would  like? 

Which  one  shall  we  see  tonight? 

Shall  we  take  the  children? 

Photoplay  will  solve  these  problems  for 
you — save  your  picture  time  and  money. 

Each  issue  of  Photoplay  contains  the  most  up'tO'thc'ininute 
authoritative  reviews  of  all  the  very  latest  motion  pictures. 
Refer  to  the  "Brief  Reviews  of  Current  Pictures"  depart' 
ment  listing  all  pictures  reviewed  for  the  past  six  months, 
also  the  "Shadow  Stage"  department,  reviewing  the  six 
best  pictures  of  the  month. 

In  addition  Photoplay  gives  you: 

A  wealth  of  intimate  details  of 
the  daily  lives  of  the  screen  stars 
on  the  lots  and  in  their  homes. 

Striking  editorials  that  cut,  with- 
out fear  or  favor,  into  the  very 
heart  of  the  motion  picture  in- 
dustry. 

Authori2;ed  interviews  with  your 
favorite  actors  and  actresses  who 
speak  frankly  because  Photoplay 
enjoys  their  full  confidence. 

Articles  about  every  phase  of  the 
screen  by  such  national  authori- 
ties as  Frederick  James  Smith, 
Ruth  Waterbury,  Herb  Howe, 
Agnes  Smith,  and  Ruth  Biery. 
Tom  Mix,  cowboy,  actor,  writer, 
is  a  special  contributor.  Jack 
Gilbert,  each  month,  is  writing 
his  own  most  fascinating  Ufe  story . 

SUPERB  FICTION 

by  the  Foremost  Writers 

Photoplay's  fiction  is  famous  fiction 
PHOTOPLAY'S  BIG 

$5000 

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/Jon't  miji  a  single  issue  during  this  contest 
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PHOTOPLAY 

answers  all  questions  rela- 
tive to  plays  and  players. 

PHOTOPLAY 

in  a  special  department  pre- 
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ers, both  favorable  and 
otherwise. 

PHOTOPLAY 

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PHOTOPLAY 

prints  the  latest  photo- 
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There  is  not  an  impor- 
tant 7^or  interesting 
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life  that  cannot  he  found 
in  Photoplay. 

PHOTOPLAY 

/^resents  it  all! 


PHOTOPLAY  MAGAZINE 

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*GET  YOUR  MAN— Paramount.— Clara  Bow 
and  Charles  Rogers  in  a  light  romance,  made  espe- 
cially for  Young  America.      (February.) 

GIRL  FROM  CHICAGO,  THE— Warners.— Life 
and  love  in  the  underworld,  agreeably  acted  by 
Conrad  Nagel,  Myrna  Loy  and  William  Russell. 
(December.) 

GIRL  IN  EVERY  PORT,  A— Fox.— The  romantic 
adventures  of  a  deep  sea  sailor,  played  by  Victor 
McLaglen.    And  very  funny,  too.    (March.) 

GIRL  IN  THE  PULLMAN,  THE  —  Pathe-De 

Mille. — One  of  those  farce  honeymoon  adventures 
that  aren't  for  the  very  innocent,  nor  yet  the  very- 
sophisticated.    With  Marie  Prevost.    (February.) 

GOOD-BYE  KISS,  THE— Mack  Sennett.— The 
daddy  of  screen  comedy  fights  the  war  in  his  own 
way.  And  the  old  boy  hasn't  lost  his  cunning,  be- 
cause there's  real  entertainment  in  this  here  picture 
You'll  like  Sally  Eilers.     (May.) 

GOOD  TIME  CHARLIE— Wamers.—The  sad 
story  of  an  old  trouper,  played  with  so  much  true 
feeling  by  Warner  Gland  that  you  forget  its  senti- 
mentality.   (January.) 

♦GORILLA,  THE— First  National.— Charlie  Mur- 
ray and  Fred  Kelsey.  as  a  couple  of  dumb  Sherlocks, 
plaster  laughs  all  over  this  mystery  yarn.  It's  a  darn 
fool  thing,  but  you'll  like  it.    (January.) 

*HAROLD  TEEN— First  National.— .^11  your  old 
friends  of  the  comic  strip  come  to  life  on  the  screen, 
joyous  show  and  lots  of  fun  for  the  kids. 
Arthur  Lake  walks  away  with  the  honors  as  Harold. 
(!Hay.) 

HARVESTER,  THE— FBO.— Came  the  yawnl 
If  you  like  Gene  Stratton  Porter's  stories,  help  your- 
self.     (January.) 

HAS  ANYBODY  HERE  SEEN  KELLY?— Uni- 
versal.— The  amusing  love  affairs  of  an  Irish  soldier. 
Tom  Moore  plays  the  Irishman  and  Bessie  Love  gives 


:  performa 
HEART    OF 


5  of  a  French  girl.  Good  fun.  (May.) 


A  FOLLIES  GIRL,  THE— First 
-laj. — .'\  Humorless  and  hackneyed  story  of  stage 
liich  even  Billie  Dove  cannot  save.     (May.) 

HEART    OF    BROADWAY,    THE— Rayart  — 

Cabaret  melodrama,  but  only  fair.  Pauline  Garon, 
Robert  Agnew  and  Wheeler  Oakman  head  the  cast. 
(May.) 

HEBIE  GEBIES— Hal  Roach.— A  hypnotist  turns 
Our  Gang  into  animals.  An  originaL  really  amusing 
comedy  that  will  delight  the  children.     (December^ 

HER  GREAT  ADVENTURE— A.  G.  Steen,  Inc — 
What  a  stenographer  does  with  one  thousand  dollars. 
Below  par.      (.4/>n7.) 

HER  SUMMER  HERO— FBO.— Why  movie 
theaters  need  good  prologues.    (March.) 

HER  WILD  OAT— First  National.— Colleen 
Moore,  the  humble  proprietress  of  a  lunch  wagon, 
goes  berserk  at  a  fashionable  resort.    (February.) 

HIS  COUNTRY— Pathe-De  Mille.— Excellent 
heart  interest  stor>-  bj-  two  immigrants,  beautifulh' 
played  bj-  Rudolph  Schildkraut  and  Louise  Dresser. 
Sincere  drama.      (April.) 

HOLD  'EM  YALE— Pathe-De  Mille.— Rod  La 
Rocque  cuts  loose  as  a  foot-ball  .star.  Why  be  critical 
about  a  picture  so  full  of  laughs?     (May.) 

HOME  MADE— First  National.— Johnny  Hines 
pursuing  his  Art.  Some  of  the  "gags"  don't  belong 
on  the  screen — or  anywhere  else.    (December.) 

HONEYMOON  FLATS  —  Universal.  —  Clever 
little  comedj-  of  young  married  life,  with  George  Lewis 
and  Dorothy  Gulliver.     (.April.) 

HONEYMOON  HATE— Paramount.— Florence 
Vidor  and  TuUio  Carminati  enact  a  neat  little  comedy 
duel  between  an  American  heiress  and  her  Italian 
husband.    For  those  who  like  'em  subtle.    (January.) 

HOOF  MARKS— Pathe.— Meet  the  new  Western 
star,  Jack  Dono^-an.  He  knows  his  cactus.  (Janu- 
ary.) 

HOOK  AND  LADDER  No.  9— FBO.— Some  good 
newsreel  shots  of  a  fire.  A  feeble  excuse  for  a  story. 
(December.) 

HOT  HEELS— Universal.— .A.  small  town  boy 
goes  butter-and-egging  for  a  liick  musical  show, 
Glenn  Tryon  and  Patsy  Ruth  Miller  are  a  good  team. 
(May.) 

HUSBANDS  FOR  RENT  —  Warners.  —  Owen 
Moore  and  Kathrjn  Perry  in  a  bedroom  farce  that 
will  get  by  only  with  the  less  bright  members  of  the 
community.     (March.) 

I  TOLD  YOU  SO— Leigh  Jason.— This  picture- 
only  a  two  reeler — cost  merely  one  thousand  dollars. 
But  it  shows  so  much  promise  that  its  producer  won 
a  contract  for  himself  on  the  strength  of  a  pre-view 
showing.      (April.) 

IF  I  WERE  SINGLE— Warners.— The  girls  will 
get  a  giggle  out  of  this  story  of  domestic  life.  Conrad 
Nagel  proves  that  he  can  plaj-  comedy.    (January.) 

IN  OLD  KENTUCKY— Metro-Goldwyn-Mayer. 
— A  story  of  the  Kentucky  Derby  that  is  better  than 
most  race-track  tales,  thanks  to  a  fine  performance 
by  James  Murray  and  an  exceptional  "  bit "  by  Wesley 
Barry,  (January.) 

f  CONTINUED  ON  P.\GE    128  ] 


Every  adTOrllsemenl 


guaranteed. 


Photoplay  Magazine — Advertising  Section 


i>^^^^^    ^oV>e^^  .evo^-    %\^^^.'    ^o\J^^ 


V^"^  /    JACK    DUFFY    AS\ 

(   GRANDPOP    TEEN   \ 
\    -AN    ANTIOlin 


GRANDPOP    TEET 

I  -AN    ANTIQUE 

WITH   A   FRESH 

COAT  OF  PAINT 

AND  NEW  BALL 

BEARINGS. 


Also  ivit/i  Liicien 
Littlefield,  Jack  Egan 
and  Hedda  Hopper 


cntlon  rnOTOI'I.AY  :magazixe. 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


DV.\\<  CAROLVX  \\\N  ^VYCK: 
Wh\-  v.hen  I  come  into  a  room  do  I 
seem  to  make  everyone  uncomfortable? 
I  know  I'm  interestinf;  yet  I  don't  make  friends 
easily  and  after  a  while  everyone  quarrels  with 
me.  I  hope  I'm  not  conceited,  but  I  know  I'm 
good  looking  and  as  my  father  has  money  I'm 
always  smartly  dressed  and  well  groomed.  But 
something's  wrong.  Boys  don't  like  me  a  bit. 
I  work  hard  to  be  the  life  of  the  party  \vhere\er 
I  go.  but  I  never  am.  I'm  afraid  maybe  it's  the 
way  I  monopolize  conversations,  but  I  love  to 
talk.  Must  I  keep  quiet  or  merely  change  my 
line?    Can  you  tell  me  what's  wrong? 

Iris  M. 

YES.  Iris,  I  can  tell  you  what's  wrong.  You 
feel  superior,  poor  dear,  and  that  is  the 
worst  of  all  social  sins.  You  talk  well.  You 
dress  well.  You  are  pretty.  You  were  born  a 
lucky  girl,  with  a  father  who  could  provide  you 
with  unusual  opportunities.  The  very  paper 
on  which  you  wrote  this  letter  reveals  your 
superior  education  and  background.  You  have 
all  the  assets  for  popularity.  But  you  ruin 
them  all  by  showing  you  know  it.  You  spoil 
your  social  chances  by  proving  you  regard  your 
good  gifts  as  something  you  generated,  when 
they  are  merely  an  accident  of  birth.  You  kill 
all  your  natural  attractiveness  by  being  aggres- 
sive and  assertive.    You  should  be  spanked. 

I  can  fairly  hear  your  conversation  when  you 
enter  a  room,  hard,  glittering,  self-centered 
conversation  about  yourself,  your  father,  your 
clothes,  your  hairdresser,  your  manicurist, 
yours,  yours,  yours.  No  wonder  people  quarrel 
with  you.  In  attempting  to  escape  being  a 
wallflower  you  take  all  the  spotlight.  I  know 
of  no  quicker  way  for  a  girl  to  get  herself 
thoroughly  detested.  You  succeed  in  making 
other  people  feel  inferior  and  they  hate  you 
for  it. 

Somewhere — perhaps  at  boarding  school — 
you  heard  about  the  art  of  conversation  and 
you  mistakenly  think  that  is  starting  all  chat- 
ter and  talking  to  the  exclusion  of  everyone 
else.  Conversation  is  an  art.  Iris,  a  quick 
means  to  popularity,  but  what  you  are  making 
of  it  is  a  massacre. 

I  don't  mean  to  be  too  hard  on  you,  ray  dear, 
but  this  is  such  a  common  fault  I  want  to  drive 
it  home  hard. 

As  you  \cry  well  know,  there  are  two  sides  to 
a  girl's  personal  success  in  life — her  popularity 
with  men  and  her  popularity  with  women. 
Rarely  are  those  twin  appeals  merged.  Girls 
very  popular  with  boys  arc  jealously  disliked 
by  other  girls.  And  girls  most  popular  with 
their  own  sex  generally  can't  get  a  boy  to  look 
at  them.  Hut  when  a  girl  is  universally  appeal- 
ing—unless  she  is  so  great  a  beauty  nothing 

in 


else  matters — you  will  find  conversation  her 
greatest  aid  and  asset.  But — and  here  comes 
the  whole  point — hers  is  sensitive  conversa- 
tion— sensitive  to  the  moods  of  her  listener, 
sensitive  to  the  time  and  the  place,  sensitive  to 
beauty,  news  events,  charm  and  the  tones  of 
her  own  voice. 

Now  when  you  enter  a  room.  Iris,  you  irri- 
tate people  because  they  know  unless  they  are 
impossibly  rude  you  represent  total,  boring 
eclipse  for  them.  You  force  your  opinions 
down  their  throats.  You  flaunt  your  more  ex- 
pensive clothes  before  the  other  girls.  You  try 
to  dominate  the  boys.  Some  people  stand  you 
for  a  little  while  because  this  misguided  energy 
of  yours  amuses  them.  But  later  their  irrita- 
tion is  such  that  they  have  to  quarrel  with  you 
to  escape  from  your  everlasting  self-revela- 
tions. 

Here,  then,  is  the  remedy.  Your  education 
has  taught  you,  I  presume,  to  discuss  the 
theater,  the  newest  books,  the  latest  Vionnet 
neckline,  whether  or  not  permanents  hurt  one's 
hair  and  why  Mussolini  is  such  an  interesting 
world  figure.  Certainly  e\ery  wise  girl  should 
know  such  social  patter.  But  you,  my  dear, 
must  learn  to  use  such  conxersational  tobog- 
gans, not  as  self-starters,  not  as  self-glorifiers, 
but  as  a  means  of  making  the  other  person  talk. 

Cease  making  generalizations.  Ask  more 
questions.     When  you  want  to  remark,  "All 


The  Art  of  Conversation 

Is  This  Month's  Problem 

WHAT  to  say;  how  to  say  it;  when 
to  express  one's  self  and  when  to 
keep  still  and  listen  intelligently  is  a 
subject  every  girl  should  understand. 
The  verbal  presentation  of  a  girl's  per- 
sonality goes  farther  than  beauty  in 
determining  her  social  success.  Here 
I  tell  you  how  simply  this  art  can  be 
mastered. 

Summer  is  here  again  with  its  de- 
mand for  slender  figures  and  flawless 
skins.  Can  I  help  you  toward  self- 
improvement?  Letters  without  return 
postage  will  be  answered  in  PHOTO- 
PLAY. Advice  on  care  of  the  skin,  or 
any  problem  concerning  beauty,  health 
or  happiness  will  be  answered  by  re- 
turn mail  if  a  self-addressed  stamped 
envelope  is  enclosed.  Reducing  book- 
lets cost  ten  cents. 

CAROLYN  VAN  WYCK. 


x-p.Girls' 
^^r^oblems 


blondes  are  gold-diggers,"  ask,  instead,  '-Do 
you  really  think  all  blondes  are  gold-diggers?" 
This  gives  the  other  person  a  chance.  It  lets 
him  express  himself — and  makes  him  happy. 

Stop  being  personal.  Never,  never  criticize. 
No  girl  can  afford  to  and  even  compliments 
should  never  be  given  with  fiat  directness.  It 
is  wiser  to  inquire,  "My  dear,  where  do  you 
buy  those  divine  hats  ?  "  than  to  assert,  "  That 
is  the  smartest  hat  I've  seen  this  season."  The 
statement  is  an  irritant,  though  you  mean  it  as 
a  compliment.  It  shouts  your  excellent  judg- 
ment. But  the  question  contributes  to  the  hat 
wearer's  self-pride.  It  infers  that  she  is  an 
expert  shopper — something  every  girl  likes  to 
believe — that  her  taste  is  flawless  and  that  you 
wish  to  be  as  wise  as  she.  Yet  actually  the 
same  thing  has  been  said  in  both  cases.  It's 
a  matter  of  approach,  that's  all. 


HTHEN  learn  to  listen  intelligently.  Shypeo- 
-*■  pie  often  hope  to  take  refuge  in  listening  and 
wonder  why  they  don't  succeed  at  it.  The 
answer  is  they  usually  aren't  listening  at  all  but 
are  merely  day-dreaming  whOe  the  other 
person  talks. 

A  real  listener  asks  intelligent,  interested 
questions,  puts  herself  in  the  other  person's — 
preferably  a  boy's — place,  shares  his  emotions 
whether  they  be  anger  at  the  boss's  unfairness 
or  why  dear  old  Colton  must  win  the  game  this 
year,  draws  the  speaker  on  to  talk  more  and 
more  until  he  is  so  enthralled  by  the  interested 
light  in  her  eyes,  the  flattering  smile  on  her  lips, 
he  feels  he  simply  must  marry  her  in  order  to 
keep  forever  this  delightful  audience. 

"5?ou  can  do  all  this.  Iris.  You  don't  need  to 
drop  your  "line "  or  lose  your  opinions.  Talk, 
of  course,  but  don't  dominate.  Read  the  news- 
papers, the  newest  books.  Keep  up  with  cur- 
rent events.  Follow  the  fashion  in  clothes, 
thought  and  action.  But  do  these  things,  not 
to  show  off  Iris,  but  to  help  others  in  re\-ealing 
their  greater  wisdom,  their  finer  appreciation. 
Be  a  little  humble.    It's  good  for  us  afl. 

And  memorize  this  rule:  Talk  unto  others  as 
you  would  they  would  talk  unto  you — but  let 
them  talk  first. 

Lillian  L.: 

If  you  feel  you  can't  "give  your  boy  friend 
up"  as  you  say,  and  he  is  the  cleanest,  most 
respectable  boy  you  know  and  has  asked  you  to 
marry  him,  and  you  love  him,  it  seems  to  me 
you  have  no  problem  at  all.  If  you  will  both  be 
tolerant,  the  difference  in  your  religions  should 
not  affect  your  mutual  happiness.  Be  sure  that 
he  has  a  steady  income,  is  ambitious  and  in- 
dustrious and  trustworthy.  These  qualities  be- 
ing his,  I  believe  you  can  marry  him  and  be 
very  happy. 

Majic: 

Precocious  child,  you  mustn't  pine  away  for 
love  at  the  age  of  fourteen !    You're  attractive 

[  CONTINLIED  ON  PAGE   104  ] 


Photoplay  Magazine — Advertising  Section 


17 


a  lime 
evefu  aai 


'm  aay 


//, 


COLCREME, 


eansind —  nouT^isnind —  oeautz/yind 
—  a/lmfee  in  one.  C>ve?^y  iao?nan  can 
dive  ne7<-  smn  me  cof?^ed  cafefo7<-iisd7^eaiest 
oeauiy  witn  Colcreme„COTY—  in  a  few 
moments  aaily.  Ou.  c?^ea?n  c?<-eaiec/ ou 
Q(yY^—pU7<e^  LuxuT^ious^  peTjeci  as 
all  QCfY^ CT'eations.  Sacn  time 
you  use  it^you?^  complexion  is 
jT^esne?^  andyoundef^  wim 
new  loveliness 


ROUGE 

^ow  to  use  it  for  greatest  beauty 
—  fl  SooAtet  -CUzi-siTated  6y 
CHARLES    DANA   GIBSON 


714  Qifth  SSuenue,  '^JVew 

CANADA — 55  MCG.II  C«Jlege  Ave    " 


Copyright  by  Coty  1928 


please  mention  PHOTOPLAY   MAGAZINE 


i8 


Photoplay  Magazine — Advertising  Section 


^^Jic  can  (^CMAt  Jt  ? 
Q]%e  Gfia/un  of  a  SeaidifuL  SAtru 


Never  has  the  world  taken  it  as  a  matter 
course— a  beautiful  slcin. 

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Enough  interest  in  your  skin,  enough  per- 
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care  for  its  needs.  Kach  day  your  skin  is 
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In  Canada,  address  The  Andrew  Jergena  Co.,  Limited. 
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Sirce, 

arv 

-  .Copyright, 

.»28,byTbeAn 

rewJ.r^.n,Co. 

/OAN  CRAWFORD  goes  more  Spanish  than  the  Spaniards  themselves.  Joan  is  Hollywood's 
best  photographic  subject.     Not  only  has  she  an  almost  perfect  figure — as  discovered  by 
Photoplay — but  she  has  a  camera-proof  face.    Joan  is  now  tied  with  Clara  Bow  as  being  the 
most  engaged  person  in  the  film  colony.    It's  a  penalty  these  young  girls  pay  for  being  interesting, 
vivid  and  popular. 


^^^AMILLA  HORN  was  once  the  prettiest  extra  girl  at  the  UFA  Studios.  Because  attractive 

I  ^I^gs  are  a  rarity  in  German  dramatic  circles,  Camilla's  legs  doubled  for  all  the  stars  in  the 

close-ups.    It  was  F.  W.  Murnau  who  discovered  that  she  also  has  a  pretty  face.    Out  in 

Hollywood,  this  simple,  unaffected  and  untemperamental  German  girl  is  considered  the  most  promis' 

ing  of  all  the  recent  foreign  importations. 


^i'ECIL  B.  De  MILLE  cuts  loose  to  reform  the  Reformatories  and  Marie  Prevost  will  play  one 

f  ^  of  the  unfortunate  victims  of  our  so-called  correctional  system  in  "The  Godless  Girl."    It  is 

the  most  trying  role  that  Marie  ever  has  undertaken.   In  this  film,  De  Mille  abandons  all  his 

pet  themes  to  delve  into  an  ugly,  sordid,  but  tremendously  important  aspect  of  modern  life.    They 

say  it  will  be  his  most  daring  picture. 


(^STELLE  TAYLOR — famous  as  Mrs.  Jack  Dempsey  and  prominent  in  Los  Angeles  social 

^  circles  as  Mrs.  William  Harrison  Dempsey.  Unfortunately  for  the  movie  public,  she  is  too 

seldom  recognized  for  what  she  really  is— a  beautiful  and  exceptionally  talented  actress.  Must 

this  young  woman  change  her  name  to  Schneider  to  induce  the  producers  to  give  her  a  chance  in 

bigger  and  better  roles? 


r'OLA  D'AVRIL  is  an  ambitious  young  French  girl  who  came  to  Hollywood,  not  with  a 
carefully  advertised  foreign  reputation,  but  to  make  a  humble  start  as  an  extra  girl.    First 
National  recognized  her  beauty  and  her  ability  and  placed  her  under  contract.  She  is  being 
intrusted  to  roles  of  increasing  importance  and  her  career  closely  parallels  that  of  her  fellow  country- 
woman, Renee  Adoree. 


C/)ICTURE  of  a  remarkable  man — Clfve  Brook.  Although  he  never  has  worn  sideburns, 

J^       affected  a  trick  hair-cut,  worried  the  censors  with  his  love  scenes  or  played  in  a  mythical 

kingdom  romance,  Mr.  Brook  has  managed  to  establish  himself  high  among  the  favorites. 

He  brings  to  Hollywood  the  solid,  exacting  traditions  of  the  theater  of  his  native  England.    Mr. 

Brook's  newest  will  be  "Three  Sinners." 


The   COy/AtlD    Line   of    Beauty 


New 

Summer 
Foundation  Qarment 

is  Made  of  Honeycomb  Mesh 


Joyously  cool  is  this  Gossard 
TEDETITE!  It  is  made  of 
Honeycomb  Mesh  and  the 
pantie  frill  is  of  georgette. 
This  garment  is  ideal  for 
summer  wear  because  it  ab- 
sorbs readily  and  is  smooth 
against  the  body.  Ask  for 
Tedetite  4235  at  $6.50. 


THE  H.  W.  GOSSARD  CO.,    Chicago,    New  York,    San  Francisco,    Dallas,    Atlanta,    Toronto,    London,    Buenos  Aires 


It's  hard 
to 
excuse 

fpan  Hands 


MY  dinner  table,  set  with  all  my  best  china, 
for  our  dinner  to  Jim's  new  friends,  had  never 
looked  prettier.  But  it  made  my  poor  hands  look 
dreadfully  coarse  by  comparison.  They  just  broad- 
casted 'Dishpan!' 

"And  because  I  know  it's  just  such  little  things 
that  others  judge  us  by,  I  became  self-conscious  .  .  . 
ill  at  ease  ...  at  my  own  dinner  table. 

"Of  course  it  was  foolish  of  me.  With  l.ux  al- 
ways in  the  house  I  was  still  using  old-fashioned 
soap  for  the  dishes.  Until  that  night  I  had  not 
realized  just  how  pitifully  rough  and  red  it  made 
my  hands  look. 

"Now  I  use  Lux  for  all  my  dishes.  And  for 
cleaning,  too!  My  hands  are  no  longer  red  and 
coarse.  I'm  proud  now  of  my  dinner-table  hands." 

So  many  household  soaps — flakes,  chips  and  cakes 


LjUX  keeps  lovely  the  hands 
that  wash  dishes 


—  are  made  in  the  old-fashioned  way.  They  con- 
tain harmful  alkali  that  dries  up  the  skin,  aging 
and  coarsening  it. 

THERE  is  no  injurious  alkali  in  Lux.  Made  by  a 
remarkable  process — Lux  actually  soothes  the 
skin,  leaves  it  a  little  whiter  and  softer  than  before.* 

And  instant,  sparkling  Lux  suds,  ready  before 
you  ever  put  your  hands  in,  are  so  rich  and  cleans- 
ing that  the  dishes  seem  almost  to  wash  themselves! 

Lux  for  dishes  costs  so  little!  The  big  package 
washes    six   weeks'    dishes.     Lovely    hands    for   so 


small 


a  price! 


'Many  beauty  parlors  use  Lux  suds  in  manicuring 
the  nails,  to  soften  and  whiten  and  soothe  the  fingers 


The     National     Guide     to     Motion     Pictures 


1  ITBAOE  MASK] 


PHOTOPLAY 


June,  1928 


Close-Ups  and  Long-Shots 

By  James  R.  Quirk 


THE  Ingrate  of  Hollywood,  he 
has  been  called;  the  hobo  who 
walked  the  ties  into  the  studio 
city  and  was  sheltered  and  petted  by 
motion  picture  people  to  whom  he 
appealed  for  help.  He  sees  beauty 
and  honesty  only  under  freight  cars, 
in  shoddy  fourth-rate  circus  troupes, 
in  prisons,  in  brothels. 

He  was  sponsored  by  Chaplin,  who  gave  him 
the  run  of  his  studio,  and  aided  him  financially. 
He  repaid  Chaplin  by  painting  Charlie  as  a 
child  of  the  London  gutter,  in  the  "Pictorial 
Review."    He  even  dragged  in  Charlie's  mother. 

"L_TE  wrote  a  book  about  hobo  life  and  another 
■^  -'-about  a  bum  who  later  became  a  motion 
picture  director.  Then  one  about  small  time 
circus  life.  The  critics  raved  about  them.  He 
knew  the  lowest  stratum  of  American  life. 
What  he  didh't  know  he  absorbed  from  others 
and  forgot  to  give  them  recognition. 

He  made  money  and  moved  to  the  exclusive 
Beverly  Hills.  Utterly  unlovable,  he  wanted  to 
be  loved  by  everyone.  Failing,  he  turned  bitter, 
and,  under  the  guise  of  truth,  has  written  more 
vicious  stuff  about  motion  picture  people  than 
any  one  man  or  woman  has  ever  written.  He 
was  a  failure  in  pictures  until  his  fame,  such  as 
it  is,  recently  sold  one  of  his  books  to  a  motion 
picture  company  for  a  large  amount. 

TN  a  recent  issue  of  "Vanity  Fair,"  which,  in 
-^this  case,  does  not  live  up  to  the  last  half  of  its 
name,  he  writes  a  scurrilous  article  about  John 


Gilbert;  more  vicious,  more  unfair,  in 
worse  taste,  if  possible,  than  anything 
else  he  has  written  about  others. 

According  to  Jim  Tully.  the  ex- 
hobo,  who  admits  he  had  little  school- 
ing outside  orphan  asylums,  saloons, 
flop-houses,  a  short  career  as  a 
prize-fighter,  and  his  trade  of  chain 
forging,  Gilbert  is  "a  man  of  neither 
education  nor  capacity,  he  is  more  opinionated 
than  Elinor  Glyn,  and  less  profound." 

"In  'The  Big  Parade,'  "  says  Tully,  "he  was 
second  in  ability  to  the  gigantic  ex-carpenter 
moron,  Karl  Dane.  In  '  Flesh  and  the  Devil '  he 
was  merely  a  romantic  prop  upon  which  Miss 
Greta  Garbo  hung  an  American  reputation." 

A  ifORE  vicious  stabs  are  courageously  quoted 
-*-^-*-by  anonymous  informants.  He  intimates 
that  Gilbert  shoved  two  women  in  front  of  him 
to  protect  himself  from  a  frisky  horse. 

He  calls  the  actor  a  poseur,  a  coward,  a  con- 
ceited ass,  a  mediocre  actor,  a  man  who  disowns 
his  father.  Not  one  redeeming  trait  does  he 
admit.     Brutal,  unfair,  untrue. 

T  KNOW  Jack  Gilbert.  I  am  glad  he  is  a 
-■-  friend  of  mine.  AskHenryL.  Mencken.  Ask 
Joseph  Hergesheimer.     Ask  Hollywood. 

Jim  Tully  is  a  good  craftsman  as  a  writer,  but 
I  fear  that  he  hates  handsome  men  and  beauti- 
ful women.  One  thing  I  never  read  in  his  writ- 
ings about  Hollywood — he  never  accused  a 
beautiful  woman  of  annoying  him  with  her 
attentions. 

27 


FROM  a  dock  in  New  York,  a  great  trans- Atlantic 
liner  recently  sailed  away  in  order  that  a  woman 
might  forget.     The  woman  is  Mary  Pickford. 

With  her  husband,  Douglas  Fairbanks,  she  is  now  in 
Europe,  hoping  that  new  surroundings  will  soften  her 
bereavement  and  help  to  dim  the  tragedy  of  her 
mother's  death. 

May  we  respectfully  hope,  along  with  the  vast  host 
that  offers  sympathy,  that  Mary's  grief  will  be  softened 
with  time,  and  that  soon  she  will  look  forward  to  the 
active  resumption  of  her  work. 

There  must  be  great  comfort  to  Mary  in  the  knowl- 
edge that  the  glory  of  her  mother's  name  will  blaze 
forever  in  motion  picture  history.  In  eternal  electrics, 
it  will  grace  the  sign-space  of  the  world's  marquee. 

MRS.  PICKFORD  was  the  industry's  most  pictur- 
esque pioneer.  No  individual  ever  contributed 
more  to  a  chosen  line  of  endeavor,  no  individual  ever 
e.xerted  a  greater  influence  upon  its  progress,  no  in- 
dividual ever  occupied  a  place  more  conspicuous,  more 
unique. 

Her  axioms  formed  the  foundation  upon  which  great 
careers  were  built.  Her  words  helped  to  phrase  the  by- 
laws of  vast  producing  corporations.  Her  ideas  formed 
the  basis  of  policies  that  helped  to  shape  the  future  and 
growth  of  the  cinema. 

Her  forte  was  business,  and  every  leader  in  film  enter- 
prise respected  her  judgment,  and  sought  it.  Many 
fundamentals,  many  cardinal  principles  can  be  traced 
to  her. 

MARY'S  mother  was  the  inspiration  of  every 
mother  with  a  daughter  in  pictures.  She  was  the 
most  exacting,  the  most  demanding  of  her  rights,  and 
at  the  same  time  the  fairest,  the  squarest,  the  most 
understanding  and  sympathetic  woman  in  motion 
pictures. 

-'^nd,  with  it  all,  she  had  a  great  sense  of  humor,  which, 
no  doubt,  contributed  much  to  her  great  success.  For 
all  these  reasons,  then,  and  for  many  more,  her  name 
.  .  .  CHARLOTTE  PICKFORD  SMITH  .  .  .  will 
never  be  dimmed  by  time. 

Charlotte  Pickford  Smith  will  be  remembered  forever 
not  only  as  the  mother  of  Mary  but  as  the  Mother  of  the 
Movies. 

THE  mayor  of  Lynn,  Massachusetts,  wants  to  bar 
the  showing  of  Charlie  Chaplin's  latest  picture. 

According  to  the  "Telegram-News"  of  Lynn,  the 
mayor — his  name  doesn't  matter,  it's  only  his  position 
that  makes  his  opinion  news — says: 

"Chaplin  is  a  scurrilous,  reprehensible  man  who 
violated  the  sacred  precincts  of  the  American  home  and 
failed  in  his  solemn  promise  to  love  and  cherish  a  girl. 
Folks  who  harbor  such  a  character  are  degrading  them- 
selves and  tearing  down  the  structure  of  the  American 
home." 

Up  to  the  hour  of  going  to  press  the  mayor  has  not 
yet  started  a  good  old  one-hundred  per  cent  American 
movement  to  bar  from  citizenship  all  the  ladies  and 


gentlemen  of  his  community  who  have  divorced  or  been 
divorced. 

Lynn,  by  the  way,  is  only  a  few  miles  away  from 
Salem,    where    a    few    generations    ago    they    burned  • 
"witches,"  old  ladies  with  radical  ideas. 

EUROPEAN  governments  are  berating  our  movies  as 
too  American.  Yet  their  subjects  are  making  alarge 
share  of  the  pictures  in  Hollywood. 

"The  Man  Who  Laughs,"  for  instance,  made  in  the 
Universal  studios,  was  based  on  an  English  story  by  a 
French  author.  Conrad  Veidt,  the  star,  is  German,  and 
he  was  directed  by  a  fellow  countryman,  Paul  Leni. 
The  supervisor,  Paul  Kohner,  came  from  Czecho- 
slovakia, and  the  vamping  menace  of  the  picture  is  a 
Russian  beauty,  Olga  Backlanova.  The  script  was 
written  by  an  American  under  the  supervision  of  a 
Hungarian,  Dr.  Sekely. 

But,  strangely  enough,  the  art  director,  Daniel  Hall, 
is  an  American. 

It  is  a  very  artistic  picture  and  the  beauty  is  that 
American  beauty,  Mary  Philbin. 

IN  this  issue  Photoplay  announces  the  awards  in  the 
first  amateur  movie  contest  ever  conducted  by  any 
publication  in  the  world. 

Photoplay,  incidentally,  was  the  first  national  maga- 
zine to  realize  the  importance  of  the  amateur  move- 
ment. The  contest  was  devised  to  help  the  progress  of 
the  amateur  past  his  first  pitfalls. 

The  movie  amateur  is  really  a  development  of  the 
last  three  years.  He  appeared  with  the  introduction  of 
light,  handy  35  and  16  millimeter  cameras.  Profes- 
sional cameras  are  expensive  playthings,  even  for  the 
Hollywood  film  makers.  The  smaller  16  millimeter 
films  and  cameras  did  a  great  deal  toward  putting  the 
motion  picture  within  the  reach  of  everyone. 

Today  there  are  some  100,000  enthusiastic  movie 
amateurs  in  America.  Such  thinkers  as  H.  L.  Mencken 
and  Robert  J.  Flaherty,  the  amateur  maker  of  "Moana," 
believe  that,  out  of  these  ranks  of  amateurs,  will  come 
the  best  minds  of  the  future  photoplay. 

ANYWAY,  the  current  fear  among  professional  film 
makers  and  exhibitors  that  the  amateur  is  a  menace 
is  unnecessary.  More  than  ever  before  the  amateur 
goes  to  the  movie  cathedral  to  study  treatment,  effects 
and  tricks. 

The  amateur  movement  is  a  healthy  aid  to  the  pro- 
fessional, if  he  but  realizes  it. 

Here  is  one  of  the  ever-present  faults  of  the  screen 
world.  The  maker  of  pictures  has  been  trembling  at 
one  thing  or  another  for  years.  First  it  was  the  pioneer 
talking  picture.  Then  the  radio.  Then  the  oncoming 
European  picture.  Then  the  synchronized  sound-sight 
mechanism  again.  And  now  the  hundred  thousand 
amateurs  are  causing  nightmares  in  many  of  our  lavish 
and  best  celluloid  households. 

The  best  little  menace  of  the  films  is  being  nourished 
by  the  movie  makers  themselves.  That  menace  is 
cheap  vaudeville. 


It  Took  Twenty-Four  Men  To  Shoot  One 


HERE  is  a  striking  study  in  the  making  of  a  thrilling  scene. 
At  the  top  of  the  page,  you  see  Cecil  B.  De  Mille,  center, 
surrounded  by  eight  cameras   and   twenty-three  men — 
assistants,  cameramen,  technicians  and  helpers.     These  men 
are  at  one  end  of  a  corridor  in  a  reformatory  set  for  "The 
Godless  Girl." 

At  the  other  end  of  the  corridor,  the  action  is  taking  place. 
And  what  action!  In  the  picture  below,  you  see  George  Duryea 
shooting  a  brutal  warden  who  has  the  key  to  the  solitary  con- 


finement cell  in  which  the  girl,  Lina  Basquette,  is  held  prisoner 
while  the  flames  surround  her.  IMiss  Basquette  is  in  the  back- 
ground of  the  picture. 

In  "The  Godless  Girl,"  IMr.  De  Mille  is  attempting  a  theme 
that  might  have  been  tackled  by  Dickens.  He  is  showing  up 
the  brutal  and  horrifying  conditions  in  reform  schools.  The 
fire  scene  taxed  his  technical  facilities  to  the  utmost  and  the 
men  you  see  in  the  top  picture  are  merely  the  back-of-the-camera 
crew  that  worked  on  this  spectacular  episode. 


S9 


What  it  costs  to  marry 
in  the  Hollywood  manner 

Courtship ^$10,250.75 

Whirlwind  style  with  all  the  trimmings  of 
gifts  and  entertainment 

Engagement  ring $7,500.00 

Emeralds     preferred     at     $1,500     a     karat 
F.  O.  B.  Hollywood 

Ceremony $18,100.00 

Decorations  and  incidentals 5,000 

Wedding  ring 600 

Gift  to  bride — average 12,500 

Honeymoon 12,000.00 

Plain 2,000 

Fancy,  with  yacht  trip  or  European 

tour 10,000 

Home — Sweet  Home! 45,000.00 

A  modest  mansion  in  Beverly  Hills 

Grand  total,  not  including  upkeep 92,850.75 

■"Odd   change   for   occasional    roadside   hoquets   of    sweet    peas 
boughl  during  motor  trips. 


Illustrated    by 
Ken  Chamberlain 


A  FEW  months  ago  Xancy  .\nn  :Miller  of  Seattle,  Wash- 
ington, married  Tukojii  Rao,  formerly  jMaharaja  of 
Indore,  in  India,  and  the  word  of  the  magnificent  wed- 
ding was  carried  around  the  world.  The  ^Maharaja  and 
his  bride  wore  robes  embroidered  in  the  richest  jewels,  that  were 
valued  at  two  million  dollars;  there  were  elephants  and  camels, 
richly  and  beautifully  equipped  in  gold,  silk  and  velvet,  in  the 
cortege;  fifteen  thousand  people  gathered  for  the  ceremony; 
diamonds,  emeralds,  sapphires  and  pearls  flashed  in  the 
brilliant  sunlight. 

It  was  a  wedding  worthy  of  all  the  superlatives.  That  was  in 
India,  and  the  story  reads  more  like  an  Arabian  Nights  tale 
than  reality,  but  there  is  one  other  place  in  this  world  where 
weddings  come  high  and  that  is  Hollywood.  While  there  are  no 
elephants  and  camels  in  the  Hollywood  wedding  cortege  there 
areenoughRoUsRoycesandlsotta  Fraschinis,and  I  am  not  sure 
but  that  a  fully  equipped  Rolls  Royce  in  Hollywood  would  cost 
as  much  as  a  richly  dressed  elephant  in  India.  That  question  is 
open  to  debate.  However,  there  are  plenty  of  costly  jewels  in 
evidence  when  a  wedding  of  motion  picture  celebrities  is  cele- 
brated and  the  populace,  more  than  fifteen  thousand  strong, 
turns  out  to  watch  the  procession. 

_  An  investigation  into  the  cost  of  matrimony  in  the  cinema 
city  has  revealed  some  startling  facts.    Marriage  between  two 


Earl  Wingart 


You'll  need  $100,000 
if  you  hope  to  at- 
tempt the  capture  of 
a  famous  baby  star 


young  people,  who  happen  to  be  in  the  motion  picture  business, 
is  practically  impossible,  especially  if  the  two  desire  a  ceremony 
in  the  Hollywood  manner. 

Picture  producers  have  declared  that  the  cinematic  fare  this 
season  is  to  be  hardy  drama  that  leads  to  endings  unhappy  or 
happy,  as  the  case  may  be.  People  are  going  to  see  life  on  the 
screen  as  it  really  is.  There  is  going  to  be  no  sugar  coating.  A 
spade  is  going  to  be  a  spade,  maybe  two  spades,  but  certainly 
not  a  silver  plated  shovel.    So  here  goes! 

OUT  in  Hollywood  there  are  twelve  young  girls  known  as 
baby  stars.  They  hail  from  Hastings,  Nebraska;  Salt  Lake 
City,  Utah,  and  other  places  of  equal  or  more  importance  on 
the  map.  Each  of  these  young  girls  is  of  marriageable  age. 
Each  is  on  a  pedestal,  the  cynosure  of  all  eyes.  And  there  are 
at  least  a  score  of  young  men  who  look  longingly  at  their 
beauty  and  say  to  themselves: 

"Ohl  Would  that  I  had  enough  money  to  marry  her." 
Money?  you  say.  Surely,  love  has  no  price.  Ah!  yes,  but 
matrimony  has.  Especially  if  it  is  in  Hollywood.  Of  course,  if 
these  girls  were  back  in  their  home  town  there  would  be  a 
different  story  to  tell.  The  wooing  swain  could  bring  his 
seventy-five  cent  box  of  candy  and  sit  in  the  porch  swing  these 
cool  summer  evenings.    He  could  talk  of  a  cottage  in  the  out- 


Price  Matrimony 

In  Hollywood 


skirts  of  town  for  their  honeymoon  home.  He  could  boast  of 
the  ten  dollar  raise  he  expected  to  get  next  month  and  he  might 
even  brag  about  his  little  nest  egg  in  the  bank — enough  to  buy 
the  engagement  ring,  get  the  license  and  pay  the  first  install- 
ment on  the  furniture.  The  future  would  look  rosy,  and  who 
can  tell  whether  the  ending  would  be  happy? 

That's  a  picture  of  the  situation  as  it  might  be  back  in  the 
old  home  town.  Now  we  fade  in  on  Hollywood,  the  city  of  sun- 
shine and  stars,  movie  and  celestial,  where  love  battles  against 
the  glamour  of  an  unreal  world.  Where  the  make-believe  be- 
comes a  reality  and  reality  is  sometimes  grim  tragedy.  There 
wooing  is  done  in  the  grand  manner.  The  young  man  who 
hopes  to  win  the  heart  of  a  fair  movie  maid  must  have  a  bank 
roll  worthy  of  a  Dun  and  Bradstreet  rating. 

Before  a  young  man  can  even  think  of  asking  the  fatal  ques- 
tion he  must  win  his  spurs  in  a  courtship  that  costs  a  sum  almost 
equal  to  a  bank  president's  salary  for  a  year.  There  are  dinner 
parties,  gifts  of  expensive  jewelry,  corsages  of  orchids  at  $25 
apiece  at  the  best  florists — and  no  corsage  in  Hollywood  is  con- 
sidered worthy  of  the  name  with  less  than  six  orchids  in  it — 
motor  trips  and  week-end  parties  at  the  beach. 

FORTUNATELY  for  the  young  man  who  wooes  Ruth  Tay- 
lor, that  petite  little  blonde  who  vanquishes  her  brunette 
sisters  whenever  gentlemen  are  present,  she  prefers  a  fast 
and  furious  courtship. 

"  But  I  want  all  the  trimmings,"  she  added,  to  make  sure  that 
I  did  not  get  the  wrong  impression. 

■'  The  man  I  marrv  must  have  an  income  of  at  least  $100,000 


This  Hollywood  bridegroom  has  said 
"I  do" — and  passed  the  $100,000  mark. 
Now  he  will  have  to  spend  $250,000  on 
a  hillside  estate  or  he  won't  be  in  the 
celluloid  social  swim.  Then  he  really 
will  begin  to  spend 


/ 


^'  "^'^''fl^' 


X 


JiJ, 


a  year,"  she  explained.    "I  want  to  be  happy  and  I  have  to  have 
money  to  do  the  things  that  will  make  me  happy. 

"Love  alone  is  not  enough.  I've  seen  too  many  marriages  go 
on  the  rocks  when  the  money  runs  out.  And  besides  I  have  to 
have  a  man  I  can  look  up  to  and  respect.  A  man  with  money 
would  be  just  that  kind. 

"TJE  should  be  a  young  man,  too.  And  with  a  sense  of 
JLi-humor.    He'd  have  to  have  that  to  put  up  with  me." 

Miss  Taylor  said  she  would  prefer  an  emerald  engagement 
ring.  A  big  one,  baguette  shaped.  Oh — say  five  or  six  karats, 
and  emeralds  cost  $1,500  a  karat  in  Hollywood.  Add  an  extra 
thousand  dollars  for  the  shape  and  another  thousand  for  the 
mounting  in  platinum  and  you  have  a  rough  idea  of  about  what 
it  would  cost  to  get  to  the  engagement  stage. 

This  is  only  the  beginning.  Once  the  ring  is  securely  slipped 
on  the  finger  things  really  begin  to  happen,  especially  if  the 
wedding  is  to  be  sponsored  by  Marion  Davies,  who  presided 
over  the  nuptials  of  such  prominent  movie  folk  as  King  Vidor 
and  Eleanor  Boardman,  and  Laura  La  Plante  and  William 
Seiter.  Or  when  Mary  Pickford  selects  Pickfair  as  the  scene  of 
the  ceremony,  as  she  did  for  Colleen  Moore  and  John  McCor- 
mick  and  for  her  brother.  Jack  Pickford,  and  Marilyn  Miller. 
And  when  Mr.  and  Mrs.  Samuel  Goldwyn  decide  to  look  after 
the  matrimonial  interests  of  a  young  couple  as  they  did  for 
Vilma  Banky  and  Rod  La  Rocque  there  is  no  stinting  in 
elaborate  preparations.  [  continued  on  page  110  ] 


^/«. 


31 


Jack  Gilbert 


Reel  One — The  Screen's  most 
brilliant  actor  talks  amusingly 
about  his  career  in  pictures 


CHAPTER  I 

JIM  QUIRK  has  asked  me  to  write  an  outline  of  my  career 
in  pictures.  Behind  his  request  lies  one  of  two  purposes: 
to  destroy  me  utterly  or  to  discover  first-hand  information 
regarding  some  of  his  best  enemies.  The  adjective  "worst" 
cannot  be  applied  to  Jim's  enemies;  they  afford  him  his  only 
amusement.  So,  because  I  like  Jim  (because  Jim  likes  me), 
and  because  doing  the  right  job  might  be  fun,  and  because  Jim 
has  assured  me  that  a  great  many  readers  of  his  magazine 
would  like  to  hear  of  my  early  asininities,  I  am  complying  with 
his  request. 

An  outline  of  my  career  in  pictures  follows;  mostly  as  it 
happened,  some  of  it  censored,  some  of  it  omitted,  none  of  it 
elaborated — all  Gospel  according  to  St.  Cinema,  and  may  God 
have  mercy  on  my  soul.     And  those  of  you  who  have  your  brick- 


bats ready,  permit  me  to  remind  you  of  the  proverb  about  peo- 
ple who  live  in  glass  houses,  and  that  the  good  is  oft  interred 
with  their  bones. 

In  March  1915  I  was  a  member  of  the  Baker  Stock  Company 
in  Spokane,  Washington.  I  was  seventeen  years  old.  I  was  the 
stage  manager  of  the  company.  The  title  was  important;  the 
job  was  not.  The  stage  manager  of  a  stock  company  is  the 
assistant  director  and  his  duties  consist  of  ringing  the  curtain  up 
and  down,  calling  the  overtures  and  warnings  to  the  actors  that 
their  cues  for  entrance  are  approaching,  holding  a  manuscript 
at  rehearsals,  making  out  stage  settings  and  property  plots,  and 
seeing  to  it  that  every  prop  or  article  used  during  each  act  is  in 
its  correct  position.  If,  during  the  action  of  the  play,  a  white- 
faced,  suffering  little  mother  says  to  the  swarthy  villain:  "Here 
is  the  will,"  and  there  is  no  will — God  help  the  stage  manager. 

I  hold  no  brief  for  my  qualities  as  an  assistant  stage  director. 
For  our  opening  bill  the  management  secured  "Alias  Jimmy 
Valentine,"  the  well  known  underworld  drama.  The  big  scene 
of  the  play  and  the  climax  of  the  last  act  takes  place  when  the 
little  girl,  Killy,  is  locked  in  a  safe,  and  Jimmy  and  his  pal,  Red, 
both  reformed  crooks,  must,  in  order  to  release  the  child,  open 
the  great  time  locks  by  touch,  thus  divulging  their  identities  to 
the  detective,  Doyle,  who  watches  through  a  half  open  door. 
Jimmy  sandpapers  his  finger  tips  and  slowly  turns  the  dial. 
Red  kneels  beside  him.  The  stage  is  dark.  Jimmy  calls: 
"  Match! "  Red  strikes  a  match  and  holds  the  flame  close  to  the 
dial.  Jimmy  blows  out  the  light.  Once  more  he  sandpapers  his 
finger  tips  tiO  they  bleed,  and  once  more  applies  his  sensitive 
nerves  to  the  dial.  I  watch  spellbound  from  the  wings,  awaiting 
my  cue  to  ring  down  the  curtain. 


Jack  Gilbert,  seventeen  years 
old  and  sitting  on  top  of  the 
world  because  he  was  an  actor 
at  Inccville  and  earning  fif- 
teen glorious  dollars  a  week. 
This  was  one  of  his  first  screen 
portraits 


The  solemn  parson  at  the  right  is  Jack.  The  gentleman  at  the 
left  is  Roy  Stewart,  a  former  Western  star.  Jack  was  then  merely 
a  stock  player,  appearing  in  support  of  many  stars  who  are  now 
forgotten.  Here  is  one  of  the  thrillers  made  at  the  old  Santa  Monica 
Studios 


Writes  His  Own 

Story 


By 

Jack  Gilbert 


these  actor  folk,  bless  them,  grew  shiny-faced 
and  mellow,  and  friendly,  and  though  they  all 
acknowledged  my  brainlessness,  they  condoned 
it  and  told  tales  of  their  own  stupidity,  and 
anecdotes  of  their  early  stage  lives;  and  more 
bottles  foamed,  and  more  stories  were  told,  and 
my  last  blurred  memory  of  the  evening  is  that 
of  my  vain  attempt  to  drown  the  baritone  of  the 
leading  man  with  my  choir-trained  falsetto,  in 
tribute  to  "Sweet  Adeline." 


o\ 


Every  word  of  this  story  is  Jack  Gilbert's  own.    Every  sentence 
radiates  Jack's  charming  and  flashing  personality.    PHOTO- 
PLAY has  added  nothing  or  deleted  nothing.    Don't  miss  a 
word  of  it 


What  should  have  happened  was  this:  the  safe  door  is  sud- 
denly opened,  the  little  girl  falls  into  Jimmy's  arms;  a  spotlight 
from  nowhere  in  particular,  plays  upon  her;  the  detective 
enters  and  confronts  Jimmy  while  the  girl  Jimmy  loves  enters 
from  the  opposite  side.  A  beautiful  scene  should  have  been 
enacted. 

On  that  opening  night  it  wasn't.  I  rang  the  curtain  down 
before  Kitty  was  out  of  the  safe.  To  this  day  I  don't  know  why, 
but  I  did,  and  the  show  was  over,  and  I  was  fired. 

I  should  have  been  thrown  bodily  from  the  theater,  and 
blacklisted  from  the  American  stage.  I  had  ruined  the  scene 
for  the  actors  and  had  created  a  ridiculous  situation  which  the 
first  night  critics  could  chortle  over  when  they  reached  their 
typewriters.    But  I  was  forgiven. 

After  the  first  violent  outburst  had  subsided,  it  was  remem- 
bered that  I  was  still  an  invited  guest  at  a  party  given  by  the 
members  of  the  troupe,  after  the  performance.  Beer  was 
served,  and  chili  beans  and  more  beer — and  then — beer,  and 


UR  stock  company  died  in  its  early  youth. 
We  produced  but  four  plays.  One  morning  I 
was  given  a  notice  to  tack  on  the  bulletinboard.  I 
have  the  notice  still — it  was  worded,  in  brief,  as 
follows:  "To  the  members  of  the  Auditorium 
Baker  Stock  Company:  Ladies  and  Gentlemen: 
We  regret  to  inform  you  that  we  are  forced  to 
bring  the  engagement  of  the  Baker  Players  to  a 
close,  week  ending  Saturday.  March  20,  1915 — 
The  management  feels  grateful  toward  each  and 
every  member  of  the  Baker  Company.  How- 
ever, we  feel  we  are  unable  to  lose  any  more 
money,  so  kindly  accept  this  as  two  weeks' 
notice  for  the  closing  of  the  engagement." 

I  know  of  no  people  so  sensitive  as  actors;  as 
easily  pleased  as  children  and  as  easily  de- 
pressed. The  members  of  our  little  troupe  were 
thrown  into  a  chaos  of  mingled  emotions;  some 
looked  forward  eagerly  to  their  return  to  New- 
York  while  others  gathered  in  little  groups  and 
worriedly  discussed  the  future.  A  medicine 
show  was  coming  through  town  next  week; 
maybe  a  chance  there  for  some.  For  others, 
who  had  saved  no  money,  the  outlook  appeared 
dark.  Little  joy  was  displayed  during  the  next 
two  weeks.  There  was  no  party  given  on  the 
night  of  our  last  performance.  An  atmosphereof  gloom  pervaded 
the  darkened  theater.  Our  tribe  had  been  broken  up.  Some  were 
hastily  packing  to  make  the  eastbound  train  that  night,  others 
disappeared  to  get  quietly  and  solitarily  drunk.  The  stage-door- 
man dismissed  us  individually  with  a  nod  and  a  grunt.  The 
stage-doorman  still  had  his  job.  They  folded  their  tents  like  the 
Arabs  and  as  silently  stole  away.  I  caught  the  Oregon  Flyer 
for  Portland. 

When  I  met  my  father,  who  was  directing  a  stock  in  Portland, 
for  some  unaccountable  reason  I  felt  ashamed.  Not  that  I  had 
had  anything  to  do  with  the  closing  of  our  company,  but  I  was 
out  of  a  job  and  inasmuch  as  I  had  supported  myself  since  my 
mother's  death  three  years  earlier,  I  exaggerated  my  present 
predicament  until  I  felt  positively  degraded.  There  was  no 
opening  for  me  in  the  Portland  theater,  nor  did  I  particularly 
care  to  return  to  the  "  Oregonian,"  a  newspaper  on  which  I  had 
formerly  been  employed. 

My  mind  was  bent  on  acting.       [  continued  on  page  124  ] 

33 


Wkat  Makes  \ou 


By  Louis  E.  Bisch  m.  d.,  Ph.  d. 

The  doctor  prescribes 
jaded  nerves 


Ni 


'OTHIXG  can  possibly  benefit  you  more  than  to  go  to 
see  Charlie  Chaplin  or  Harold  Lloj'd  or  Buster  Keaton 
and  have  a  good  laugh. 

Often  have  I,  as  a  physician,  recommended  that 
kind  of  a  prescription  for  brain  fag,  the  blues,  or  for  jaded 
nerves. 

It  is  better  than  a  vacation  or  a  barrel  of  tonic. 

Hearty  laughter  will  pep  you  up,  make  you  eificient  again, 
take  the  kinks  out  of  a  twisted  and  distorted  viewpoint  of  life. 

Laughter  is  at  one  and  the  same  time  nature's  most  natural 
safety  valve  as  well  as  nature's  most  perfect  anodyne! 

But  you  must  be  sure  to  allow  yourself  to  laugh. 

You  must  not  hold  yourself  back.  Your  natural  risibilities 
must  not  be  checked. 

Don't  bottle  up  your  laughter  and  repress  it! 

I  made  an  experiment  on  myself  a  few  years  ago  when  Lloyd 
filmed  "The  Freshman." 

The  first  time  I  set  my  will  against  laughing — and  I  suc- 
ceeded. 

On  my  second  visit  to  the  theater,  a  week  later,  I  resolved  to 
let  myself  go  and  I  roared  until  the  tears  came  and  mv  sides 
hurt." 

Theoretically  this  is  what  I  had  expected. 

There  is  no  question  but  what  you  can  choke  off  your  own 
laughter  if  you  try.  If  you  are  taken  unawares  it  is  a  dift'erent 
matter.  But  if  you  deliberately  make  up  your  mind  not  to 
laugh — that  settles  it. 

Therefore  do  not  always  blame  a  movie  show,  billed  as  a 
comedy,  if  it  leaves  you  absolutely  unmoved. 

Perhaps  you,  yourself,  are  to  blame. 


You  laugh  to  relieve 
pent-up  emotion  or 
excitement.  That  is 
why  a  scene  like  this, 
thrilling  but  ridic- 
ulous, from  Harold 
Lloyd's  "Safety  Last" 
drew  shrieks  of  hys- 
terical laughter  from 
audiences 


Charlie  Chaplin  in 
that  church  episode 
from  "The  Pilgrim." 
You  laugh  at  a  situ- 
ation that  is  embar- 
rassing to  the  actor. 
That  is  why  Chaplin, 
the  screen  symbol  of 
hard  luck  and  futility, 
is  the  perfect  co- 
median 


comedies  as  a  cure  for 
and  mental  fog 


]\Iaybe  your  so-called  "threshold,"  to  use  a  psychologi- 
cal term,  is  too  high.  jMaybe  you  have  built  it  so  high  that 
no  matter  how  strong  the  comedy  stimulus  may  be  it  can- 
not get  over. 

j\Iaybe,  I  repeat,  it  is  your  own  fault  if  you  have  forgot- 
ten how  to  laugh. 

For  everybody  wants  to  laugh,  likes  to  laugh  and  needs 
to  laugh. 

That  explains  why  good  comedies  are  practically  sure- 
fire successes  so  far  as  the  box  office  is  concerned. 

Next  to  eating  and  making  love,  all  of  us  like  best  to 
laugh! 

WE  know  what  laughter  accomplishes  but  science  does 
not  yet  know  why  we  laugh. 

Laughter  relieves  pent-up  emotion.  It  also  expands 
cramped  air  cells  in  the  lungs.    That  much  is  certain. 

Yet,  strange  as  it  may  seem,  exactly  what  makes  you 
laugh  has  never  been  explained  with  absolute  satisfaction. 

Theories  there  have  been  aplenty.  Each  has  given  a  sort  of 
plausible  explanation. 

None,  however,  has  removed  altogether  and  entirely  the 
mystery  that  clings  to  laughter. 

You  will  find,  if  you  watch  your  own  reactions,  that  you  are 
much  more  likely  to  burst  into  laughter  at  one  time  than  at 
another  aside  from  willing  not  to  laugh,  aside  from  purposely 
repressing  it. 

The  physiological  state  of  your  body  has  a  lot  to  do  with  that. 

If  you  have  slept  well  and  all  your  organs  are  functioning 
properly  the  body  itself  is  in  a  state  of  happiness.    Under  such 


That  pathetic  dinner  party  of  "The  Gold  Rush" 
which  the  guests  forgot  to  attend.  Psychologically, 
laughter  is  close  to  tears  as  Chaplin  knows  so  well 


circumstances  it  does  not  take  very  much  to  make  you  smile  or 
laugh. 

When  you  are  in  good  health — in  the  pink  of  perfection,  so 
to  speak — your  mind  seems  to  harbor  a  sense  of  humor  which  is 
much  deeper  and  much  more  acute  than  when  you  are  not 
feeling  at  your  best.  Then  your  laughter  threshold  is  low.  And 
that  is  as  it  should  be. 

A  low  laughter  threshold — readily  and  easily  roused  laughter 
— denotes  health. 

The  psychological  side 
of  you,  you  see,  is  af- 
fected by  the  bodily,  the 
physiological  side. 

When  you  are  well  you 
do  not  take  the  world  too 
seriously. 

You  get  a  proper  per- 
spective on  life.  You  see 
through  the  follies  of  the 
day  and  the  foibles  and 
eccentricities  of  your 
neighbors. 

Life,  after  all,  is  con- 
flict and  adjustment  to 
that  conflict. 
[  cont'd  on  page  126] 


You  like  to  see  others 
lose  their  dignity  and, 
unconsciously,  make 
fools  of  themselves.  On 
the  screen,  as  in  real 
life,  you  laugh  at  peo- 
ple who  take  them- 
selves too  seriously. 
Hence,  the  success  of 
Buster     Keaton 


35 


laying  With 

Most  of  us  think  of  dynamite  with 

terror,  yet  it  has  been  made  the 

star  of  many  photoplays 


Illustrating  Slim  iloftnian's  delicate  art  of  making  dynamite  do 
tricks.    This  shot  was  set  to  explode  straight  up  into  the  air.    It 
did  just  that,  to  the  great  relief  of  the  players  shown  in  the  fore- 
ground of  the  picture 


IN  quickly  following  waves  of  sound  comes  the  crash  and 
slam  of  great  guns — the  wail  of  shells;  their  stunning 
shatter  of  destiny,  and  a  numb  earth  throbbing  to  that 
most  fearful  of  horrors,  battle. 
Above  the  twirling  smoke  is  a  sky  set  with  brilliants.  Through 
this  sparkling  sea  sails  the  moon.  Coldly  she  looks  down  upon 
the  carnage  made  by  man — one  man,  who,  hovering  over  his 
murderous  switchboard,  plays  a  rhapsody  of  hate.  A  lull  beats 
in  on  splitting  eardrums.  One  strains  in  an  agony  of  suspense, 
fearing  to  hear  the  moans  of  the  injured  and  dying.  But  the 
drumming  silence  merely  accentuates  the  grinding  click  of 
cameras,  and  the  excited  yelps  of  the  studio  technical  staff  con- 
gratulating Walter  ("Slim")  Hoffman. 

The  Tales  of  Hoffman  date  back   to   the  San   Francisco 
'quake,  where,  with  powder  and  fuse,  he  fearlessly  marched 

36 


into  the  hungry  maw  of  the  fire  dragon. 
Aglamour  of  flaming  audacity  encompas- 
ses this  man ,  and  his  verbal  burning  of  t  he 
celluloid  kings  and  queens  has  long  been 
Holhwood  legend. 

Famous  stars  and  directors  know 
Slim  to  be  a  tough  //ombre.  He  has  the 
disturbing  habit  of  speaking  his  inner- 
most thoughts  aloud.  His  caustic 
mouth  is  constantly  spitting  forth  words 
that  make  celebrities  feel  utterly  use- 
less. And  the}'  don't  like  it.  Publicity 
men  fear  him;  he  makes  fun  of  their 
calling.  As  a  consequence  the  world 
outside  had  never  heard  of  him.  Nor 
do  writers  hanker  to  transform  his 
vitriolic  Captain  Flagg  speech  into  the 
pretty  phrasing  necessary  to  make  mag- 
azine material.  One  might  just  as 
foolishly  call  Jack  Dempsey  a  movie 
star  to  his  face.  Either  method  would 
win  that  particular  writer  a  sock  on 
the  jaw. 


BI 
I 


UT  to  me  Slim  Hoffman  is  a  soft- 
boiled    hero,    whose    roar    is    solely 
adopted  to  protect  film  folk  from  the 
concussive  lash  of  his  murderous  little 
pet — dynamite. 

Henry  Walthall  always  has  a  good 
word  for  him.  And  Slim  claims  that 
Henry  is  the  bravest  of  all  the  old- 
timers. 

"In  an  old  picture,"   relates  Slim, 
"it  was  my  job  to  throw  an  entire  dirt 
trench  upon  W'althall.    We  figured  that 
twelve  feet  of  dirt  would  surely  cover 
him.     'Can  you  do  it?'  WalthaU  asked. 
'Easy,'  I  replied,  cold  chills  running  up 
and   down   my   spine.      'Then   shoot!' 
The  shot  went  off.     It  took  ten  men 
exactly   six   minutes    to   dig   down    to 
where  Walthall  lay  buried.     He  was  a 
little  white  around  the  gills,  and  quite  short  of  breath,  nat- 
urally, but  his  'Great  work,  Slim!'  was  worth  more  to  me 
than  the  magnificent  thrills  the  rushes  showed  next  day. 

"Gloria  Swanson,  too,  is  a  gamester  who  doesn't  know 
fear.  No  doubles  for  that  little  woman.  Why,  that  gal  would 
wholeheartedly  eat  a  dozen  sticks  of  dynamite  to  make  an 
explosive  sequence  more  realistic.  But  the  new  crop  of  stars 
haven't  the  guts  of  the  screen  veterans;  never  will  have.  They're 

yellow,  plumb  through,  and " 

Whoa,  old  typewriter!  You're  stealing  Slim's  patois  and 
personality.  The  situation  demands  diplomacy,  a  word  that 
Slim  believes  to  mean  "bunk."  For  our  hero  is  an  old-timer 
who  still  thinks  of  the  motion  picture  industry  as  wearing 
diapers.  Slim  isn't  to  be  blamed,  perhaps,  because  he  was 
earning  $25  a  week  when  Bill  Hart  was  only  getting  S20. . 


T)ynamite 


By 

Fred  Gilman 

Jopp 


Today  everything  is  done  by  electric- 
ity. A  studio's  explosive  expert  can 
destroy  a  whole  building  simultane- 
ously or  any  portion  of  it,  or  time  the 
explosions  to  go  off  consecutively.  In 
this  way  absolute  efficiency  and  safety 
is  assured,  and  as  long  as  the  powder 
is  of  a  certain  chemical  quality,  they 
can  be  sure  of  a  definite  mechanical 
effect. 

WHAT  Slim  means,  rather,  is  that 
the  greatest  difficulty  is  with  the 
human  players. 

Powder  will  do  as  he  commands;  but 
the  players — sometimes,  which  results 
in  many  explosions  of  grief  and  tem- 
perament. 

For  picture  folk — even  as  you  and 
I — have  difficulty  in  mastering  the 
psychology  of  fear. 

Anyone  at  all  can  walk  along  a  plank 
placed  upon  the  ground,  but  set  that 
plank  on  the  roof-edge  of  a  tall  build- 
ing, and  reason  must  be  brought  to 
bear  upon  an  age-old  instinct  that 
doubts  the  ability  to  do  simple  things. 

Slim,  however,  has  quit  wasting  his 
time  explaining  why  an  explosion  will 
only  affect  a  certain  area,  that  physi- 
cally it  can  harm  nothing  outside  of 
that  area.  But  explanations  do  not 
help  the  player  who  is  afraid.  In  such 
cases,  though  very  seldom  nowadays, 
he  and  the  director  will  get  around 


p^ 


•«•« 


IMM:'.  \ 


Slim  Hoffman  picks  his  teeth  with  a  dynamite  cap, 
by  way  of  discouraging  any  social  climbers  who  are 
inclined  to  be  friendly.  His  conversation  is  as 
high-powered  and  destructive  as  the  dynamite  he 
uses.     Ask  the  stars  who  have  worked  with  him! 


The  Napoleon  of  these  movie  battles  is  the  man  at 
the  switchboard.  Here  is  Harry  Redmond  playing  a 
Rhapsody  in  Red  for  "The  Patent  Leather  Kid," 
First  National's  special.  Richard  Barthelmess  and 
Al  Santell  are  taking  a  few  lessons  on  this  organ  of 
destruction.    It  can  play  some  mean  tunes 


this  human  difficulty  by  keeping  the  explosion  a  secret. 
Which  results  in  some  very  fine  emotional  acting  that 
ends  by  giving  Slim  another  victim  to  devil. 

When  such  a  picture  is  previewed  the  critics  use  up  a  lot 
of  $4  words  to  praise  the  very  excellent  portrayal  of  sur- 
prise and  fear.  But  does  the  player  thus  honored  apprise 
the  learned  gentlemen  of  the  drama  departments  as  to 
how  a  dirty  studio  trick  scared  his  emotions  into  celluloid? 
He  does  not! 

Perhaps  he  figures  that  the  wear  and  tear  upon  his 
nerves  is  worth  what  little  he  receives  in  the  way  of  com- 
plimentary notices. 

A  little  while  ago  a  certain  explosive  scene  won  wide 
acclaim.  The  sequence  was  this:  The  player  was  to  back 
down  a  shell  hole  before  the  merciless  patter  of  machine- 
gun  bullets,  and  a  shell  was  to  be  dropped  into  the  hole 
to  run  him  out  again. 

Three  times  the  scene  had  been  unsatisfactorily  re- 
hearsed, minus  the  explosion,  for  Slim  had  spent  a  whole 
day  setting  up  the  "business"  designed  for  this  thrilling 

37 


How  the  powder  and  fuse  men  do  their  stuff 


shot.  And  now  the  sinking  sun  was  fast  turning  yellow;  they 
simply  had  to  shoot  or  call  it  a  day.  There  was  a  look  ot 
despair  on  the  director's  face. 

"I'm  passing  the  buck  to  you,  Slim,"  he  said.  'Ready  .  .  . 
Cameras!" 

Lazybones  stepped  into  the  same  lax  performance  as  betore, 
not  bothering  to  take  into  account  the  new  element  that  had 
entered  the  situation.  Cocking  a  scientific  eye  that  figured 
in  fractions  of  inches.  Slim  watched  the  turtle-like  progress  of 
the  scene  to  where  the  player  backed  down  into  the  shell 
hole,  then  delicately  his  index  finger  descended. 

Wham!  Old  Dynamite  was  co-operating  with  her  master. 
She  let  go  with  a  roar,  the  concussion  so  fanning  Lazybones' 
sitdown  as  literally  to  blow  him  out  of  that  hole. 


In  trick  pictures  you  have  seen  comedians  running  upon 
thin  air.  Well,  Lazybones  did  that  little  thing  without  the 
aid  of  the  customary  wires,  and  the  director  was  tickled  pink. 
Plaudits,  then,  for  SHm's  explosive  technique;  there  wasn't 
even  one  single  tiny  tear  in  Lazybones'  trousers,  although  a 
high  polish  had  miraculously  appeared  on  their  seat.  Incident- 
ally, this  player's  respect  for  movie  wars  has  considerably  in- 
creased. 

D.\NGEROUS  business,  eh?     Maybe  so.     But  how  do  you 
account  for  the  flyer  that  was  run  over  while  jay-walking; 
the  lion  tamer  who  died  from  a  pet  kitten's  scratch,  and  the 
steeplejack  that  fell  downstairs  and  broke  his  neck?    Each  of 
these  were  professionals  in  their  particular  line.      So  is  Slim, 
who,  after  thirty-five  years  spent 
with  explosives,  has  yet  to  cause 
his  first  casualty.      Which  proves 
him  to  be  a  miracle  man. 

Give  him  your  finest  antique  and 
he  will  set  it  all  ablaze — let  it  burn 
for  awhile,  then  extinguish  the  fire 
and  bet  you  any  amount  that  you 
cannot  trace  one  single  effect  of 
the  flames.  This  goes  for  the  most 
delicate  of  wall  papers,  too. 

To  view  a  flaming  room  upon 
the  screen  would  prompt  you  to 
exclaim  that  the  whole  works 
wasn't  worth  a  lead  nickel,  and  yet 
not  even  a  bit  of  tapestry  was 
scorched,  nor  the  polish  burned 
from  the  furniture.  But  there's  a 
catch  in  the  process  of  course.  The 
chemical  which  Slim  has  concocted 
will  flame  just  so  long  without 
burning.  A  second  longer  and 
everything  is  ruined.  Consequent- 
ly, this  kind  of  camera  shooting 
demands  split-second  co-operation 
and   timing. 

Picking  one's  teeth  with  a  dyna- 
mite cap  is  never  considered  good 
form  in  [  continued  on  page  96  ] 


A  "throw-over"  shot  in  which  dynamite 
pitches  dirt  over  the  player.  It  takes 
nerve  to  play  the  goat  in  a  scene  of  this 
kind.  But  Slim  always  brings  his  victim 
through  in  one  piece.  It's  easy  to  play  an 
emotional    scene,     aided     by     dynamite 


A  section  of  the  five-mile  area  made  into  a 
second  St.  Mihiel  for  Paramount's  "Wings." 
Notice  the  lines  of  trenches  and  the  shell 
holes.  One  of  the  biggest  problems  in 
scenes  of  this  kind  is  to  keep  spectators 
away  from  the  explosives.  High  explosives 
will  do  as  they  are  told,  but  you  cannot 
control  human  curiosity.  When  players 
are  in  such  scenes,  it  takes  expert  timing 
to  save  them  from  danger 


38 


Sadder 


But 


By 

Lois  Shirley 


"  "Ik      "T"0  American  woman 
1^^  I  can    live   in    India. 
I     ^U  To  her  it  must  be- 
come the  land  of 
heartbreaks!" 

Mary  MacLaren,  for  years 
one  of  the  well-known  Holly- 
wood stars,  and  now  back  from 
the  Far  East  to  begin  over 
again,  spoke  with  a  note  of  de- 
fiance as  she  made  this  an- 
nouncement on  the  day  of  her 
return  to  the  Motion  Picture 
City,  after  fifteen  months  in  a 
foreign  country  nearly  nine 
thousand  miles  from  home. 

Reluctantly  and  quite  sadly 
she  admitted  that  India's  im- 
penetrable jungles  had  swal- 
lowed her  love  in  their  murky 
depths,  and  that  she  had  re- 
turned to  America  to  divorce 
her  husband,  Colonel  G.  H. 
Young,  L.  B.  E.,  and  to  start 
anew  the  cinema  career  she 
abandoned  when  romance 
beckoned  and  when  the  land  of 
the  Punjabis  lured  her  with  its 
spicy  incense  smells. 

"  I  finished  '  The  Three  Mus- 
keteers' with  Douglas  Fair- 
banks one  afternoon  and  mar- 
ried Colonel  Young  the  next 
morning.  It  was  the  call  of 
mystical  India,  the  spell  of  the 
unknown,  as  much  as  respect 
for  the  man,  which  determined 
me,"  she  acknowledged. 

"What  a  fool  I  was!  What 
a  fool  is  any  American  woman, 
whether  she  is  marrying  the 

wealthiest  Rajah  or  the  most  noted  English  army  officer,  to 
think  she  can  live  in  that  country. 

"The  train  trip  from  Bombay  to  Jullunder  was  my  first 
intimation  that  the  beautiful  pen  pictures  of  this  mysterious 
country  were  written  for  those  who  sail  into  the  Bay  of  Bom- 
bay, explore  the  country  with  the  eye  of  a  tourist,  and  pass  to 
other  lands  for  investigation.  They  were  not  created  for  a 
white  woman  who  has  made  herself  an  Indian  bed  and  feels 
forced  to  lie  on  it. 

"The  train  was  built  for  existence — not  comfort.  All  you  do 
is  lie  in  your  berth,  dip  your  hand  into  the  pail  of  ice  at  your 
side  and  rub  your  head  with  it.  Your  only  diversion  is  to  watch 
the  'sweepers'  get  on  at  each  station,  scoop  off  the  inches  of 
dirt,  cinders  and  ashes — and  smell  the  dust  as  they  do  it. 

"  A  ND  when  we  reached  our  destination,  the  army  headquar- 
^iVters,  conditions  were  worse,  rather  than  better.  Do  you 
know  we  never  used  anything  but  coal  oil  lamps  all  the  time  I 
was  in  that  country?  You  take  your  bath  in  a  zinc  tub,  the 
native  'sweeper'  carrying  the  water.  As  for  toilets — such  a 
convenience  is  unknown. 

"There  were  twenty-four  married  couples  in  the  place — but 
not  a  restaurant,  not  a  movie — nothing! 

"And  I  was  the  wife  of  a  colonel.     The  captains'  wives  could 


Wi 


The  beautiful  Mary, 
praise  Allah,  is  back  in 
Hollywood.  She  gave 
up  her  film  career  to  go 
to  India  as  the  wife  of 
an  English  colonel.  Life 
there,  she  says,  is  worse 
than  death 


iser 


Mary 
MacLaren's 
romance  in 

India 
became  a 

living 
nightmare 


gossip  together,  chat  over 
petty  problems.  But  I  could 
not  take  sides,  could  not  join 
in  their  small  conversation.  I 
must  go  in  first  to  dinner — 
leave  first  from  a  party,  according  to 
the  dignity  of  my  position. 
"What  sticklers  they  were  for  conventions! 
"  .-\nd  always  with  death  stalking  beside  you. 
India  is  insidious — a  snare  waiting,  always  wait- 
ing, to  entrap  and  destroy  you. 
"Take  the  mad  dogs.  They  are  as  plentiful  as 
flies  on  the  screen-doors  of  a  Wisconsin  dairy  in  mid- 
summer. 'Pariah'  dogs,  they  call  them.  Nobody 
feeds  them;  nobody  gives  them  water.  They  are 
covered  with  putrid  festers  and  hideous  marks  of 
mutilation.  They  go  mad.  They  are  taken  for  granted 
as  a  natural  part  of  that  country.  You  may  be  sitting 
in  your  garden,  reading,  when  a  mad  dog  leaps  in, 
bringing  certain  death  with  him. 
"  And  the  '  Creepy  Crawlies' !  My  husband  had  told  me  not  to 
worry — that  I  would  never  see  them.  The  problem  is  to  be  on 
your  guard  that  you  may  make  certain  you  do  see  them.  I 
had  been  there  two  weeks  when  I  chanced  to  notice — just  in 
time — an  eight-inch  centipede  on  the  wall  which  I  was  passing. 
The  beds  are  all  placed  in  the  middle  of  the  room  to  prevent 
scorpions  and  poisonous  bugs  from  crawling,  unheralded,  upon 


"npHE   snakes  of   India  are  not  imaginary  terrors  of   the 

JL  writers'  imaginations.  They  are  a  daily  peril  as  deadly  as 
the 'Creepy  Crawlies'.  Krite  and  cobras — ugh!  One  day  one  of 
our  servants  was  killed  by  a  cobra  while  doing  his  daily  labors, 
inside  the  house — not  outside — mind  you.  It  may  take  six 
minutes  for  such  a  bite  to  kill  you.  Six  hours  is  the  limit.  My 
God,  the  agony  of  it! 

"The  walls  of  the  bungalow  are  three  feet  thick.  An  attempt 
to  keep  the  heat  from  penetrating  to  you.  If  you  wish  to 
drive  a  nail  and  hang  a  picture  on  the  wall,  you  can  hear,  al- 
ways, that  terrible,  treacherous  crunching.  It's  the  white  ants, 
disturbed  in  their  recesses.  The  wall-interiors  are  honey- 
combed with  them.  And  if  they  get  out —  In  one  hour  the  pic- 
ture is  gone — completely  eaten — with  the  exception  of  the  glass 
which  lies  on  the  iioor — shattered. 

"Of  course,  you  dare  not  go  out  of  your  house  from  eight- 
thirty  until  five-thirty.  The  heat  would  absorb  you.  Even  the 
natives  must  wear  their  topees  as  sunstroke  protections. 

"Todrink  water  that  hasn't  been  [  continued  on  p.age  117  ] 

-  39 


isinformation 


By 
Ruth  Biery 


THE  California  sun  scorched  down  upon  the  actors  and 
actresses  working  on  ''  Nice  People"  at  the  Lasky  Ranch 
on  Ventura  boulevard.  It  seared  through  their  make- 
up, blazed  mercilessly  upon  their  uncovered  heads. 

Bebe  Daniels  and  Conrad  Nagel,  the  stars  of  the  production, 
stood  to  one  side,  waiting  for  the  call  to  enter  the  picture. 

"Come,  let's  sit  in  the  car.  At  least  that's  in  the  shade," 
Bebe  spoke  to  her  iilm-partner. 

The  chauffeur  jumped  to  open  the  door,  then  climbed  back 
behind  the  wheel. 

And  a  week  later  rumor  reached  Hollywood  that  Bebe 
Daniels  and  Conrad  Nagel  had  had  a  violent  "affair"  while  on 
location! 

Not  that  anyone  who  knew  the  pair  believed  it.  Not  that 
Mrs.  Nagel  paid  the  least  attention.  But  those  who  did  not 
know  them — those  who  could  not  know  that  they  had  driven 
to  location  each  morning  in  separate  conveyances — did  not 
know  that  the  chauffeur  sat  at  the  wheel  during  this  one  "lone" 
conversation  when  Conrad  told  Bebe  about  his  baby.  And  so 
Conrad  Nagel's  name  was  added  to  the  long  list  of  admirers 
whom  gossip  has  catalogued  for  ^liss  Daniels. 

All  because  Hollywood  is  the  home  of  JNIisinformation. 

No  place  in  the  world  do  rumors  charge  about  with  such 
electrical  swiftness  and  power  as  in  the  motion  picture  city. 

In  any  other  town  such  groundless  reports  would  be  laid  at 
the  door  of  Idle  Gossip.  "They  say  that  INIrs.  White  went  to 
the  theater  with  Mr.  Jones  while  Mr.  White  was  in  the  hospital" 
would  make  spicy  conversation  for  the  bridge  table,  but  would 
cause  no  serious  damage 
because  "they  say"  means 
gossip. 

In  Hollywood  there  is 
no  such  preface  as  "they 
say."  That  which  would 
be  gossip  in  any  other  city 
becomes  fact  in  this  city. 
Not  only  fact  in  the  tell- 
ing, but  in  eight  cases  out 
of  ten,  facts  which  are 
printed  throughout  the 
world  as  truth  about  the 
motion  picture  people. 

Now,  this  is  in  no  way  a 
treatise  upon  the  morals  of 
Hollywood  or  an  attempt 
to  whitewash  the  reputa- 
tion of  the  people  who  live 
in  it.  Just  as  there  is  good 
and  evil  in  Chicago,  Den- 
ver or  Oshkosh,  so  is  there 
good  and  bad  in  the  capital 


of  the  Film  Industn.-.  But  certainly  nowhere 
else  in  the  world  is  INIisinpormation  consist- 
ently and  persistently  given  out  as  Informa- 
tion as  it  is  in  this  city. 

A  few  weeks  ago  a  man  was  found  in  the 
mountains  of  Beverly  Hills  in  a  mutilated  con- 
dition.    Within  twelve  hours  it  was  all  over 
-AjcOTfe^!^-  Hollywood  that  a  w-ell-known  film  actor,  sup- 

posed to  be  paying  attention  to  the  wife  of  a 
famous   producer,    had   been   found   in    this 
condition  and  that  the  producer  had  taken  his 
revenge  through  this  dastardly  act.     People 
flocked  into  Photoplay  ofiice  to  tell  us  about  it.    Others  flocked 
to  the  newspapers  where  "dirt  reporters"  were  sent  out  to  dig 
up  the  information. 

And  if  the  actor  in  question  had  not  just  happened  to  play 
tennis  the  ne.\t  morning  and  if  the  producer  hadn't  just  hap- 
pened to  be  supervising  a  production  the  afternoon  the  man 
was  discovered,  although  no  proof  had  been  found  to  sub- 
stantiate the  story,  it  would  undoubtedly  have  been  printed. 
As  it  is,  a  day  never  goes  by,  for  this  is  a  recent  occurrence, 
that  somebody  doesn't  manage  to  whisper  that  this  thing  realh- 
did  happen  but  was  hushed  up  because  of  the  power  of  the 
people  mentioned. 

NO  one  escapes  the  maligning  voice  of  Misinformation.  Mary 
Pickford  and  Douglas  Fairbanks  are  probably  one  of  the 
happiest  couples  in  any  city.  Yet  there  are  three  reports  which 
recur  in  cycles,  }-ear  in  and  year  out, — printed  and  reprinted. 

1.  Mary  Pickford  is  dead. 

2.  Mary  and  Doug  are  about  to  be  separated. 

3.  Marj'  Pickford  is  about  to  become  a  mother. 

Year  in  and  year  out  printed  deiiials  have  been  issued— not 
only  through  the  local  newspapers  but  through  the  National 
and  International  News  Associations.  For,  of  course,  any 
statement  made  in  Hollywood  is  out  in  twelve  hours  in  Chicago 
and  in  forty-eight  hours  has  crossed  the  ocean. 

A  short  time  ago  Mary  and  Doug  decided  to  add  a  wing  to 
Pickfair.    A  reporter  telephoned  them. 

"I  understand  Mr.  and  ^Irs.  Fairbanks  are  going  to  sell  their 
home?" 

••  It  was  for  sale,''  a  rep- 
resentative answered,  "but 
it  isn't  now.  They  are 
building  a  new  wing." 

"Oh,  they're  building  a 
wing?    And  is  that  to  be 
Miss  Pickford's  wing?'" 
"It  maybe." 
"Oh,  Isee— " 
Out  went  the  rumor  that 
Miss  Pickford  was  adding 
a  wing  for  her  own  con- 
venience where  she  could 
remain  away  from  the  rest 
of  her  family. 

The  Fairbanks  paid 
no  attention  until  five 
newspaper  reporters  from 
one  paper  arrived  ettsemble 
to  interview  Mr.  Fair- 
banks on  the  matter. 
Now,  it  is  well  known 


T_JERE  are  some  wild  tales  about  the 
■■"  ■*■  stars  that  have  been  circulated  as 
"absolute  facts": 

Gloria  Swanson  died  in  France  and  the 
present  Gloria  is  a  clever  impostor. 

Mary  Pickford  is  dead. 

Mary  and  Doug  have  separated. 

Mary  is  about  to  become  a  mother. 

Colleen  Moore  and  John  McCormick 
have  separated. 

John  Gilbert  is  mean  to  his  father. 

Emil  Jannings  is  afraid  of  the  ocean. 

All  a  lot  of  applesauce ! 


40 


How  many  of  these  weird  untruths  have  you 
heard  and  believed? 


Gloria  Swanson  has 
been  mercilessly  ma- 
ligned. "They  say" 
Gloria  is  dead.  "They 
say"  she  is  high-hat. 
"They  say"  almost 
everything  abou  t  Gloria 
but    the    simple  truth 


Greta  Garbo's  reticence 
started  a  thousand 
rumors.  Greta  was 
temperamental.  Greta 
was  even  worse.  All 
sorts  of  slanders  were 
passed  around  as  the 
Gospel  Truth 


If  Clara  Bow  is  seen 
twice  with  the  same 
man,  it  is  a  love  affair. 
Three  times  means  an 
engagement.  Because 
she  is  young  and  lively, 
Clara  is  a  target  for  the 
gossips 


Bebe  Daniels  and  Con- 
rad Nagel  sought  shel- 
ter from  the  hot  sun 
in  Bebe's  automobile 
on  location.  That  harm- 
less incidentadded  Con- 
rad to  Bebe's  list  of 
admirers 


to  Douglas  Fairbanks'  friends  that  his  home  life  and  personal 
affairs  are  sacred  to  him.  He  will  not  discuss  them.  But  this 
time,  because  of  the  persistency  of  the  report,  he  was  persuaded 
to  see  these  men.  He  seated  them,  one  beside  the  other,  on  a 
long  couch,  then  pressed  a  button.  The  five  jumped  into  the 
air.  The  couch  had  been  connected  with  a  faint  electrical 
current. 

When  the  laughter  died  down,  Mr.  Fairbanks  stated  simply, 
"These  rumors  are  silly.  I  have  no  idea  how  they  started. 
But  they  are  so  absurd  that  I  do  not  care  even  to  discuss  them. " 
Which  settled  the  separation  tale  for  that  cycle. 

WHILE  Mary  Pickford  was  making  "My  Best  Girl"  and 
Douglas  Fairbanks  was  working  on  "  The  Gaucho, "  twin 
rumors  started.  Mary  was  in  love  with  Charles  (Buddy)  Rogers, 
her  new  leading  man,  and  Doug  was  infatuated  with  Lupe 
Velez,  his  new  leading  woman.  The  fact  of  the  case  was  that 
Miss  Velez  was  interested  in  another  man  working  on  the  same 
picture  and  Miss  Pickford  was  frankly  and  openly  practising 
the  beautiful  love  scenes  you  saw  on  the  screen,  on  the  sets  of 
the  production.  Most  of  the  time  her  husband  was  present 
advising  the  two  about  them.  But  the  picture-hangers-on  who 
witnessed  the  rehearsals,  told  the  story,  which  we  know  definitely 
went  as  far  as  Chicago. 

Several  years  ago  JNIr.  Fairbanks  put  Evelyn  Brent  under 
contract  and  brought  her  to  Hollywood  to  make  a  picture. 
Then  he  decided  to  make  an  entirely  dift'erent  production,  into 
which  Jiliss  Brent's  black  locks  and  general  appearance  could 
not  be  fitted.  When  another  leading  lady  was  substituted  the 
newspapers  declared  that  INIary  Pickford  would  not  allow  Eve- 
lyn Brent  to  play  because  she  was  jealous  of  the  young  lady. 
And  for  one  year,  thereafter.  Miss  Brent  would  not  even  talk  to 
a  newspaper  reporter! 

'■  Gloria  Swanson  is  dead.  She  died  in  Paris.  The  person 
now  parading  as  Gloria  is  an  impostor. "  I  thought  that  story 
had  died  down,  but  now  it  has  revived  again.  We  all  heard  it 
when  Gloria  first  returned  with  her  titled  husband  from  Paris. 
I  doubt  if  Gloria  Swanson  were  ever  more  alive  than  she  is  to- 
day, while  hunting  frantically  for  a  story  to  succeed  "Sadie 
Thompson. " 

When  Gloria  did  return  from  Europe  she  was  recovering  from 
a  serious  operation.  She  was  forced  to  go  by  wheel-chair  from 
her  dressing  room  to  the  set;  forced  to  lie  in  it  when  she  wasn't 
needed  in  the  production.    Immediately  the  tale  was  given  out, 


and  believed  to  such  an  e.xtent  that  it  is  still  repeated,  that 
Gloria  had  become  "  high  hat. "  She  wouldn't  walk  twenty  feet — 
and  must  have  a  colored  boy  in  full  livery  to  wheel  her.'  Gloria 
never  bothered  to  deny  the  statements.  "Why  should  I?"  she 
demanded.     "They  want  to  believe  it." 

Which  touches  another  angle  of  this  Misinformation  business. 
People  do  seem  to  want  to  believe  the  worst  about  their  motion 
picture  people.  Just  why,  it  is  difficult  to  understand.  Per- 
haps it  is  because  the  "stars,"  as  we  call  them,  take  the  place 
of  royalty  in  this  country. 

Greta  Garbo  recently  told  me,  "In  my  country  the  papers 
talk  about  the  King  and  Queen  and  the  royalty  and  otherwise 
about  bad  people.  I  do  not  want  to  have  things  printed  about 
me  because  I  am  not  one  of  any  of  these  people. " 

Yet,  because  of  this  very  silence,  Greta  Garbo  has  been 
banned  as  "temperamental,"  "hard  to  handle, "  with  some 
stories  carrying  even  worse  implications.  Not  a  word  of  truth 
in  any  of  them.  Photoplay  is  publishing  her  Life  Story  which 
is  the  exact  truth,  despite  whatever  else  may  have  been  printed. 

Emil  Jannings  had  opportunities  to  come  to  .America  long 
before  he  accepted  the  oft'er.  The  American  newspapers  cred- 
ited the  delay  to  the  fact  that  he  hated  the  ocean  and  would 
not  travel  upon  it.  Yet  Jannings  shipped  as  a  cabin  boy  at 
fifteen  because  of  his  passion  for  sea-going. 

ONE  day  John  McCormick  came  down  with  a  terrible  cold. 
Colleen  Moore,  his  wife,  suggested  that  he  go  to  the  .'Athletic 
club  and  take  a  Turkish  bath.  Because  she  feared  he  might 
catch  more  cold  coming  from  the  steam  room  into  the  open  air, 
she  suggested  that  he  remain  at  the  club  overnight.  The  ne.xt 
morning  seven  reporters  telephoned  Miss  Moore  to  say,  "  I  un- 
derstand you  and  Mr.  JNIcCormick  have  separated.  We  know 
that  he  has  moved  to  the  .Athletic  club  while  you  remain  in  the 
home." 

Undoubtedly,  Mr.  and  Mrs.  McCormick  are  human  and  have 
misunderstandings  the  same  as  Mr.  and  Mrs.  Sam  Smith.  But 
if  Mr.  Sam  Smith  wanted  to  take  a  Turkish  bath,  I  am  certain 
that  the  world  would  not  rise  up  and  howl  that  there  had  been 
a  permanent  separation. 

Dick  Barthelmess  went  to  Florida  to  spend  a  hohday  with 
Major  Warburton.  The  New  York  papers  immediately  printed 
that  he  had  gone  to  meet  the  Countess  Salm.  A  very  dangerous 
statement,  as  the  Countess  was  still  married  to  the  Count  and 
Barthelmess  to  Mary  Hay.    The  [  continued  on  p.-vge  139] 


The   Archduke  Leopold  of  Austria  is  the  grand-nephew  of 
Emperor  Franz  Josef.    The  Archduke  lived  in  Hollywood  and 
worked  as  an  extra  in  several  films,  gaining  unusual  insight 
into  film  conditions 


MOTION  PICTURES  AS  A  POLITICAL 
POWER 

BECAUSE  motion  pictures  have  penetrated  to  all  nations, 
they  have  caught  the  attention  of  persons  from  the  high- 
est to  the  lowest  classes,  for  a  diversity  of  reasons. 
^Millions  follow  motion  pictures  and  their  progress,  be- 
cause they  are  a  convenient,  inexpensive  form  of  entertainment. 
Actors  of  all  types  are  interested  in  the  development  of  motion 
pictures  because  they  are  a  better  medium  of  making  money 
than  the  stage.  High  financiers  the  world  over  look  to  the 
films  as  a  new  and  profitable  field  for  their  investments. 

In  face  of  this  great  and  varied  interest,  it  is  remarkable  that 
the  governments  of  the  different  countries  pay  so  little  attention 
to  motion  pictures.  There  is  only  one  exception — Soviet 
Russia.  I  say  it  is  remarkable  because  no  newspaper,  no 
broadcasting  system,  no  other  medium,  gives  the  government 
such  a  powerful  instrument  for  propaganda  as  does  the  motion 
picture. 

First:  Consider  the  tremendous  influence  of  the  film  on  the 
spectator.  What  you  see  is  always  more  vivid  than  what  you 
hear  or  what  you  read. 

Second:  The  same  moving  pictures  go  to  all  nations,  to  all 
political  and  social  circles. 

Let  us  suppose  it  would  be  possible  for  a  poweurful  govern- 
ment or  film  producer  to  flood  the  market  with  pictures 
glorifying  a  certain  political  ideal.  In  a  few  months,  hundreds 
of  thousands  of  persons  would  embrace  this  social  faith;  they 
would  admire  what  the  producer  wanted  them  to  admire;  they 
would  condemn  what  he  wanted  them  to  condemn. 


gketches 


By 

His  Imperial  Highness^ 

Archduke  Leopold 
of  Austria 


There  is  dormant  danger  in  such  a  power,  even 
when,  as  at  present,  it  is  only  ruled  by  motives  of 
business.  Unregulated  powers  of  any  kind  are 
always  potentially  dangerous  to  the  community. 

Motion  pictures  already  have  fought  and  won 
one  great  battle.  This  victory  has  been  sensed, 
rather  than  recognized. 

Before  the  advent  of  the  movie,  the  working 
classes  of  Europe  had  very  little  idea  of  life  in 
the  higher  circles  of  society.  The  poor  man 
bothered  very  little  about  the  lives  of  the  wealthy 
and  of  the  aristocratic.  What  information  he 
had,  he  gleaned  directly  from  books  and  news- 
papers and  he  learned,  correctly  enough,  that 
even  the  rich  and  aristocratic  must  work  before 
they  can  enjoy  pleasure,  that  play  occupies  only 
a  small  part  of  the  time  of  even  the  richest  man. 

THEN  came  the  motion  picture.  Most  of  the 
pictures  dealt  with  life  in  the  higher  classes  of 
society,  but  the  exhibition  of  this  life  on  the  screen 
was  far  from  truthful.  The  movies  did  not  show 
the  rich  man  at  work — which  would  have  been 
dull  entertainment.  Only  the  pleasures,  luxuries 
and  extravagances  of  the  rich  were  emphasized. 
No  wonder,  after  viewing  these  distorted 
pictures  of  the  life  of  the  rich,  the  poor  man 
was  seized  with  the  spirit  of  discontent.  No 
wonder  he  said  to  himself,  "I  didn't  know  how 
these  people  lived.    How  poor  I  am  compared  to  them!" 

It  was  the  misfortune  of  millions  that  the  motion  picture, 
with  its  disquieting  pictures  of  lu.xury,  appeared  just  when  the 
sociaHsts  were  most  active  in  conducting  their  propaganda. 
The  motion  picture  supplied  the  fructifying  rain  to  the  seeds 
planted  in  their  lectures  and  their  newspapers. 

Up  to  date,  the  screen  had  disappointed  the  Utopian  hopes 
of  those  who  believe  that  it  might  be  a  great  factor  in  the  uni- 
fication of  humanity;  who  thought  that  it  might  bring  about 
universal  understanding  between  the  different  nations  and  the 
different  social  circles.  Just  the  reverse  has  happened;  the 
motion  picture  has  merely  strengthened  the  contrasts.  By 
presenting  so  vividly  the  contrasts  between  castes  and  nations, 
the  crude  and  uncontrolled  force  of  the  motion  picture  won 
its  first  victory  and  wrought  its  first  mischief.; 

WHAT  new  blow  will  themotionpicturestrike?  What  pillar 
in  the  social  construction  of  humanity  will  next  be  de- 
stroyed by  the  screen?  It  hovers  over  modern  life  like  a  powerful 
and  grotesque  demon.  It  is  doubtful  if  there  will  ever  be  a 
man  strong  enough  to  banish  it. 

When  you  go  to  Hollywood,  the  world  center  of  the  pro- 
duction of  that  great  political  power,  you  feel  as  though  you 
were  watching  children  playing  with  electric  dynamos.  How 
surprised  they  would  be  if  this  electrical  force  were  to  get 
beyond  their  control  and  do  great  damage!  How  astonished 
they  are  to  learn  that,  because  of  their  toy,  Europe  has  gone 
through  a  tremendous  social  upheaval! 

There  may  be  some  producers  who  are  aware  of  the  tremen- 
dous influence  of  their  product.     But  if  they  are,  they  are 


m 


from  f^ollywood 

Some  impressions,  political  and 
personal,  of  a  visiting  Habsburg 


indifferent  about  it;  they  don't  want  to  recognize  it.  Because 
they  are  making  money,  they  only  care  to  look  at  the  movies 
from  a  business  angle. 

Most  of  the  workers  in  the  studios  do  not  understand  that 
the  screen  is  a  great  political  power.  This  seems  incompre- 
hensible, until  one  discovers  that  ninety  per  cent  of  the  positions 
in  Holh'wood  can  be  filled  by  men  with  only  slight  education. 

THE  titles  of  their  positions  are  imposing  and  high-sounding; 
but  if  you  reduce  these  titles  to  the  terms  used  in  other  in- 
dustries, you  find  how  meaningless  they  are.  For  instance,  the 
first,  second  and  third  director's  assistants,  in  other  lines  of 
activities,  would  merely  be  called  inspectors.  The  studio 
architects  are,  usually,  only  draughtsmen. 

If  the  people  who  work  behind  the  camera  do  not  need  very 
much  education,  the  same  applies  to  the  actors  and  the  extras, 
as  a  rule.  In  this  respect,  there  is  a  big  difference  between  the 
stage  actors  and  the  screen  actors.  A  long  time  ago,  Eric  von 
Stroheim  proved  that  anyone  who  takes  a  good  picture  can  be 
a  movie  actor.  And  today,  many  Hollywood  directors  believe 
that  new,  unexperienced  players  do  their  best  work  in  their 
first  picture. 

So  it  isn't  surprising  that  in  Hollywood  one  meets  a  collection 
of  very  uninteresting  people;  unskilled  working  men,  jobless 
officers,  elevator  boys  with  wonderful  faces,  people  who  have 
been  shipwrecked  in  other  professions. 

All  of  them  have  one  thing  in  common.  They  like  high- 
sounding  titles  to  give  importance  to  their  duties;  they  brag, 
and  they  consider  hard-working  people,  with  lots  of  experience, 
far  beneath  them.  Because  Hollywood  is  filled  with  thousands 
of  these  unskilled  workers,  it  is  not  only  a  center  of  film  pro- 
duction but  also  a  center  of  human  stupidity  and  fourfluslung. 

THE  HANDSOME  MAN 

How  handsome  he  is!  He  is  beautifully  built,  he  has  a 
beautiful  face,  he  has  beautiful 
teeth.  Beautiful  eyes,  ears, 
hands,  legs  and  toes.  Of  course, 
most  of  his  time  is  spent  taking 
care  of  his  body.  Baths,  mas- 
sage, hair  treatments.  Very  late 
in  the  morning,  you  see  him,  con- 
scious of  his  beauty,  walking  on 
the  Boulevard  and  accepting  the 
homage  of  the  girls. 

WHEN  he  has  money,  he 
eats  only  in  the  best  res- 
taurants. He  uses  his  knife  and 
fork  elegantly.  And  he  is  upset 
if  the  girls  do  not  point  him  out. 
In  the  evening  you  will  find 
him  at  parties  or  in  the  dance 
places.  Of  course,  he  is  a  re- 
markable dancer.  It  is  perfectly 
impossible  for  him  to  understand 
why  all  women  aren't  in  love 
with  him.  You  very  seldom  see 
him  speaking  seriously  with  men. 
He  knows,  by  sad  experience,  that 
he  sometimes  makes  small  mis- 
takes. He  says,  for  instance, 
that  the  opera  "Tosca"  was 
written  by  Leonardo  da  Vinci; 


T^ID  motion  pictures  contribute  to  the 
•*-^overthrow  of  the  old  monarchies  of 
Europe?  Here  is  what  the  Archduke 
Leopold  has  to  say;  "Before  the  advent 
of  the  movie,  the  working  classes  of 
Europe  had  very  little  idea  of  life  in  the 
higher  circles  of  society.  Then  came 
the  motion  picture.  Most  of  the  pic- 
tures dealt  with  life  in  the  higher  classes 
of  society,  but  the  exhibition  of  this  life 
on  the  screen  was  far  from  truthful. 
Only  the  pleasures,  luxuries  and  extrava- 
gances of  the  rich  were  emphasized. 

"No  wonder,  after  viewing  these  dis- 
torted pictures  of  the  life  of  the  rich,  the 
poor  man  was  seized  with  the  spirit  of 
discontent.  No  wonder  he  said  to  him- 
self, *I  didn't  know  how  these  people 
lived.  How  poor  I  am  compared  to 
them!'" 


he  thinks  Lindbergh  is  a  prize-fighter.    But  one  thing  he  is  sure 
of — that  he  is  handsome. 

THE  OFFICER 

He  lost  his  job  in  one  of  the  European  armies  and  so  he  went 
to  the  one  place  in  the  world  where  he  still  has  a  chance  of 
wearing  his  old  uniform  occasionally — to  Hollywood.  He  still 
has  his  old  military  bearing.  He  still  salutes  on  every  possible 
— or  impossible — occasion.  He  speaks  curtly,  like  a  man 
issuing  a  command.  In  conversation,  he  stands  at  attention. 
Of  course,  he  likes  best  to  play  in  war  pictures.  Give  him  a 
small  formation  of  Hollywood  soldiers  to  command,  and  he  is 
perfectly  happy. 

He  has  one  talent  that  is  distinctly  his  own.  When  you  talk 
to  him,  he  has  the  remarkable  ability  of  turning  any  conversa- 
tion to  the  great  war  in  the  shortest  possible  time.  Even  if  you 
start  to  talk  to  him  about  old  Viennese  porcelain,  you  can't  get 
away  from  the  great  war. 

Before  you  know  it,  he  will  be  telling  you  the  storj'  of  oue 
of  the  great  offensives. 

MY  presence  in  Hollywood  gave  new  fire  to  the  old  feeling. 
Austrian  and  German  officers  questioned  me  with  the 
speed  of  a  machine  gun  about  the  possibilities  of  reconstruct- 
ing the  old  monarchies. 

At  a  farewell  dinner  given  to  me,  one  of  the  Prussian  oflScers 
made  a  short  but  pointed  speech:  "Imperial  Highness!  If 
Your  Highness  goes  back  to  Europe  and  starts  a  revolution, 
Your  Highness  can  count  on  us.  Just  send  us  a  postal  card. 
We  will  join  you  soon ! " 

Hurrah,  Hurrah,  Hurrah! 

THE  MAN  WITH  A  GOOD  WARDROBE 

He  used  to  be  an  extra.  Then  he  inherited  some  money. 
That  money  he  used  to  buy  new  clothes.  Since  then,  he  has 
called  himself  an  actor. 

He  bought  a  complete  sport 
outfit,  full  dress,  bathing  suits, 
riding  pants,  tuxedo,  capes, 
overcoats,  neckties  with  green 
dots,  neckties  with  red  squares, 
neckties  with  green  stripes, 
neckties  with  blue  circles — and 
all  with  stockings  and  handker- 
chiefs to  match. 

With  this  outfit,  he  can  obey 
any  order  of  a  director.  Says 
the  director:  "Come  tomorrow 
with  a  green  sport  suit,  with 
gray  trimmings."  He  is  there. 
"Come  tomorrow  with  a  light 
blue  tennis  coat,  a  necktie  with 
blue  dots  and  red  shoes."  He 
is  there.  "  Come  tomorrow  in  a 
bathing  suit  with  red  and  white 
stripes,  running  up  and  down. " 
He  is  there. 

Of  course,  he  guards  his  ward- 
robe like  a  miser  hoarding  his 
gold  and  nothing  in  the  world 
can  induce  him  to  part  with  a 
bit  of  it.  I,  myself,  heard  the 
following  conversation: 

[  CONTINUED  ON  PAGE  115  ] 

\3 


CjOssip 


m 


e 


The  Winged  Helmet,  introduced  by  Evelyn  Brent. 
And  a  very  good  idea,  too!  It  is  just  a  skull-cap 
covered  with  soft  white  feathers  to  frame  the  face. 
Not  a  hair  is  visible,  but  the  effect  is  almost  that  of 
a  gracefully  arranged  wig 


LITA  GREY  CHAPLIX  annexed  8600,000  on  the  install- 
ment plan  when  she  separated  from  Charlie. 

Now  Lita  is  completing  a  home,  reported  to  cost  her, 
with  the  furnishings,  $200,000.  Seven  baths;  a  ball  room 
50  .X  25  feet ;  the  latest  in  servants'  quarters,  etc.  Which  takes 
care  of  a  third  of  her  money. 

Then,  of  course,  there's  the  upkeep  and  two  cars  and  two 
children.    Oh,  another  third,  easily. 

LITA  and  Roy  D'Arcy,  the  dental  screen  villain,  admit  to  a 
serioui  interest  in  each  other,  their  friends  tell  me. 
One  report  says  they  will  co-star  on  a  vaudeville  tour  this 
fall  at  a  large  joint  salary,  another  that  they  will  marry  and  go 
for  a  tour  to  the  Orient. 

Don't  join  the  marines,  girls.  Marry  Charlie  and  see  the 
world. 

TJOLLYWOOD  joke:    "Why  is  an  extra  like  a  cigarette 
••^lighter?" 

"Because  she  never  knows  when  she  is  going  to  work." 

DOROTHY  SKB.VSTIAN  is  wearing  a  huge  square  cut 
diamond  on  the  fourth  finger  of  her  left  hand.  Seeing  it, 
called  to  mind  that  Director  Clarence  Brown's  divorce  became 
final  on  March  17th. 

".Are  you  going  to  marry  Mr.  Brown?"  we  inquired. 
"I  shouldn't  be  surprised,"  Dorothy  answered. 
Which  is  as  good  as  a  formal  announcement,  any  day,  in 
Hollywood. 

TT  happened  in  the  Los  Angeles  Public  Library.  May 
AAllison,  the  blonde  beauty  who  has  given  up  screen  acting  for 
screen  writing,  was  spending  the  afternoon  in  the  library, 
tracking  down  information  for  an  African  episode,  in  a  picture 
she  is  writing  for  Fox. 

Attired  in  a  ravishing  tan  ensemble  with  hat  and  shoes  to 
match,  she  kept  returning  to  the  reference  desk  in  the  main 
readmg  room  and  asking  for  hooks  on  strange  subjects. 

She  had  already  piled  up  before  her  two  huge  geographies  and 
three  volumes  on  ethnology,  when  she  again  approached  the 
puzzled  librarian  in  charge  and  asked  for  a  book  on  rare 
.African  tliseases. 

The  sight  of  such  a  beautiful  and  smartiv  attired  girl,  asking 
for  such  books,  demoralized  the  entire  library  service. 


Now  that  the  swim- 
ming season  is  with 
us,  Mary  Brian 
recommends  this 
new  suit,  as  a  vari- 
ation of  a  plainer 
model.  The  trunks 
have  black  and 
white  stripes,  like 
a  beach  umbrella. 
The  bodice  is 
white  with  a  row 
of  buttons  and 
black  trimming 


One  of  the  librarians  recognized  her. 
"That's  May  Allison,"  she  said.     "Isn't  she  lovely?"' 
"Too  bad,"   answered   the  matronly  person,   shaking  her 
head,  "too  bad.    Gone  nutty  I  suppose." 

npHEY  started  to  make  another  Biblical  play. 
■*•      When  the  assistant  director  came  down  to  work  he 
found  twelve  disciples  waiting.    He  turned  to  ft  i.s  assistant 
in  fury: 

"Why  only  twelve  disciples?"  he  exploded.  "Didn't  you 
know  this  was  to  be  a  super  special?  I  want  twenty-four." 
The  next  day  the  production  was  suspended. 

H.\T  a   time   they've  had   finding  pictures   for   Greta 
Garbo  and  John  Gilbert  at  the  M.-G.-M.  studio! 
First  they  were  to  play  together  and  then  they  weren't. 


w 


of  ^11 

Studios 


Something  new  in 
leading  men.  This 
very  correct  young 
gentleman  is  the 
extremely  fem- 
inine Gertrude 
Olmsted  in  a  clever 
character  bit  in 
FBO's  picture, 
"The  Hit  of  the 
Show."  Robert  Z. 
Leonard,  the  direc- 
tor, scarcely  knew 
his  wife 


Greta  was  to  turn  South-Sea-Islander  and  play  a  wicked 
woman  from  Java  in  a  picture  they  wanted  to  call  "Heat." 
John  was  to  play  in  any  one  of  three  stories. 

At  last,  after  two  months  of  coin-tossing,  it's  all  decided. 
John  will  play  "Four  Walls;"  Greta  will  play  in  "War  in  the 
Dark,"  Fred  Niblo  directing,  with  a  rush  sign  pasted  on  both 
of  these  pictures. 

Then  they  will  be  co-starred  in  the  screen  version  of  the 
novel,  "The  Sun  of  St.  Moritz,"  which  Clarence  Brown  will 
direct. 

ALICE   DAY   and   Carl   Laemmle,   Junior,    are   the   next 
Hollywood  youngsters  slated  for  an  engagement,   their 
friends  tell  us. 

They  have  been  going  together  three  years.  A  long  record 
for  any  couple. 


^Hi  ^ 


Not  John  Gilbert,  but  Gilbert  Roland  doing  his  very 
best  to  look  like  the  original  Gilbert.  The  excuse 
for  this  make-up  is  the  fact  that  Roland  plays  an 
Austrian  officer  in  "A  Woman  Disputed."  Could 
there  be  more  sincere  flattery? 


IT  begins  to  look  as  though  the  romance  between  Fay  Wray 
and   John   Monk   Saunders   may   spell  another   Hollywood 
marriage. 

John  met  Fay  when  she  played  the  lead  in  "The  Legion  of 
the  Condemned, "  the  story  he  wrote  as  a  sequel  to  his  scenario, 
"Wings." 

"DENEEADOREEwas  ordering  luncheon  delivered  to  her 
■*-^dressing  room.  Of  course,  Renee  still  retains  enough 
French  accent  to  make  telephone  conversations  intriguing. 

"I  want  some  toast,"  she  said  sweetly. 

"No.  No.  Toast!— Toast!—  Well,  listen  a  moment  and 
I'll  spell  it.     T-o-s-t— " 

The  waiter  delivered  "Tosties." 

WILSON  MIZNER,  the  scintillating  wit  of  the  town, 
whose  chance  remarks  on  studio  conditions  penetrate 
the  truth  like  x-rays  and  burn  like  carbolic  acid,  was  laid  up 
with  a  heart  attack  for  three  days.  A  producer  had  just  sent 
him  a  check  for  twenty-five  thousand  dollars  without  trying 
to  beat  down  his  price. 

HE  was  up  and  about  recovering  from  the  shock,  and 
bitting  in  his  hotel  room  chewing  over  the  news  in  the 
morning  paper  with  his  buddy,  Jack  Conway,  world's  cham- 
pion slingerof  classic  slang  at  five  bucks  a  word  for  movie  titles. 
"  Yeh,  Jack,"  he  went  on,  "and  here's  a  director  who  grabs 
himself  a  Me.xican  divorce  between  trains,  because  the  mos- 
quitoes annoyed  him.  If  that  guy  was  ever  in  New  Jersey  on 
a  hot  moist  night,  he'd  get  so  riled  he  would  blow  up  orphan 
asylums. " 

'TPHEY  say  it  was  Wilson  who,  when  faced  with  the  ordeal 
*■  of  gently  breaking  the  news  of  one  brother's  death  to 
another,  just  said:  "Got  some  tough  news  for  you.  John 
went  cold  on  us  last  night." 

MARSHALL  NEILAN,  back  in  Hollywood  from  London, 
with  a  fresh  stock  of  yarns,  says  that's  like  the  Irishman 
who  was  sent  by  the  foreman  of  a  track  laying  gang  to  tell 
Mrs.  Callahan  her  husband  had  been  killed  by  a  d\  namite 
explosion. 

"Be  diplomatic,"  warned  the  foreman.  "Break  the  news 
gently." 


45 


"Sure  and  I'll  be  as  gentle  as  a  dove,"  said  the  messenger  of 
sad  tidings,  as  he  laid  down  his  shovel  and  started  off. 

He  knocked  at  the  door  of  the  stricken  home  and  a  buxom 
woman  appeared  with  four  children  tugging  at  her  skirts. 

".\re  you  the  widow  Callahan?"  he  asked. 

"I'm  not,"  she  answered,  with  emerald  fire  in  her  eyes. 
"I've  got  a  fine  husband,  I  have." 

"The  hell,  you  have,"  bristled  the  diplomatic  envoy.  "He's 
just  been  blown  to  pieces." 

JUNE  COLLYER  and  Earle  Fox  were  among  the  crowd 
gathered  around  one  of  the  new  automobiles  with  body 
of  all-leather  rather  than  metal. 

"But,  Earle,  how  do  you  wash  it?"  June  Inquired. 
"You  don't,"  Earle  answered.    "You  just  back  it  up  to  a 
bootblack  stand  and  say,  'Shine,  boy.    Shine.'  " 

JOIl.V  ITJRD,  ace  megaphonist  with  William  Fox,  is  now 
I'Lurope-bound.  He  is  setting  a  record  as  long-distance  con- 
ference-holder. In  fact,  as  you  read  these  lines  he  is  probably 
sitling  comfortably  in  Paris  with  Sol  Wortzel,  continental  man- 
ager for  Vox,  discussing  the  small  matter  of  making  a  story 
in  Spain.  We  know  not  the  name,  and  if  we  did,  it  wouldn't 
matter,  as  it  will  probably  be  changed  several  times  before 
reaching  the  screen. 

DOUG  and  Mary,  a  maid,  a  valet,  and  twenty-seven  pieces 
of  Ijaggage  are  in  Europe.  Their  arrival  in  New  York  and 
departure  therefrom  were  the  most  hectic  in  their  respective 
careers.  They  were  in  town  exactly  seven  hours  and  twenty 
minutes,  arriving  in  the  morning  on  the  Century  and  leaving 
in  the  evening  on  the  Hamburg-American  liner,  Albert  Ballin, 
for  Cherbourg,  France.  There  was  no  fan  flare  of  publicity. 
Not  even  the  mere  mention  of  their  names. 

They  will  be  in  Europe  at  least  two  months.  No  pictures, 
no  publicity,  nothing  but  rest. 

T^CKIXG  her  stay  in  Hollywood,  Lillian  Gish  was  house 
-L>'gucst  for  a  considerable  time  of  Doug  and  Mary— more 
[i.iriitularly  of  Mary,  for  between  these  two  an  ironbound 
friendship  has  long  existed.  This  pleasant  sojourn  occurred 
shortly  after  the  new  Ford  invaded  the  Pickford-Fairbanks 
household.  While  at  tea  one  day  in  the  Davies  menage, 
Marion  asked  Lillian  if  she  had  ridden  in  Mary's  new  Ford. 


The  Gish  eyes  grew  round  and  wide  in  awe.  " Heavens,  no!" 
she  stated.  "I  haven't  been  anything  like  so  fortunate  as  that 
yet.  So  far  I  have  only  risen  to  the  lowly  estate  of  the  Rolls- 
Royce!" 

WHEN  Mary  Pickford  next  appears  upon  the  screen,  it 
may  be  with  shorn  tresses.  Just  at  present  she  is  trying 
to  decide  what  to  do  with  the  well-known  Pickford  curls — a 
matter  that  has  been  rankling  Mary's  heart  for  considerable 
time.  To  bob  or  not  to  bob  has  been  a  moot  question  in  the 
Pickford-Fairbanks  household  for  nearly  two  years,  until  now 
JVIary  has  almost  decided  to  do  it.  Almost  but  not  quite!  It 
will  depend  largely  upon  the  result  of  the  European  trip. 
Possibly  upon  what  the  hairdressers  of  Paris  recommend;  also, 
possibly  upon  the  facility  of  some  Hollywood  scenariosmith  to 
convert  this  hair-cutting  urge  into  a  dramatic  thrill  for  the  next 
Pickford  photoplay.     Forever  practical,  you  know,  is  Mary! 

"LTARK  to  this  one:  A  group  of  executives  and  players 
-'^lunching  at  the  United  Artists'  Studio  the  other  day 
were  discussing  that  effervescent  Mexican  jumping  bean, 
Lupe  Velez.  Various  opinions  were  expressed  until  finally 
the  ugly  duckling  of  the  films.  Louis  Wolheim,  was  moved 
to  speech. 

"Good  Gawd  I"  quoth  he.  "Every  time  I  see  her  snap 
those  black  eyes  and  give  her  shoulders  a  shrug,  it  reminds 
me  of  Vesuvius  spouting  a  set  of  dishes." 

QUAINT  indeed  was  the  result  of  the  national  radio  broad- 
,casting  program  recently  indulged  in  by  United  Artists  for 
the  benefit  of  a  moderate-priced  automobile  company.  First 
came  a  deluge  of  telegraphic  protests  from  theater  owners 
throughout  the  land.  Exhibitors  claimed  the  stars  were  biting 
large  chunks  out  of  the  hand  that  feeds  them  by  deliberately 
and  willfully  chucking  traitorous  support  into  the  camp  of  the 
enemy.  The  bogey-man  of  every  exhibitor  is  the  radio.  Came 
next  the  public  plaint  that  nary  a  star  appeared  in  person  before 
the  "mike."  "They  had  doubles!"  rang  the  merry  rumor  from 
Radioland.  "We  were  stung  and  trimmed  and  bunked!"  Com- 
plaint was  registered  loudest  against  Norma  Talmadge  and 
Dolores  Del  Rio.  The  public  just  would  not  believe  that 
Dolores  could  sing  so  bird-like.  And  Norma's  voice  did  not 
accord  with  the  fan's  idea  of  Talmadge  phonetics.  Had  it  not 
been  for  the  motion  picture  camera,  therefore, — that  greatest 


Here  are  more  stars  than  ever 
appeared  in  one  picture  before. 
For  a  scene  in  Marion  Davies' 
and  William  Haines'  "Show 
World"  filmed  at  the  Metro- 
Goldwyn  -  Mayer  studios, 
eighteen  famous  film  person- 
ages offered  to  appear  as 
"atmosphere."  The  photoplay 
is  a  story  of  the  motion  picture 
career  of  a  young  Southern  girl 
and,  naturally,  required  the 
presence  of  famous  film  folk  to 
lend  authenticity  to  the  "at- 
mosphere." The  sequence  was 
filmed  in  the  studio  commis- 
sary and  the  actors  and  actresses, 
from  left  to  right,  are:  Polly 
Moran,  Dorothy  Sebastian, 
Louella  O.  Parsons  (motion 
picture  syndicate  writer),  Estelle 
Taylor,  Claire  Windsor,  Aileen 
Pringle,  Karl  Dane,  George  K. 
Arthur,  Leatrice  Joy,  Renee 
Adoree,  Rod  La  Rocque,  Mae 
Murray,  John  Gilbert,  Norma 
Talmadge,  Douglas  Fairbanks, 
Marion  Davies  and  William  S. 
Hart.  Director  King  Vidor  and 
Cameraman  John  Arnold  are 
photographing  the  luncheon 


ally  of  the  stars — much  disaster  might  have  descended.  Several 
news  reels  filmed  the  broadcasting  proceedings,  disclosing  the 
stars  before  the  "mike"  in  all  the  glory  of  their  embarrassment 
and  self-consciousness,  but  efiectually  nullifying  the  neat  fiction 
of  radio  doubles. 

AN  extra  was  struggling  to  iLxhis  car,  in  front  of  the  Fox  lot. 
A  man  in  overalls  came  out  of  the  gate. 

"Say,  man,  can  you  lend  me  a  hand  in  fixing  this  wreck?" 

"Sure."    The  stranger  picked  up  the  pliers. 

Half  an  hour  later  the  car  started  and  the  extra  thanked 
his  helper. 

"Say,  do  you  know  who  that  was?"  the  gateman  rushed  to 
demand  of  the  extra  as  he  pulled  out  from  the  curb. 

"Sure.     A  damned  good  mechanic,"  the  extra  responded. 

"Yeh?  That  was  Murnau,  the  director  of  'Sunrise,' 
'Four  Devils'  and — " 

The  extra  drove  off,  mumbling,  "Well,  anyway,  he  is  a 
damned  good  mechanic. " 

"P»RANKIE  DARROW,  eight-year-old  star,  was  intro- 
•*■   duced  to  a  magazine  writer. 

"And  do  you  like  your  work,  Frankie?"  she  inquired. 

"Oh,  it's  kind  of  a  strain  after  you've  given  your  whole 
life  to  the  movies,"  Frankie  responded. 

RICHARD  DIX  was  working  on  the  baseball  field  in  a  scene 
for  his  next  picture. 

"Hey,  Oscar,"  he  hailed  Oscar  Smith,  the  colored  ex-boot- 
black now  playing  bits  in  pictures.  "You  and  I  are  pals, 
aren't  we?    Suppose  you  could  get  me  a  glass  of  water?  " 

Ten  minutes  passed  before  Oscar  returned  with  the  liquid. 

"  Great  work,  my  boy.  From  now  on  you  get  a  part  in  every 
one  of  my  pictures." 

"Yes,  sah;  yes,  sah.  Now  I'll  get  you  ice,  sah,"  and  Oscar 
departed  on  the  run. 

Richard  scratched  his  head. 

"What  in  thunder  can  I  promise  him  to  get  me  a  glass  of 
beer?"  he  inquired  of  his  director. 

SPEAKING  of  Oscar,  a  movie  house  on  Central  avenue, 
the  colored  district  of  Los  Angeles,  has  booked  his  last 
picture : 

"Oscar   Smith — In    Man   Power — With   Richard   Dix." 


AIJMEE   SEjMPLE   McPHERSON,  Los  Angeles'   woman 
evangelist,  accepted  an  invitation  to  a  movie  party  with 
the  proviso  that  there  would  be  no  cigarettes,  liquor,  etc. 

They  had  a  bully  time  playing  charades;  and  no  collection 
was  taken. 

LEATRICE  JOY  has  joined  the  Hollywood  Woman's 
Club,  where  the  ladies  with  appetites  for  intellectual  dis- 
course gather  around  and  settle  the  world's  problems.  Mary 
Pickford  is  the  only  other  woman  in  pictures  who  belongs  to 
the  club. 

ANY  news,  Lois?" 
Little  Lois   Moran  shook  her  head  a  bit   wistfully. 
"No!    Not  even  a  romance.     Can't  you  find  a  boy  friend  for 
me?" 

Don't  start  stampeding  west.  Hollywood  men  also  read 
this  magazine. 

NORMA  TALMADGE  has  sold  her  Santa  Monica  beach 
home  to  George  Bancroft  and  is  renting  her  Hollywood 
home  to  Emil  Jannings. 

And  intimate  friends  say  that  this  is  the  first  specific  indi- 
cation of  a  break  between  Norma  and  her  husband  Joseph 
Schenck.     A  divorce  has  long  been  rumored. 

A  BLASE  little  extra  was  advising  a  big-eyed  arrival. 
•**■  "Be  careful,  dearie,"  she  warned.  "The  'won't-you- 
join-my-Sunday-school-class'  man  will  get  you  if  you 
don't  watch  out." 

EXTRAS  in  Hollywood  have  a  new  menace  with  which 
to  put  up.  Children  have  been  gathering  in  front  of  houses 
in  which  the  players  are  known  to  live,  where  they  greet  each 
new  arrival  with  such  wise  remarks  as,  "You're  not  the  tjpe!" 
and  "Now  John  Barrymore,  better  look  out!" 


OME  stars  were  recalling  their  hard-luck  days,  and  each 
Owas  trying  to  outdo  the  other  as  to  how  poor  he  had  been 
before  being  discovered.  At  the  conclusion,  it  was  voted  that 
Charles  Farrell  had  been  by  far  the  most  down  and  out. 
Here  is  what  won  him  first  place. 

"  Broke?  Why,  boy,  I  was  so  broke  the  real-estate  salesmen 
wouldn't  even  speak  to  me."  [  continued  on  page  84  ] 

47 


S^ 


By 

Grace  Mack 


GERALD  FRAXE  claimed  to  know  a  great 
deal  about  women.     In  fact,  he  earned  a 
verv  excellent  living  writing  about  them. 
Mavbe  you   saw   his   "Woman   and   Sin" 
and  "  Smouldering  Love"  which  made  such  a  fortune 
for  the  Over-Production  Company  and  incidentally 
obtained  for  Frane  a  very  choice  writing  con- 
tract  with   one   of   those   triumphant   clauses 
which  provided  that  his  name  must  appear  on 
the  screen  in    letters  so  many  inches  high — 
larger  than  the  name  of  the  director,  and  in  no 
case  smaller  than  the  name  of  the  star. 

.\\\  Hollywood  agreed  that  Frane  had  a  de- 
cided flair  for  sex>-,  sophisti- 
cated stories.  His  publicity 
agent  had  cleverly  built  up  a 
legend  about  him  and  Frane 
tried  to  live  up  to  it.  He 
often  boasted  that  no  woman 
was  clever  enough  to  two- 
time  him.  He  knew  too 
much  about  them.  He  would 
say  it  with  oneof  thosecynical 
and  expressive  shrugs  which 
people  had  come  to  associate 
with  him.  He  believed  it 
himself  and  what's  more,  he 
made  others  believe  it. 

IT  amused  him  very  much 
to  follow  each  new  "affair" 
which  devclof)ed  on  the  (Jver-  ' 

Production  lot  and  to  jjroph- 
esy  what  the  outcome  would 
be. 

"The  astounding  thing  to  me,"  he  would  remark  wisely,  "is 
the  way  these  birds,  particularly  directors,  who  ought  to  know 
better  by  this  lime,  invariably  fall  for  little  baby-faced  extra 
girls  who  have  just  one  thing  in  mind.  Can't  they  see  that 
these  girls  only  want  to  use  them  as  springboards?" 

It  was  of  course  common  gossip  that  this  was  what  had 
earned  Jack  Stone,  the  well  known  director,  the  nickname 
"Ste[)ping"  Stone. 

No  girl  would  ever  use  him  as  a  springboard — a  stepping 
stone— Mr.  Frane  often  remarked,  at  the  same  time  intimating 
by  that  slight  lifting  of  the  eyebrows  that  many  of  them  had 
tried  it.  When  some  little  blonde  lorelci  turneel  begging  eyes 
on  him  with  a  "Please.      Mr.  Frane,  won't  you  write  a  nice 


little  part  in  your  next  story  for  me?"  he  smiled  understand- 
ingly — but  made  no  rash  promises. 

It  pleased  him  very  much  to  have  people  refer  to  him  as  a 
sophisticate,  and  he  dressed  and  acted  his  interpretation  of  the 
part.  Little  waxed  mustache — gardenia  in  the  buttonhole — 
Russian  cigarettes — sand-colored  spats — thin  little  volume  of 
une.\i:)urgated  Continental  tales  tucked  under  his  arm. 

The  story  begins  on  the  day  that  Gerald  Frane  dropped  into 
the  Honey  Bee  lunch  room  for  a  sandwich  and  a  cup  of  coffee. 

It  was  one  of  those  spic-and-span,  blue-and-white  sand- 
wich bars  just  off  Hollywood  Boulevard.  A  place  frequented 
by  chauffeurs  and  sophisticates  like  Mr.  Frane  who  professed 
to  be  fond  of  the  unconventional. 


J^B.  was  Hollywood's  expert 

on  sex  and  he  boasted  that 

no  woman  was  clever  enough 

to  two-time  him.    Then  he 

met  Lola — 


It  was  the  fag  end  of  the  afternoon  and  Mr.  Frane  was  the 
only  customer,  so  that  Lola,  the  waitress,  was  able  to  give  him 
her  very  best  service. 

She  personally  toasted  the  bread  on  an  electric  grill,  laid 
pink  slices  of  ham  between  it,  cut  it  slantwise,  impaled  it  with 
toothpicks  on  which  she  stuck  two  olives,  added  a  slice  of 
pickle  and  tomato  for  good  measure,  and  asked  him  shyly  if  he 
cared  for  mayonnaise.  Then  she  drew  a  cup  of  coffee  from  the 
percolator,  serving  it  without  spilling  any  in  the  saucer, 
brought  a  little  pitcher  of  cream,  the  bowl  of  lump  sugar,  and 
did  it  all  with  such  a  charming,  intimate  manner  that  Mr. 
Frane  quite  forgot  he  was  in  a  quick  lunch  place. 

As  he  ate  the  sandwich  and  stirred  his  coffee  he  couldn't 


"There's  a  gal  that 
u  ses  her  sex  appeal  like 
nobody's  business," 
said  Smith.  "  'Step- 
ping' Stone  is  certain- 
ly a  wizard  for  pickin' 
'em.  Did  you  ever  see 
such  big,  innocent 
eyes  as  that  kid's  got? 
Say,  I'll  bet  she  could 
even  fool  a  sophisti- 
cate like  you" 


help  watching  Lola. 
He  wondered  why 
such  a  pretty  girl 
should  be  working  in 
an  obscure  little  lunch 
room.  She  really  was 
unusual.  Round, 
graceful  little  body — 
hair  the  reddish  gold 
of  a  new  coin — skin 
as  creamy  as  a  mag- 
noliapetal — a  virginal 
freshness  about  her 
that  was  charming. 
Doubtless  she  was  one 
of  the  army  of  dis- 
appointed extra  girls 
who  had  been  unable 
to  find  enough  work 
in  pictures  to  earn  a 
living.  Hollywood 
cafes  are  famous  for 
their  beautiful  wait- 
resses. Girls  who  have  followed  the  arrow 
to  the  cinema  gold  coast,  certain  that  their 
beauty  will  find  a  place  on  the  screen, 
only  to  learn  that  beauty  is  the  cheapest,  most  plentiful  thing 
in  Hollywood.  Girls  who  have  become  waitresses  in  the  last 
hope  that  some  director  will  see  them  and  discern  in  them 
star  material. 

Mr.  Frane  broke  one  of  his  rules  and  started  a  conversation. 
"Ever  been  in  pictures?"  he  asked  casually. 
"No,  I  never  have. "    She  looked  up  at  him  shyly.    And  the 
conversation,  to  Mr.  Franc's  surprise,  stopped  right  there. 

He  noticed  how  long  and  silky  were  her  eyelashes,  fringing 
the  soft,  tender  blue  of  her  eyes.  Her  eyes  niade  him  think  of 
melted  sapphires — or  the  blue  of  Lake  Como.  IVfr.  Frane  had 
never  seen  Lake  Como,  but  he  had  read  a  great  deal. 

He  asked  for  a  package  of  cigarettes  and  leaned  over  the 
counter  as  Lola  thoughtfully  held  the  lighter  for  him. 

"You  ought  to  be  good  in  pictures,"  he  added  a  little 
recklessly,  fully  expecting  the  girl  to  run  true  to  form  and  ask 
him  how  he  thought  she  might  get  a  chance. 

49 


The  story  of  a  "girl  who  was  different" 


"I  don't  want  to  go  in  pictures, "  she  replied 
don't  think  it's  anv  life  for  a  girl— do  you?"    ^ 

"Well,   I  suppose  it  depends  on   the  girl,      he 
answered  seriously,  then  added:     "What  is  ; 
ambition?" 

"T'M  tn,-ing  to  save  enough  money  to  go  to  business 
-Lcollege.  ■'    It  seemed  as  though  she  hesitated  to 
take  him  into  her  confidence.     "I'd  like  to  be  a— 
private  secretarv. " 

Reallv.  this  was  delicious,  thought  Mr.  Frane.  A 
prettv  girl  who  didn't  want  to  go  into  pictures!  He 
encouraged  her  to  talk.  He  was  fascinated  by  the 
way  her  white  teeth  seemed  to  peek  through  the 
curve  of  her  mouth  when  she  smiled.  She  was 
charming— ingenuous.  Certainly  it  was  refreshing 
after  the  brazen  girls  he  met  on  the  lot  daily.  Here 
was  a  girl  who  was  deserving.  It  really 
would  be  a  satisfaction  to  help  her  achieve 
her  ambition. 

.\nd  so  day  after  day  Mr. 
Franc's  well  known  mauve 
roadster  with  the  shiny  nickel- 
plated  drumlights  parked  a 
few  doors  from  the  Honey  Bee 
and  Mr.  Frane  dropped  into 
the  sandwich  bar  for  a  cup  of 
colTee  and  a  little  talk  with 
Lola.  -As  a  subtle  bit  of 
flattery  he  whistled  that  pop- 
ular song  of  a  season  or  so 
ago,  "  A  cup  of  cofcc.  a  sand- 
wich and  you-oo."  when  Lola 
placed  the  steaming  cup  of 
colTee  before  him  and  she 
looked  up  through  the  tangle 
of  eyelashes  in  a  way  that 
caused  ^Ir.  Franc's  heart  to 
do  a  sort  of  double  flip-flop. 
Fach  day  she  seemed  to  have 
grown  prettier  and  her  sweet  shyness, 
which  she  never  quite  lost,  even  after  she 
knew  him  better,  made  her  the  more  de- 
sirable to  Mr.  Frane. 

"  I've  been  thinking  about  j-ou,  Lola," 
he  told  her  one  day  after  he  had  known  her 
about  a  week.    "  How  would  you  like  to  have 
me  advance  you  the  money  so  you  can  go  to 
business  college — " 

"Oh,  blister  F'rane,  I  couldn't  do  that — " 
A  pink  flush  crept  into  her  cheeks  as  she  looked 
up  with  startled  surprise.  "What  would 
people  say?" 

IT  was  Mr.  Franc's  turn  to  be  embarrassed. 
He  nerveously  fumbled  for  a  cigarette. 

"Why  there  wouldn't  be  anything  wrong 
about  it,  Lola.  I  assure  you  that  my  motives 
are  purely  altruistic — "  "\,^ 

Lola  apparently  didn't  know  the  meaning  of 
the  word  and  she  seemed  just  a  bit  suspicious. 
He  hastened  to  reassure  her. 

"  I  think  you're  a  very  clever  little  girl  and  I  would  like  to  see 
you  have  a  chance  to  do  the  thing  you  want  to  do." 

Lola  hesitated,  slowly  polishing  the  shiny  black  counter 
with    a   cloth. 

"You  see  it  isn't  just  the  business  college — "  She  paused. 
"I'd  have  to  have  clothes  if  I  went  to  school.  You  see  here  at 
the  lunch  room  my  uniforms  are  furnished  —  " 

"Oh,  don't  let  that  worry  you,  Lola.  I'll  see  that  you  have 
some  nice  little  frocks." 

"But  I'd  want  to  pay  you  back — after  I  got  a  position." 

"Well,  of  course,  if  you  feel  that  way  about  it." 

Lola  certainly  was  an  unusual  girl  to  find  in  this  gold-digging 
age.  He  left  a  lip  that  equalled  the  size  of  his  check  and  went 
out  of  the  .sandwich  bar,  whistling. 

.\  few  days  later  Lola  was  the  excited  possessor  of  a  new 
wardrobe  and  a  tuition  receipt  from  the  Boulevard  Business 

50 


Mr.  Frane  thought  of  her  with  gold 
cushions  heaped  back  of  her,  in  a 
candle-lighted  room,  with  red  and 
gold  hangings.  A  room,  in  fact, 
very  much  like  Mr.  Franc's  own 


College.  j\Ir.  Frane  secured  a  room  in  a  nice  neighborhood 
for  her  and  had  his  own  typewriter  sent  from  the  studio  so  she 
could  practice  at  nights.  Her  appreciation  was  really  touch- 
ing. The  smallest  thing  he  did  for  her  seemed  to  bring  her  such 
a  lot  of  pleasure.  He  recalled  occasions  when  bored  beauties 
had  murmured  indifferent  thanks  for  gifts  which  represented 
far  more  than  the  sum  total  of  what  he  had  done  for  Lola. 

"You're  so  kind.  Mister  Frane."  She  lookedat  himin  that 
big-eyed  way  of  hers.  "I  just  don't  know  how  to  thank  you 
enough. " 

"Just  be  yourself,  Lola.  That's  all  I  ask.  It  makes  me  happy 
to  make  you  happy."  He  said  it  magnanimously.  And  he 
really  believed  it. 

After  Lola  gave  up  her  job  as  a  waitress  he  didn't  see  her  so 
often.  Of  course  she  had  to  study  at  night  and  practice  her 
typing   because   she    wanted    to     [  continued  on  page  122  ] 


p^erb  Founds  a  New 
Religion 

The  Holy  Sitters  of  Punta  Corda 


By  Swami  Herbert  Howe 


HERB'S  religion  jorhids  work  and  so  I  am  compelled  to  publish 
his  personal  letters  in  lieu  of  articles.  As  he  remarks,  there 
are  many  things  that  can  be  said  in  a  personal  letter  from  Holly- 
wood that  could  not  be  printed  in  an  article,  on  account  of  Will 
Hays  .  .  .  besides  Will  can't  interfere  with  personal  mail  without 
getting  into  trouble  with  the  Federal  authorities.  So  henceforth 
look  for  the  low-down  on  Hollywood  in  the  letters  from  Herb,  true 
descendant  of  Sitting  Bull. 

James  R.  Quirk 

Punta  Corda 

Carpinteria,  Cal. 
Dear  Jim: 

I've  been  sitting  here  with  a  piece  of  meat  hanging  over  my 
tj'pewriter  trying  to  coax  myself  to  write  ...  I  heard  that  was 
the  way  they  got  Rin-tin-lin  to  worli,  by  hanging  a  piece  of 
meat  over  the  camera.  But  I'm  not  that  kinda  dawg.  I'm 
the  kinda  dawg  that  lays  in  the  middle  of  the  road  and  lets  the 
fleas  chaw  holes  in  his  fur. 

Illustraied  by 
Ken  Chamberlain 


So  I'm  just  writing  a  personal  letter.  Of  course,  don't  let  it  go 
any  further,  as  they  say  in  Hollywood. 

MARY  GARDEN'S  INSPIRATION 

I  chawnced  upon  a  copy  of  Photoplay  ^Magazine  that  IMary 
Garden  left  lying  around  when  she  was  in  Hollywood.  I  say  I 
chawnced  upon  it  because  as  you  know  we  film  stars  never  read 
the  fan  magazines,  only  the  classic  literature.  But  Man.'  says 
she  reads  Photopl.ay  from  cover  to  cover,  and  as  she  is  quite 
a  popular,  well-paid  favorite  I  thought  it  wouldn't  do  my 
literary  taste  any  harm  if  I  also  took  a  peep. 

The  peep  certainly  was  profitable,  for  I  note  that  you  pay 
as  high  as  twenty-five  dollars  for  the  letters  in  front,  which  is 
considerable  more  than  you  pay  for  articles  further  back,  as  I 
know  from  bitter  personal  reminiscence. 

You're  right,  at  that.  There's 
nothing  people  like  to  read  as  well  as 
other  people's  letters. 

Recently  I  learned  I  was  the 
victim    of    such    perfidy.     I 

[  CONTINUED  ON  PAGE  108  ] 


Leaders  in  the  Back  to  Buddha  Movement.     In  center,  with  guitar,  Herbert  Howe.     And  why  not? 

PhUosopher  with  banjo,  Warner  Oland.     Lady  with  harp,  Edith  Oland.     Lady  with  banjo,  Fanny 

Hatton.     Happy  gentleman  angel,  Raymond  Hatton 


51 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 

The 

Shadow 
Stage 

A  Review  of  the  New  Pictures 


LAUGH.  CLOWN,  LAUGH— M.-G.-M. 

THIS  is  the  best  work  of  Lon  Chaney  since  "The  Unholy 
Three,"  and  it  is  a  great  relief  to  have  him  minus  his 
usual  sinister  make-up.  His  characterization  of  Tito  Filk  is 
perfect. 

"Laugh,  Clown,  Laugh"  is  the  old  story  of  "Pagliacci,  ' 
of  the  buffoon  with  the  broken  heart.  Tito,  the  circus 
clown,  struggling  against  the  pangs  of  unrequited  love  for  his 
beautifuladopteddaughter,>S'/w!(»;c//(/,becomes  afflicted  with 
an  erratic  nervous  disorder.  Another  man  of  wealth  suffers 
from  a  contrasting  malady.  The  two  meet  in  the  office  of  a 
ner\-e  specialist  and  become  friends.  Then  follows  the  rivalrj- 
of  the  two  for  the  girl.  Nils  .Esther,  as  Luigi-Ravclli,  the 
millionaire,  is  more  than  satisfactory.  Loretta  Young,  as 
Simonella,  reveals  an  unexpected  display  of  dramatic  ability. 


THREE  SINNERS— Paramount 

THIS  is  heavy  drama,  adroitly  handled  and  exceptionally 
well  acted.  A  Pola  Negri  picture  which  should  satisfy 
her  European  following  and  intrigue  American  audiences. 

Pola  metamorphoses  from  a  drab,  every-day  wife  of  a 
German  nobleman  to  a  scintillating,  fascinating  woman  of 
the  world  through  the  penalty  she  is  forced  to  pay  for  one 
night  of  sin.  She  is  as  uninteresting  in  the  first  role  as  she 
is  ravishing  in  the  second. 

A  surpri.se  ending  keeps  the  story,  which  is  the  old  theme 
of  a  disappointed  wife  determined  to  recapture  her  own 
husband,  from  being  hackneyed. 

Olga  Baklanova,  the  recently  imported  Russian  actress, 
is  capable  as  the  feminine  villain.  But  the  picture  belongs 
to  the  star  and  Rowland  V.  Lee,  who  so  subtly  directed. 

6S 


TEMPEST— United  Artists 

C.\MILLA  HORN,  making  her  initial  bow  in  an  Ameri- 
can film,  is  the  most  interesting  item  about  this  picture. 

For  Miss  Horn,  the  German  actress  who  played  Mar- 
guerite in  "Faust"  in  Europe,  displays,  in  addition  to  her 
amazing  beaut>-,  a  histrionic  ability  which  promises  to  offer 
keen  competition  to  both  Greta  Garbo  and  \'ilma  Banky. 
.\  decided  blonde  with  perfect  classical  features  and  slanting 
brown  eyes  which  are  fathomless  in  their  subtle  shadings  of 
emotions,  she  all  but  steals  the  picture. 

The  interpretations  of  the  entire  cast  are  consistently 
splendid.  Although  John  Barrymore  does  excellent  work 
which  should  do  much  to  further  his  motion  picture  am- 
bitions, it  is  in  no  way  the  star's  picture.  Louis  Wolheim, 
George  Fawcett  and  Ulrich  Haupt  are  equally  capable  in 
their  supporting  positions. 

The  story  is  an  interesting  picture  of  the  overthrow  of  the 
Russian  monarchy  by  the  Red  Revolution.  The  production 
was  started  by  the  Russian  director  Tourjansky,  aided  by 
Lewis  Milestone,  and  finally  was  directed  by  Sam  Taylor. 
Although  there  is  some  slow  action,  taken  as  a  whole  it 
is  a  credit  to  the  man  who  finally  megaphoned  it. 

John  Barrymore  is  a  peasant,  Camilla  Horn  is  a  princess. 
At  their  first  meeting  she  whips  him — yet  for  some  hidden 
feminine  reason  fails  to  report  him  to  her  father  for  a  seeming 
effrontery.  The  conflict  of  class  hatred  and  inward  yearn- 
ing for  this  man  of  lowly  birth  gives  her  the  opportunity  to 
display  an  unusual  amount  of  emotion.  The  revolution  re- 
verses their  positions.    By  all  means,  see  the  picture. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 
TEMPEST  THE  PATRIOT 

LAUGH,  CLOWN,  LAUGH        THREE  SINNERS 
THE  ACTRESS  WICKEDNESS  PREFERRED 

The  Best  Performances  of  the  Month 

Emil  Jannings  in  "The  Patriot" 

Lewis  Stone  in  "The  Patriot" 

Camilla  Horn  in  "Tempest" 

Lon  Chaney  in  "Laugh,  Clown,  Laugh" 

Norma  Shearer  in  "The  Actress" 

Pola  Negri  in  "Three  Sinners" 

John  Barrymore  in  "Tempest" 

Loretta  Young  in  "Laugh,  Clown,  Laugh" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  1 41 


THE  PATRIOT— Paramount 

ONLY  a  great  artist  would  attempt  to  play  the  role  of 
Paul  the  First  of  Russia.  There  are  too  many  odds 
against  him.  Yet  Jannings,  with  his  characteristic  assur- 
ance, assumes  the  personality  of  the  Mad  Czar  so  completely 
that  we  forget  the  actor.  His  uncanny  ability  to  get  the 
intimate  nuances  of  a  character  makes  his  portrayal  both 
technically  and  psychologically  accurate.  Infact,Lubitsch's 
flawless  direction  gives  all  the  characters  the  stamp  of 
reality. 

The  story  is  like  a  brilliant  piece  of  mosaic,  with  fear- 
struck  Russia  for  a  background.  Silent,  watchful  ministers 
and  the  subtle  intrigues  of  the  royal  court  pivot  about  the 
grotesque  figure  of  the  mad  ruler,  whose  life-long  fear  of 
sudden  death  has  made  a  meglomaniac  of  him.  The  one 
man  he  trusts  is  Count  Phalcn,  superbly  acted  by  Lewis 
Stone.  It  is  the  count's  sad  duty,  because  of  his  unswerving 
love  for  Russia,  to  betray  his  friend  by  heading  a  conspiracy 
to  throne  the  Crown  Prince,  beloved  of  the  people.  In  this 
plot.  Countess  Ostcrman,  who  loves  Phalcn,  is  his  unwilling 
accomplice.  Failing  to  understand  his  high  purpose,  she,  in 
turn,  betrays  him  to  the  emperor.  Florence  Vidor  is  ex- 
cellent, though  her  characterization  lacks  vigor  and  fire. 

Only  such  a  master  as  Jannings  would  brave  the  competi- 
tion of  so  fine  an  actor  as  Lewis  Stone,  in  giving  him  the 
title  role  and  the  more  sympathetic  part.  Unlike  Jannings' 
other  American-made  pictures,  this  is  more  of  an  intellec- 
tual than  an  emotional  triumph.  You  will  watch  the  picture 
with  breathless  suspense. 


THE  ACTRESS— M.-G.-M. 

THIS  gets  you  coming  and  going.  Smiles  and  tears  flo-n 
along  after  each  other  like  a  rippling  brook. 
Isn't  it  a  relief  to  see  Norma  Shearer  herself  again?  They 
have  been  serving  Norma,  who  is  such  a  sweet  gal,  up  to  us  as 
all  kinds  of  business  women.  But  in  "The  Actress, ''  adapted 
from  "Trelawney  of  the  Wells,"  she  comes  back  to  us  with 
all  her  personal  charm.  Her  light  comedy  touches  and  her 
delicate  handling  of  the  emotional  scenes  prove  her  worthy 
of  the  title  of  this  picture. 

You  know  the  story — the  tale  of  the  actress  who  falls  in 
love  with  the  son  of  the  political  big-wig  of  England.  Of 
course,  the  old  boot  can't  see  his  son  marrying  anybody  but 
Lady  Somebody  or  Other,  but  finally  the  son  becomes  an 
actor,  they  both  forget  the  old  fellow  and  all  ends  well. 


WICKEDNESS  PREFERRED— M.-G.-M. 

AILEEN  PRINGLE  and  Lew  Cody,  two  of  the  screen's 
most  notable  sophisticates,  give  us  a  marriage  comedy, 
which,  though  frankly  risque,  is  convulsingly  funny. 

Miss  Pringle  plays  a  role  well  suited  to  her,  that  of  the 
wise  wife  whom  a  mere  husband  simply  can't  fool.  She  is 
very  much  on  to  her  author  husband's  penchant  f^rthe 
mad  romance  he  writes  about,  and  his  naive  susceptibility 
to  flattery.  And  Lew,  in  turn,  is  a  hero  to  all  women  but 
his  wife.  At  a  beach  resort,  where  some  men  go  for  pleasure 
and  others  take  their  wives,  he  falls  for  the  blonde  Mary 
McAllister,  whose  husband,  pla^'ed  by  Bert  Roach,  "just 
doesn't  understand  her."  Aileen  gets  in  some  clever  strategy 
which  cures  the  two  vagrants  forever  of  the  soul-mate  idea. 
Louder  and  longer  laughs  guaranteed. 

53 


Photoplay  Gets  Its  Reviews  Months  Ahead 


E.ASYCO^fE, 

EASYGO- 

Paramount 


DIAMOND 

HANDCUFFS 

—M.-G.-M 


AFAST-MO\  IXG  comedy  with  Richard  Dix  as  a  debo- 
nair young  bankrupt  who  is  innocently  taken  in  by  a 
gentleman  crook.  He  has  more  grief  than  the  Chicago  police, 
tr\ing  to  square  himself  with  the  one-and-only,  whose  father 
the  bandit  has  robbed.  The  support  of  Charles  Sellon,  and 
Nancy  Carroll,  with  George  Marion's  titles,  make  this  the  best 
Di.x  picture  in  months. 


A  CRUEL  story  which  not  even  the  excellent  acting  of 
Eleanor  Boardman,  Conrad  Nagel,  Gwen  Lee,  Lawrence 
Gray  and  Lena  Malena  can  make  worth  seeing.  A  diamond  is 
the  menace — a  horrible,  devastating  menace  which  brings  un- 
happiness  and  death  to  those  who  covet  its  possession.  Done 
in  three  entirely  different  ei)isodes,  Lena  Malena  is  the  only 
character    who  appears  throughout.      Fine  talent  wasted. 


ACROSS  TO 
SINGAPORE 
—M.-G.-M. 


LITTLE 
SHEPHERD 
OF  KING- 
DOM COME— 
First  National 


DOX'T  trj'  to  follow  the  intricacies  of  this  plot — just  keep 
in  mind  that  the  turmoil  of  villainy  and  the  sea  will  not 
overcome  either  Ramon  Novarro  or  Joan  Crawford.  Ernest 
Torrence,  as  a  horny-fisted  old  salt,  dismisses  formality  and 
announces  his  engagement  to  the  girl  without  consulting  her. 
Crafty  Chinese  complicate  matters  with  mutiny,  dope  dens 
and  attempted  seduction.    Recommended  as  a  stimulant. 


JOHN  FOX,  JR.,  wrote  this  Cumberland  mountain  yarn  in 
the  early  days  of  this  here  country.  Jack  Pickford  filmed  it 
once.  Now  Dick  Barthelmess  tackles  it  and  makes  Chad  seem 
like  another  Tol'able  David.  Not  that  he  achieves  another 
David.  Still,  Dick  is  good,  even  if  the  film  rambles  all  over  Ken- 
tucky and  the  Civil  War.  Too  long  by  far— and  the  biggest 
cast  since  Ben-Hur  was  a  boy.    Just  medium  entertainment. 


LOVE  IS 
INCURABLE 
— Paramount 


LOVE 

hungry- 
Fox 


THIS  French  farce,  like  several  recent  Mcnjou  productions 
falls  just  .short  of  hitting  his  established  mark.  Slow- 
moving,  old-fa-shioned  plot,  that  of  the  lady  who  throws  her 
glove  to  the  tiger  to  test  her  lovers,  is  unworthy  of  Mcnjou's 
suave  sophistication  and  Evelyn  Brent's  sphinx-like  beauty 
and  grace.  A  stage  extra  falls  for  a  duchess,  masquerades  as  a 
Rajah,  and  dull  strategy  follows.    But  go  anyway. 

5Jt 


AN  aspiringauthorseldom  finds  his  love-makingeasy,butour 
sympathy  is  with  Lawrence  Gray  from  the  time  he  starts 
m  to  wui  the  little  chorus  girl,  Lois  Moran.  This  couple  offers 
a  likeable  combination,  but  the  comedy  role  is  carried  off  by 
Marjone  Beebie,  another  chorus  girl,  who  thinks  all  this  love- 
making  IS  nothing  but  "applesauce."  She  nearly  steals  the 
picture.    A  human  story  well  done. 


of  AH  Other  Magazines.    Check  Up  and  See 


MAN-MADE 
WOMAN— 
Pathe-De 
Mille 


AFTER  THE 

STORM— 

Columbia 


PARADOXICAL  as  it  may  seem,  men  often  dislike  in  their 
wives  the  very  characteristics  they  have  admired  in  their 
sweethearts.  Leatrice  Joy  finds  this  true  when  she  marries 
John  Boles,  but  she  refuses  to  be  made  over.  H.  B.  Warner 
and  Seena  Owen  add  spice  to  the  complications.  Smart 
clothes  enhance  Leatrice's  captivating  personality,  and  novel 
handling  of  the  situations   make   this   picture   a  joy  to  all. 


HOBART  BOSWORTH,  hardened  sea  captain,  lives  only 
for  his  son,  Charles  Delany.  When  the  boy  falls  in  love 
with  Eugenie  Gilbert,  daughter  of  the  woman  whom  Bosworlh 
thinks  deceived  him,  the  trouble  begins.  It  is  almost  too  late 
when  Bosworth  learns  his  mistake,  but  he  risks  his  own  life  to 
save  that  of  his  son  and  the  girl.  A  thrilling  storm  at  sea  keeps 
you  on  the  edge  of  your  seat  until  the  happy  ending  is  reached. 


FOOLS  FOR 

LUCK- 

Paramount 


f^ 


Wl'^Jl  ' 


A  COMEDY  which  won't  cause  you  any  pain  from  laughter. 
W.  C.  Fields  is  a  crook  who  understands  that  men  handle 
the  investments  and  women  handle  the  men.  Chester  Conklin 
knows  he's  a  crook  but  how  can  he  convince  his  wife  and  his 
daughter?  He  doesn't.  Plain  luck  saves  the  day  and  puts 
the  crook's  profit  in  his  pocket.  Sally  Blane  makes  an  attractive 
dumb  Dora  daughter  while  Jack  Luden  is  a  capable  sap  lover. 


PHYLLIS  OF 
THE  FOLLIES 
— Universal 


WHEN  two  Follies  girls  go  into  conference,  it  usually 
means  that  some  butter-and-egg  man  is  about  to  be 
scrambled.  In  this  fast-moving  comedy,  it's  a  serious  young 
man  with  an  aversion  to  Follies  girls.  Edmund  Burns  nearly 
loses  his  mind  trying  to  untangle  a  marital  complication.  The 
result  is  an  amusing  comedy  with  fresh  gags  and  gay  titles. 
Lilyan  Tashman  and  Alice  Day  are  the  blonde  complications. 


THE 

SPORTING 

AGE 

Columbia 


THEIR  HOUR 

—Tiffany- 

Stahl 


INTELLIGENT  direction,  mature  acting  and  careful  photog- 
raphy all  contribute  to  making  this  an  above-average 
picture.  Belle  Bennett  does  beautifully  as  the  wife  of  a  sports- 
man who,  through  neglect,  falls  in  love  with  her  husband's 
handsome  secretary.  Acting  honors,  however,  must  go  to 
Holmes  Herbert  as  the  too-busy-for-love  husband.  All  credit 
is  due  those  who  put  new  life  into  the  eternal  triangle  plot. 


DOROTHY  SEBASTIAN,  Johnnie  Harron,  and  June 
Marlowe  present  an  interesting  triangle  in  this  comedy- 
drama  of  young  love.  The  world's  a  song  to  Johnnie,  a  wise- 
cracking young  shipping  clerk  in  love  with  June,  the  boss's 
secretary.  Enter  her  rich  cousin,  Dorothy,  who  puts  June 
backstage  until  she's  fed  Johnnie  up  on  smart  set  stuff.  A  little 
daring  but  quite  good.         [  additional  reviews  on  page  82  ] 

55 


npwo  More  Nutty 

Are  you  up  on  your  facts  about  the   movie 

favorites?     In  this  contest  your  knowledge 

may  earn  money  for  you 


AUNT  HEZEKIAH  and  Uncle  Jim  are  so  humiliated 
that  they  could  jump  into  the  Pacific  Ocean.  Every- 
one in  the  world  seems  to  be  contradicting  their 
stories.  So  they  have  tried  to  do  better  this  month 
in  telling  a  few  facts  about  Bebe  Daniels  and  Lon  Chaney. 

But.  somehow  or  other,  the  Xutty  Biographies  on  the  oppo- 
site page  about  :Miss  Daniels  and  Mr.  Chaney  read  a  bit 
phoney.  Can  you  correct  the  mistakes?  If  you  can,  you'll 
win  otie  of  the  nice  prizes  listed  at  the  bottom  of  this  page. 

Send  your  corrections  to  Photoplay  Magazine;  just  make 
them  brief,  accurate  and  original.  Be  sure  to  correct  the  cap- 
tions under  the  pictures,  too.  Don't  look  for  mistakes  in 
spelling  or  punctuation;  Aunt  Hezekiah  and  Uncle  Jim  know 
their  spelling  and  grammar. 

Don't  snap  up  the  old  folks  on  everything  they  say.  Occa- 
sionally, a  streak  of  truth  breaks  through  their  misinformation. 
The  Answer  Man  refuses  to  help  }0U,  so  don't  appeal  to  him. 

The  complete  list  of  winners  of  these  Nutty  Biographies  will 
be  announced  in  the  August  Photopl.-^y.  The  correct  answers 
will  also  be  published  in  the  same  issue.  No  solutions  will  be 
sent  back,  so  do  not  enclose  return  postage. 

You  can  enter  this  contest  every  month  and  submit  as  many 
solutions  as  you  like.  You  are  welcome  to  use  any  information 
about  the  hero  and  heroine  of  these  Nutty  Biographies  that  you 
may  lind  elsewhere  in  the  magazine.  Or  you  may  consult  back 
issues  of  Photopl.xy. 


Here  are  the  list  of  prize  winners  of  the  nutty  biographies  of 
Clara  Bow  and  Douglas  Fairbanks,  which  appeared  in  the 
April  issue  of  Photoplay. 

The  first  prize  of  $200  went  to  ISIary  E.  Riddell,  327  Brandon 
Avenue,  Williamsport,  Pa.  The  second  prize — $100 — was  won 
by  Mrs.  Berniece  Jackson,  214  West  Elm  Street,  Ludlow, 
Kentucky,  A  New  Yorker— Ralph  L.  Grindall,  of  370  West 
58th  Street — won  the  third  prize  of  $50.  Another  man,  Lee 
Bailey,  of  16  Rossonian  Apartments,  Houston,  Texas,  won  the 
fourth  prize  of  $25.  The  fifth  prize  of  $25  went  to  Mrs.  Sydney 
Rushin,  85  Tenth  Street  S.  W.,  Atlanta,  Georgia, 

The  ten  winners  of  the  $10  prizes  were  Helen  Slater,  3245 
Garfield  Avenue,  Alameda,  Calif.;  Nora  Wager,  315  Pleasant 
Street,  Utica,  N.  Y.;  Mrs.  Anna  Ehret,  Mountain  Top,  Pa.; 
Rose  C.  Beerv,  2917  West  Avenue  37,  Los  Angeles,  Calif.; 
Leonora  Kaston,  323  West  83rd  St.,  New  York,  N.  Y.;  Alicia 
Cullom  Tillery,  Forney,  Tex.;  Adrienne  Conrick,  1604  Holland 
Avenue,  Norfolk,  Va.;  Kathryn  Steinback,  948  Winnebago 
Street,  Milwaukee,  Wis.;  Mildred  Licciardi,  3040  W.  Le.xington 
Street,  Chicago,  111.,  and  Lizzie  M.  French,  Farmington,  N.  Y. 

On  Page  94  of  this  issue,  you  will  find  the  corrections  of  the 
mistakes  in  the  April  Nutty  Biographies.  Photoplay  regrets 
that  it  has  not  the  space  to  publish  some  of  the  clever  solutions 
submitted  by  the  prize  winners. 

Now  try  your  luck  on  the  Nutty  Biographies  printed  on  the 
opposite  page. 


Rules  of  Contest 


1.     Fifteen  cash  prizes  will  be  paid  by  Photoplay  for 
each  month's  solutions,  as  follows: 


First  prize $200 

Second  prize 100 

Third  prize 50 

Fourth  prize 25 

Fifth  prize 25 

Ten  prizes  of  $10  each 100 

2.  Beginning  with  the  April  issue,  Photoplay  Maga- 
zine is  publishing  two  Nutty  Biographies  of  prominent 
screen  players.  Catch  the  errors  in  these  biographies  and 
send  in  your  corrections.  Photoplay  Magazine  will  award 
fifteen  prizes  each  month  for  the  best  solutions  to  its  Nutty 
Biographies.  Accuracy,  neatness,  originality  and  clever- 
ness will  be  considered  in  awarding  the  prizes. 

3.  Each  month's  solutions  must  be  submitted  within 
one  month  after  the  appearance  of  the  issue  on  the  news- 
stands. 'S'our  solutions  for  the  June  Nutty  Biographies 
must  be  received  in  the  office  of  Photoplay  by  midnight  of 
June  15th,    Photoplay  June  issue  is  on  sale  May  15th. 


4.  Send  your  solutions  to  The  Nutty  Biography 
Editor,  Photoplay  Magazine,  221  West  57th  Street,  New 
York  City.  Be  sure  that  your  name  and  address  is  written 
on  your  solution.  All  solutions  must  be  typewritten  on 
sheets  of  paper,  using  only  one  side  of  each  sheet. 

5.  It  is  not  necessary  for  you  to  buy  copies  of  Photo- 
play Magazine  to  compete.  You  may  consult  file  copies  in 
your  local  library.  It  is  suggested  that  you  study  back 
copies  of  Photoplay  for  facts  about  the  players  written 
about  in  the  Nutty  Biographies,  Better  save  your  back 
copies  of  Photoplay  for  this  purpose.  However,  you  can 
also  obtain  back  copies  at  your  local  library. 

6.  The  judges  will  be  a  committee  of  members  of 
Photoplay's  staff.  Their  decisions  will  be  final.  No 
relatives  or  members  of  the  household  of  any  one  connected 
with  this  publication  can  submit  solutions.  Otherwise, 
the  contest  is  open  to  everyone,  everywhere. 

7.  In  the  event  of  ties  for  any  of  the  prizes,  the  full 
award  will  be  given  to  each  tying  contestant. 

8.  It  is  impossible  to  answer  inquiries  regarding  Ms 
contest.  Do  not  write  for  facts  or  further  information. 
Letters  will  not  be  answered. 


H 


a  V 


e  you   tried   your  skill  at  this 


Biograpkies-500  in  PrizeS 


r 


Bebe  Daniels 

Uncle  Jim  has  counted  Bebe  Daniels  among 

his  favorites  ever  since  she  played  opposite 

Harold   Lloyd.       He   asked   Photoplay    to 

print  this  picture  of  Bebe 


Lot!  Chaney 


Aunt  Hezekiah  purchased  this  picture  of 

Lon  Chaney  at  an  auction  sale.     She  says 

it  shows  him  in  his  remarkable  make-up  of 

"The  Phantom  of  the  Opera" 


YOUR  Uncle  Jim  is  just  the  happiest  man  in  Hollywood  be- 
cause he  has  just  had  a  long  talk  with  Bebe  Daniels'  hus- 
band. Her  husband's  name  is  ]Mr.  Daniels  and  he  runs  a 
sight-seeing  bus  in  Los  Angeles. 

Although  his  wife  is  a  popular  star  and  makes  a  lot  of  money, 
]\Ir.  Daniels  is  too  proud  to  let  Bebe  support  him.  I  think 
that  is  very  noble,  don't  you? 

Mr.  Daniels  tells  us  that  Bebe  is  an  Italian  girl,  born  in  Rome, 
Italy. 

She  and  her  mother  came  to  America  when  Bebe  was  a 
girl,  in  order  to  escape  from  the  horrors  of  the  Crimean  War. 

After  playing  on  the  stage  for  years,  Bebe  made  her  first  hit 
on  the  screen  in  the  Lonesome  Luke  comedies;  Harold  Lloyd 
was  the  star  and  Bebe  was  his  leading  woman. 

Then  Bebe  went  back  to  Europe  and  made  pictures  in 
Germany.  Her  first  great  dramatic  role  was  in  "Passion"  and 
she  made  such  a  hit  that  the  producers  brought  her  back  to  this 
country.  But  her  husband  says  that  pictures  are  not  exciting 
enough  for  her,  so  recently  she  run  off  to  Europe  and  startled 
the  world  by  swimming  the  English  Channel.  When  she  came 
back,  she  made  a  picture  called  "Swim,  Girl,  Swim."  I  remem- 
ber it  very  well;  don't  you? 

Mr.  Daniels  warned  us  not  to  tell  anyone  that  Bebe  Daniels 
is  really  married,  because  she  plays  heavy  vamp  roles  and  she 
beheves  that  it  would  hurt  her  popularity  with  the  public  if 
it  were  known  that  she  really  is  a  happy  wife.  But  I  don't 
think  it  will  do  any  harm  just  to  tell  a  few  friends. 

Every  evening,  Mr.  Daniels  drives  out  to  the  JNIetro-Goldwyn- 
Studios  and  calls  for  Bebe,  which  proves  that  he  is  a  devoted 
husband.  He  says  that  Bebe  doesn't  own  a  car  and  cannot 
drive  one  herself.  She  prefers  to  go  everywhere  in  the  sight- 
seeing bus. 

We  are  so  excited  about  knowing  all  about  Miss  Daniels  that 
we  are  going  tonight  to  see  her  in  her  new  picture,  "Mother 
Machrce." 


HOLLYWOOD  is  a  thrilling  place.  Last  night  a  masked 
man  crept  into  our  room  at  the  boarding-house  and  you 
cannot  imagine  our  fright.  We  thought  he  was  a  burglar.  But 
when  we  threatened  to  call  the  police,  the  man  said,  "Don't 
scream,  I  am  only  Lon  Chaney." 

Well,  we  made  him  sit  right  down  and  tell  us  all  about  him- 
self. He  wouldn't  take  off  his  mask  so  we  didn't  get  a  good 
look  at  him,  but  evidently  he  is  over  six  feet  tail  and  weighs 
about  two  hundred  pounds. 

Mr.  Chaney  told  us  that  he  was  born  in  Algiers  and  that  his 
father  was  a  famous  sheik  who  eloped  with  an  English  girl.  Lon, 
himself,  didn't  like  the  idea  of  sheiking  for  a  living  so  he  joined 
up  with  a  pirate  crew.  From  being  a  pirate,  it  was  only  a 
jump  to  entering  the  film  business. 

Lon's  first  appearance  in  the  movies  was  as  leading  man  for 
Gloria  Swanson.  Because  of  his  striking  Oriental  appearance, 
he  became  the  rage  as  a  handsome  matinee  idol.  But  such 
work  soon  became  tiresome  and  he  decided  to  hide  his  hand- 
some face  behind  trick  make-ups.  So  that  is  how  Lon  Chaney 
happened  to  become  a  famous  character  actor,  according  to  his 
own  story. 

Uncle  Jim  told  him  how  much  he  admired  his  work  in  "The 
Unholy  Three,"  but  Mr.  Chaney  said  he  thought  he  gave  his 
best  performancein  "TheThief  of  Bagdad."  He  explained  that 
by  disguising  himself  as  a  burglar  and  entering  rooms  at  night  he 
was  obtaining  local  color  for  a  sequel  to  "The  Thief  of  Bagdad." 
Isn't  that  a  clever  trick? 

In  spite  of  the  fact  that  he  plays  such  gruesome  parts,  Mr. 
Chaney  is  really  a  merry-hearted  young  man.  He  told  us  that 
he  is  twenty-five  years  old.  When  he  left,  he  promised  to  send 
us  a  picture  of  himself.  After  he  had  gone,  Uncle  Jim  missed 
his  watch  and  a  five  dollar  bill,  but  I  know  that  Mr.  Chaney  was 
only  playing  a  little  joke.  Anyway,  Uncle  Jim  and  I  are  going 
around  to  the  De  Mille  Studio,  where  Mr.  Chaney  works,  and 
ask  him  to  give  us  back  the  watch  and  the  money. 


fascinatine    new    movie    contest? 


$5,000 ///Fifty  Gash  Prizes j 

RULES  OF  CONTEST 

1.  Fifty  cash  prizes  will  be  paid  by  Photoplay  Magazine,  as  follows: 

First  Prize $1,500.00 

Second  Prize 1,000.00 

Third  Prize 500.00 

Fourth  Prize 250.00 

Fifth  Prize 125.00 

Twenty  Prizes  of  $50  each 1,000.00 

Twenty-five  prizes  of  $25  each 625.00 

2.  In  four  issues  (the  June,  July,  August  and  pete.  You  do  not  have  to  buy  a  single  issue.  You  may 
September  numbers)  Photoplay  Magazine  is  publish-  copy  or  trace  the  pictures  from  the  originals  in  Photo- 
ing  cut  puzzle  pictures  of  the  well-known  motion  play  Magazine  and  assemble  the  pictures  from  the 
picture  actors  and  actresses.  Eight  complete  cut  copies.  Copies  of  Photoplay  Magazine  may  be 
puzzle  pictures  appear  in  each  issue.  Each  cut  puzzle  examined  at  the  New  York  and  Chicago  offices  of  the 
picture  will  consist  of  the  lower  face  and  shoulders  publication,  or  at  public  libraries,  free  of  charge. 

of  one  player,  the  nose  and  eyes  of  another,  and  the  5.  Aside  from  accuracy  in  assembling  and  identifying 

upper  face  of  a  third.     When  cut  apart  and  properly  cut  puzzle  pictures,  neatness  in  contestants'  methods  of 

assembled,  eight  complete  portraits  may  be  produced,  submitting  solutions  will  be  considered   in   awarding 

$5,000.00  in  prizes,  as  specified  in  rule  No.  1,  will  be  prizes.      The  thirty-two  cut  puzzle  pictures  or  their 

paid  to  the  persons  sending  in  the  nearest  correctly  drawn  duplicates,  must  be  cut  apart,  assembled  and 

named  and  most   neatly  arranged   set   of   thirty-two  pasted  or  pinned  together,  with  the  name  of  the  player 

portraits.  written  or  typewritten  below. 

3.  Do  not  submit  any  solutions  or  answers  until  after  6.  The  judges  will  be  a  committee  of  members  of 
the  fourth  set  of  cut  puzzle  pictures  has  appeared  in  the  Photoplay  Magazine's  staff.  Their  decision  will  be 
September  issue.  Assembled  puzzle  pictures  must  be  final.  No  relatives  or  members  of  the  household  of 
submitted  in  sets  of  thirty-two  only.  Identifying  any  one  connected  with  this  publication  can  submit 
names  should  be  written  or  typewritten  below  each  solutions.  Otherwise,  the  contest  is  open  to  everyone 
assembled  portrait.     At  the  conclusion  of  the  contest  everywhere. 

all  pictures  should  be  sent  to  CUT  PICTURE  PUZZLE  7.   in  the  case  of  ties  for  any  of  the  first  five  prizes,  the 

EDITORS,  Photoplay  Magazine,  750  North  Michi-  full  award  will  be  given  to  each  tying  contestant, 

gan  Avenue,  Chicago,  111.    Be  sure  that  your  full  name  g    ^he  contest  will  close  at  midnight  on  September 

and  complete  address  is  attached.  20th.    All  solutions  received  from  the  time  the  fourth 

4.  Contestants  can  obtain  help  in  solving  the  cut  set  of  pictures  appears  to  the  moment  of  midnight  on 
puzzle  pictures  by  carefully  studying  the  poems  appear-  September  20th  will  be  considered  by  the  judges.  No 
ing  below  the  pictures  in  each  issue.  Each  eight-line  responsibility  in  the  matter  of  mail  delays  or  losses  will 
verse  refers  to  the  two  sets  of  cut  puzzle  pictures  appear-  rest  with  Photoplay  Magazine.  Send  your  answers  as 
ing  directly  above  it.  The  six-line  verse  applies  generally  soon  as  possible  after  the  last  set  of  cut  puzzle  pictures 
to  the  four  sets  on  that  page.  Bear  in  mind  that  it  costs  appears  in  the  September  issue,  which  will  appear  on 
absolutely  nothing  to  enter  this  contest.  Indeed,  the  the  newsstands  on  or  about  August  15th.  The  prize 
contest  is  purely  an  amusement.  You  do  not  need  to  be  winners  will  be  announced  in  the  January,  1929,  issue  of 
a  subscriber  or  reader  of  Photoplay  Magazine  to  com-  Photoplay. 

Cut  Puzzle  Pictures  Are  on  Second  and  Third  Pages  Following  This  Announcement 

SUGGESTIONS 


Contestants  should  study  the  poems  appearing  in  connection 
with  the  cut  puzzle  pictures.  These  are  the  indicators  for 
identifying  the  contest  puzzle  pictures  and  winning  prizes. 

Contestants  will  note  that  identifying  numbers  appear  at  the 
margin  of  the  cut  puzzle  pictures.  These  numbers  may  be 
copied  upon  the  cut  portraits,  with  pencil  or  pen,  so  that,  in 
pasting  or  pinning  the  completed  portrait,  it  will  be  possible  to 
show  the  way  the  cut  pieces  originally  appeared. 

68 


As  no  solutions  may  be  entered  before  the  fourth  set  of  puzzle 
pictures  appears,  it  is  suggested  that  contestants  merely  pin 
their  solutions  together  until  the  conclusion.  This  will  permit 
the  shifting  and  changing  about  of  pictures  as  the  contest 
progresses — and  will  give  time  for  lengthy  consideration  and 
study. 

Each  cut  puzzle  picture  is  a  portrait  of  a  well-known  motion 
picture  actor  or  actress. 


Cjr^lN'TlN-TlN  at  last  has  fallen  a  victim  of  Hollywood 
^/T    gossip.    All  the  dogs  in  the  country  are  laughing  behind 

^v^their  paws  at  a  certain  little  episode  in  the  private  life 
of  Rinty.  It's  one  of  the  richest  bones  ever  dug  up  in  the  canine 
world.  Here's  the  story:  Rin-Tin-Tin  is  owned  by  Lee  Duncan 
who,  incidentally,  has  made  a  neat  little  fortune  from  the  dog. 
Well,  one  night  a  bold  burglar  entered  the  Duncan  home  and 
ate  everything  in  the  ice-box,  including  Rinty's  dog  biscuits. 
Did  Rinty  rush  down  and  catch  the  thief?  Did  he  bark  and 
rouse  the  household?  He  did  not;  he  slept  peacefully  during 
the  whole  proceedings.     And  that  proves  that  even  a  dog 

realizes  the  dignity  that  is  incumbent  on  stardom. 


The  hair  is  ash  blond  (it's  a  popular  tint!) 
The  eyes  arc  a  warm  hazel  shade; 
The  mouth  calls  a  town  in  New  Jersey  her  own- 
A  place  where  mi^t  all  silk  is  made' 


-    ._.  the  eyes. 

The  mouth  had  a  part  in  an  Edwards  revi 
Then  entered  the  pictures — how  wlsel 


The  hair  is  a  beauty — an  old  timer,  too. 

The  eyes  went  to  high  school  and  college; 

The  mouth  was  abroad  as  a  dancer  (and  how!) 

Acquiring  skill  and  much  knowledge. 

The  hair  is  a  bright  young  director's  loved  wife. 

The  eyes  in  Kentucky  were  bred; 

■The  mouth  has  two  ciaughters,  born  five  years  apart. 

And  two  separate  times  has  been  wed. 
RESUME 

Two  have  the  same  first  name — and  luo  have  brotvn  hair 

Three  of  ihem  are  married,  one's  not — 

And  two  have  afibeared  oftentimes  on  the  stage. 

And,  oh,  the  S.  A   they've  both  got! 

Tuv  of  them  have  brown  eyes — and  one.  eyes  of  grey. 

And  one,  as  a  chorus  queen,  had  her  day! 


The  hair,  in  the  state  that's  called  Golden,  was  born, 

The  eyes  played  in  "Becky" — remember? 

The  mouth  is  from  Lynn,  Massachusetts,  and  he 

Was  born  in  the  month  of  September. 

The  hair  is  dark  brown,  and  is  just  six  feet  tall. 

The  eyes  posed  for  artists,  they  say — 

The  mouth  went  to  college  abroad,  ere  he  came 

To  live  in  our  own  U.  S.  A. 


The  hair  had  four  seasons  to  play  speaking  parts. 

The  eyes  in  old  England  were  raised. 

The  mouth  in  a  number  of  Fox  films  was  starred. 

And  in  some  of  the  parts  was  much  praised. 

The  hair  is  quite  blond  (blue  eyes  go  with  this  lad). 

The  eyes  knew  policemen — none  better! 

The  mouth  had  a  father,  in  bank  circles  known» 

And  they  say  that  the  boy's  a  gcn-getterl 


RESUME 


Two  of  them  are  married,  one  happily  so. 

Two  of  them  are  not  yet  engaged — 

Two  of  them  have  acted  in  very  fine  plays, 

Yes,  some  of  the  best  that  we've  staged! 

They're  all  very  tall  and  all  handsome  (you  know  it!) 

And  all  of  the  four  have  real  talent — and  show  it. 


(ny^ERE  IS  a  young  g,rl  who  always  gets  what  she  wants.  And  she  wants  to  be  a  movie  star. 
(j/7   Her  name  .s  Mary  Duncan    Make  a  note  of  it,  as  you  are  going  to  hear  more  about  her. 

role  .nd  h  ."       ."I ""         u     ^'  ^^  ^^  ^"'""^"  '°  ^^'^  '"  "^^^  ^^^  devils."  It  is  a  striking 

role  and.  because  it  is  her  great  ckince,  Mary  is  making  the  most  of  it.  On  the  opposite  page,  you'll 

find  a  story,  by  Erie  Hampton,  about  this  interesting  newcomer 


From  The 

Law 


Mary  Duncan  argued 

her  first  case  with  her 

father — and  now  she's 

in  the  movies 

By  ¥.rle  Wampton 


THE  moral  of  this  story  is:  Never  try  to  choose 
a  career  for  your  daughter.  If  3'ou  educate 
her  to  burn  up  society,  the  child  will  develop 
a  morbid  longing  for  settlement  work.  If  you 
force  her' unwilling  fingers  to  take  piano  lessons,  she'll 
begin  sneaking  dancing  lessons  on  the  quiet. 

Down  in  Luttrellville,  Virginia,  Mary  Duncan's 
father  decided  that  his  daughter  was  to  be  a  lawyer 
and  nothing  else  but.  Mr.  Duncan  should  have 
known  better  because  ever  since  IMary  had  been  able 
to  speak  for  herself  she  had  been  getting  her  own  way. 
Mr.  Duncan  misunderstood  this  power  of  argumenta- 
tive persuasion  for  legal  ability. 

With  parental  blessings  and  an  allowance,  Mary 
was  shipped  off  to  CorneO  University,  to  start  the 
necessary  prehminary  four-year  course.  Unfortu- 
nately for  father,  the  institutions  of  higher  learning 
go  in  for  amateur  plays  and  Mary  was  a  wow  in  the 
local  shows. 

Once  the  flowers  and  applause  are  hurled  at  them 
over  the  foot-lights,  they  are  lost.  Mary  wrote  to  her 
father  that  all  was  off  between  her  and  ]\Ir.  Blackstone. 
The  party  of  the  first  part  wanted  to  be  an  actress  and 
whereas  the  party  of  the  second  part  might  not  agree 
with  her,  it  behooved  the  party  of  the  second  part 
to  give  his  consent  and,  for  one  dollar  or  other  con- 
siderations, to  aid  and  abet  her  ambitions. 

Down  in  Luttrellville,  Mary's  father  decided  that 
the  party  of  the  second  part  would  do  no  such  thing 
and  that  the  party  of  the  first  part  must  be  non  compos 
mentis  to  think  for  a  minute  that  he  would. 

Mary,  who  always  gets  what  she  wants,  took  what 
was  left  of  her  allowance  and  a  big  fur  coat  and  ran 
away  from  Cornell.    Things  like  that  give  college  authorities 
gray  hair. 

After  checking  up  on  the  cost  of  living  in  New  York,  Mary 
took  her  fur  coat  to  a  gentleman  who,  in  a  big-hearted  way, 
"stores"  such  garments  until  their  owners  feel  that  they  need 
them.  At  that  time,  Yvette  GuUbert  was  conducting  a  school 
for  ambitious  young  actresses  and  Marj'  had  decided  that 
Yvette  could  teach  her  a  lot  she  ought  to  know. 


Contrary  to  parental  expectations,  Miss  Duncan  made  her 
first  hit  in  the  court  of  sex  appeal.    This  is  Mary  as  Poppy 
in  "The  Shanghai  Gesture,"  which  is  one  of  those  censor- 
troubling  roles 

Figuratively  speaking,  Mary  ate  the  fur  coat.  By  the 
time  that  she  had  consumed  all  but  one  lapel,  she  set  forth  on 
Broadway  with  the  assurance  that  she  could  burn  them  up. 

At  that  time,  Mr.  Ziegfeld  was  selecting  girls  and  Mary 
was  offered  a  job  in  the  chorus  of  "The  Follies."  Because  it 
was  so  easy,  Mary  decided  she  didn't  want  it.  So  she  con- 
tinued her  quest  for  an  acting  part.  Leo  Dietrichstein  saw  her 
and  gave  her  a  role  in  "Toto."      [continued  on  page  96] 

63 


C^tv*    W>.«.i3f*«v. 


Illustration    by 

Chris  Marie  Meeker 


/ 


eA 


NL\  IJ<  know  what  I  am  going  to  do  next  when  I  am 
not  workmg.  I  walk  on  the  beach  for  many  miles.  I 
stand  on  the  beach  and  watch  the  sea  for  an  hour,  per- 
haps two.     What  IS  that  to  people?     I  like  it  " 


Q^  Story 

-^        of 

Greta 
Garbo 


As  told  by  her  to 

Ruth  Biery 

Temperamental  or  mis- 
understood? Read  Miss 
Garbo's  account  of  her  first 
experiences    in    America 


JN  the  two  previous  installments  of  her  fascinating  story,  Miss 
Garbo  told  of  her  lonely  childhood  in  Sweden  and  of  her  first 
ambitions  to  become  an  actress.  As  a  young  girl  she  entered 
the  Royal  Dramatic  School  in  Stockholm  and  while  she  was  still 
a  student,  Mauritz  Stiller  discovered  her  screen  possibilities.  Her 
first  European  picture  was  a  great  success  but,  because  of  bad 
financial  conditions  in  Europe,  her  career  seemed  at  a  standstill 
when  Stiller  met  Louis  B.  Mayer  in  Berlin.  Mayer  signed  a  con- 
tract with  both  Stiller  and  Miss  Garbo.  At  the  end  of  the  summer, 
Miss  Garbo  sailed  for  America.  She  was  shy,  strange  and  she 
knew  no  English.  But  she  had  high  hopes  and  e.xpccted  to  find 
New  York  carpeted  with  flowers.  Noiv  read  the  final  chapter  of 
this  engrossing  life  story. 

CHAPTER  III 

"  "Ik      'T"0, 1  did  not  find  flowers  in  New  York  City.     I  found 

I ^^  I  heat!"    Greta  Garbo  shuddered.    " I  came  at  a  very 

I     ^U  bad  time  of  the  year.    It  was  in  July,  1925.    I  could 

not  get  my  breath.    We  went  to  a  very  bad  hotel  in 

New  York  City.    A  Swedish  man  came  over  with  us,  who  had 

stayed  there  before.     I  asked  if  all  hotels  in  America  were  like 

this  one.     I  was  there  three  months.     But  I  saw  very  little.     I 

went  from  my  room  to  my  bathroom  and  back  to  my  room 

again."     She  laughed,  a  Httle.     "I  used  almost  all  of  the  water 

in  New  York  City.     I  stayed  in  the  cold  water  to  keep  myself 

from  being  roasted. 

"I  did  go  to  'The  Follies'  and  to  the  Winter  Garden.  I 
liked  that.     It  was  fun  to  watch  the  American  people. 

"We  came  to  California  in  September.  In  New  York,  I 
spent  all  of  my  time  in  the  bathtub  thinking  about  how  it  would 
be  when  we  got  to  California  and  I  would  start  working  in 


"Love?     Of  course,  I  have  been  in  love.     Who 

hasn't  been  in  love?    Marriage?    I  have  told  many 

times,  I  do  not  know.     I  like  to  be  alone;    not 

always  with  the  same  person" 


American  pictures.  Then  it  was  four  months  here,  before  I 
started  in  one  picture.  I  was  to  work  with  Mr.  Stiller.  When 
it  could  not  be  arranged,  they  put  me  in  'The  Torrent'  with 
Mr.  Monta  Bell  directing. 

"Yes,"  she  hesitated  a  moment.  "It  was  very  different. 
The  studio  here  is  a  bit  of  a  factory.  The  studios  here  are  so 
huge,  they  have  to  be  kept  as  factories.  Too  many  people  in 
them  to  have  it  different.     But  I  was  a  little  afraid  of  them. 

"I  could  not  speak  any  English.  I  did  not  know  about  the 
American  people.  In  Europe  we  had  always  been  working  with 
just  a  few  people.     We  knew  everybody. 

"  It  was  very  funny.  Before  I  had  started  on  '  The  Torrent,' 
Mr.  Ma3er  called  me  back  into  his  office  and  wanted  me  to 
sign  a  new  contract  with  him. 

""DUT  I  said,  'Meester  IVIayer'— I  could  not  then  talk  but  a 
iJlittle  English  and  not  so  good  pronunciation — 'Meester 
Mayer,  I  haf  not  done  3-et  one  picture.  Let  us  vait  until  I  haf 
been  in  one  pxictures.'  He  wanted  me  to  sign  for  five  years 
with  him.     I  could  not  understand  it. 

"While  I  was  making  this  picture,  this  'The  Torrent,'  and 
when  I  was  finished,  he  called  me  into  his  office  many  times  and 
asked  me  to  sign  for  five  years.  I  could  never  understand  what 
he  meant  by  it.  We  never  said  anything  about  money.  He  just 
said  he  couldn't  afford  to  advertise  my  pictures  and  put  money 
into  me,  if  I  would  not  sign  for  five  years  with  them.  I  had 
already  signed  for  three  years,  and  why  should  I  sign  again 
when  I  had  not  3'et  a  picture — and  then  when  I  had  only 
'The  Torrent'? 

"It  w^as  very  hard  work,  but  I  did  not  mind  that.  I  was  at 
the  studio  every  morning  at  seven  o'clock  and  worked  until 
si.x  everj'  evenmg.  I  was  so  tired.  I  did  not  go  anywhere.  I 
moved  down  to  Santa  Monica  to  be  near  the  ocean. 

"I  would  go  home  and  lie  down  and  think,  think 
about  my  sister  and  my  brother  and  my  mother,  back 
home,  in  the  snow  in  Sweden.        [  continued  on  p.a.ge  144  ] 

65 


$2,000  in  Prizes 

Four  Cash  Awards  and  Five  Honorable  Mentions  Go 
to  Lucky  Contestants  in  Pioneer  Photoplay  Contest 


$500  Prize 

$500  Prize 

$500  Prize 

$500  Prize 

35MiIIimeter  Division 

IbMillimeterDivision 

Special  Award 

9  Millimeter  Division 

Russell  T.  Ervln.  Jr. 

B.  V.  Covert 

Rennin  Hamilton 

C.  R.  Underwood 

East  Oranfie,  N.  J. 

Lockport,  N.  Y. 

Toronto,  Canada 

St.  Louis,  Mo. 

By 

Frederick 
James 
Smith 


IF  there  was  any  doubt  that  Photopl.w's  $2,000  Amateur 
Movie  Contest  would  prove  to  be  a  milestone  of  amateur 
cinematographic  progress,  it  was  dispelled  by  the  number 
of  and  quality  of  the  films  submitted  from  all  parts  of 
America. 

Photoplay's  Amateur  IMovie  Contest  was  launched  on  June 
1,  1927,  and  it  closed  on  February  1. '5, 1928,  after  a  slight  exten- 
sion of  time  to  accommodate  the  schools  and  organizations  that 
found  it  impossible  to  complete  their  contest  contributions  dur- 
ing the  holidays. 

This  gave  a  period  of  nine  and  one-half  months  for  am- 
ateurs  to  develop   and  perfect   their   contest    contributions. 

In  creating  this  contest, 

PnoTOPLAYolTered  the  first  inter-         

national  competition  ever  pre- 
sented by  any  publication  any- 
where. As  the  foremost  spokes- 
man of  the  professional  screen 
field,  Photoplay  realized  the 
need  of  helping  amateurs.  It 
particularly  wanted  to  teach 
amateur  cinematographers  that 
the  shooting  of  motion  pictures 
is  but  half  the  fun.  Photoplay 
wanted  them  to  learn  how  to  cut, 
edit  and  title  their  fdms. 

Since  no  contest  hafl  ever  been 
held  by  amateurs,  it  was  imi)Os- 
sible  to  estimate  in  advance  the 
interest  it  would  arouse.  How- 
ever, the  competition  proved  to 
l)e  a  tremendous  incentive  among 
amateur  movie  makers.  With 
the  aid  and  cooperation  of  the 
Amateur  Cinema  League, 
Photoplay  caught  the  attention 
of  amateurs  everywhere. 

The  many  films  received  are 
now  in  the  hands  of  the  Amateur 
Cinema  League  and  a  compre- 
hensive study  of  these  contest 
contributions  is  being  made. 
P'rom  this  study  a  standard  of 
amateur  cinematography  will  be 


Awards  in  Photoplay's 

Amateur  Movie  Contest 


created.  This,  be  it  noted,  is  the  first  time  that  the  leaders  of 
the  amateur  movement  have  had  an  opportunity  to  observe  and 
analyze  the  making  of  amateur  films  as  it  shows  itself  in  the 
finished  contest  products  coming  from  all  over  the  United 
States. 

It  was  no  easy  matter  for  the  committee  of  judges — compris- 
ing Hiram  Percy  I\Iaxim,  president  of  the  Amateur  Cinema 
League;  S.  L.  Rothafel,  managing  director  of  the  Roxy  Theater 
in  New  York;  Nickolas  Aluray,  the  professional  photographer; 
James  R.  Quirk,  publisher  and  editor  of  Photoplay;  and  the 
managing  editor  of  Photoplay — to  arrive  at  a  decision. 

The  contest  films  were  first  put  through  an  elimination  proc- 
ess. This  took  many  showings 
and  considerable  time,  but  out  of 
it  emerged  the  present  winners 
and  honorable  mentions,  as  well 
as  a  few  other  contest  films  later 
discarded. 


35  Mi/ii7ncter  Diiiision: 
First  Priie,  $500: 

The  Motion  Picture  Club  of  the  Oranges, 

East  Orange,  N.  J. 
Honorable  Mentions: 

William  George  Taylor,  Hollywood,  Cal. 

Thomas  Fisher,  Pittsburgh,  Pa. 

16  Millimeter  Division: 
First  Prize,  $500: 

B.  V.  Covert,  Lockport,  N.  Y. 
Honorable  Mentions: 

B.  V.  Covert,  Lockport,  N.  Y. 

Margaret  L.  Bodine,  Philadelphia,  Pa. 

Clyde  Hammond,  Youngstown,  O. 

9  Millimeter  Dii'ision: 
First  Prize,  $500: 

Clarence  R.  Underwood,  St.  Louis,  Mo. 
Honorable  Mention: 

A.  ^   V,  eymeyer,  Covington,  Ky. 

Special  Award 
Prize  *^500: 

Kenni.i  Hamilton,  Toronto,  Canada. 


FIRST  prize,  of  $500,  in  the  35 
millimeter  division,  went  to 
the  JMotion  Picture  Club  of  the 
Oranges,  East  Orange,  New  Jer- 
sey, for  its  film  "And  How!" 
This  proved  to  be  an  unusual 
serio-comedy,  telling  of  a  rest- 
less young  husband  and  how  he 
was  cured.  It  was  very  well 
acted  by  Alfred  Fontana  as  the 
husband,  Margaret  Ervin  as  the 
vamp,  Anne  Howe,  and  Beatrice 
Traendly  as  the  wife.  The  di- 
rection of  Russell  T.  Ervin,  Jr., 
was  remarkably  good,  revealing 
an  unusual  facility  for  telling  a 
story  concisely  and  quickly. 
Then,  too,  he  understood  how 
to  cover  any  histrionic  imperfec- 
tions of  his  cast.  "And  How ! "  is 
a  surprisingly  neat  amateur  film. 
The  JMotion  Picture  Club  of 
the  Oranges  was  formed  in  1924 
and,  after  a  year's  work,  pro- 
duced a  two-reel  picture,  "Love 


GG 


for 


A 


mateur 


M 


ovies 


by  Proxy,"  which  attracted 
considerable  attention  in  ama- 
teur circles.  This  was  made  on 
16  millimeter  film.  Then  the 
club  made  a  two-reel  35  milli- 
meter production,  "Hey-Hey!" 

LET  IMr.  Ervin  describe  the 
making  of  the  contest  win- 
ner: "  'x\ndHow!'  was  written 
in  story  form  by  the  writer, 
who  also  wrote  the  continuity. 
This  was  strictly  adhered  to 
throughout  the  shooting  of  the 
picture.  I  wrote  the  titles  and 
also  did  the  hand-lettered 
cards,  which  I  photographed 
with  the  same  camera  with 
which  most  of  the  picture  was 
made.  I  used  a  Model  E 
Debrie  Camera  for  most  of  the 
shots,  but  utilized  an  Eyemo 
and  also  a  De\'ry  on  the  diffi- 
cult shots.  None  of  these 
cameras  was  equipped  with  an 
automatic  dissolve,  so  any 
fading  or  dissolving  had  to  be 
accomplished  by  using  the  lens 
iris." 

Mr.Ervin  also  edited  thepic- 
ture.  "The make-up,"  he  says, 

"  was  taken  care  of  by  each  of  the  three  persons  in  the  cast  after 
considerable  study.  One  of  the  two  arcs  used  on  the  interiors 
and  night  scenes  was  a  home-made  affair  which  I  constructed. 
Therefore,  excluding  the  developing  and  printing,  every  step  in 
the  production  of  'And  How!'  was  performed  by  amateurs." 

Rlr.  Ervin,  by  the  way,  is  thirty  years  old  and  a  graduate 
with  a  degree  of  B.  S.  in  electrical  engineering,  from  the  Univer- 
sity of  Pennsylvania,  class  of  1920.  He  is  engaged  in  power 
plant  engineering  work  and  at  present  is  assistant  to  the  con- 
sulting engineer  of  Servel,  Inc.,  in  New  York.  Mr.  Ervin  has 
been  interested  in  amateur  movie  making  since  1913,  when  he 
built  his  first  camera  from  parts  of  a  small  projector. 

The  principal  award  of  $500  in  the  16  millimeter  division 
R'as  awarded  to  B.  V.  Covert,  a  retired  business  man  of  154 
Genesee  Street,  Lockport,  N.  Y.,  for  his  remarkable  study  of  a 
quail  hunt  and  of  a  number  of  beautiful  pointers  in  action. 
Mr.  Covert's  photography  was  superb  in  this  film  and  in  two 
other  contest  contributions  submitted  for  the  consideration  of 
the    judges.      One   of   these   other   films,    showing   a   moose 


The  Motion  Picture  Club  of  the  Oranges,  winner  of  a  first  contest  prize, 
on  location  during  the  making  of  an  amateur  comedy.     This  organiza- 
tion was  first  formed  in  1924 


hunt,  received  an  honorable  mention.  Thus  Mr.  Covert  was 
the  onh'  contestant  to  receive  two  honors  in  the  contest.  His 
films  revealed,  besides  brilliant  photography,  an  unusual 
scenic  sense.  His  films  were  no  mere  series  of  disjointed  shots. 
In  each  case  Mr.  Covert  told  a  storj' — and  an  interesting  one. 

MR.  COVERT  is  sixty  years  old  and  formerly  manufactured 
automobile  parts  at  Lockport.  '"  I  have  hunted  big  game 
each  Fall,"  says  Mr.  Covert, "  for  the  past  thirty  years  in  practi- 
cally all  of  the  Canadian  Provinces  from  Alaska  to  and  including 
Newfoundland.  I  have  secured  some  fine  specimens  of  all 
game  found  on  this  continent,  but,  for  the  past  five  years, 
I  have  hunted  prindpall}'  with  cameras.  I  am  much  interested 
in  fishing  and  golf  and  I  spend  my  Winters  in  the  South." 

Mr.  Covert's  prize  film,  of  quail  hunting,  was  secured  near 
Pinehurst,  N.  C.  IMr.  Covert  bought  his  first  movie  camera,  a 
Sept,  six  years  ago  and  the  following  year  purchased  one  of  the 
first  Filmos  ever  made.  Mr.  Covert's  contest  films  were  made 
with  a  Filmo  equipped  with  a       [continued  on  page  136  ] 


Honorable  Mentions  in  Amateur  Movie  Contest 


William  G.  Taylor 

Hollywood,  Cal. 

35MillimeterDivision 


Margaret  L.  Bodine 

Philadelphia,  Pa. 

16MillimeterDivision 


Thomas  Fisher 

Pittsburgh,  Pa. 

35MiIlimeterDivision 


A.  F.  Weymeyer 

Covington,  Ky. 

9  Millimeter  Division 


Clyde  Hammond 

Youngstown,  O. 

16Millimeter  Division 


Illustrated 
by 

Everett 
Shinn 


EXES  And 


A  SONG  PLUGGER,"  she  says,  "is  a  guy  who  sings 
mammy  songs  and  was  raised  in  a  baby  incubator.  " 
I'm  standing  in  the  lobby  of  the  Deseret  Hotel 
at  Los  Angeles  when  I  meets  her  again  after  a  lapse 
of  two  film  years.  Deseret,  by  the  way,  is  Indian  for  rotten 
food  and   hard  beds. 

"  I'm  going  to  meet  a  song  plugger,"  she  says,  "who's  got  a 
number  he  wants  me  to  sing  in  my  new  act." 

"You're  not  in  vaudeville?"  I  says,  hoping  for  a  negative. 
"  I  am, "  she  answers,  "  being  as  how  a  dame,  no  matter  how 
good  looking,  is  got  to  eat." 

"Righto,"  I  says,  "but  how  about  that  bimbo  with  all  the 
oil  wells  you  was  going  to  tie  to,  the  last  time  I  see  you?" 

"Oh!  That  guy,"  she  says,  "the  only  thing  his  wells  oozed 
was  banana  oil.  I  gave  him  the  big  illusion  act,  tried  movies  for 
a  few  minutes — blew  the  bank  roll  and  here  I  am  equipping 
for  a  lour  of  the  Pantages  circuit,  singing  my  way  east,  but 
with  a  heavy  heart." 


"Well,"  I  says,  "you  got  nothing  on  me.  I'm  slipping  bad 
news  to  people  about  their  health — I'm  insuring  them  as  are 
not  fatalists,  and  so  far  haven't  done  bad,  nor  yet  good." 

"How  come,"  she  asks,  "you  are  such  a  flop  when  the  last 
time  I  see  you,  you  are  going  to  change  the  whole  face  of  the 
movie  business,  and  what's  become  of  that  sallow-faced, 
shallow-minded  blonde  riot  you  was  going  to  star — or  maybe 
I  didn't  hear  you  right  and  you  said  starve?" 

"That  dame,  don't  mention  even  her  given  name,"  I  replies. 
"She  was  so  two-faced,  if  I  could  have  ever  got  her  on  the 
screen  she'd  a  drawn  down  two  salaries.  She  gave  me  the  run- 
around  for  a  director  and  was  so  punk  she  not  only  lost  her  own 
job,  but  got  him  fired,  and  for  the  first  time  in  history,  succeeded 
in  closing  a  studio  permanently,  if  not  forever." 

"  Well,  kid,  you  can't  say  that  I  didn't  tell  you  that  you  had  a 
swell  future  with  me — and  I  not  only  told  you,  but  corroborated 
myself  reiterately  and  over  and  over." 

"You  did  that,  Madge,"  I  answers,  "I  ain't  denying  that, 


t--_ 


Sevens 


Here  is  a  story 
by  the  screen 's 
cleverest  press 
agent.  He  ad- 
mits that  it  is 
fiction 


Everyone  is  shooed  off  the  set 
but  the  director  and  cameraman 
and  Hector,  who  is  to  play  Tom 
the  Peep.  And  Godiva,  looking 
as  serene  as  a  child,  rode  right 
out,  nakeder  than  the  day  she 
was  born.  Outside  of  the  cam- 
era cranking  a  little  faster,  it 
is  quiet  and  there  ain't  any 
excitement,  until  suddenly  a 
shriek  rended  the  air 


By 
Harry  L. 

Reichenbach 


but  I  had  a  blonde  complex  and  it  took  just  this  kind  of  ex- 
perience to  darken  my  outlook  again." 

"Well,  we're  not  getting  anywhere  roasting  each  other," 
she  says,  "let's  quit  being  on  the  level  and  talk  nice  to  each 
other." 

"Suits  me,"  I  says.  "I  ain't  heard  nothing  but  abuse  for 
six  months  now,  and  if  I  can  understand  a  kind  word,  I'll 
answer. " 

"Well,  Gu3, "  she  says,  "this  here  town  is  as  full  of  dis- 
appointments as  a  weather  bureau,  but  at  the  same  time 
there's  a  lot  of  ex-soil  ticklers  who  stands  willing  to  finance 
anything  from  a  movie  company  to  a  school  of  codfish,  only 
you  gotta  find  them  and  then  get  them  into  a  susceptible 
mood,  using  only  words  of  one  syllable,  or  less." 

"It  ain't  took  me  a  year  here  on  this  sun-massaged  coast  to 
find  that  out,"  I  answers  back,  "and  I  been  keeping  all  three  of 
my  two  eyes  open  for  opportunity,  but  so  far,  it's  been  wearing 
invisible  cloaks  and  vanishing  cream — what  you  got  to  suggest?" 


"Nothing,  except  there's  a  fellow  here  who  thinks  I  brought 
the  sun  to  the  coast,  that  my  hair  is  solid  gold,  and  my  teeth 
super-Tecla,  but  he's  dying  to  be  immoral  and  I  think  if  we 
go  about  it  right,  we  can  promote  him  into  financing  a  movie 
and  still  kiss  me  good-night  at  the  vestibule  door.  What  ho, 
mate!    Will  you  chisel  into  the  scheme  with  me?" 

"Look,"  I  shouts,  "if  I  knew  in  advance  we  was  going  to 
flop,  I'd  work  with  you  on  anything  from  keeping  house  to 
keeping  quiet.     Spill  your  thoughts — I'm  wide  open. " 

Well,  Madge  unbuckles  her  ideas,  and  even  if  I,  her  ardentest 
admirer,  admits  it,  it's  the  berries. 

We  goes  our  separate  ways  later,  and  I'm  to  meet  the  sugar 
bowl  that  night  for  dinner,  it  being  two  o'clock  on  the  first 
Tuesday  afternoon  of  the  eighty-sixth  rainy  season  since  the 
City  of  .\ngels  is  settled  by  disappointed  Nebraskans. 

The  sun  is  just  ducking  behind  the  Lasky  Studios  when  I 
pulls  up  in  front  of  the  Montmartre  restaurant  in  my  new  six- 
cylinder  walkovers  and  am  knocked  [  continued  on  p.\ge  119  ] 


Making 

A 

By 
Tom  Mix 


Illustrated    by 
Russell    Patterson 


HOLLYWOOD,  taken  as  a  whole,  looked  pretty  good  to 
me  an'  after  inquirin'  around,  I  made  up  my  mind 
there  was  a  heap  of  money  in  the  place.  Every  feller 
talked  money  in  big  sums.  $100,000  meant  nothin'. 
From  all  I  heard  I  calculated  white  chips  in  the  town  couldn't 
be  worth  less  than  S25  each,  the  same  representin'  a  blue  chip  in 
Charley  McBride's  place  in  Ponca  City,  Okla.  Says  I,  a  town 
where  they're  playin'  white  chips  at  S25  is  sure  the  place  for  me. 
Not  that  I  was  a  aimin'  to  gather  my  million  with  the  aid  of 
white  chips,  or  the  reds  or  the  blues,  because  I  ain't  never  been 
no  gamblin'  man.  I  have  always  been  willin'  to  take  a  chance, 
as  my  friends  know,  but  I  never  laid  up  no  coin  tryin'  to  beat 
the  house.  The  fellers  that  runs  the  game  down  in  my  country 
don't  run  'em  to  be  beat. 

Such  talk  as  I  heard  up  an'  down  the  Main  Trail  of  Holly- 
wood indicated  that  they  was  plenty  of  millions  in  the  town,  an' 
as  I  have  said  before,  I  was  only  a  aimin'  to  get  one  of  'em,  an' 
it  looked  to  me  like  spring  yield  would  be  pretty  good. 

While  this  job  I  had  ridin'  in  pictures  on  old  Blue  an'  gettin' 
$2,S0  a  week  was  a  heap  better  than  punching  cows  an'  stran- 
glin'  wolves,  yet  I  figured  at  the  present  rate,  an'  by  careful 
saving,  I  would  have  to  be  12.^  years  an'  6  months  old  before  I 
got  the  aforesaid  million  dollars  in  that  way.  It  was  then  I  had 
decided  I  had  to  do  somethin '  else  besides  just  ridin'  around  on 
a  horse  an'  doublin'  for  a  leadin'  man,  if  I  wanted  to  get  any- 
where. 

The  one  bird  that  I  kept  my  eye  on  mostly,  an'  who  seemed 
to  do  nothin'  an'  yet  gettin'  mighty  well  paid  for  it  was  the 
director. 

It  took  me  a  long  time  to  figure  out  what  he  was  directin', 
none  of  'em  ever  seemed  to  know  what  it  was  all  about.  The 
director  wa.s  always  sittin'  in  a  chair  a  wcarin'  puttees,  an'  shirt 
open  at  the  neck,  an'  talking  through  a  big  megaphone.  He 
didn't  seem  to  have  nothin'  to  do  an'  usually  had  four  as.sistants 
hel[)in'  him  do  it.  So  I  flecided  if  I  was  goin'  to  get  in  the  big 
money  I'd  better  go  to  directin'.  I  figured  I  could  make  just 
as  many  mistakes  as  the  directors  seemed  to,  an'  that  appar- 

70 


Our  Cowboy  Star 
a  Blaze  of  Hollywood 


ently  was  the  best  thing  they  did  an'  seemingly  got  in  the  most 
money.  If  I  could  then,  or  even  today  own  a  small  percentage 
of  what  retakes  cost  the  producer,  I  would  have  had  my  million 
an'  with  old  Blue,  been  ranchin'  back  in  Texas  15  years  ago. 
Sixteen  years  in  the  pictures  have  shown  me  that  95  percent  of 
the  retakes  are  entirely  unnecessary,  an'  there  ain't  no  reason 
for  them  at  all. 

In  recent  years,  outside  of  one  picture  where  they  handed  me 
a  director  who  had  been  born  and  raised  in  Europe,  I  ain't  had 
no  retakes.  To  illustrate  I  might  say  at  this  point  to  show  the 
wisdom  of  some  of  these  here  producin'  gents,  this  director's 
only  knowledge  of  the  cow  puncher  an'  cattle  ranges  was  what 
he  got  looking  through  a  Pullman  car  window  travelin'  between 
Omaha  an'  Los  Angeles.  This  bird  started  in  by  tellin'  me  that 
mean'  my  cow  hands  was  all  ridin' the  wrong  kind  of  saddles.  As 
a  convincin'  argument  he  described  the  brilliancy  of  the  cavalry 
of  Austria,  an'  what  wonderful  horsemen  they  was.  Not  so 
long  ago  I  reminded  this  same  bird  that  the  cavalry  of  Austria 
didn't  get  very  far  from  the  main  corral  during  the  big  war. 

So  it  was  that  I  finally  induced  a  producer  of  that  day  to  let 
me  try  my  hand  at  directin'.  I  made  six  two  reel  western 
comedies  in  which  I  was  both  director  an'  principal  actor.  In- 
stead of  wearin'  puttees  I  stuck  to  my  chaps  an'  did  most  of  my 
hollerin'  cow  boy  fashion,  from  the  saddle.  I  don't  know  how 
good  these  two  reelers  really  was  but  I  do  know  they  are  still 
showin'  'em  in  the  small  towns  in  this  country  an'  in  South 
America. 

BY  this  time  I  was  gettin'  pretty  well  paid.  I  was  drawin' 
more  money  a  week  than  I  used  to  get  for  punchin'  cows  in 
a  whole  year,  laut  a  little  figurin'  showed  I  was  still  a  long  way 
from  making  up  that  million.  I  looked  around  again  an'  de- 
cided that  the  scenario  writer  was  in  another  class  of  gents 
a-drawin'  down  a  pretty  good  piece  of  change  so  it  was  that  I 
decided  to  butt  into  that  end  of  the  picture  game. 

I  would  like  to  say  at  this  point,  there  are  some  good  scenario 
writers,  but  just  a  few.    What  quaK-fications  they  must  have  to 


Concludes  His  Quest  for  a  Fortune  in 
Glory,  Dollars  and  Story  Conferences 


"I  have  been  to 
too  many  story 
conferences. 
What  they  are 
for;  what  they  are 
about;  why  they 
have  'em;  what 
good  they  do  ; 
what  purpose 
they  serve;  was 
then  an'  to  me 
still  is  a  mystery. 
Around  a  mahog- 
any table,  a  heap 
better  than  Na- 
poleon ever  ate 
off'n,  gather  the 
star,  the  chief 
scenarist  and 
three  or  four  of 
his      associates" 


be  good  I  ain't  just  been  able  to  locate,  an'  my  opinion  the 
moment  most  of  'em  stepped  off  the  screen  porch  they'd  be  lost. 
In  recent  years  I  have  had  scripts  handed  to  me  by  fellers 
drawin'  big  money  whose  knowledge  of  the  West  was  confined  to 
pitching  horse  shoes. 

I  REMEMBER  a  script  that  was  handed  to  me  within  three 
years,  written  by  a  young  gent  whose  knowledge  of  the  West 
was  confined  to  having  seen  Buffalo  Bill's  Wild  West  Show,  in 
Madison  Square  Garden,  New  York,  three  times.  He  wrote 
one  scene  that  I  recall  in  which  he  said,  "  The  hero  then  raised 
the  rifle  to  his  shoulder  an'  fires  both  barrels." 

Another  intelligent  gent  who  sure  knew  the  W^est,  turned  in  a 
script  in  which  there  was  a  scene  where  I  was  supposed  to  kill  a 
buffalo,  then  skin  it,  put  the  skin  over  my  shoulder,  and  lope 
along  with  the  herd,  all  the  time  a'  foolin'  the  rest  of  the 
buffaloes.  Another  well  known  an'  high  priced  writer  threw 
out  a  brilliant  idea  which  had  me  a'  ridin'  on  my  horse  in  the 
middle  of  a  stampedin'  buffalo  herd,  at  the  same  time  carryin'  in 
my  arms  the  girl  I  had  just  rescued  from  the  bandits.  He  had 
it  fixed  so  that  unable  to  get  out  of  the  herd,  my  horse  was  to 
stumble,  an'  I  was  to  jump  up  from  the  pony's  back,  still 
a'carryin'  the  girl  an'  leap  on  the  hump  of  the  nearest  buffalo, 
an'  from  this  point,  with  the  girl  in  my  arms  to  run  across  the 
backs  of  this  here  buffalo  herd  steppin'  on  their  humps  until  I 
got  to  the  outer  edge  an'  then  jump  to  safety.  This  may  look 
far  fetched,  but  I  still  have  those  scripts  in  my  possession  an'  it 
goes  to  show  what  kind  of  pictures  they  expected  us  to  make  in 
those  days. 

This  is  as  good  a  place  as  any  to  say  a  word  about  what 
studios  know  as  story  conferences.  Most  of  you  folks  ain't 
never  been  to  none.  I  have  been  to  too  many  of  'em.  What 
they  are  for;  what  they  are  about;  why  they  have  'em;  what 
good  they  do;  what  purpose  they  serve,  was  then  an'  to  me  still 
is  a  mystery.  About  the  only  excuse  for  'em  I  can  see  is  to  put 
a  lot  of  overhead  on  to  your  picture  cost,  which  said  expense  is 
in  no  way  reflected  in  the  finished  production.    Usually  these 


writers  are  just  a  bunch  of  fellers  who  have  been  given  a  job  by 
some  producin'  friend,  an'  who  otherwise,  would  be  at  "liberty" 
around  Broadway. 

These  story  conferences  are  usually  run  off  somethin'  like 
thisaway. 

Around  a  long  mahogany  table,  a  heap  better  than  Napoleon 
ever  ate  off'n  an'  in  a  room  with  more  furniture  than  John  D. 
Rockefeller  and  Henry  Ford  have  got  in  all  their  offices,  gather 
the  star,  the  chief  scenarist  and  three  or  four  of  his  assistants. 
This  head  bird  is  Hkely  to  be  drawin'  $1000  a  week;  first  assist- 
ant gettin'  not  less  than  $750  an'  the  remainin'  three,  $500,  $350 
and  $200.  The  $500  an'  $350  a  week  birds  probably  were 
former  song  an'  dance  men,  and  the  $200  man  a  young  chap 
what  wrote,  an'  achieved  doubtful  fame,  as  the  author  of  that 
popular  melody  "Missouri  Blues"  or  ".\  Lonesome  Bird  in  a 
Cottonwood  Tree."  Personal,  these  here  scenario  writers  ain't 
never  been  much  help  to  me  because  I  don't  read  music. 

But  to  get  back  to  the  story  conference.  Any  conference 
lastin'  less  than  three  hours  ain't  no  good.  Not  that  anythin' 
is  decided  upon  that  gets  in  the  pictures  but  it  fills  in  the  day 
till  time  to  go  out  and  shoot  a  few  holes  of  golf,  the  latter  being 
a  by-product  of  the  movin'  picture  business. 

IF  all  the  producers  would  have  gotten  together  an'  bought  up 
an'  closed  all  the  golf  courses  around  Los  Angeles  an'  Holly- 
wood, thereby  preventin'  directors,  scenarists,  executives  an' 
stars  from  beatin'  a  ball  around  the  grass,  it  would  have  saved 
them  a  heap  of  money. 

At  these  here  story  conferences  all  of  'em  talk  an'  talk  an'  talk, 
but  none  of 'em  says  anythin'.  They  seem  to  get  nowhere.  Any 
suggestions  that  I  may  make  an'  me  a'  knowin'  the  West,  is 
properly  squelched  as  bein'  out  of  order.  Any  time  I  talk  I  am 
a'  speakin'  out  of  my  turn.  About  the  second  hour  I  give  up, 
fix  myself  comfortable  in  the  big  over  stuffed  leather  chair  an' 
snooze  it  out,  a'  leavin'  them  to  themselves  an'  their  own 
vacuum. 

Any  suggestions  that  comes  from  [  continued  on  page  112  ] 

71 


^k&  Modern  Trend 


in 


Enter — Skyscraper  furniture!  Here  is  the 
ultra-modernistic  twin  bed,  as  lovely  Flor- 
ence Vidor  utilizes  it  in  her  new  picture, 
"The  Magnificent  Flirt."  The  beds  are  in 
the  newest  motif  of  curves  and  angles. 
They  are  built  upon  a  dais,  a  built-in  fea- 
ture. The  canopy  of  gold  cloth  is  draped 
flatly  to  the  slate  gray  walls.  The  twin  beds 
are  covered  with  severely  plain  satin  spreads 
of  deep  magenta,  bound  in  black  velvet. 
Low  tables,  chairs  and  harmonious  cush- 
ions are  scattered  about  the  spacious  un- 
carpeted   room.      Like  it? 


What  would  grandma  have  said  about  this 
boudoir?  Grandma  loved  her  cozy  corners 
but  this  is  something  else  again.  This 
galaxy  of  color  and  exotic  line  would  never 
pass  for  a  boudoir  of  a  decade  ago  but,  as 
Miss  Vidor  points  out,  the  ultra-modern- 
istic boudoir  offers  the  imagination  little 
restraint  and  maybe  is  more  interesting 
than  its  predecessors.  The  walls  and  car- 
peting are  turquoise  green.  A  fur  robe 
covers  one  of  the  low  couches.  Mauve, 
vermilion,  green  and  blue  are  included  in 
the  variegated  color  scheme 


I 


D 


nterior  Lyecoration 


The  1928  bath !  The  ultra-modern  idea  is  to 
conceal  the  plumbing  beneath  floors  of 
marble  and  walls  of  foaming  sea  blue.  A 
cylindrical  black  lacquer  dressing  table  and 
a  geometrical  perfume  stand  bring  the 
boudoir  to  the  very  edge  of  the  sunken 
Roman  bath,  hidden  by  sliding  floor.  Miss 
Vidor  is  an  enthusiastic  follower  of  the  new 
curve-angle  trend  that  is  creeping  into  the 
up-to-the-minute  home.  Father  is  going 
to  protest,  especially  when  he  has  to  get  his 
soap  out  of  a  high  vase,  such  as  the  one 
behind  Miss  Vidor 


More  furniture  in  the  ultra-modernistic 
mood.  You  will  see  this  in  Miss  Vidor's 
"The  Magnificent  Flirt."  Here  you  have 
the  new  trend  in  interiors.  Note  the  back- 
ground: a  screen  of  gold  with  black  leaf 
motif.  Low  table  of  black,  lamp  of  yellow, 
green  and  blue;  chair  of  flame  red,  floor 
painted  black,  highly  polished.  Miss 
Vidor's  gown,  of  white  satin,  without 
adornment,  is  in  the  new  manner,  too. 
Fashion  in  feminine  apparel,  says  Holly- 
wood, is  to  follow  that  of  interiors,  discard- 
ing all  that  is  useless  and  uninteresting 


What 
was 

the 

Best  Picture  of  1927? 


\'ote  for  the 

Picture  You  Think 

Should  Win! 


VOTIXG  is  now  open  for  the 
award  of  the  Photoplay  Mag- 
azine Medal  of  Honor.     This 
will  be  the  eighth  annual  medal  to  be 
given  by  Photoplay  readers. 

The  Medal  of  Honor  is  recognized 
throughout  the  world  of  motion  pic- 
tures as  the  supreme  screen  award. 
The  conferring  of  the  medal,  as  here- 
tofore, rests  entirely  with  the  millions 
of  Photoplay  readers.  Since  1920, 
Photoplay  has  awarded  a  gold  medal 
to  the  screen  production  selected  by 
its  readers  as  the  best  motion  picture 
of  the  year. 

Each  year  Photoplay  readers 
have  exercised  rare  judgment  and 
sanity  in  selecting  the  best  film. 

The  list  of  seven  awards  is  an 
array  of  the  best  productions  of  seven 
years. 

Photoplay's  thousands  of  readers 
have  used  unerring  judgment  in 
choosing  the  really  fine  productions  of  each  twelve  months. 

This  year  Photoplay  again  repeats  its  suggestions,  first  pub- 
lished in  1921.  Photoplay  asks  its  readers  to  consider  that  the 
gold  medal  is  awarded  as  an  encouragement  to  the  making  of 
better  pictures.    When  you  make  out  your  ballot,  be  sure  to 


Winners  of 
Photoplay  Medal 

1920 
"HUMORESQUE" 


1921 
TOL'ABLE  DAVID 


1922 
"ROBIN  HOOD" 

1923 
'THE  COVERED  WAGON" 

1924 
"ABRAHAM  LINCOLN" 

1925 
"THE  BIG  PARADE" 

1926 
"BEAU  GESTE" 


Eighth  Annual 

Gold  Medal 

Award 


VhotopXa-^  Medal  o/  Wonoy  Ballot 
Editor  Photoplay  Magazine 

221  W.  57th  Street,  New  York  City 
In  my  opinion  the  picture  named  below  is  the 
best  motion  picture  production  released  in  1927. 


NAME  OF  PKTU.  E 


J^ame- 


Address 


consider  the  year's  product  with  a 
view  to  selecting  the  one  film  that,  in 
your  judgment,  comes  nearest  the 
ideal  in  story,  direction,  continuity, 
acting  and  photography. 

As  usual,  this  year  the  voting  for 
the  best  film  of  1927  begins  six 
months  after  the  close  of  the  year. 
This  is  done  so  that  voters  in  all  parts 
of  the  country  will  have  an  opportu- 
nity to  see  all  of  the  films  released  dur- 
ing the  twelve  months  of  1927.  It 
takes  time  for  these  productions  to 
reach  many  parts  of  America — and 
Photoplay  wants  all  of  its  readers  to 
have  seen  all  of  the  significant  pic- 
tures of  1927. 

It  is  pointed  out,  as  heretofore, 
that,  in  case  of  a  tie  in  the  voting, 
equal  awards  will  be  made  to  each  of 
the  winning  producers.  The  medal, 
incidentally,  does  not  go  to  the  star 
or  the  director  of  the  winning  pro- 
duction. It  goes  to  the  producer — the  man  or  organization 
venturing  upon  the  making  of  the  photoplay.  In  no  other 
manner  could  the  making  of  better  pictures  be  encouraged  in  a 
practical  way. 

The  Photoplay  Medal  of  Honor   [coxtixued  on  page  108] 

Fifty  Pictures  Released   in  1927 


Annie  Laurie 

Barbed  Wire 

Cabaret 

Camille 

Captain  Salvaiion 

Cat  and  the  Canary 

Chang 

Cradle  Snalehers 

Cruiser  Polemkin 

Fair  Co-Ed 

I'irc  Brigade 

flesh  and  the  Devil 

Garden  of  Allah 

Gorilla 

Hard  Boiled  Ilaggerly 

Hotel  Imperial 

Hula 


It 

Jesse  James 

Kid  Brother 

King  of  Kings 

Love  of  Sunya 

Magic  Flame 

Metropolis 

Mocker  V 

Monkcv  Talks 

My  Best  Girl 

Night  of  Love 

Patent  Leather  Kid 

Private  Life  of  Helen  of 

Troy 
Quality  Street 
Resurrection 
Rookies 


74 


Rough  Riders 

Senorita 

Service  for  Ladies 

Seventh  Heaven 

Show 

Slide,  Kelly,  Slide 

Sorrell  and  Son 

Stark  Love 

Student  Prince 

Tell  It  to  the  Marines 

Twelve  Miles  Out 

Two  Arabian  Knights 

Underworld 

Way  of  All  Flesh 

What  Price  Glory 

When  a  Man  Love^ 

Wings 


Photoplay  Magazine — Advertising  Section 


75 


STot  Mse  witfi  ike  two  jamjous  £te/ims 

Two  Delicious   New  Preparations 


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A  faithful  use  is  magic  to  clear  and 
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The  Cleansing  Tissues  are  the  very 

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^'hen  you  write  i 


please  mention  PHOTOPLAY  MAGAZINE. 


OV/^AC'K  SKNNHTT  is  tcarini^  down  his  old  studio.    And  across  the  stac^cs  troop 
(^_yjC    "i^'mories  of  Harry  Lan.^don,  Charlie  Chaplin,  Jack  Mulhall,  Gloria  Swanson, 
Louise  Fazenda,  Mabel  Normand,  Charlie  Murray  and  Ben  Turpin.    They  all 
learned  the  A  B  C's  of  screen  acting  at  Professor  Sennett's  old  school-house. 

76 


JLook    at  %yfour   (SlLytr 


Photoplay  Magazine — Advertising  Section  'jj 

-^    YOUR    GUESTS     DO 


"My  dear,  I've  gone  77ative . .  .'I'm  having  the 
whole  house  done  over  into  Early  American 
. . .  from  the  teaspoons  out!. .  I  really  think 
nowadays  you  feel  declassee  till  you've  been 
Colonial  —  at  least  once!  —  d.on  't  you  ? ' 


The  vogue— the  flair— the  craze  for  the  Early  Ainerican,  in 
furniture,  rooms,  decorations,  has  made  Community's  new 
PAUL  REVERE  pattern  perhaps  the  swankiest  silver  service 
being  made  in  America  today  ...  In  its  own  right  it  is  ex- 
tremely lovely  .  .  .  very  much  at  home,  in  homes  where 


loveliness  of  appointments  is  an  axiom  inherited  through 
generations ...  It  is  also  as  "chic' as — Vionnet.  A  service  for 
six,  in  the  new  Colonial  Cabinet  is  ^34.75  . . .  with  DeLuxe 
stainless  knives . .  .The  same  service  for  eight, costs  ^44.50. 
At  your  jeweler's . . .  Begin  jw/;- Early-American  period  now. 


The  PAUL  REVERE  Design 


COMMUNITY      PLATE 

Qi^Q}ibo  makers  of  TUDOR  PLATE  '^S^ 


advertisers  please  mention  PHOTOPLAT  SIAGAZIXB. 


ddie's 


First 

Teacher 

The  Rev.  George 

Fox  started  Mr.  Lowe 

on  the  path  that  lead 

to  the  movies 


Father  Fox,  Edmund  Lowe's  dra- 
matic mentor  at  Santa  Clara  College, 
San  Jose,  visited  the  studio  and  put 
Eddie  through  some  of  his  old 
elocution  lessons.  "Friends,  Romans, 
countrymen,   lend  me  your  ears!" 


Noble  picture  of 
Eddie  as  Marcellus, 
the  Census  Taker, 
counting — as  it  were 
— the  Roman  noses. 
In  those  days,  Eddie 
hoped  to  give  E.  H. 
Sothern  the  com- 
petition of  his  life 


-%^ 


A  picture  from  one 
of  Father  Fox's  old 
programs  of  1910. 
I'^ddie  was  in  the 
class  of  1910  and 
Father  Fox  was  the 
first  director  to  en- 
courage him  and 
help     him     in     his 


78 


ivead    tne 

Irutk 

—  wneity    they    learii^^   to  smokeJ> 

for  pleasure    they 

jlocli    to                     1 

CAMEL5         1 

©  1928,  R.  T.  Reynolds  Tobacco         1 
Company,  Winston-Salem,  N.  C.         | 

The  natural  charm  that  men  admire  is  not  beyond  your  reach.  Here  is 
the  simple  daily  rule  that  results  in  natural  beauty,  and  a  lovely  skin 


1 

Youth   is  charm,  and  youth    lost   is 

lively  realizes. 

To  keep  youth,  keep  the  skin  clean 
and  the  pores  open.    Banish  artificial 
ways  in  skin  care.  Natural  ways  are  best. 

A 

Use  soap,   but  be  sure  it  is  a  soap 
made   basically  for  use   on  the  face. 
Others  may  prove  harsh.  That  is  why, 
largely  on  expert  advice,  women  the 
world  over  choose  Palmolive  for  facial 

fw 

use. 

^ 

lOc 


Palmolive  Soap  is  itntotdched  by  human  haiiJs  until 
) ou  break  the  wrapper  —  il  /( never  solti  un wrapped 


WHERE  beauty  is  concerned,  an 
ounce  of  precaution  is  worth 
pounds  of  costly  "cures."  For  thousands 
have  learned  it  is  comparatively  simple 
to  keep  beauty . . .  while  there  is  nothing 
more  pathetic  than  futile  attempts  to 
regain  natural  charm  by  artificial  means. 

The  most  effective  way  to  natural 
beauty  is  Nature's  way.  The  beauty 
men  admire  is  natural.  And  women 
whose  complexions  retain  natural 
charm  have  learned  this. 

The  simple  daily  habit  of  cleansing 
the  face  with  a  true  complexion  soap 
—  keeping  the  skin  fresh  and  radiant, 
the  pores  open  —  is  the  first  step  to 
natural  beauty. 

Use  only  a  true  complexion  soap 

But  not  any  soap  will  do.  Only  a  soap 
made  for  this  and  no  other  purpose 
will  achieve  the  end  you  seek.  A  soap 
made  of  the  cosmetic  oils  of  olive  and 
palm.  These  unguent  oils,  scientifically 
combined  in  Palmolive  Soap,  are  re- 
sponsible for  more  of  youth  and  beauty 
—of  natural  charm  retained— than  ever 
will  be  known. 

Palmolive  Radio  Hour— Broadcast  every  Friday  ni 
central  limr-ovi-r  station  WEAFand  31  stationsass 

KEEP    THAT    SCHOOL 


Do  this  each  day  if  you  would  keep 
that  schoolgirl  complexion 
Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  its  balmy 
lather  softly  into  the  skin.  Rinse  thor- 
oughly, first  with  warm  water,  then  with 
cold.  If  your  skin  is  inclined  to  be  dry, 
apply  a  touch  of  good  cold  cream  — 
that  is  all.  Do  this  regularly,  and  partic- 
ularly in  the  evening.  Use  powder  and 
rouge  if  you  wish.  But  never  leave  them 
on  over  night.  They  clog  the  pores, 
often  enlarge  them.  Blackheads  and  dis- 
figurements often  follow.  They  must 
be  washed  away. 


Avoid  this  1 


ake 


Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Do  not  think  any 
green  soap,  or  one  represented  as  of  olive 
and  palm  oils,  is  the  same  as  Palmolive. 
And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a 
cake  today.  Then  note  the  amazing  dif- 
ference one  week  makes.  The  Palmolive- 
Peet  Co.,  Chicago,  Illinois. 

ight— from  10  to  11  p.m., eastern  time;9  to  10  p.m., 
ociated  with  The  National  Broadcasting  Company 

GIRL    COMPLEXION 


QUESTIONS  &'  ANSWERS 


Read  This  Before 
Asking  Questions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
that  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  plays 
or  casts.  Do  not  inquire  con- 
cerning religion,  scenario  writ- 
ing, or  studio  employment. 
Write  on  only  one  side  of  the 
paper.  Sign  your  full  name  and 
address;  only  initials  will  be 
published  if  requested. 


Casts  and  Addresses 

As  these  often  take  up  much 
space  and  are  not  always  of  in- 
terest to  others  than  tlie  in- 
quirer, we  have  found  it  neces- 
sary to  treat  such  subjects  in  a 
different  way  tlian  other  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to     Questions     and     Answers. 

--■  W. 


Bro«-x  Eyes,  Brunswick,  Me. — You  win 
the  bet.  The  Boy  Friend  was  just  jealous. 
John  Gilbert  played  that  final  scene  in  "The 
Big  Parade,"  in  which  Jhii  appears  with  only 
one  leg.    How  did  he  do  it?    Ask.  Lon  Chaney. 

P.  G._  S.,  Jr..  Eastox,  P.\.— Write  to  the 
University  of  Southern  California  or  Columbia 
University  for  information  about  special  mo- 
tion picture  courses 

Tressa  K.,  Bridgeton,  N.  J. — Here  is  the 
information  you  want  about  "Underworld." 
"Slippy"  Lewis  was  played  by  Larry  Semon. 
George  Bancroft  was  ''Bull"  Weed  and  Clive 
Brook  was  Weasel.  Mary  Mc.\llister  was  the 
girl  in  "One  Minute  to  Play.''  "Red's"  real 
name  is  Harold  Grange.  Write  to  S.  George 
Ullman  at  1440  Broadway,  New  York  City,  for 
a  photograph  of  Valentino.  Yes,  send  your 
twenty-five  cents. 

Mrs.  F.  J.  C,  Utica,  X.  Y.— Maurice  Cos- 
tello  played  the  role  of  Gilbert  Roland's  father 
in"Camille." 

M.  M. — What  is  ping  pong?  Ah,  dear  lady, 
it  was  the  favorite  sport  of  my  youth.  Happily, 
it  has  been  revived.  It  is  a  game  of  table  tennis, 
played  on  the  dining  room  table  after  the 
dishes  have  been  cleared  away.  You  use  a  net, 
small  racquets  and  celluloid  balls,  to  prevent 
breaking  any  windows.  -\sk  any  toy  store  to 
show  you  a  set. 

M.  M.  B.  and  M.  R.  B.,  Harrisburg,  Ore. 
— Xo  bother  at  all,  pals!  Robert  .Agnew  is 
twenty-nine.  ZaSu  Pitts  was  born  in  Parsons, 
Kan.  That  makes  her  an  American.  Ronald 
Colman  is  an  Englishman  and  Billie  Do\'e's 
real  name  is  LiUian  Bohny.  Malcolm  Mc- 
Gregor is  thirty-one  years  old  and  married. 
Sorry,  but  Ben  Lyon  is  in  N"ew  York  at  the 
present  moment. 

E.  B.,  NuTLEY,  X.  J. — Norman  Kerry 
played  opposite  Constance  Talmadge  in 
"Good-night  Paul."  What  a  memorj-  you 
ha^■e ! 

Derrell  F.,  Axdersox,  X".  C.  —  X'ancy 
Carroll  is  twenty-one  years  old  and  married. 
Thelma  Todd  is  not  married  and  neither  is 
Nick  Stuart.  Xlck  is  also  just  twenty-one. 
Come  again ! 

Harriet  \.,  Atlanta,  Ga. — Billie  Dove  and 
Mary  Astor  are  not  related.  Do  you  notice 
a  family  resemblance?  Gloria  Swanson  is 
twenty-nine  years  old. 

Edna  G.,  Toronto,  Can.— Herman  Mehille 
wrote  "Moby  Dick."  Ask  for  it  at  the  library; 
you'll  enjoy  reading  it.  Norma  Talmadge  is 
thirty  years  old;  John  Barrymore  is  forty-six. 
and  Lillian  Gish  is  thirty-one.  Write  to  them 
at  the  United  Artists  Studio.  Hollvwood,  Calif. 


F.  F.,  Washington,  D.  C. — You're  just  like 
all  the  girls.  Treat  'em  nice  and  you're  a 
dariing.  Be  cold  to  them  and  you  re  an  old 
crab.  All  right,  I'll  be  a  darling  and  tell  you 
that  Barry  Norton  is  twenty-two  years  old 
and  has  dark  brown  hair  and  dark  brown  eyes. 
He  is  just  a  half  inch  under  si.x  feet  tall.  Write 
to  him  at  the  William  Fox  Studios,  1401  N. 
Western  Ave.,  Hollywood,  Calif. 

H.  E.,  Seattle,  Wash. — Chester  Conklin  is 
that  gent's  real  name.  Phyllis  Haver  was  born 
in  Douglas,  Kan.  Kansas  seems  to  supply  a 
great  many  movie  stars.  Maria  Corda  is 
about  twenty-three  years  old. 


THE   answers    to    the    seven 
most  persistent  questions  of 
the  tnonth: 

Photoplay  can  give  no 

advice  about  selUng  scenarios. 
Few  companies  are  in  the  mar- 
ket for  original  scripts.  Put 
your  plot  in  short  story  form 
and  submit  it  to  the  fiction  mag- 
azines. Most  movie  companies 
purchase  only  on  order,  or 
stories  that  have  already  been 
presented  as  books,  magazine 
stories  or  plays. 

Clara  Bow  is  five  feet,  three 
and  one-half  inches  tall  and 
weighs  115  pounds. 

Charles  Rogers  is  twenty-two 
years  old  and  his  address  is  the 
Paramount-Famous-Lasky  Stu- 
dios, Hollywood,  Calif. 

Sue  Carol's  next  picture  is 
"Walking  Back." 

John  Gilbert  is  thirty  years 
old  and  his  next  picture  is  "The 
Cossacks." 

Phyllis  Haver  will  be  seen  in 
"Tenth  Avenue." 

Don  Alvarado_  is  twenty-five 
years  old. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents,  to  cover  the  cost  of  the 
picture  and  postage.  The  stars, 
who  receive  thousands  of  such 
requests,  cannot  afford  to  com- 
ply with  them,  unless  you  do 
your  share. 


Vera  S.,  Hartford,  Conn. — Rin-tin-tin  was 
not  killed;  he's  still  alive,  I'm  glad  to  say. 
Write  to  Evelyn  Brent  at  the  Paramount- 
Famous-Lasky  Studios,  Hollywood,  Calif. 
Dorothy  Dwan  may  be  reached  at  the  William 
Fox  Studios,  1401  N.  Western  Ave.,  Holly- 
wood, Calif.  And  Dorothy  Sebastian  receives 
her  mail  at  the  Tiffany-Stahl  Studios,  4516 
Sunset  Blvd.,  Hollywood,  Calif. 

TopSY,  Montreal,  Can. — Pearl  White  was 
married  to  Victor  Sutherland  and  then  to  Wal- 
lace McCutcheon.  Major  McCutcheon  re- 
cently committed  suicide  in  Hollywood. 

LAtrRiTA  N.,  Philadelphia,  Pa. — Gary 
Cooper's  real  name  is  Frank  J.  Cooper  and  he 
was  born  May  7,  1901.  He  is  six  feet,  two 
inches  tall  and  has  black  hair  and  dark  blue 
eyes.  His  next  picture  will  be  "Lilac  Time." 
Not  married.    Mary  Brian  is  also  single. 

Peggy  L.,  Morristown,  N.  J. — Nils  Asther 
is  twenty-six  years  old  and  six  feet,  one-half 
inch  tall.  He  has  hazel  eyes  and  brown  hair 
and  was  born  in  Malmo,  Sweden.  Look  it  up 
on  a  map. 

M.  C,  Washington,  Ind. — Here's  all  about 
Richard  Barthelmess.  Naturally,  that  is  his 
real  name.  He  has  brown  hair,  with  eyes  to 
match  and  is  thirty  years  old.  Not  married 
again.  Write  to  him  at  the  First  National 
Studios,  Burbank,  Calif. 

"Dot,"  Denver,  Colo. — Mary  Brian, 
Madge  Bellamy  and  Corinne  Griffith  were  born 
in  Texas.  Lupe  \'elez  was  born  in  Mexico  City 
July  18,  1909.  She  is  five  feet,  two  inches  tall 
and  has  black  hair  and  dark  brown  eyes. 
Ronald  Colman  and  Vilma  Banky  made  their 
last  co-starring  appearance  in  "Two  Lovers." 

Ruth  G.,  Detroit,  Mich. — Sure  you  can 
ask  me  a  few  questions.  That's  what  I'm  here 
for.  If  nobody  asked  me  any  questions,  I'd 
have  to  go  out  and  work  for  a  li\-ing.  And  what 
a  mess  t/iat  would  be.  Ronald  Colman  is  sep- 
arated from  his  missus.  He's  thirty-nine  years 
old — an  awfully  interesting  age.  Write  to 
Ralph  Gra\es  at  the  Tiffany-Stahl  Studios, 
4516  Sunset  Blvd.,  Hollywood,  Calif.  Harri- 
son Ford  is  also  parted  from  the  Better  Half. 
He's  thirty-sLx  years  old. 

LoRNA  Doone,  Salt  Lake  City,  Utah.  — 
Are  you  kidding  me?  Are  you  quite  sure  you 
are  not  Lena  Rivers?  Hugh  Allan  is  an  Amer- 
ican of  Scotch-Irish- Welsh  ancestry.  He  was 
born  in  Oakland,  Calif.  Black  hair  and  brown 
eyes.  He  appeared  in  amateur  stage  pro- 
ductions. 

Mrs.  R.  de  la  B..  Belle  Rose,  La. — Lucille 
Mendez  was  the  girl  you  liked  in  "Coney 
Island." 

[  continued  on  page  94  ] 

SI 


The  Shadow  Stage 


[  COXTrN-l-ED  FROM  PAGE   55  J 


SOUTH  SEA  LOVE—FBO 

TsJrOT  nearly  as  interesting  as  it  sounds,  but 
■»-^the  kind  of  melodrama  that  will  satisfy 
second-run  houses.  Patsy  Ruth  Miller,  a 
promising  actress,  ambitious  yet  true  to  her 
iirst  love,  is  handed  more  anguish  than  she 
deserxes.  Hany  Crocker  is  a  loathsome 
villain  who  goes  from  New  York  to  the  South 
Sea  Islands.  Picture  is  permeated  with  incon- 
sistencies, but  all  right  for  those  who  are  satis- 
fied if  only  the  hero  gets  the  gal  at  the  finish. 

TEMPTATIONS  OF  A  SHOP  GIRL— 

First  Division 
"KTOT  as  naughty  as  it  may  seem  from  the 
•^^ title.  Betty  Compson  and  her  \ounger 
sister,  Pauline  C.aron.  draw  pay  cheques  in  a 
smart  gown  salon.  The  kid  sister  can't  resist 
the  fineries  and,  of  course,  Betty  faces  the 
music,  which  happens  to  be  the  -'Prisoner's 
Song."  Miss  Compson  fights  hard  against  a 
bad  story  and  a  maudlin  character. 

THE  MATINEE  IDOL— Columbia 

■D  KSSIE  LOVE  shouldn't  have  deserted  the 
■•-'screen  for  the  stage  right  after  finishing  this 
picture,  for  the  fans  are  going  to  be  demanding 
more  like  it.  With  the  able  assistance  of 
Johnny  Walker,  who  takes  the  part  of  a  black- 
lace  rumedian,  and  Lionel  Belmore,  v.  ho  is  her 
father  and  owner  of  a  tent  show,  Bessie  gives 
us  an  hour  of  delightful  entertainment. 

PAY  AS  YOU  ENTER— Warners 

A  «rXGLE-TR.\CK  comedy  of  trolley  car 
■'  ^  da>-s,  «-ith  Clyde  Cook  and  William  Dem- 
arest  holdmg  down  the  front  and  back  ends. 
respectiN-ely,  of  a  ver>'  incorrigible  street  car. 
Louise  Fazenda  has  a  wild  time  trying  to 
answer  both  the  motorman's  and  the  con- 
ductor's prayers.  .As  usual,  she  grabs  the  few 
laughs  of  the  picture. 

THE  THIEF  IN  THE  DARK-Fox 

•^OO  bad  to  waste  so  much  talent  on  a  picture 
^  as  inconsequential.  Supposed  to  be  spooky, 
this  tale  revolves  into  a  series  of  peek-a-boo 
haunted  houi=e  e.xperiences  so  overdrawn  that 
they  are  actually  boring.  George  Meeker, 
Doris  Hill.  Owen  Lee  and  Marjorie  Beebe 
prove  that  these  screen  youngsters  can  act 
under  most  adverse  circumstances.    Pass  it  up. 

MY  HOME  TOWN—Rayart 

A  PWRLV-DIRECTED,  weak,  sickly 
»■  melfKirama.  impossibly  overdrawn  and 
overacted.  Gaston  Glass  appears  at  his 
worst  as  the  weakling  son  of  a  small-town 
soaety  woman.  He  gets  messed  up  in  man- 
slaughter safe-breaking,  and  jaiJbreaking 
.  hanjes.  slides  out  of  that,  and  gets  into  boot- 
legging, blackmailing,  and  midnight  missions 
with  both  feet.  .\nd  to  top  it  all,  the  ooot  boy 
loses  his  faith  in  women  at  least  five  times  be- 
fore the  tinal  clinch. 

A  MILLION  FOR  LOVE^-Sterling 

T^'Pm-  ''.^  "^  *'''*^  ''"''^  "^'^  f^''""'  ^^-ho  loved 
/■a  bad  little  poor  boy.  The  boy  changes  his 
habits  for  love,  then  is  arrested  for  murder. 
When  the  girl  s  daddy  tries  him  in  court  it  is 
more  than  she  can  stand— and  they  live 
happily  ever  after.      '    ' 


camp  to  protect  a  heartless,  selfish  woman, 
played  by  Estelle  Taylor.  .Alfred  Green,  the 
director,  went  to  .Alabama  to  study  prison  and 
mining  conditions  so  that  George  might  suffer 
in  realistic  conditions.  The  conditions  may  be 
realistic,  but  the  agony  is  distinctly  over- 
drawn. 

THE  PINTO  KID—FBO 

"D  UZZ  B.ARTOX'S  clever  kid  stuff  makes  him 
■'-'the  only  go-getter  in  this  dead-from-the-neck- 
up  Western.  .At  first,  it  looks  rather  as  though 
he's  trj-ing  to  steal  Frankie  Darro's  racket  but. 


No  more  roles  like  this  for  Earle 
Fox.  He  is  going  to  play  an  Irish- 
man in  "Hangman's  House"  and 
be  comfortable.  In  order  to  play 
a  German  officer  in  "Four  Sons," 
Earle  had  to  reduce  fifteen  pounds, 
shave  his  head  and  wear  a  corset. 
Just  try  to  get  an  Irishman  into 
corsets! 


36  wins  a  pair  of  mean  spurs 


illain,  boy  and 
:  and  his  stunts  will  give  the  kids 


winner.  Tom  MLx  and  Tony  see  to  that.  Take 
the  kids  along  with  you. 

WHY  SAILORS  GO  WRONG— Fox 

pLEASE  don't  stray  from  the  straight  and 
-L  narrow  path  of  clean  entertainment  and  fall 
for  this.  It  is  cheap  and  vulgar.  The  director 
should  consult  the  dictionar\'  and  learn  that 
the  words  silly  and  funny  are  not  svnonj-mous. 
A  stupid,  trashy  film 

THE  CANYON  OF  ADVENTURE- 
First  National 

A  CYCLOXIC  melodrama  of  the  fast  and 
-^  >-  furious  West.  Ken  MajTiard  is  an  Army 
^cout  who  just  shoots  up  a  Spanish  gang  right 
elean  to  protect  the  gal.  The  story  is  quite 
logical  and  Ken  combines  his  darede\il  stunts 
with  real  histrionic  ability.  And  we're  not 
forgetting  to  mention  Ken's  best  pal,  Tarzan, 
the  wonder  horse.    A  safe  bet  for  all  ages. 

THE  AVENGING  SHADOW— Pathe 

■n  IX-TIX-TIX  has  a  rival— Klondyke— 
-^^Pathe  s  newest  canine  star.  Klondyke  is  a 
perfectly  gorgeous  creature  and  a  splendid 
actor.  .And  what  more  could  you  ask?  Xever 
mind  about  the  plot,  but  trot  right  down  and 
see  Klondyke.     You  won't  regret  it. 

FAISIDANGO— Educational 

A  HILARIOUS  burlesque  on  the  hot  ta- 
rnales  of  Spain.  It  includes  about  ever>-- 
thing  in  the  way  of  rousing  farce  that  is  known. 
Consequently  it  is  amusing.  Lupino  Lane  is 
the  star  and  if  you  don't  get  laughs  out  of  him 
there's  something  wrong — with  you! 

ON  THE  GO— Action 

AT  last  we've  found  it— a  Western  that 
■^  ^keeps  us  awake.  Of  course,  the  range  is  the 
background  for  this  cute  cow  comedy,  but 
most  of  the  picture  centers  about  a  smail-tov\Ti 
undertaker  whose  methods  of  digging  up  busi- 
ness are  a\\-ful]y  funny.  Western  picture  fans 
^ill  welcome  the  diversion  of  a  few  laughs,  a 
new  departure  from  the  always  serious  cow- 
puncher  drama. 

THE  ADORABLE  CHEAT— Chesterfield 

•TTOS  is  a  grand  nickelodeon  picture  about  a 
cT  "^'^'^  "'^'i  girl  who  pretends  she  needs  work, 
bhe  lands  a  job  and— but  don't  let  me  spoil 
the  storj'  for  you.  If  you  like  vour  entertain- 
ment dished  up  in  1905  style,  drop  in  on  this 
one.  Lila  Lee  looks  as  adorable  as  ever,  and 
Hany  Allen  injects  a  bit  of  clever  comedy 
into  this  otherwise  sad  comedy-drama. 


toward  the  finish 

Zh'^XLTulll?LTSwn^iTo?r.='.'     ^^^^^^   ^'^  BROADWAY-Sterlin, 

girl,  but  Bu 
a  thrill. 


very  nearly  gives  her  life 


=Ll'£L,ri^.A.«ss"4,-=1^  ^^^dry^^^^^ 


p.AST  SIDE  nite  life  "as  she  aren't,  "with  an 
■^obviously  artificial  e.xpose  of  petty  war 
between  bootlegger  and  hi-jacker  factions. 
Ihis  sort  of  thing  isn't  so  good  for  Helene 
CosteUo;  cnnolines  become  her  far  more  than 
chorus  giri  shorts.  She  and  Sam  Hardy  both 
deser\-e  better  stories  and  direction.  Too  duU 
to  bother  with. 

fef  hX^".'n 't^lBrS        ^^OST  HUMAN-Pathe-De  Mille 


THE  BABY  MOTHER— Plaza 

£IGHT-YEAR  old  Palsy  O' Day,  of  Shamrock 
^Alley,  took  her  blessings  when  they  came 
If  babies  are  found  "under  cabbage  leaves  r 
shght  mistake  in  location  could  easily  be  made 
so,  when  the  gods  hand  her  a  hah,.  h-.„   ^u. 


trj-ing  to  keep  him 


boy  and  .Mary  Carr  as  the  mother 
bother  to  sec  it. 


gal,_  Reed  Howes  as  the     pi„,y,  makes  of  this  a  humorous  and  appVal 
ing  httlc  picture.  ^^ 


Don't 


A    DECIDED    novelty. 
»-  story  about  human  b 


HONOR  BOUND— Fox 


A  MORBID  tale  done  in  a  morbid  manner. 
t^  ?K^'^\^  ?"?"' J°'  ^^^  ^ke  of  honor, 
goes  through  all  the  hcUs  of  a  prison  mining 


that   this   is  a 

,  .  beings  told  by  a  trio 

ol  dogs  who  prove  they  are  "ahnost  human." 
A  HrtuciTs^^xr  ^r.  ^,,„  „  It  IS  a  burlesque  sort  of  a  yarn  and  affords 

A  HORSEMAN  OF  THE  PLAINS-Fox     "P^ny  laughs,  the  snappy  conversation  of  the 
ORTf;.\(;ES  will  be  mort..„.=  ..!,...,„.     ?,°"i '^^•"- ,P^°^ided  by  John  Krafft.     \era 

House.    They  are  to  be  fought^over,  wept  o^:^     ^^      Entertaining   and   different 


M0Ri(,.\(;ks  will  be  mort.Tn.rpc  „.i,„fi,  n"""   """6  j^iumucu   uy  jonn  i^rattt.      \  era 

it  be  the  Old  Homestead  orfhioid  Ranch  ^^7"!? ''^''  l^f,  ''^l:  ''  ^1'°"^^  ^o  appear  after 

House^    They  are  to  be  fought  over  wepi  over  ^l-^'^?'    -"^    "''°"'    her    for    about    thirty 
and  the  heroine  must  always  come  out  the 


[  COXTENX-ED  ON  P.4GE  11 


Photoplay  Magazine — Advertising  Section 


83 


I 


QOhen  you  take  off  your  hat .,, 

less... or  more  charm? 


What  happens  when  you  take 
off  your  most  becoming  hat  ?  Are 
you  less  pretty  . . .  just  as  pretty 
...  or  prettier? 

It  all  depends  on  your  hair! 
Your  hair  can  shine  and  make 
your  eyes  shine.  It  can  be  soft 
and  flattering.  It  can  make  you 
prettier.  Here  are  2  Packer 
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golden  liquid  of  olive  oil,  cocoanut 
oil,  soothing  glvcerine.  It  lathers  in 


an  instant,  rinses  in  a  twinkling! 
2.  Packer's  Pine  Tar  Shampoo,  a 
dark-amber  liquid  that  contains  the 
soothing  benefits  of  olive  and  cocoa- 
nut  oils  and — in  addition — health- 
ful pine  tar,  without  the  tar  odor. 

In  each  bottle,  all  the  knowl- 
edge gained  in  00  years'  experi- 
ence in  making  shampoos — 55 
years  of  consultation  with  phy- 
sicians. In  each  bottle  —  sa^e 
cleansing,  hair  loveliness,  hair 
health.  For  dry  hair,  these  two 
shampoos  are  gently  cleansing. 
And  for  oily  hair,  so  quick  and 


safe,  you  can  use  them  as  often 
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if  need  be.  With  Packer's  you 
can  keep  your  hair  always  fluffy, 
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copy  of  our  new  Manual, "The  Care  of  the  Hair." 
This  profusely  illustrated  58-page  book  has  re- 
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tains dozens  of  authoritative  suggestions  for 
making  your  hair  healthier  and  lovelier.  Fill  in 
the  coupon,  clip  and  mail  today. 


Ox.e.2PACKER  Shampoos 


PACKER'S  TAR  SOAP 

Practically  every  medical  work  on  the  hair  recom- 
mends pine  tar  soap  in  the  treatment  of  dandruff 
and  certain  other  skin  ills  requiring  special  care. 
And  so  skin  specialists  prescribe  Packer's  Tar 
Soap  as  the  most  effective  nice  way  to  give  your 
scalp  the  benefits  of  pine  tar.  Each  cake  now  in 
an  individual  metal  soap  box. 


THE  PACKER  MFG.  CO..  Inc.,  Dept.  16-F 
Bos  85,  G.  P.  O..  New  York,  N.  Y. 

I  enclose  10c  (stamps  or  coin).    Please  send  me 

your  Manual  and  sample  of  the  tj-pe  of  Packers 

Shampoo  I  have  checked: 

n  Olive  Oil  Q  Pine  Tar 

(If  you  uriih  samplet  of  both  type),  tend  iO  centt^ 


OLIVE  OIL       PINE  TAR 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Gossip  of  All  the  Studios 


[  CONTIXl 


ED  FROM  PAGE  47 


DUE  to  the  appalling  number  of  conductors 
who  yearly  go  insane,  the  foUowing  signs 
may  be  placed  in  Los  Angeles  street  cars  and 

*'"-\0.  LADV-THE  MAN  IN  FRONT  OF 
VOU  AIN'T  JOHN  GILBERT' 

'•  VES  MISTER-WE  GO  TO  THE  STU- 
DIOS, BUT  I  CAN'T  GET  YOU  IN.  ' 

"NO.  YOUNG  MAN.  TH.\T  WAS^'T 
JANET  GAYNOR  \VHO  JUST  GOT  OFF. 
SHE  HAS  HER  OWN  CAR  NOW." 

"YEAH,  THIS  IS  M.\E  MURRAY'S 
HOUSE  BUT  I  DONT  THINK  SHELL 
SIGN  YOUR  BOOK." 

"I  AGREE  WITH  YOU.  SUE  CAROL'S 
AWFULLY  SWEET."  _  _^ 

"  NO,  GRANDP.\— CL.\RA  BOW  KEVEYl. 
USES  A  WIG." 

"SORRY.  MAD.\:M— WE  PASSED  HOL- 
L\"\VOOD  AN  HOUR  AGO." 

HERE'S  the  newest  on  Bebe 
Daniels. 

The  story  goes  that  she  was  driving 
her  roadster  at  a  fifty-mile  clip  on  a 
country  road,  when  a  speed  cop 
slipped  up  behind  her.  Intent  on 
making  out  his  tag,  he  mumbled 
without  glancing  up,  "Only  Bebe 
Daniels  can  go  that  fast  without 
gettin'  a  ticket." 

"WeU— "  smiled  Bebe. 

The  cop  looked  at  her  and  imme- 
diately recognized  who  she  was.  Then 
continuing  his  writing,  he  added, 
"And    she    can't,  either." 

POLA  NEGRI  has  sold  her  Beverly  Hills 
home  to  non-professional  people. 
"  It  held  too  many  memories. "  she  announces. 
Memories  of  Rudolph  Valentino,  her  friends 
take  it.  For  it  was  in  this  home  that  this 
romance  started  and  had  its  culmination. 

JACK  DEMPSEY'S  sister  Elsie  is   now  a 
Hollywood  extra. 

You  will  remember  Elsie  played  bits  in  the 
Jack  Dempsey  series  a  few  years  ago.  Jack's 
exit  from  the  movies  let  Elsie  out  also.     But 


/ 


Once  an  extra — now  a  star.     And  this  is  how  Flash  got  the 

job.     Accompanied  by  his  master,  he  stood  in  line  at  the 

casting  window  holding  his  make-up  case.     That  is  dogged 

persistence,  as  it  were 


May    McAvoy    sports    the    latest    in 

brogues    and    wool    socks.      Fine    for 

golf — and    for    girls   who,    like    May, 

have  small  feet 


she  could  not  forget  her  ambi- 
tions, so  she  is  back  to  start  at  the 
beginning. 

SPEAKING  of  those 
who  criticize  motion 
pictures  without  attend- 
ing them.  Director  Fred 
Niblo  draws  the  parallel 
of  the  small  girl  asking 
"Who  was  Shylock, 
Aunt  Ethel?"  The 
austere  aunt  replied  re- 
provingly, "The  idea! 
You  go  to  Sunday 
School  and  don't  know 
that!" 

T)  EX  INGR.-VM  isn't  going  to 
■•■^turn  Moslem  and  is  suing  the 
London  newspaper  that  tried  to 
wish  a  change  of  religion  on  him. 


pOL.\  NEGRI  and  Georgette,  her  French 
-L  maid,  were  cleaning  out  Pola's  Ambassador 
hotel  bungalow.  Georgette  speaks  little 
English,  while  Pola  has  fallen  into  the  habit  of 
using  her  adopted  language  almost  e.xclusively. 

They  came  to  a  huge  magic  lantern  with 
several  hundred  slides. 

"Call  up  the  studio,  Georgette,  and  ask 
which  is  the  best  place  to  send  it  to  the  poor 
children." 

•'Mais,  Old,  IMadame.  But  if  I  could  pre- 
sume to  suggest.  Would  you  remember  the 
little  blind  children.   They  are  so  deserving. " 

WHENTom  Mix  reached  San  Bernardino  on 
his  original  trip  to  Hollywood,  he  saved 
carfare  from  that  point  by  riding  into  Los 
."Angeles  on  his  own  horses. 

Last  week  he  left  the  jSIotion  Picture  city 
bound  for  the  -Argentine.  He  rode  in  a  Roils 
Royce.     That's  Hollywood  for  you. 

[  CONTINUED  ON  PAGE  98  ] 


Photoplay  Magazine — Advertising  Section 

How  Famous 


85 


JWoi^i 


tars 


now  use  a  certain  type  of  hosiery 
to  accentuate  Shapeliness 


'BiLLiE  "Doves 

ideal  is  "TheDancingChiffon" 

—a  sheer  creation  with  a  specially 

reinforced  silken  foot 

for  long  wear'' 


la  all  the  world  no  woman  has  to  watch  the 
selection  of  her  hosiery  quite  as  carefully  as 
the  movie  star.  For  the  camera  is  merciless.  Ic 
seeks  out  and  magnifies  the  slightest  flaw. 

And  with  the  present  mode  making  legs  so 
conspicuous,  directors  and  stars  alike  sought 
a  type  of  hose  which  would  actually  enhance 
the  shapeliness  of  ankle  and  leg. 

la  "The  Dancing  ChifFon,"  charming  Billie 
Dove  has  found  her  ideal.*  This  Allen-A  style 
is  pure  silk  the  entire  length  of  the  hose. 
Sheer  and  clear.  Full-fashioned  to  hug  the 
ankle  and  cling  to  the  knee,  thus  giving  slender 
gracefulness. 

And  inside  the  silken  foot  is  an  invisible 
"inner-foot"  of  extra-fine  lisle.  This  reinforces 
the  heel,  sole  and  toe — where  most  chiffons 
give  first — and  is  responsible  for  exceptionally 
long  wear. 

You  will  find  this  lovely  Allen-A  creation  at 
your  dealer's  in  all  of  the  newest  shades.  Ask 
for  it  by  style  number — 3785.  If  you  prefer  a 
chiffon  hose  with  a  lisle  foot  ask  for  style 
3780.  If  your  dealer  does  not  carry  either  of 
these  styles  simply  send  us  his  name — a  post 
card  will  do — and  we  will  see  that  you  arc 
promptly  supplied. 

THE  ALLEN-A  COMPANY,  Kmosha,  Wis. 


Allen-A 

Hosiery 


*Tkc  same  hosiery  styles  shown  in  the  smart  Allen-A 
Hosiery  Shop,  fifth  Ave.  at  3Sth  St. — and  other  Neta 
York  Stores — are  now  available  at  Allen-A  dealers  every- 
where. Priced  from  fl.SO  to  f3  the  pair. 


Hosiery 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAOAZINU 


86 


Photoplay  Magazine— Advertising  Section 


37  tlo/fywood 
Omooth  exquisite  skin  is 


In  the  luxurious  bathrooms  of  great 
stars  and  in  the  dressing  rooms  of  all 
the  big  film  studios  this  soap  cares  for 
the  skin  of  the  most  beautiful  women 
in  the  world  •   •  • 


ONLY  exquisitely  smooth 
skin — "Studio  Skin" — can 
defy  the  cruel  lights  of  the  close- 
up  which  permit  of  very  little 
make-up,  say  leading  directors. 

Every  star  in  Hollywood 
knows  that  smooth  velvety  skin 
means  even  more  to  her  than  it 
does  to  most  women— it  means 
her  very  career. 

Nine  out  of  ten  screen  stars  use 
Lux  Toilet  Soap*.  It  cares  for 


the  skin  the  true  French  way. 
For  it  is  made  by  the  method 
France  developed  and  uses  for 
her  finest  toilet  soaps. 

All  the  great  film  studios  have 
made  it  the  official  soap  in  their 
dressing  rooms.  Beauty  is  im- 
portant in  Hollywood! 

You  too,  will  delight  in  the 
smoothness  this  fragrant  white 
soap  gives  your  skin.  Order 
some  today. 


Irene  Rich— Warner 
Bros.  "It  ftives  the 
skin  the  same 
smoothness  as  fine 
French  soaps!" 


Clara  Bow  —  Para- 
mount. "Lui  Toilet 
Soap  is  a  jjrcat  help!" 


*l  here  are  in  Hollywood  433  important 
screen  actresses,  including  all  stars.  417 
of  these  use  Lux  Toilet  Soap.  96%  of 
all  the  lovely  complexions  you  see  on 
the  screen  are  cared  for  by  this  soap. 


Greta  Nissen— "Lux 
Toilet  Soap  feels  de- 
licious to  the  skin!" 


I'TIOTOIT.Ay  MAGAZINE 


Photoplay  Magazine — Ada-ertising  Section 


87 


Directors  say: 

woman's  most  alluring  charm" 


Mary  Astor— First  National.  "Nothing  is  more  im- 
portant to  a  girl  than  lovely  skin.  A  screen  star 
especially  must  have  rarely  exquisite  'studio  skin.' 
I  take  the  greatest  care  of  mine — I  always  use  Lux 
Toilet  Soap  for  it  keeps  my  skin  so  beautifully 
smooth  that  the  close-up  is  no  ordeal." 


Merna  Kennedy  — 
United  Artists.  "My 
skin  is  wonderfully 
smooth  after  Lux  Toilet 
Soap!" 


Bebe  Daniels 
mount.    "It  is  a  great 
help  in  keeping  the  skin 
lovely." 


Billie  Dove— First   Na- 
tional.     "I     find     Lux 
Toilet  Soapdelightfully 
refreshing." 


May    McAvoy— Warner 

Bros.     "I    always    use 

Lux  Toilet  Soap  —  a 

lovely  soap." 


JoanCrawford— Metro- 

Goldwyn-Mayer.     "It 

keeps  my  skin  fresh  and 

smooth." 


LUX  Toilet  SOAP 


Luxury  hitherto  found 

only  in  French  Soap  at  50c 

or  $1.00  a  cake,  now 


m 


to  adverUsers  please  mention  PHOTOPLAY  MAGAZINE. 


J'll  Leave  It  to  Ifeu 

Heart-breaking  confession  of  a  star-maker, 
written  en  route  to  a  nice,  quiet  asylum 


By  Faith  Service 

Illtistration  by 

Chris  Marie  Meeker 


THEY  are  taking  me  away.  To  an  asylum. 
Oh,  not  in  a  strait  jacket  nor  yet  to  a  padded 
cell.  No,  to  a  sanatorium,  so  they  tell  me. 
For  a  "rest  cure. "  But  /  know!  I  am  sane 
enough  for  that.  I  have  seen  too  many  of  my 
friends,  yes,  and  clients,  too,  taken  off  to  "res't 
cures"  and  "sanatoriums."  And  I  have  seen  the 
signiticant  eye-raising  and  shoulder-shrugging  that 
goes  on  behind  their  unsuspecting  backs.  They 
were  unsuspecting  because  t/iey  needed  to  go.  They 
were  unsuspecting  because  their  minds  were,  well, 
in  need  of  a  "rest."  But  /  know.  Thus,  at  the  very 
onset,  is  my  mental  balance  proven  to  the  un- 
prejudiced. 

Life  is  very  unequable.  Very  unfair.  Who 
swims  today  sinks  tomorrow.  Black  is  white  on 
Monday  and  black  again  on  Tuesday.  But  I  have 
no  intention  of  generalizing  upon  the  unequitable 
justice  of  Life.  This  is  merely  the  statement  of  my 
case.  A  particularized  affair.  An  appeal  to  all 
rational  folk  for  a  sane  and  solid  opinion. 

It  is  like  this:  I  am  a  press  agent  by  profession— 
not  by  choice.  I  might  go  so  far  as  to  say  by 
divinity,  for  I  have  made  Somethings  out  of 
Nothmgs.  I  have  taken  raw  material  and  have 
made  of  them  Circes  and  Minervas,  Cleopatras  and 
Vestal  \'irgins. 

I  will  cite  three  specific  cases,  genteelly  omitting 
names  m  the  comfortable  knowledge  that  the  fans 
of  the  country,  at  any  rate,  will  recognize  my 
handiwork  and  will,  perchance,  rally  to  my  defense 
There  was  the  notable  case  of  her  whom  I  shall  call 
Florence  Floozelle. 

■pLORF.NCE  engaged  me  to  "put  her  over. "  She 
i  was  very  much  under  at  the  time,  and— but  we 
won't  go  into  that. 

She  had  been  playing  extra  bits  for  longer  than 
any  press  agent  could  ethically  admit  to.  She  had 
not  been  playing  them  very  well.  There  were  only 
certam  types  that  she  could  play  very  well  and  thev 
are  superannuated  old  beezers- but  we  won't  so 
into  UuiL  ^ 

She  implored  me  to  make  her  a  star.    It  was  her  one  idea  and 
mt-aning  no  offense  to  Florence,  her  only  j^/^^'^^^e'^eaand, 

She  was  the  perfect  epitome  of  the  well  publicized  "beiutifnl 

been  married  to  a  gentleman  with  cabbage  ears  or  is  it  rn,h 
flower.'     I  his  person  had  a  penchant  for  the  Co  d'^  If 

Her  sporadic  reading  consisted  of  Ethel  M    Dell    FUnnr 
Glyn  when  she  felt  highbrow.    She  thought  1  v,i  Die  Uv  v 
a  mild  epithet  and  I  never  did  siicecl  nrn'.'kir,^,  her  "nd    ' 


Florence  Floozelle  was  the  perfect  epitome  of  the  well- 
pubhcized  beautiful  but  dumb.  She  thought  that  Dickens 
was  a  mild  epithet  and  Mencken  a  town  in  New  Jersey" 


a   town  in  New  Jersey  or  an 


stand   whether   Mencken 
inhibition. 

Her  advantages  consisted  in  possession  of  two  blue  eves 
nalt  an  inch  larger  in  circumference  than  those  of  her  less 
endowed  sisters,  a  figure  with  one  more  adaptable  curve  than 
IS  given  to  niost  joung  females  and  the  ability  to  weep  or 
giggle  lor  no  known  reason  whatsoever 

_W_ell,  I  got  to  work  on  her.  I  told  the  Public  that  here  was  a 
Virgin  descended  from  the  Vestals.  Convent-bred,  I  said— 
of  course.  Cut  out  for  a  leader  of  Society,  a  potential  Junior 
W.5"'''';.,  u-  ".T^"^.  by  Circumstances  to  make  her  timorous 
Way  in  the  W  orld.    Young,  Unsullied.    Beautiful. 

One  of  my  ideas  was  to  present  her  to  the  world  as  the  Spirit 
01  Young  Love.    A  shrinking  violet  unacquainted  with  Night 

lubs.  loving  best  to  roam  in  daisy-starred  fields,  a  frequenter 
"1  M  ivan  sohtudes.  [  continued  on  p.^ge  134  ] 


^1- 


Fanchon  Presents 
A  Symphony  in 

For  you,  mademoiselle,  at  your 


1  Tbiletr^ 

favorite  druggist's  \ 


TOWDERS  gloriously  soft  and  clinging, 
satin-like  in  their  feel-  for  face,  for  com- 
pact, for  toilet  .  .  .  talcums  of  exquisite 
fineness  .... 

Lipstick  and  rouge,  too  .  .  .  your  toilet 
waters,  face  creams  .  .  '.  all  by  Fanchon.  A 
symphony  in  toiletry,  no  less,  mademoiselle! 
All  of  the  same  fragrance,  all  in  the  charm- 
ingly gay  packages  of  Fanchon  .... 

Your  druggist  has  this  famous  array  of 
dressing  table  needs,  each  of  incomparable 
quality,  each  oi'  which  mademoiselle  will 
adore.  See  them  today,  and  tonight  in  the 
assurance  of  your  smartness,  appear, 
mademoiselle,  at  your  most  ravishing! 

Fanchon  toiletrie.s  are  sold  l.y  Jrus^ 
stores  exclusively,  at  prices  lliat 
will  strike  you  as  most   reasonable 


f 


I 


ECLAjCfu^rL 


1{iii(f^ifif 


AN 
FLAKES 


The  PEP  Qang 

of  the 

Movies .' 

Thousands  delight  in  the 
antics  of  Hal  Roach's 
••Our  Gang."  The  dullest 
night  they  are  good  for  a 
lot  of  laughs.  Such  bub- 
bling spirits— such  romp- 
ing fun  —  such  pep,  it's 
literally  catching! 


The  glorious  flavor 
of  "PEP"  and  the  health- 
ful roughage  of  BRAN 

A  BOWL  of  Kellogg's  Pep  Bran 
Flakes  is  the  high-spot  of  break- 
fast. You've  never  tasted  any- 
thing quite  Hke  this  deUghtful 
cereal.  Practically  a  perfect  food, 
with  milk  or  cream. 

Combines  the  flavor  of  PEP, 
the  rich  food  elements  of  whole 
wheat,  and  enough  bran  to  make 
it  mildly  laxative.  Only  Kellogg 
could  have  blended  so  much 
goodness  and  nourishment  into 
these  crisp,  tasty  bran  flakes. 

Try  Kellogg's  Pep  Bran  Flakes. 
You  couldn't  give  the  family 
anything  more  healthful.  For 
breakfast,  lunch,  the  children's 
evening  meal!  At  grocers.  Made 
by  Kellogg  in  Battle  Creek. 


IMPORTANT 

Kc-llogg's  Pep 
Bran  Flakes  are 
mildly  laxative. 
.  .  .  ALL-BRAN 
— another  Kellogg 
product — is  100  fo 
bran  and  guaran- 
teed to  relieve 
constipation. 


Eat  Well 

and  be 

YOUR  WEIGHT 


Here's  a  menu  from  Photo- 
play's All  Star  Cook  Book 
for  Women  who  watch  the 
scales 


WITH  the  passing  of  the  abnormally  thin,  skin-and- 
bones  figure,  the  problem  of  arranging  a  strict  re- 
ducing diet  is  not  as  important  as  it  was  a  few  years 
ago,  except  to  women  and  girls  who  are  uncomfortably 
fat.  However,  women  are  still  interested  in  finding 
menus  that,  while  they  are  not  completely  bereft  of  cal- 
ories, will  help  them  keep  down  the  pounds  and  maintain 
their  bodies  at  an  even  weight. 

From   Photoplay's   Cook   Book,   I   have  arranged   a 
menu  that  is  in  no  sense  a  reducing  menu  and  yet  is 
one  that  may  be  eaten  with  a  clear  conscience  by  the 
woman  who  is  going  slow  on  fattening  foods. 
Here  is  the  menu: 

Chicken  and  Tomato  Soup  (Dolores  Costello) 
Baked  Lamb  Chops  (Bebe  Daniels) 
Fresh  Vegetable  Salad  (Dorothy  Dwan) 
Orange  Ice  (Carmel  Myers) 
This  menu  can  be  used  for  a  hearty  luncheon  or  for  a  light 
dinner. 

For  dinner,  you  may  add  baked  potatoes,  an  extra  vegetable 
and  cup  cakes,  for  the  benefit  of  those  members  of  the  family 
who  aren't  watching  their  weight. 

To  bake  lamb  chops,  ask  your  butcher  for  French  loin 
chops.  Beat  one  egg  and  take  one  small  bowlful  of  cracker 
crumbs.  Dip  the  chops  first  in  the  beaten  egg  and  then  in 
the  cracker  crumbs.  Place  in  baking  dish,  seasoning  them  to 
taste. 

Pour  melted  butter  over  the  chops  and  place  over  them 
several  strips  of  bacon.  These  chops  are  delicious  served  with 
buttered  peas. 

The  Fresh  Vegetable  Salad,  contributed  to  Photoplay's 
Cook  Book  by  Dorothy  Dwan,  is  a  particularly  useful  recipe, 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  100  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


because  it  calls  for  uncooked  vegetables  and  so  is  rich  in 
vitamines.  Put  three  or  four  uncooked  carrots  through  a  meat 
grinder,  followed  by  an  onion.  Chop  two  small,  young  raw 
beets  very  fine;  grate  a  small  head  of  cabbage  into  small  strips 
and  cut  three  ripe  tomatoes  into  thin  sHces.  Mix  the  vegetables 
with  French  dressing  and  serve  on  nests  of  lettuce. 

OF  course,  you  may  use  any  other  vegetables  that  are  in 
season.  Be  sure  to  use  the  very  youngest  and  tenderest 
vegetables  you  can  get  and  you'll  find  this  salad  a  great  im- 
provement over  cooked  vegetable  salad,  besides  being  more 
healthful. 

By  way  of  making  the  salad  more  attractive,  you  may  gar- 
nish it  with  green  peppers,  sliced  hard  boiled  eggs  and  young 
radishes.  This  salad  is  almost  a  luncheon  in  itself,  !f  it  is 
served  with  cheese  crackers  or  cream  cheese  balls  and  plain 
crackers. 

THE  recipe  for  Orange  Ice  was  contributed  by  Carmel 
Myers.  It  is  among  the  least  fattening  of  desserts  and 
takes  the  place  of  ice  cream.  And,  too,  it  is  quite  simple  to 
prepare. 

Boil  one  pint  of  water  and  one  cup  of  sugar  together  for  ten 
minutes.  Add  two  teaspoons  of  granulated  gelatine  which  has 
been  softened  with  two  tablespoons  of  cold  water,  .\llow  mix- 
ture to  cool  on  ice.  Add  the  whites  of  two  eggs,  beaten  stiff, 
and  the  juice  of  two  oranges  and  one  lemon.  Also  grate  the  rind 
of  the  oranges  and  add.  It  lends  color  and  flavor.  Freeze  in 
an  ice  cream  freezer. 

All  the  recipes  in  Photoplay's  Cook  Book — and  there  are 
a  hundred  of  them — lend  themselves  to  all  sorts  of  menus  and 
occasions.  If  you  will  fill  out  the  Httle  coupon  at  the  left  of 
the  page  and  send  a  quarter,  Photoplay  will  mail  you  this 
useful  volume. 

Carolyn  Van  Wyck 

91 


92 


reminme 

Ponce 
de  Leons! 


Photoplay  Magazine— Advertising  Section 

Brickbats  and  Bouquets 


14  /hY   do  women  who    are  fearful  of 
1/1/  losingtheir  beauty  gather  insuch  num- 
/   Y    berstodrinkthesalinewatersat Vichy 
. .  .Wiesbaden . . .  Carlsbad . . .  Aix-les-Bains  ? 

Simply  because  the  drinking  of  saline  solu- 
tions is  the  best  way  in  the  world  to  clear  com- 
plexions—to have  a  fresh,  clean  skin  — by  the 
very  reasonable  process  of  sweeping  away  in- 
testinal poisons. 

For  there  is  no  shadow  of  doubt  that  if 
more  women  kept  themselves  internally  clean,  they 
Mould  be  outwardly  more  beautiful! 

So  you  well  may  think  of  that  old  family 
stand-by — Sal  Hepatica— as  being  one  of  your 
most  valuable  beauty  aids  as  well  as  the  purest 
—  most  refreshing  laxative  in  the  world. 

It  is,  in  reality,  the  American  equivalent  ot 
the  saline  waters  of  the  great  European  health 
resorts.  Like  them,  it  clears  and  purifies  the 
blood  stream  of  the  poisons  and  congestions 
and  acidity  that  produce  not  bad  complexions 
alone.'but  headaches,  rheumatic  pains,  colds 
and  auto-intoxication. 

Sal  Hepatica,taken  before  breakfast,is  prompt 
in  its  action.  Rarely,  indeed,  does  it  fail  to  work 
within  half  an  hour.  Get  a  bottle  today.  Keep 
internally  clc-an  for  one  whole  week.  See  how 
the  saline  treatment  can  make  you  feel  better, 
look  better,  be  better! 

Sal  Hepatica 


The  Sparkling  Effervescent  Sali, 


\ 


Salines  are  the  mode  the  world  over 
became  they  are  wonderful  antacids  as 
well  as  laxatives,  and  they  never  have 
the  tendency  to  make  their  takers  stout. 
0 1 928  Bristol-Myers  Co..  New  York.  N.  Y. 


/ 


[  COXTIXL-ED  FROM  PAGE    10  ] 


No  Suspense? 


Chicago.  111. 
I  see  they  are  making  several  new  co- 
starring  teams  such  as  Gary  Cooper-Fay  Wray. 
Lew  Cody-Aileen  Pringle  and  others.  After 
seeing  these  teams  once  together.  I  wouldn't 
see  them  again.  I  don't  care  to  see  two  stars 
playing  in  more  than  one  picture  together.  It 
takes  away  the  realism. 

Lucille  Sp.\nkuch. 

\^  isdom  from  Grandpa 

Pasadena.  Calif. 

I  am  a  grandfather.  I  don't  believe  any  of 
us  are  spoiled  by  what  we  see  on  the  screen. 
Judging  by  the  posters,  one  would  fear  that 
pictures  were  a  menace  to  our  youth.  But,  in 
most  cases,  the  posters  are  as  misleading  as 
thev  are  bad.    The  posters  are  the  real  menace. 

There  are  pictures  where  the  kissing  bug 
bites  pretty  deep.  Aunt  Sally  de  Microbiac 
fears  that  her  health  is  endangered.  But  who 
of  us  did  not  expose  himself  to  this  plague  once 
in  our  lifetime?  This  expression  of  love  was 
practised  centuries  before  the  existence  of  the 
movies.  It's  as  old  and  as  fresh  as  the  dew 
seen  on  flowers  in  the  early  morning. 

J.  A.  Bl.'^nch.ard. 

Barry's  Loyal  "Fan" 

Detroit,  Mich. 
Here  I  come  with  a  load  of  bouquets  for 
Barry  Norton.     It  is  very  unusual  for  me  to 
see  a  picture  more  than  once,  but  I  saw  him 
three  times  in  "What  Price  Glory." 

Helex  M.ay. 

Smashing  Some  Idols 

Bethany.  Pa. 

Brickbats  for  James  Hall  and  Charles 
Rogers.  I  can  name  three  or  four  young  lead- 
ing men  much  better  looking  and  certainly 
with  far  greater  talent.  I  consider  Richard 
Arlen,  Mck  Stuart,  Barry^  Norton  and  Roland 
Drew  the  most  promising  young  plaj'ers  in 
Hollywood. 

"Seventh  Heaven"  was  a  great  disappoint- 


ment after  the  extravagant  praise  from  the 
critics.  I  didn't  "get"  Janet  Gaynor's  "won- 
derful" performance.  Charles  Farrell  easily 
gave  the  best  performance. 

The  cinema  apparently  cannot  find  work  for 
two  of  its  finest  players,  Betty  Bronson  and 
Raymond  Griflith.  Their  acting  is  too  good 
for  the  screen  and  those  of  its  patrons  who 
cannot  appreciate  real  art. 

V.  Keith  Sutton. 

Those  Hot  Titles 

Texarkana,  Tex. 

Are  moving  picture  producers  planning  to 
quit  business,  or  have  all  their  craftsmen  de- 
serted them?  Surely  one  or  the  other  must  be 
the  case,  judging  by  the  titles  given  to  many 
picture  productions  these  days. 

On  a  few  theater  programs  at  hand  I  find  the 
following,  picked  at  random:  "Rolled  Stock- 
ings," "Love's  Greatest  Mistake,"  "A  Kiss  in 
a  Taxi,"  "The  Stolen  Bride,"  "One  Hour  of 
Love." 

There  have  been  others  much  worse  adver- 
tised here  recently,  but  their  inanity  failed  to 
make  sufiBdent  impression  on  my  memory. 

LiLLI.AX  D.AVEXPORT. 

High-School  Ideals 

Barbarton,  O. 

Recently,  at  our  High  School,  every  pupil 
was  handed  a  slip  of  paper  on  which  was 
printed:    "If  I  were  not  myself.  I  would  like 

to  be ."    This  we  were  to  fill  out, 

and  write  in  the  name  of  the  person  we  would 
like  to  be. 

It  is  interesting  to  know  that  many  put 
Lindbergh,  Tunney,  Rockefeller,  Ford,  etc., 
and  that  the  movie  stars  were  rated  next  to 
these. 

Just  to  give  vou  an  idea  how  the  movie  stars 
rated:  Clara  Bow,  15;  Mary  Pickford,  10; 
Bebe  Daniels,  8;  Colleen  M"oore.  5;  Billie 
Dove,  2;  Jackie  Coogan.  2.  Many  others 
wanted  to  be  Mary  Astor,  Ben  Turpin.  Mary 
Brian,  Lois  Moran.  Greta  Garbo,  Betty  Bron- 
son, Laura  La  Plante,  Esther  Ralston,  Mae 
Murray,  Buck  Jones,  Tom  Mix  and  others. 
C.  G. 

[  COXTIXUXD  OX  p.age   102  ] 


KaanapoHs,  N.  C. 

After  my  experience  of  the  other 
evening,  I  feel  as  though  anyone  who 
could  see  "The  Noose"  and  still  believe 
in  capital  punishment  should  have  a 
taste  of  it  personally.  I  always  have 
been  bitterly  opposed  to  the  taking  of 
life,  whether  lawfully  or  unlawfully, 
and  now  I  hate  it  a  hundred-fold. 

I  wish  I  could  forget  the  old  lady  who 
sat  beside  me  in  the  theater  at  the 
showing  of  "The  Noose."  Wish  I 
could  forget  seeing  a  wrinkled,  trem- 
bling hand  drying  the  tears  from  faded 
old  eyes.  Wish  I  could  forget  the 
choking  cry,  "Oh,  God!  My  Son!" 
that  came  from  the  quivering  lips  as 

Every  nclverllscraeni    In   PHOTOPLAY   MAGAZINE  Is  guaranteed. 


Barthelmess  began  his  death  march. 
And  most  of  all,  I  wish  I  could  forget 
the  look  of  agonized  pain  on  that 
anguished  face  as  the  bent,  gray- 
haired  man  led  her  out. 

I  never  found  out  who  she  was,  but 
my  heart  aches  for  her.  She  is  only  a 
mother  living  on,  while  the  son  she 
went  down  into  the  shadows  to  bring 
forth  is— where?  Can  any  of  us  say? 
I  only  know  that  if  a  mother's  suffering 
could  expiate  his  crime,  he  has  long 
been  forgiven. 

Richard  Barthelmess  is  to  be  con- 
gratulated on  his  splendid  work  in 
"The  Noose." 

Eloise  Balle 


Photoplay  Magazine — Advertising  Section 


93 


The  Improved  Kotex  only 

offers  these  two  exclusive 

new  features 

Correct  Appearance— Hygienic  Comfort 


These  Features  Exclusive 
to  Kotex 

1  CORRECT  APPEARANC'<:-Tfte 

nen\  form-fitting  shape  ( with  cor- 
ners scientifically  rounded  and  ta- 
pered to  fit)  may  be  worn  under  the 
most  clinging  gowns  without  possi- 
bility of  detection. 

2  HYGIENIC  COMFORT -So/tcr 

gauze,  fluffier  filler— treated  by  a 
new  and  exclusive  process — end  un- 
comfortable chafing  and  binding. 


& 


ALL  THE  FEATLT<ES  AND  PROTECTION 
OF  THE  KOTEX  YOU  HAVE  ALWAYS 
KNOWN  ARE  RETAINED. 


SO  enthusiastic  were  we  over  the  Im- 
proved Kotex,  when  it  was  finally  per- 
fected in  our  laboratories,  that  we  decided 
to  anticipate  your  enthusiasm  by  putting- 
it  into  production  on  double  our  former 
bcale. 

This  meant,  of  course,  new  plants,  new 
machinery,  a  vast  expenditure  of  time  and 
money.  It  also  meant  that,  if  you  bought 
the  Improved  Kotex  in  such  volume  as 
we  expected,  the  regular  price  could  be 
permanently  reduced  30^. 

Demand  makes  it  possible  to  continue 
at  the  new  low  price — and  you  are  offered, 
at  this  price,  exclusive  features  obtainable 
in  Kotex  and  Kotex  only! 

Kotex  is  now  form-fitting 

By  a  new  and  exclusive  design,  perfected 
in  our  laboratories,  corners  are  now  scien- 
tifically rounded  and  tapered.  The  Im- 
proved Kotex  fits  perfectly,  securely.  You 
wear  it  without  altering  the  fashionable, 
slim  silhouette,  and  you  feel  a  composure, 
a  sense  of  fine  grooming,  never  before 
possible. 

Softer,  fluffier,  to  end  chafing 

Ingenious  methods  have  been  found  to 
make  the  gauze  wrapping  softer,  the  ab- 


Doubled  production  and  enthusiastic 
demand  permit  a  price  cut  of  30% 
on  the  Improved  Kotex  —  contain- 
ing two  new  features  perfected 
after  two  years'  research;  after 
consultation  with  27  women  doctors 
and  83  nurses. 


and 

Kotex  Prices 

Reduced 


sorbent  filler  fluffier;  to  give  you  adequate 
protection  without  the  discomforts  of 
chafing  and  binding. 

Nurses,  doctors  considered  your 
comfort  and  appearance 

Changes  in  the  Kotex  pad  were  made  un- 
der the  supervision  of  27  women  doctors, 
83  nurses,  6  specialists  in  feminine  hygiene. 
They  considered,  besides  your  good 
health  and  comfort,  the  vital  question  of 
appearance.  They  know  your  problems, 
not  only  professionally  but  also  from  a 
woman's  point  of  view.  Their  enthusiastic 
approval  is  the  most  important  endorse- 
ment of  the  Improved  Kotex. 

Kotex  features  are  exclusive 

In  Kotex  alone  do  you  get  these  new 
features.  .  .  and  all  the  former  advantages, 
too,  are  retained.  The  remarkably  absor- 
bent powers  remain;  the  same  protective 
area:  Cellucotton  wadding,  which  'S  ex- 
clusive to  Kotex,  has  all  the  advantages 
of  any  waterproofed  absorbent,  plus  its 
own  unique  qualities — 5  times  more  ab- 
sorbent than  cotton,  discards  like  tissue 
(by  simply  following  directions),  deodor- 
izes thoroughly  while  being  worn. 

Remember,  nothing  else  is  at  all  com- 
parable to  the  Improved  Kotex.  Buy  a 
box  and  learn  our  latest  and  greatest  con- 
tribution to  woman's  hygienic  comfort. 

You  buy  Kotex  by  name,  without  em- 
barrassment, without  delay  ...  in  two 
sizes,  Regular  and  Kotex-Super.  At  all 
drug,  dry  goods  and  department  stores. 


Koiex  Company,  180  N.  Michigan 
A'venue,  Chicago,  Illinois 


"Ask  for  them  by  name" 

KOTe  X 

PROTECTS— DEODORIZES 


Supplied  also  through  mending 

cabinets  in  rest-rooms  by  West 

Disinfecting  Co. 


mention  PHOTOPLAT  MAGAZINE. 


94 


Photoplay  Magazine — Adv'ertising  Section 


TUt    GIRL 

(jLVt  ll&'  CL 

MmadeR 

HANDBAG   OR  VANITY 


A  most  acceptable  gift!  An  a^pe- 
ciated  gift!    And  what  could 
'  please  any  young  woman  more 
than  wearing  apparel  or  some  smart 
accessory? 

The  richness  of  all  Meeker  Made 
over-arm  or  under-arm  handbags  and 
the  individuality  in  whichever  you 
might  select  are  certain  to  please. 
Primarily  beautiful  and  practical. 

Imported  steerhide;  hand-colored; 
tool  embossed  by  hand;  hand  laced. 


hUde  in  the  shop  of 
THE  MEEKER  COMPANY,  Ir 
Joplin,  Missouri 


At  Bette 


Questions  and  Answers 

[  COXTIXLTED  TROII  PAGE   81  ] 


J.  W.  A.,  Si-XBt-RY,  Pa.— \'ilma  Banky  was 
bom  in  Budapest.  Hungarj-.  and  Rod  La 
Rocque's  native  \'illage  is  Chicago,  111.  True 
love  knows  no  geography.  \'ilma  was  born 
Januar>'  9, 1903,  and  Rod  Nov.  29, 1898. 

B.  H.  S.,  Bessemer,  Aj^a. — Your  model 
actor,  Emil  Jannings,  was  born  in  Brooklyn, 
N.  Y.  But  his  parents  returned  to  their 
native  German)-  when  he  was  six  months  old. 
Emil  is  sLx  feet,  one  inch  tall  and  weighs  two 
hundred  and  twenty  pounds.  He  is  forty-one 
years  old  and  has  blue  eyes.  Oh,  yes,  and  his 
next  picture  is  "The  Patriot." 

A.  M.,  MoNTCLAiR,  N.  J. — That  rumor 
about  Ramon  No^•arro  is  not  true.  If  he  leaves 
the  screen — which  isn't  likely — it  will  be  to  go 
on  the  concert  stage.  Yes,  Alice  Terry  played 
opposite  him  in  "Scaramouche."  Olive  Bor- 
den is  twenty-one  years  old. 

Joe  v.,  Morristoutc,  N.  J. — Write  to 
\'irginia  Valli  at  the  William  Fox  Studios, 
1401  N.  Western  Ave.,  Hollywood,  Calif.  Her 
next  picture  is  "The  Escape." 

M.  L.  H.,  Seattle,  Wash. — Thanks  for  your 
sympathy  and  understanding.  I  try  to  be 
polite;  that's  the  way  I  was  raised.  Jack 
Holt's  wife  is  a  non-professional.  The  Holts 
have  two  daughters.  Jack  was  born  May  13, 
1888.    He's  an  American. 

Anastasia  B.,  Brooklyn,  N.  Y. — I  don't 
know  Colonel  CharlesLindbergh'saddress.  Just 
write  to  him  in  care  of  the  Spirit  of  St.  Lmtis. 
Or  just  "Lindy,  U.  S.  A."  would  reach  him. 

L.  F.,  Buchanan,  N.  Y. — Photoplay  pub- 
ished  an  article  about  WilHam  Boyd  in  the 
November,  1926,  issue.  Also  there  were  pic- 
tures of  him  in  the  gallery  in  Januarv,  1928,  and 
May,  1927.    Write  to  the  Photoplay  Publish- 


ing Company,  750  N.  Michigan  Ave.,  Chicago. 
111.,  for  back  copies.  Enclose  a  quarter  for  each 
copy  that  you  want. 

T.  D.  B.,  Os\raGo,  S.  C— Olive  Borden  is 
her  real  name.  Pretty,  isn't  it?  She  is  twenty- 
one  years  old  and  has  been  in  pictures  since 
1925.  01i\e  is  five  feet,  one  and  one-half 
inches  tall.     She  weighs  105  pounds. 

A.  M.  K.— The  winners  of  the  Cut  Puzzle 
Contest  were  published  in  Photoplay's  issue 
of  Januar>',  1928.  The  Idea  Contest  winners 
were  announced  in  the  issue  of  February,  1928. 
Write  to  Photoplay  Publishing  Company,  750 
N.  Michigan  Ave.,  Chicago,  111.,  for  back 
copies  and  send  twenty-five  cents  in  stamps  for 
each  issue. 

M.  R.  L.,  Ardmore,  Pa. — For  the  Love  of 
Three  Kings!  Charles  FarreU  is  twenty-six 
years  old  and  sLx  feet,  two  inches  tall.  That's 
his  real  name  and  he  isn't  married,  as  yet. 
Charles  Rogers  was  born  in  Olathe,  Kan.,  and 
has  black  hair  and  brown  eyes.  Ramon  No- 
varro  is  twenty-nine  years  old  and  has  dark 
brown  hair  and  dark  brown  eyes.  He  is  five 
feet,  ten  inches  tall  and  weighs  160  pounds. 

K.  P.  M.,  Bakdon,  Ore. — Your  hand- 
writing tells  me  that  you  are  generous  and  easily 
adaptable  to  circumstances.  Am  I  right? 
William  Haines  was  born  in  Staunton,  Va.. 
Jan.  I,  igoo.  The  dawn  of  a  new  century! 
He's  sLx  feet  tall  and  has  brown  eyes.  Still  a 
bachelor. 

F.  J.  F.,  Troy,  N.  Y.— Patsy  Ruth  Miller 
is  twenty-three  years  old,  Louise  Brooks  is 
eighteen  and  Mary  Brian  is  nineteen.  Bar- 
bara Kent  is  eighteen  and  unmarried.  Louise's 
husband  is  Eddie  Sutherland,  the  director. 
Richard  Taknadge  doesn't  seem  to  be  work- 
ing at  present. 


Correct  Nutty  Biographies  for  April 


Clara  Bow 


HTHE  picture  was  that  of  ZaSu  Pitts  in 
■*■  "Greed."  However,  Clara  Bow  did  play 
in  "Get  Your  Man."  Miss  Bow  was  born  and 
went  to  school  in  Brooklyn,  N.  Y.,  not  Toronto. 
She  is  not  part  Esquimau,  but  Scotch,  EngUsh 
and  French.  Clara  never  was  on  the  stage,  but 
entered  the  mo\ies  via  a  magazine  contest.  It 
was  Marj-  Pickford  who  was  starred  by  Da\-id 
Belasco  in  "The  Good  Little  DevO.'"  Clara 
never  has  played  opposite  John  Barrjmore,  so 
could  not  be  his  favorite  leading  woman. 

Miss  Bow  is  not  married.  Conrad  Nagel  is 
married  to  Ruth  Helms  and  is  an  actor,  not  a 
director.  It  \:as  Elinor  Glyn  who  selected 
Clara  as  the  IT  girl. 

Clara  is  not  a  blonde  but  a  red-head;  nor  is 
she  noticeably  demure.  As  she  never  has  been 
married,  all  Aunt  Hezekiah's  talk  about 
"Daddy"  Browning  and  domesticity  was  a  lot 
of  bunk,  and  the  "loyal  school  friend"  was 
obviously  "phoney." 

Douglas  Fairbanks 

•yHE  picture  was  that  of  Ben  Turpin  imitat- 
^\n\i,  Eric  von  Stroheim  in  "When  a  Man's  a 
Prince."  Conrad  Nagel  played  Pmd  in  "Three 
Weeks."  There  was  no  chariot  race  in  "Three 
Weeks"  and  the  chariot  race  in  "Ben-Hur" 
was  staged  in  Southern  California,  not  Rome. 

Mr.  Fairbanks'  newest  picture  is  "The 
Gaucho;"  it  was  Charlie  Chaplin  who  played 

Bi'ery  ndverllsoraent 


in  "  The  Circus. "  AU  Doug  knows  about  circus 
life,  he  has  gleaned  from  being  a  spectator.  He 
was  on  the  stage  before  he  went  into  the 
mo\'ies.  His  father  was  an  attorney  of  Denver. 
Colo.,  not  an  English  clown.  Doug  never  left 
any  circus,  except  when  the  show  was  over,  and 
the  French  Revolution  was  before  his  time. 

Mack  Sennett  and  Doug  never  fought  in  an\- 
mob  scene  together,  in  Paris,  or  anywhere  else. 
Doug  was  first  signed  up  by  the  old  Triangle- 
Fine  Arts  Company,  then  under  the  supervision 
of  D.  W.  Griffith.  His  first  picture  was  "The 
Lamb."  He  played  the  title  role  of  "Robin 
Hood;"  Wallace  Beery  was  Richard  the  Lion- 
Hearted. 

There  is  nothing  odd  about  Doug's  home 
life.  He  li\'es  in  Pickfair,  a  one-famUy  house 
in  Beverly  HQls.  You  may  call  Pasadena  a 
suburb  of  Los  Angeles  if  you  want  to, — but  not 
in  Pasadena.  Mary  Pickford  never  has  been 
his  leading  woman  but  she  played  the  small 
role  of  the  Madonna  in  "The  Gaucho."  Doug 
and  Mary  have  plenty  of  servants  and  all  of 
Mary's  house-work  is  purely  voluntar>-.  Mary- 
was  born  in  Toronto,  Canada,  and  she  is 
English-Irish.  Mary  and  Doug  were  married 
in  1920. 

It  is  Lon  Chaney  who  is  known  as  "  the  man 
of  a  thousand  faces,"  and  Doug  likes  to  play 
athletic  roles.  John  Barrymore  was  Ahab  in 
"The  Sea  Beast."  Doug  is  fond  of  sports  but 
it  was  Bill  Tilden  who  played  in  the  Davis  Cup 
Tennis  Matches. 

And  Doug's  eyes  are  dark  grey,  not  steel 
blue. 


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Saved  from  the  Law 


[  COXTIXITD  FROM  PAGE   63  ] 


She  played  with  him  again  in  "The  Great 
Lover." 

After  that,  IMar)-  filled  in.  first  \\'ith  an 
English  company  and  then  with  a  stock  com- 
pany in  San  Francisco. 

Then ''The  Shanghai  Gesture."  It  was  a 
naughty  play  and  ]Mar\-'s  role  was  hot  stuff. 
Poppy  was  decidedly  outside  of  the  law  that 
Marv  had  once  threatened  to  defend. 

Young  :Mary  Duncan  made  a  nice  little  hit 
for  herself.  And  on  Broadway,  a  personal 
success  means  that  you  are  sure  of  good  roles 
in  good  plays  for  some  time  to  come. 

But  Iilar'v  read  her  notices,  tilted  her  chin 
and  said.  "That's  that.  What  next?  I  know 
— the  movies!" 


Again  she  got  what  she  wanted.  Producers 
always  take  screen  tests  of  all  the  promising 
young  newcomers  along  Broadway.  Many  of 
them  don't  film  well,  but  when  Marj-  took  her 
test  she  came  out  of  it  triumphant. 

William  Fox  signed  her  to  a  contract  and 
sent  her  to  his  Hollywood  studio.  F.  'U'. 
Murnau  liked  her  looks  and  he  liked  her 
"gumption." 

He  gave  Mary  an  important  role  in  "The 
Four  Devils." 

Hollywood  says  that  Miss  Duncan  has  the 
gift  of  getting  along. 

She  knows  what  she  wants  and  she  goes 
after  it.  The  movie  capital  likes  people  who 
do   things. 


Playing  with  Dynamite 


[  COXTIXt-ID  FROM  P.\GE   ii 


'A  moser 
Reveals  B\ 
Greahr  Beauty 

You  can  possess  an  appearance  of 
unusual  beauty  without  the  slightest 
suggestion  of  that  "made  up"  look. 
The  closest  inspection  will  reveal  only 
an  alluring,  transparent,  pearly  skin 
that  is  so  subtilely  beautified  the  use 
of  a  toilet  preparation  cannot  be  de- 
tected. 

No  messy  creams  or  long  drawn  out 
treatments  are  necessary.  From  the 
first  moment  you  use  Gouraud's  Ori- 
ental Cream  a  fascinating  attractive- 
ness is  yours.  Far  superior  to  face 
powders  as  the  appearance  rendered 
not  only  is  more  beautiful  but  it  will 
not  streak,  spot,  rub  off  or  show  signs 
of  moisture. 

Gouraud's  Oriental  Cream  is  highly 
antiseptic  and  astringent.  It  constantly 
exerts  a  healing,  soothing  action  which 
protects  against  the  contraction  of 
skin  troubles  and  helps  to  relieve 
blemishes,  freckles,  flabbiness,  wrinkles, 
muddy  skins,  redne.s.s  and  similar  con- 
ditions. Secure  Gouraud's  Oriental 
Cream  today  and  take  your  first  step 
to  a  "new  lasting  beauty."  Made  in 
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Ct, 


an}-  society.  Howe\-er,  Slim  doesn't  recognize 
or  welcome  anyone  who  is  inclined  to  be  social. 
He  claims  that  this  unique  molar  accessory 
keeps   the   four-hundred   at   a    distance.  _ 

Of  four  hundred,  or  four  thousand  excited 
spectators  milling  about  the  sidelines  of  a  field 
filled  with  buried  dynamite,  some  one  of  them 
is  liable  to  break  through  the  guards  and  step 
into  something  that  will  immediately,  if  not 
sooner,  hurr>'  him  away  from  there.  Hence, 
errors  in  etiquette  should  be  forgi\-en  a  chap 
who  never,  never  worries  about  his  little  pet — 
dynamite,  but  who  does  \vorr>'  about  the  safety 
of  all  concerned. 

THE  la>Tnan  has  no  idea  of  the  magnitude 
of  these  motion  picture  wars,  nor  the  expe- 
rience and  labor  necessary  to  carrj-  them  to  a 
successful  conclusion.  Be  it  known  that  the 
battle  scenes  of  "  The  Big  Parade ''  required  the 
greatest  outlay  of  electrical  \-i-iring  ever 
attempted  for  the  studio.  Each  one  of  the 
se\en  thousand  explosions  was  connected  to 
a  drum  having  seven  thousand  contacts.  This 
drum,  rotated  by  a  .motor,  fired  the  entire 
se\-en  thousand  shots  in  forty  seconds.  The 
siz-.e  of  the  explosior.s  were  measured  by  their 
distance  from  the  cameras,  and  the  loading  of 
these  shells  took  sixty  men  forty  days  for  each 
forty  seconds  of  firing. 

Chemists  and  powder  experts  worked  eight 
weeks  to  obtain  explosions  with  sufficient  flash 
and  actinic  value  to  counteract  the  set  light- 
ing, which  required  the  combined  electrical 
equipment  of  three  great  studios  in  order  to 
light  the  battlefield. 

The  soldiers  were  handled  by  public  address 
— amplifying  horns,  with  stations  all  over  the 
field.  Summed  up  this  means  that  ten  weeks 
of  work  and  se\'enty-five  thousand  dollars 
were  spent  for  fifteen  minutes  of  )-our  pleasure. 

Modern  battles  are  not  all  the  movies  call 
for.  No  indeed!  One  day  will  bring  instruc- 
tions for  a  Civil  War,  another  the  blowing  up 
<if  a  pirate  fleet,  while  in  between  times  come 
comedy  orders  to  manufacture  trick  cigars, 
automobiles  that  explode,  and  so  forth.  There 
is  always  powder  work  to  be  done. 

Nor  is  Slim  the  only  explosive  engineer  in 
Hollywood.  He  couldn't  be,  with  war  and 
underworld  pictures  now  paramount.  How- 
ever, only  three  men  can  rightly  be  termed 
film-bred  veterans,  and  experts  par  excellence — 
Carlos  Hernandez,  Harry  Lonsdale  and  Slim — 
all  old  time  powder  and  fuse  buckaroos. 

Of  late  an  advancing  industry-  has  brought 
new  blood  into  the  cinema  explosive  field. 
There  is  Harry  Reynolds,  Harry  Redmond, 
and  Lou  Wirte,  whose  meritable  work  is 
beautifully    illustrated    in    "Wings,"    "The 


Patent  Leather  Kid,"  and  "What  Price 
Glory."  Carlos  Hernandez  began  it  all  with 
the  slam-bang  kick  he  put  into  "The  Big 
Parade."  But  only  one  man  pioneered  with 
D.  W.  Grifiith,  and  to  Walter  Hofltman  must 
now  be  credited  a  portion  of  the  glor>'  that  the 
world  gave  "The  Birth  of  a  Nation." 

Nowadays  motion  picture  audiences  are  apt 
to  be  fooled.  The  explosions  are  there;  the 
men,  too.  if  you  are  to  believe  your  eyes.  But 
\^ere  you  told  that  a  vacant  battlefield  set  was 
blown  to  shreds,  and  the  soldier  extras  inserted 
into  the  film  by  a  laboratory  process  weeks,  or 
e\-en  months,  later  why  you  woiJdn't  believe 
Safety  first,  folks,  because  such  an  achieve- 
ment ne\-er  can  result  in  casualties. 

Slim's  breed  is  fast  disappearing  on  account 
of  progress  in  film  technique.  \A'hich  is  a  pit}- 
No  more  colorful  ad\-entures  e\er  existed  than 
the  old  movie  powder  crew-.  And  for  the  first 
time  in  his  long  cinema  career  Slim  has  un- 
know-ingly  been  pushed  before  an  audience — 
to  be  critized  by  flappers  w-ho  w-ill  remark  about 
his  lack  of  sex  appeal. 

Yet  beloA-ed  veterans  of  the  screen,  of  whom 
Theodore  Roberts  is  one,  swear  that  Shni 
would  cheerfully  w-alk  into  a  death  by  fire  to 
save  a  friend.  This  fact  may  possibly  ex-plain 
his  knocking  a  property  man  cold  for  clinging 
to  a  dynamite  stick,  wired  to  the  switchboard. 
The  charge  had  been  pulled  up  out  of  the  field 
because  it  was  not  needed.  In  the  excitement 
of  waiting  for  the  signal  that  would  start  the 
fake  battle,  "props"  had  neglected  to  let  loose 
of  what,  in  another  moment,  would  positively 
made  him  the  spot  marked  "X."  But  you 
can  never  explain  Slim's  cursing  a  goof\- 
assistant  for  wasting  -i-aluable  time  in  order  to 
save  his  "goddam  worthless  life." 

A  HERO,  then,  in  a  land  of  make-believe. 
-'»-  Bah !  the  word  is  too  closely  linked  to  movie 
stars.  Rather,  a  man  with  the  courage  of  his 
convictions;  a  man  chock-full  of  that  glorious 
substance,  "guts." 

A  hunch  forced  Slim  to  sink  the  old  weekh- 
wage  into  real  estate.  Increasing  values  did 
the  rest.  Today  he  has  enough  to  take  him 
around  the  world  forty  times,  with  blissful 
stop-o\ers  at  all  the  best  breweries.  So  to  those 
of  you  disgusted  with  this  wear>-  old  world,  and 
who  dread  Hell's  fire,  I  offer  salvation: 

Come  to  Hollywood  and  unfold  your  pre- 
dicament to  Walter  Hoffman.  He  will  enj'o\- 
tamping  you  down  into  a  snappy  little  vehicle 
molded  from  dynamite — I  doubt  if  there  is 
more  rapid  transportation — and  speed  you 
through  the  Pearly  Gates  so  fast  that  St. 
Peter  won't  even  have  a  chance  to  check  you 
off  the  book. 


.riUcmtnt  In  rn0T0ri..\T  M.VO.VZIXE  ia  guaranteed. 


PiioiDPLAY  Magazine — Advertising  Section 


As  if  you  didn't  fcnow,  VIRGINIA 

Lee  Corbin  says,  "This  is  1  in 

my  Bradley  Swim  Suit  and  we 

suit  each  other  to  a  sea!" 


WHETHER  you're  riding  the  crest  of  a 
salty  wave  or  strolling  a  strip  of  the 
smartest  beach,  you're  "there"  in  a  Bradley 
Bathing  Suit... In  the  water — ease  and  a  new 
freedom  of  motion . . .  Out  of  it — snap  and  a 
swirl  of  color  that  would  wither  a  peacock. 


And  here  is  JOAN  CRAWFORD, 
Metro-Qo/<livyn-Ma:yer  featured 
player,  in  a  particularly  favored 
'^•radley. 


Bradleys  are  cut  for  comfort,  knit  for 
wear,  dyed  forever,  and  priced  for  every- 
body. See  them  at  your  local  dealers 
and  write  for  a  free  copy  of  the  Bradley 
Style  Book.  Bradley  Knitting  Company, 
Delavan,  Wisconsin. 


SUp 


into  a 


and  out-of-doors 


mentioD   PHOTOPLAY   MAGAZINE. 


Gossip  of  All  the  Studios 


1  COXTIXITD  FROM  PAGE   84  ] 


the 


Lillian  wrote  a  letter  to  Edsel  Ford,  asking  for 
immediate  deliverj'. 
She  got  it. 


would  you  kindly  autograph  a  picture 
for  me,  Mr.  Cody?" 


TO.\X  CRAWFORD  turned  a  neat  one 
Jolherday.  ,  .. 

She  and  GUbert  Roland  were  swimming.    At  ,    ,- 

least  Gilbert  was.    Joan  satisfied  herself  with  finishinE  hi<<  first  picture  under  a     -L>'amusing,  but  destructi^-e,  jokes  on  herself. 

Ij-ing  on  the  sand,  acquiring  a  mce  coat  of  tan.  A™coXct    ^t    the    Pathe-De    Mille     When  she  was    n  Eng  and,  she  was  waiting 

GUbert  kept  urging  her  to  try  the  water  l.^f  °'^'^T„g"fph  st4er  was  assigned  to  dressing     for  her  British  director  m  tne  lobby  of  a  hotel 


TAGROTm"  GISH  has  a  habit  of  telling 


'•Come  on  in,  Joan,"  he  finally  pleaded. 
'•Its  getting  cold,  and  as  the  air  gets 
colder,  the   water  gets  warmer,  you  know. 

"  That  so? '"  she  inquired. "Well 
ril  tell  you.  Ill  wait  for  a  bliz- 
zard and  then  the  water  ought  to 
be  practically  steam  heated.  ' 


MERVIN  LE  ROY 
went  to  see  a  pre- 
view of  "Harold  Teen" 
which  he  directed— and 
forgot  his  tickets. 

"But,  I'm  the  direc- 
tor,"he  told  the  manager 
who  had  a  "sold  out" 
sign  on  his  box-office. 
"Oh,  you  are,  are 
you?  Well,  I've  already 
had  nineteen  directors 
and  seventeen  assistant 
directors  try  to  get  free 
seats  on  that  story. 
Mervin  Le  Roy  directed 
this  picture!" 

TOHX  ROBERTSON',  Albert 
J  Parker,  James  Rennie  and  Shaw 
Lovett  have  rented  a  flat  in  Lon- 
don. The  name  of  their  land- 
V»rd  is  Mr.  TroUope.  The  .\meri- 
can  sojourners  in  England  are  now 
known  as  the  Four  Trollopes. 

"pBO  b  making  "The  Great 
Jt^Bow  Mystery''  \nth  Cli\e 
Brook  and  Irene  Rich  as  leads. 
Several  young  men,  friends  of 
a  certoin  Clara,  will  tell  j'ou  that 
they  hax-e  been  trj^ng  to  solve 
that  mystery  for  a  long  time. 

EVEL\'\  BREN'T  must  smile 
to  herself  with  a  little  irony 
some  times  when  she  considers 
her  divorce.  While  she  was  mar- 
ried to  Bernie  Feinman,  an  ex- 
ecutive with  influence  at  Para- 
nx>unt,  she  never  had  a  "  break. " 

Bernie  used  to  tell  his  company 
that  his  wife  was  a  fine  actress. 
But  small  attention  was  paid  to 
his  as.sertions.  Evelyn  was 
••somebody's  wife"  and  was  tr>'- 
ing  to  u-se  his  influence  to  get  her- 
self a  contract. 

It  was  not  until  after  she  was 
divorced  from  I"cinman  and 
thereby  absolved  from  the  sus- 
picion of  trying  to  use  •'pull," 
that  it  was  discovered  that 
Evelyn,  with  her  real  talent  for 
acting  and  her  sullen,  exotic 
beauty,  was  star  material 

So  she  got  her  contract. 


room  13  on  the  lot. 

That  was  six  months  ago. 


No  wisecracks,  please,  about  a  Love  Set.     How- 
ever, Joan  Crawford  and  Douglas  Fairbanks,  Jr., 
are   one   of    the   best    mixed    doubles   teams   of 
Hollywood 


LILLI.W  GISH  sails  for  Germany  soon 
to  work  on  the  first  picture  to  be  made  under 
the  direction  of  ^iax  Rcinhardt.  The 
story  is  an  original,  written  by  Rcinhardt 
himself.  Lillian  will  spend  the  summer 
at  Rcinhardt  castle  in  Salzburg,  where 
the  director  rehearses  the  players  for  his 
productions. 

LILLIAN  gave  her  sister,  Dorothy,  a  new 
Ford.     In  order  to  be  sure  that  the  car 
would   be  delivered  on  Dorothy's  birthday, 


The  player  has  not  worked  since,  although 
on  salary  under  his  contract. 

Joe  says  he  has  never  been  superstitious — • 
but  now  he  is  not  so  sure  about  it. 

HOW  muchee  you  sellum?" 
Lew  Cody  asked  an  almond 
eyed  salesgirl  in  a  San  Francisco 
Chinatown  bazaar  as  he  selected  an 
Oriental  knick-knack. 

"The   price   is  one   dollar  and  a 
quarter,"    replied    the    girl.      "And 


Dorothy  was  immensely  flattered  because  a 
who    was   also    waiting   in    the   lobby. 
showered     her     with     admiring 
glances. 

\\  hen  her  director  arrived,  it 
happened  that  the  stranger  ^^•as 
one  of  his  friends  and  so  he  ^vas 
presented  to  Dorothy.  Upon 
hearing  her  name,  his  face  fell 
and  he  said  in  a  disappointed 
voice,  "Oh,  I  thought  you  were 
Fannie  Ward." 

TKO  members  of  congress  en- 
gaged in  a  fistic  battle  some 
time  ago. 

The  affair  ^^  as  forgotten  in  a 
few  days. 

John  Barrj-more  and  Myron 
Selznick,  a  young  producer, 
crossed  fists  recently  on  a  moon- 
lit lawn  and  the  affair  was  a  nine- 
days'  sensation. 

It  seems  that  Barrymore  got 
the  \Aorst  of  it.  Barrj'more  got 
two  black  eyes  and  Selznick  two 
injured  fingers. 

As  there  were  no  umpires  or 
referees  present,  you  are  all  en- 
titled to  make  your  own  deci- 
sions on  the  affair. 

There  were  forty-two  different 
versions  afloat  in  Hollywood,  but 
there  were  no  ladies  in\-ol\ed  in 
any  of  them. 

That,  to  me.  is  the  only  un- 
usual feature  of  the  affair. 

Just  a  good  upstanding  s  rap 
between  two  men  who  vxere 
willing  to  fight  out  their  differ- 
ences. 

Much  better  than  tearing 
down  each  other's  reputations  at 
the  Montmartre. 

KARL  DANE  is  building  him- 
self a  house  on  the  beach. 
Building  it  with  his  own  hands, 
too,  mind  you. 

He  should  know  how.  He  was 
a  carpenter  working  on  the  sets, 
when  Director  King  Vidor  took 
notice  of  his  huge  frame,  gave 
him  a  part  in  "The  Big  Parade'" 
and  turned  him  into  an  actor. 

LUPE  VELEZ  and  Camilla 
Horn  together.  Lupe  .  .  . 
dark,  \avid  .  .  .  darting  about, 
patting  one's  arm,  babbling, 
"You  are  ni-izel"  Camilla  .  .  . 
blonde,  wide-eyed,  be\\  ildered  by 
the  strange,  staccato  American 
conversation  about  her. 

"Look! "  cries  Lupe,  indicating 
Camilla  with  a  wide,  dramatic  gesture.  "Is 
she  not  be-ooti-ful?-  Yes?"  She  executes  a 
little  hop  by  way  of  emphasis. 

"Oh!"  cried  Camilla,  frightened  at  the 
glances  turned  suddenly  her  way  and  not 
understanding  what  it  is  all  about.  "You  are 
vun  bad,  bad  girl,  Lupe!  Could  I  speak  this 
English,  I  could  tell  you  how  bad!  Oh!  Vat 
naughty  thing  you  say?     Eh?" 

Lupe  swoops  upon  her  .  .  .  kissing  her  .  .  . 
sorry  .  .  .  laughing  at  her  discomfiture.  Ca- 
milla smiles  slowly.    [  continlt;d  on  page  106  1 


'■^^^^r  Li   E   N    U    I    N    E    N    E    S   S 
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THOSE  THINGS  that  a  woman  wears 
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With  seven  hundred 

dollars  and  a  lot  of  nerve, 

Sylvia  Beecher  crashed  the 

studio  gates 

By  Ruth  Biery 


A  GIRL  may  have  youth  and  beauty,  a  dash  of 
"It"  and  a  generous  pinch  of  dramatic 
ability,  but  if  she  hasn't  persistency  there 
isn't  a  chance  for  her  in  the  movies! 

At  least  that  is  the  theory  of  Sylvia  Beecher,  a  stock 
player  at  the  JNIetro-Goldwyn  studio,  who  pawned  her 
diamond  for  four  hundred  dollars,  borrowed  three 
hundred  dollars  from  a  friend  in  New  York  City  and 
came  to  Hollywood  with  two  roles  on  the  Broadway 
stage  to  her  credit. 

When  Sylvia  arrived  she  took  a  house  for  fifty-five 
dollars  a  month,  secured  two  dogs  from  the  pound  for 
companj'  and  set  out  to  petition  the  producers. 

Producers,  not  casting  directors!  "I  was  determined 
to  see  the  heads  of  each  studio,  otherwise  I  knew  I 
would  never  be  noticed,"  she  tells  it. 

Harry  Cohn  of  Columbia  pictures  was  the  first  man 
from  whom  she  sought  opportunity. 

"Haven't  you  any  stockings  on?''  was  his  first  ques- 
tion. 

"No.  I  can't  afford  to  wear  any, "  Sylvia  answered. 
Harry  took  a  test — half  out  of  pitj' — but  was  unable 
to  use  her.  Cecil  De  Mille  next.  Another  test  which 
brought  no  engagement. 

A  SUPERVISOR  of  the  Paramount  studio,  whom 
she  had  met  on  the  train  en  route  from  the  East, 
gave  her  work  as  an  extra  in  "The  Legion  of  the  Con- 
demned." Sylvia  fainted  during  the  first  scene.  For 
two  da3's  she  had  not  eaten. 

"I  want  to  see  Louis  B.  INIayer, "  she  announced  at 
the  M.-G.-]M.  studio.  Just  how  she  obtained  that 
audience  is  a  question  Sylvia  herself  can't  answer. 
Probably  she  stood  very  straight,  her  musk-hair  play- 
ing in  ringlets  around  her  hatless  head,  her  mustard- 
toned  eyes  smiling  complete  independence.  Some  way, 
the  office  boy  admitted  her  to  the  producer. 

"jNIake  every  test  possible  of  this  girl,"  was  the  re- 
sult of  that  supplication. 

Thanksgiving  day,  Sylvia  and  her  dogs  broke  their 
pancake  diet  and  dined  upon  turkey.  M.-G.-M.  had 
signed  her  as  a  stock  player. 

Nearly  four  months  later,  she  started  in  her  first 
picture,  opposite  Tim  McCoy,  in  a  Western. 

[  CONTINUED  ON  PAGE  138  ] 


Sylvia  wouldn't  be  bothered  with  casting  directors. 
She  wanted  to  see  the  Head  Men.  When  she  finally  got 
an  extra  role,  she  fainted  after  the  first  scene.  She  had 
eaten  nothing  for  two  days.  That  was  her  start 
in  Hollywood.  But  she  persisted.  Things  are  differ- 
ent now 

101 


Photoplay  Magazine — Advertising  Section 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PAGE  92  ' 


Roses  for  Mr.  Gilbert 

Boston,  Mass. 
I  I  have  just  seen  Jack  Gilbert  in  "Man, 
I  \\  oni  in  and  Sin,"  and  I  almost  feel  it  a  duty  to 
I  e\pre  s  my  impression  that  in  this  picture  Mr. 
(.illxrt  attained  the  hifihest  degree  of  perfec- 
I  tion  possible  to  any  actor! 
'  III'-  sympathetic  interpretation  and  wonder- 
ful It  ting  of  the  part  held  the  audience  en- 
irantcd.  and  when  the  picture  ended  my  own 
throat  was  choked  with  the  emotion  aroused  by 
Mr  (Gilbert's  unrolling  of  the  pathetic  hfe  of 
thl-^  joung  man. 

A  Boston  Lady. 


\^here  Is  'V^  illy  Fritsch? 

Wellington,  New  Zealand 
\\  h  it  is  worr>'ing  me  the  most  is  the  reason 
^h^  Louise  Brooks  doesn't  wear  her  bang 
in\  more.  With  it,  she  looked  different  from 
ill  the  others.  Please,  Louise,  cut  your  bang 
I  am  If  any  director  gets  a  chance  to  jump 
I  chnn  over  Willy  Fritsch,  please,  please  do 
lie  is  the  kind  to  grab  all  the  girls' 
h(.  irN  away  from  John  Gilbert. 

.Alison  Avery. 


Is  It  Entertainment? 

St.  Paul,  Minn. 

Why,  oh  why,  are  there  scenes  of  such  ab- 
normal tortures  to  make  us  squirm  and  shud- 
der? Is  it  because  directors  believe  the  public 
is  sa\-age  at  heart  and  enjoys  watching  pro- 
longed sufferings? 

In  "Wings,"  Richard  Arlen  is  shot  by  Ger- 
mans and  we  see  yard  after  yard  of  agony 
magnified  beyond  reality.  We  have  it  all  over 
again  when  he  is  shot  by  his  buddy. 

In  "The  Patent  Leather  Kid,"  Richard  Bar- 
thelmess  is  in  a  hospital  where  his  sweetheart 
is  his  nurse.  To  portray  her  fight  for  his  life 
the  director  photographs  the  most  weird  and 
hideous  scene  that  I  ever  viewed. 

H.  Shugaed. 

Where  Are  You,  Carol? 

Kansas  City,  Mo. 
What  has  become  of  Carol  Dempster? 
Please,  Photoplay,  bring  Carol  back  to  us. 
She  is  so  verj'  lovely  and  unspoiled  and  such  a 
marvellous  actress.  And  she  doesn't  deserve 
obscurity.-  Really,  cannot  something  be  done 
about  it? 

Alan  Roland. 


r  erfume 
Sprays 


For  the  sweet  sophisticate 
who  graduates  in  June,  a 
DeVilbiss  Perfumizer  is  the 
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a  beautiful  ornament  for 
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You  will  find  DeVilbiss 
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wherever  fine  perfumes 
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Ofnizrri  Sprsyi 

Spriy  Pkiniing  EquipniTii 


The  man  behind  the  throne  comes  out  front.   He's  Ernst  Lubitsch, 

now  directing  Jannings  in  "High  Treason."   And  the  Russian  Bear 

on  the  throne  is  Jannings  as  Czar  Paul  the  First 


niOTOPI^y  MAGAZINE  la 


Photoplay  Magazine — Advertising  Section 


MyMo^ 

Precious 

Beauty  Secret 


ii/  Virginia  ^alli 


wr 


Vm.G\H\K^KL\\,scintiHaung  fox  star 
ivhose  beauty  and  piquant  charm  add 
much  to  the  success  of  "East  Side,  West 
Side,"  "Ladies  Must  Dress,"  "Paid  to 
Love"  and  other  notable  productions. 


C^/y  0\V  would  you  like  to  be  an  intimate 
Qj\,  confidante  of  not  only  Virginia  \'alli 
but  of  19  other  noted  beauties  of  the  screen? 
Have  her  disclose  to  you  the  unique  methods 
and  means  by  which  her  startling  beauty  is 
achieved?  Have  her  reveal  to  you  the  profes- 
sional secrets — responsible  in  large  measure 
for  her  glorious  physical  attractiveness — 
which  you  too,  in  the  privacy  of  your  home, 
may  employ  with  startling  results? 

Let  Miss  Valli,  for  example,  give  you  her 
unique  method  of  relaxing  after  a  strenuous 
day,  her  secrets  of  perpetual  daintiness. 

All  this  fascinating  information  is  included 
in  one  priceless  volume  written  by  the  stars, 


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But  you  must  act  quickly.  Mail  the  coupon 
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I04 


Photoplay  Magazine — Advertising  Section 


NOW 

onn  be  Lo, 


Girls'  Problems 


[  CONTINUED  FROM  PAGE  16  J 


KA  TWINKLING.  .  wonderflil 
X'inx  makes  eyes  enchanting  pools  of 
loveliness — by  framing  them  in  a  soft, 
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and  charming  and  you  write  that  "boys  flock 
to  your  feet  save  tie  one  you  adore."  Well, 
supposing  he  "flocked "'  too?  What  would  you 
do  then?  You  must  realize.  Majic,  that  you're 
still  a  little  girl  and  give  yourself  time  to_  grow 
up  and  mature  before  you  become  lovesick. 

EthelynD.  R.: 

An  ash-blonde  with  fair  skin  and  green- 
brown  eyes?  How  beautiful  your  coloring  is! 
■^'ou  need  a  light  rouge  and  pale  powder,  pref- 
erably blanc  or  lightest  rachel  mixed  with 
some' pure  white.  Send  me  j'our  address  and 
I  11  mail  you  a  pamphlet  on  care  of  the  skin. 
Vou  are 'the  correct  weight  for  your  height. 
Dress  in  these  colors:  bronze,  brown,  peacock, 
navy,  delft,  pale  green,  dove  gray,  violet, 
wisteria,  yellow  and  the  most  dehcate  shade  of 
pink. 

V.  F.  H.: 

It  is  practically  impossible  for  an  unknown 
writer  to  sell  scenarios.  Since  you  yearn  to 
write,  can't  you  teach  yourself  to  write  short 
stories,  which  when  published  will  be  eagerly 
snapped  up  by  the  producing  companies  if  they 
ha\-e  movie  possibilities?  This  is  the  only  satis- 
factory way  of  solving  this  problem. 

.\  Re.\der,  Calif.  : 

I  think  you  should  be  frankly  your  height. 
.\fter  all  five  feet  nine  inches  is  difficult  to 
hide.  But  being  slimmer  will  help  you — I'd 
Uise  five  pounds  at  least,  if  I  were  you — and 
making  your  manner  as  feminine  and  charming 
as  possible  wOl  do  a  great  deal  toward  miti- 
gating your  height  with  those  men  who  Like  to 
call  girls  "Uttle  woman."  Subscribe  to  the 
better  fashion  pubhcations  and  dress  as 
smartly  as  possible — your  height  permits  this. 
By  all  means  learn  to  make-up  properly. 


Anxious  Irene  : 

Practically  all  vaudeville  acts  including  those 
which  play  the  small  motion  picture  theaters 
are  booked  out  of  New  'i'ork.  So  in  order  to 
realize  your  ambition  it  would  be  necessary  for 
you  to  come  to  the  metropolis,  impress  the 
right  booking  agents,  have  a  fine  voice,  stage 
presence,  talent  and  amazing  luck.  Besides  all 
this,  besides  your  singing  voice,  you  will  need 
courage,  cash  and  capabiht-y. 

Siddy: 

For  your  age  and  height  you  should  weigh 
about  120  pounds.  Red-haired  and  blue-eyed, 
you  need  a  medium  rouge  and  light  rachel 
powder.  You  can  wear  these  colors:  black, 
cream  white,  pale  green,  darkest  blues,  taupe, 
amber,  pale  yellow,  flesh  pink  and  palest  blue. 
A\oid  navy,  purple,  dark  green  or  red  browns. 
Two-inch  heels  are  not  harmful  when  worn  on 
dress  -hoes.  Walking  shoes  should  never  have 
more  than  one-inch  heels. 

Ethel  May  Lake  : 

Diet  and  exercise,  my  dear.  Those  two  re- 
main the  only  sane  and  sensible  way  of  losing 
flesh  and  retaining  the  slender  figure  we  all 
admire.  At  eighteen  you  are  not  too  young  to 
diet,  and  being  so  very  much  overweight  I  feel 
you  are  justified  in  going  against  your  mother's 
insistence  that  you  eat  white  bread  and  pota- 
toes in  quantity.  Send  ten  cents  in  stamps  and 
a  self-addressed  envelope  and  I'll  post  you  a 
Ust  of  foods  you  should  eat  and  e.xercises. 

Perplexed  Peggy: 

Y'ou  should  weigh  about  112  pounds.  A 
pale,  ohve-skinned  brunette,  you  should  wear 
dark,  warm  reds,  darkest  blues,  ivory  white, 
mahogany  brown,  apricot,  pale  pink,  dark 
green.    Avoid  grey,  purple  and  black. 


Charlie  Chaplin  makes  his  first  appearance  on  the  screen  without 

make-up  in  Marion  Davies'  satire,   "Breaking  Into  the  Movies." 

By  way  of  pay,  Charlie  gets  Marion  and  William  Haines  to  sign 

their  names  in  his  famous  autograph  album 

cmcnl   In  rnOTOI'T^V  MAGAZINE  Is  EuaranteeU. 


Photoplay  Magazine — Advertising  Section 


105 


Up  the  beanstalk 


When  Jack  climbed  the  beanstalk,  he  got  a  new  con- 
ception of  his  needs.  No  longer  would  just  a  hen 
do,  but  a  golden-egg  hen.  No  longer  just  a  harp, 
but  one  that  stood  by  itself  and  played.  He  didn't 
know  what  he  wanted  till  he  saw  something  better 
than  what  he  had  .  .  .  though  he  labored  hand  over 
hand  to  get  hold  of  that  point  of  view. 

Advertisements  give  you  a  high  point  of  view  with- 
out any  climbing  at  all.  They  spread  world  products 
before  you — servants  to  serve  you,  conveniences  to 
please — prices  low  because  so  many  thousands  are 
using  the  same.  They  give  you  a  new  conception 
of  what  you'd  like  to  own.  No  longer  will  a  watch 
or  food  chopper  do — but  the  highest  improved  watch 
or  food  chopper.  No  longer  just  a  radio — but  one 
of  purest  transmission.  They  make  you  change  your 
mind  about  what  you  started  to  choose,  and  choose 
something  more  pleasing  at  no  higher  price.  They 
help  you  see  the  whole  field  of  satisfying  wares.  They 
lift  you  to  fresh  joys. 

Read  the  advertisements 
Honest  facts  are  in  their  news 


adverUsers  please  mention  PHOTOPLAY  MAGAZINE. 


io6 


Photoplw  Magazine— Adnxrtising  Section 


A  WARNING  Gossi^oLAU^heltudio^ 

^      JL         ^      '    -^   -*--*-  ^-^    ^  -■-^     ^    ^-^  .  CONTINUED  PROil  PAGE   9^  . 


^,?  Women 

who  wear 

Tight  Hats 

BOBBED  hair  has  created  a 
vogue  of  close  firtiflg  hacs — 
and  physicians  say  that  tight  hats 
arc  probably  responsible  for  much 
of  the  baldness  among  men. 


HERE  are  vxo  simple  rules  for 
keeping  your  hair  vigorously 
healthy  in  spite  of  the  injurious 
effect  of  tight  hats. 

I .  Keep  the  scalp  clsac !  Shampoo  rcgnlarly 
with  WildroocTarolemn  Shampoo.  Made 
from  pore  crude  and  pine  tar  oils,  it 
rir-tna-<  dccp  down  to  the  hair  roots  yet 
does  fx>t  leaTC  the  hair  harsh  cht  dry. 

r.  Massage  and  brush  the  hair  vigorously 
every  day.  Oocc  or  rwice  a  week  saturate 
the  scalp  with  Wildroot  Hair  Tooic.  This 
reliable  tooic  stops  daadruf  .  icvigtirates 
the  hair  roots  and  leaves  the  scalp  anti- 
scpdcally  clean.  The  roost  widely  used 
hair  tooic  in  the  world. 

YOU  can't  start  these  treat- 
ments too  soon.  Invest  in  these 
two  bottles  today.  Wildroot  hair 
preparations  may  be  obtained  at 
drug  stores,  barber  shops  and  hair 
dressers'  cvcrj-where. 

WILDKOOT 


TAROLEUM 
SHAMPOO 


Thev  lock  arms.  Thev  are  friends,  the  flashing, 
mischievous  Lupe  and  the  blonde.  blue-e\-ed 
German  Camilla. 

HOLLYWOOD  is  the  capital  of 
waitdom.  There  is  more  wait- 
ing done  here  than  at  all  the  church- 
es" in  the  country  comoined.  New 
arrivals  wait  for  a  chance— and  after 
thev  get  it,  keep  waiting.  Everyone 
waits — waits— waits — and  then  waits 
some  more.  It  seems  to  be  part  of 
the  business. 

A  young  girl  who  had  failed  to  find 
a  place  in  the  movies,  wrote  this 
characteristic  note  home: 

"Dear  Mother:— I'm  starting  to 
walk  home  right  now  and  wouldn't 
wait  for  a  train  if  the  dam  thing  were 
full  of  directors." 

W  THEN"  Lew  Cody  was  on  ^-aude\-ille  tour 
*V  in  Kansas  City,  a  young  boy  asked  him 
to  endorse  a  picture.  _ 

I  -Im  coming  to  HoU>-wood  some  day,  the 
lad  boasted. 

••  Come  and  see  me.  ■"  Lew  responded  kmdly. 
j      The  other  morning  Mabel   Xormand  an- 

Iswered  the  door  of  the  Cody  home.  Lew  was 
on  location. 
On  the  steps  stood  a  small,  bedraggled  per- 
son. Portions  of  the  rear  of  his  trousers  were 
!  missing:  his  toes  came  through  his  shoes. 
I  ".\re  you  Mis.  Cody?"  Mabel  nodded. 
1  'I'm  CordiU  Tiay.  Mr.  Cody  asked  me  to 
!  come  and  \Tsit  him."  and  the  lad  produced 
the  autographed  picture  as  his  card  of  intro- 
duction. 

He  had  walked  to  Hollj-wood  from  Kansas 
Cit>-. 

■K>r.\BEL  bought  him  a  new  suit,  fed  him  five 
■iVloj-deis  of  bacon  and  eg:gs  at  one  sitting,  and 
gave  him  a  place  to  sleep  until  her  husband's 
return.  Xow  he  is  working  in  the  Codj- 
household.  "The  telephone  boy"'  they  call 
,  him 

I  Now  dont  start  a  stampede  west,  bo3'3,  for 
'  Cody  saj-s  he  is  finished.  He  has  seven  such 
'  people  on  his  paj^roll  already.  WTien  he  goes 
'  to  ihe  studio  his  entrance  is  in  the  way  of  a 
procession.  Directly  behind  the  actor  walks 
the  chauffeur,  an  ex-seriice  man.  Then 
I  Mortimer  Snow,  once  a  well-known  actor, 
now  custodian  of  Lew's  dog.  Then  CordiU 
I  canjing  the  telephone  numbers.  The  gener- 
I  osity  of  Mabel  and  Lew  is  not  just  a  legend. 

"KJOW  comes  the  report  that  Logan  Metcalf, 
•1-^  the  broker  whom  Madge  Bellamy  married 
and  left  four  days  later,  has  offered  to  cancel 
his  marital  obligations  for  $30,000. 

I  The  community  property  law  of  California 
allows  either  side  of  the  house  one  hah'  of  the 
earnings  of  the  other  from  the  time  of  the  mar- 
riage. 

I     Madge  is  reported  to  earn  $1 7.500  a  picture. 

j  -Vveraging  her  usual  working  schedule  that  rvms 

I  around  $oOO  a  day.  four  days  would  be  $2000. 

I  Just  where  does  "friend  husband"  come  in  for 
the  rest  of  his  $30,000? 

V\7H.\T  a  job  it  is  to  keep  track  of  the 
**  romances  in  this  motion  picture  city. 
Xow  comes  word  that  Richard  DL\  and  Mar- 
celine  Day  have  stopped  going  together.  Well, 
they  had  nearly  three  months  of  good  times 
running  about  in  each  other's  company. 

■DETTi'  BROXSOVS  recent  trip  to  Europe 
■*Jwas  crammed  full  of  interesting  events. 

Xot  the  least  of  these  was  a  dioner  given  by 
Ray  Ix)ng.  the  editor  of  Cosmopolitan  Maga- 

I  /dne.  in  Ixindon. 

1     "There  were  many  important  people  present, 

Knrj  uiTtnlttmta  In  PnOTOPUlT  M.ldZINE  ti 


mostly  all  writers."  sa>-s  Betty.  "Leonard 
Merrick,  Michael  Arlen,  and  ever  so  many 
others. 

"Early  in  the  evening  a  man  arrived,  who 
seemed  to  be  a  stranger.  He  sat  down  by  me 
and  said:  'I  am  just  in  from  the  country-.  I 
do  not  know  anyone  here,  may  I  please  stay 
with  you?' 

"It  was  not  until  some  time  later  that  I 
learned  he  was  none  other  than  A.  M.  Hutch- 
inson, the  author  of "  If  Winter  Comes.'  " 

AXOTHER  birthday  has  gone  by  for  Mary 
Pickford, — the  saddest  of  her  life,  perhaps, 
for  there  was  no  mother  to  bake  the  birthday 
cake.  Ever  since  the  daj-s  when  Mary  was  a 
tiny  tot.  it  was  the  particular  proWnce  of  Mrs. 
Pickford  to  make  the  birthday  cake.  Xot  only 
for  ilar>-.  but  for  Lottie  and  Jack  as  welL 
Through  all  the  years,  in  spite  of  wealth  and 
fame,  this  custom  persisted.  It  became,  as 
time  went  on,  a  family  tradition  that  no  cook 
dared  transgress.  .\t  btrthdaj-  time,  the 
kitchen  force  stepped  aside  while  Charlotte 
Pickford  rolled  up  her  sleeves,  donned  an 
apron  and  plunged  into  the  flour  bin.  The 
Mother  of  the  Movies  ceased  momentarily  to 
be  a  pereonage:  instead  she  became  most 
humbly,  the  mother  of  Mary,  Lottie  and  Jack. 
And  if  the  cake  fell,  woe  be  unto  the  luckless 
one  who  invaded  the  kitchen! 

AFTER  all  the  hullabaloo  made  about  Rei 
King.  Fox's  original  choice  for  a  successor 
to  Tom  Mix.  the  lad  has  been  excused  from 
further  work  for  the  companj-. 

He  telephoned  one  day  to  say  he  was  ill  and 
could  not  report.  Can  you  imagine  the 
Western  lad's  embarrassment  when  studio 
sleuths  found  him  in  a  barber  shop  having  a 
facial? 

George  Belden.  who  has  played  around  in 
Westerns  in  bit  parts,  has  been  chosen  for  his 
successor  and  will  be  called  Rex  BelL 

DICK  ARLEX  came  running  over  to  the 
Paramount  studio  ten  minutes  late  for  an 
interview  with  an  official,  his  hands  and  clothes 
covered  mth  green  paint. 

'■  YouTl  have  to  pardon  me."  he  explained. 
"I  didn't  know  it  was  so  late.  They  wanted 
eleven  dollars  a  pair  to  p)aint  our  shutters.  We 
have  thirty-two  pairs.  We  can  do  it  for  five 
dollars  ourselves  and  save  a  hundred  and  ninety 
do'llars." 

However,  Dick  failed  to  relate  that  Jobyna 
Ralston,  his  wife,  had  ruined  one  dress  worth 
half  the  amount  and  spilled  a  can  of  paint  on 
the  part  of  the  house  supposed  to  be  white. 

^triRGIXTA  LEE  CORBIX  has  left  Holly- 
V  wood  for  Xew  York  where  she  is  rehearsing 
for  an  appearance  in  vaudeville.  She  also  has 
had  offers  to  play  in  a  musical  show.  V-'rginia 
has  more  chance  than  many  other  movie 
players  to  make  a  success  on  the  stage,  as  years 
ago  she  danced  in  vaudeville. 


HERE'S  an  untrue  story  of  Holly- 
wood: 
There  was  once  a  very  capable 
young  actor  who  struggled  in  obscu- 
rity. Rarely  given  a  chance,  he  never 
grumbled,  but  studied  his  part  with 
great  care. 

One  day  he  became  a  star.  The 
public  fell  at  his  feet.  Directors 
clamored  for  his  services  and  ferry 
boats  were  named  after  him.  He 
bought  four  yachts,  three  summer 
homes,  a  dozen  Cadillacs  and  fifty 
suits  and  continued  being  a  capable 
young  actor  who  studied  his  parts 
with  great  care. 


Photopl.\y  ]\L\gazixe — Ad\'ertising  Section 


Tn\E  MILLE  was  shooting  exterior  night 
■^-^scenes  of  the  fire  and  panic  in  the  reforma 
tory  for  "The  Godless  Girl."  A  hundred  or 
more  girls,  "inmates"  of  the  institution,  stood 
about,  shivering,  in  nighties,  while  assistants 
and  assistant-assistants  darted  here  and  there. 
gi\-ing  orders,  tinkering  with  lights  and  props. 
The  fire  bell  in  its  tower  in  front  of  thebiiilding 
would  not  waggle  when  its  rope  was  tugged. 
Carpenters  clambered  aloft,  adjusted,  re- 
adjusted, hammered.  It  refused  to  waggle. 
The  companj'  waited.  The}-  got  a  ditierent 
girl  to  tug  at  the  rope,  which  necessitated 
changing  costumes.  The  second  girl  could  not 
make  the  beU  waggle.  Three  hours  went  by. 
At  last  it  seemed  that  the  bell  might  be  induced 
to  move. 

TTTEY  rehearsed  the  shot,  the  girls  rushing 
-'■  out  of  the  burning  building.  The\-  changed 
the  "business"  and  rehearsed  again. 

They  were  ready  to  shoot.  "Fire  music" 
played — came  a  call  for  "  Camera  1"  Smoke 
poured  from  the  windows  and  tongues  of  flame- 
darted  out. 

Someone  cried  "Cut!"' 

People  stopped  running.  The  cameras 
Etopp>ed  turning.  But  the  building  continued 
to  bum.  It  burned,  indeed,  where  it  was  never 
intended  to  bum — on  the  roof  where  it  could 
not  be  reached  with  fire  extinguishers.  They 
turned  on  a  hose  and  se^■eral  people  were 
drenched.  The  front  of  the  building  and  the 
gravel  court  before  it  were  flooded.  Xow  they 
would  have  to  dr>-  the  bmlding  and  the  gra\el 
before  they  could  get  another  shot. 

It  was  getting  on  toward  morning.  We 
went  away. 

A  ND  it's  the  height  of  something  or  other 
■^»-when  the  watchman  at  the  De  Mille  lot 
goes  around  asking  b}-standers  to  put  out 
their  cigarettes  while  they  stand  watching  an 
entire  set  burning! 

Fire  rules  are  up-side  down  affaire  in  the 
movies. 


Noble  who  had  been  working 
on  a  fije  set  all  day,  was  walking 
home,  passed  a  house  in  flames,  got 
two  blocks  away  before  he  awoke 
and  exclaimed,  "My  God,  that  was 
a    real    fire." 

He  turned  in  the  alarm  and  saved 
one  of  his  friend's  homes  from  com- 
plete destruction. 

And  this  is  a  true  story. 


Xew  Or- 
few  hoxirs  during  a 


•RLORENXE  MDOR  stopped 
■'-  leans  recently  for  a  few  hoi 
fl>"ing  trip  to  Ha\-ana. 

.\  newspaper  man  met  her  at  the  station. 

"Where  is  Mi.  Vidor?"  he  inquired. 

Florence  looked  blank,  then  answered 
briefly.  "In  Hollywood.'" 

"Is  the  rumor  true  that  you  and  Mr.  Mdor 
are  about  to  separate?"  the  reporter  per- 
sisted. 

Florence  looked  more  blank  and  then  burst 
into  laughter. 

"That  rumor  was  true  four  years  ago."  she 
answered.      "We    were    divorced   then."' 

Snappy  newspaper  work. 

T^WO  days  before  Florence  was  to  leave  she 
^  met  Louise  Brooks  on  the  boulevard. 

"Oh,  Florence.  I'm  going  to  Havana  to- 
morrow!"   Louise  greeted  her. 

Florence  congratulated  her.  but  said  nothing 
about  her  own  departure  which  she  wished 
kept  a  secret. 

-\nd  the  first  person  whom  she  met  in  the 
lobby  of  the  Ha\-ana  hotel  was  Mademoiselle 
Brooks. 

"pRIEXDS  wondered  why  Florence  went  to 
■'-  Havana  when  she  spent  ten  days  in  travel 
and  only  two  days  in  the  city. 

But  when  they  learned  that  Jascha  Heifetz, 
the  \-iolinist.  was  pla>-ing  in  Havana,  they 
stopped  wondering. 


crustalbrLaht-ejidurlrw  - 

.  .  .  natural  as  the  highly 
polished  nail  itself 


COULD  a  polish  be  made  so  clear 
and  light  it  would  be  just  a  lovely 
glistening  sparkler 

So  natural,  so  enduring  it  would  stay 
a  whole  week,  smooth  and  imperish- 
able as  the  highly  polished  nail  itself? 

That  is  the  dream  Xortham  Warren 
had  for  you.  Now  that  dream  has 
come  true.  Xortham  Warren  announces 
his  triumph — the  enrirely  new  Cutex 
Liquid  Polish. 

One  look  at  the  new  crv'stal  clear 
bottles  shows  the  difference.  The  ven,' 
first  touch  tells  you.  It  spreads  easily. 
Instantly  it  is  drv,  -with  a  smooth  soft 


luster — sparkling  and  enchanting  for 
more  than  a  whole  week! 

This  new  polish  comes  with  separate  pol- 
ish remover  which  you  use  to  clean  and 
dr>-  the  nail  before  applpng  the  polish.  It 
makes  it  stay  ever  so  much  smoother,  more 
brilliant — and  more  enduring. 

Thi-  it  today.  See  the  lovelier  sparkle  it 
gives  your  nails.  The  glancing  sheen  with 
ever>-  movement  of  your  hands. 

The  new  formula  is  in  smart  little  twin 
bottles,  bright  as  jewels — one  for  the  Polish, 
one  for  its  Remover.  The  two  together  50c. 
The  new  Polish  and  Remover  in  standard 
size  packages,  55c  each. 

If  you  are  frightfully  impatient  to  try  it 
— just  tear  off  the  coupon  and  send  it  with 
6  cents  for  the  dearest,  shining  little 
sample  bottle 


Kai-ural  Tint — : 
the  nfw  Cole-'.: 
icith  sfparau-  T 


CUTEX 
LIQUID  POLISH 


CRYSTAL 
N.4TURAL  . 


BRIGHT   .    .    . 
. . ENDURING 


/  ir.dosi  Oc  for  sampl/s 
oi  mu:  CuUx  Liquid 
Polish  and  Polish  R^ 
mover.  Natural  D 
Colorless  D 
Check  vour  preference. 
{In  Canada,  De'pt.Q-6. 
1101  St.  Alexander  St., 
Montreal.'^ 


When  you  write  to  adrertaers  please 


PHOTOPLAY   MAGAZIXt 


jo8 


Photoplay  Magazine — Advertising  Section 


r- 


macnetisme! 

1 


What  Was  the  Best  Picture  in  1927? 


TO  ADD  the  alluring  charm 
of  "macnetisme"  to  beauty 
— the  chic  Parisienne  gives 
first  thought  to  the  parfum 
in  her  poudre  and  rouge! 

hlaturcUemcnt,  she  prefers 
Djer-Kiss  cosmetiques  —  ex- 
quisite in  texture  and  tone 
—  for  they  are  fragranced 
withthe  parfum  thatinspires 
moods  of  love,  of  romance. 
To  maintain  this  charm,  she 
carries  with  her  every' 
where  the  Djer-Kiss  Silver 
Loose  Powder  and  Kouge 
Vanity.,  .scented  with  the 
same  magnetic  parfum  I  ^' 

(_y  Kerkoff-Paxis  X^^         1 


I  CONTINUED  FROM  PAGE    74  ] 


is  of  solid  gold  weiKhing  123J^  pennyweights 
and  is  two  and  one-half  inches  in  diameter. 
Each  medal  is  designed  and  made  by  Tiflfany 
and  Company  of  New  York. 

Be  sure  to  mail  your  vote  at  once.  Be  sure, 
also,  to  mail  it  to  Photoplay's  editorial  offices, 
No.  221  West  57th  Street,  New  York  City. 
Your  ballot  must  be  in  these  offices  not  later 
than  October  1st,  1928,  to  be  counted. 


It  is  up  to  you  to  vote  if  you  wish  to  help  the 
progress  of  the  photoplay.  Here  is  a  definite 
way  for  you  to  do  your  bit  for  better  pictures. 
On  page  74,  in  order  to  refresh  your  memory, 
is  a  list  of  fifty  significant  and  noteworthy 
photoplays  of  the  year.  Your  selection,  of 
course,  is  not  limited  to  this  list.  You  may  vote 
for  any  picture  released  between  January  1st, 
1927,  and  December  31st,  1927. 


Herb  Founds  a  New  ReHgion 

[  CONTINUED  FROM  PAGE   51  ] 


chawnced  to  meet  Ricardo  Cortez  in  a  Holly- 
wood bank  {I  was  there  to  get  a  loan;  I  don't 
know  what  he  was  there  for).  He  had  just 
returned  from  France  and  said  he  was  in  Alice 
Terry's  dressing  room  when  a  letter  from  me 
arrived,  and  they  all  had  a  good  laugh. 
Nothing,  it  appears,  is  sacred  to  a  movie 
actress. 

ALICE  TERRY  SAVED  FROM  SITICIDE 

I  guess  if  Alice  smiles  it  is  only  when  one  of 
my  letters  comes,  because  in  her  last  letter  she 
said  she  was  thinking  of  committing  suicide 
by  way  of  lending  a  Hollywood  touch  to  the 
Riviera. 

Rex  Ingram  won  a  medal  for  saving  two 
Frenchman  from  drowning — (they  were  in 
wading  and  got  to  splashing  one  another) — 
but  .Alice  said  Rex  could  be  trusted  not  to  save 
her  if  she  hurled  herself  off  the  piazza  of  the 
]Monte  Carlo  Casino. 

I  have  written  her  not  to  do  it,  as  there  have 
been  enough  inundations  the  past  year,  and 
\',  hat  with  the  IMississippi  flood  and  the  burst- 
ing of  the  San  Francisquito  Dam  we've  made 
aljout  all  the  donations  we  can  afford,  without 
her  splashing  the  Mediterranean  all  over 
ICurope  and  Africa. 

I  judge  from  the  despairing  note  of  Alice's 
letter  that  Rex  has  been  making  her  diet. 
^^'hen  so  compelled,  Alice  is  always  of  a  mind 
to  slash  her  throat,  as  she  can't  see  any  use  for 
it  without  traffic  going  down. 

Speaking  of  IMary  Garden,  who  also  loafs  on 
the  Riviera  most  of  the  year;  she  and  I  certain- 
ly have  reached  a  harmonious  agreement  on  the 
way  to  live  ...  If  this  starts  rumors,  it's- the 
lady's  part  to  issue  denials.  (See  Emily  Post.) 

lilary,  like  myself,  has  a  dugout  on  the  edge  of 
the  ocean  and  likewise  takes  sun  baths  and  sea 
dips  toule  nur.  But  she  says  there  are  too 
many  recluses  ganging  around  her  on  the 
Riviera  and  she  is  pulling  stakes  for  the 
African  coast. 

POLA  SUFFERS— AND  COLLAPSES 

The  reason  I  left  Hollywood  is  that  it  is  no 
place  for  Us  Artists. 

"  I  loUywood  is  killing  for  people  like  you  and 
mc.  Ilay-rb,"  said  Pola  the  last  time  we  met. 
"There  is  nothing  for  the  mind.  All  they  talk 
is  how  much  he  make  and  how  much  she  make 
—and  alcohol.  Oh  Vannie!"  she  calls  to  her 
maid,  "bring  Mr.  Howe  some  champagne. 
^'es.  it  is  terribl'.  You  must  come  to  my 
chateau  in  France.  I  invite  you.  I  give  a  big 
house  party  for  just  my  few  friends.  You  will 
come?" 

I  promised  (this  was  before  Pola  became  a 
noblewoman),  and  Pola  murmured  satisfaction, 
the  invitation  already  fading  from  her  memory! 

Vve  accepted  se\'eral  of  Pola's  foreign  in^'i- 
taiions.     She  issues  them  confidentially  to  a 


Every  nilvcrtUcmont  In  ruOTOPLAY  MAGAZINE  is  guaranteed. 


hundred  or  more  of  her  few  friends  and  sails  av  ay 
with  anxious  plea  that  we  not  disappoint  her. 
We  hear  no  more  until  headlines  announce 
Pola  has  returned  to  this  country,  that  in- 
spectors ha\e  poured  certain  of  her  foreign 
purchases  into  the  bay,  and  Pola  has  collapsed 
Pola  is  right,  this  country  is  brutal  to  people 
like  her  and  me.    There's  nothing  for  the  mind. 

THE  BURGLARS'  CRY 

You  know  the  familiar  Hollywood  cry,  Jim: 
"I'm  going  to  get  the  money  and  get  out." 
The  line  originated  with  burglars,  as  you  also 
should  know,  and  when  they  entered  the  film 
business  they  brought  it  with  them. 

If  everyone  who  is  planning  to  retire  to  a 
little  viUa  on  the  Mediterranean  actually  does 
so,  that  classic  sea  will  hold  as  many  familiar 
fa:es  as  Bebe  Daniels'  swimming  pool  on  a 
Sabbath  afternoon. 

While  biding  my  time  until  I  can  retire 
either  to  Pola's  chateau  in  France  or  the  Old 
Soldiers'  Home  in  Sawtelle  I  decided  I  must 
ha\e  a  dugout  for  periodic  retreat. 

MAE  MURRAY  DECEI'VED 

Accordingly  I  obtained  release  from  my 
colored  butler  who  had  been  faithfully  serving 
me  Campbell's  soup  at  a  hundred  a  month  and 
sold  my  Be\erly  palazzo  to  Joan  Crawford, 
who  has  a  keen  appreciation  for  things  artistic, 
being  the  best  black  bottom  dancer  we  have. 

Thank  the  Lord  I  didn't  use  blandishments 
or  play  the  piano  for  Joan  as  Jack  Donovan  did 
when  he  sold  Mae  Murray  his  house.  You 
know  how  Mae  sued  Jack  alleging  he  \-amped 
her  into  buying  his  house  by  blandishments 
and  piano  playing.  And  Jack  admitted  in 
court  that  he  decei\-ed  Mae  ...  He  was  playing 
on  a  plaj'er  piano!  You  can  imagine  how 
you'd  feel  if  you  were  a  music  lover  and  found 
you  had  been  mesmerized  into  buj'ing  a  house 
by  an  old  player  piano. 

STAR  BEACH  COMBERS 

Thus  I  quit  Hollyivood  for  Punta  Corda  and 
grew  to  look  like  Trader  Horn. 

Punta  Corda  is  the  name  given  by  the 
Spaniards  to  a  point  of  sand  blunted' by  a 
miniature  Gibraltar  that  noses  out  to  sea  from 
Father  Sierra's  trail  along  the  hills.  Waves 
arriving  all  the  way  from  Tokio  bound  hic- 
coughing on  the  rocks  hke  sailors  on  leave,  and 
now  and  then  you  are  treated  to  a  domestic 
scene  of  whales  spouting  back  and  forth  at  one 
another  in  a  way  to  indicate  that  companionate 
marriage  hasn't  gone  so  big  in  the  deep. 

On  arriving  there  I  beheld  two  brown  gypsies 
lolling  by  a  low  tent  in  the  sand  dunes,  and  I 
felt  a  pang  for  the  Sahara  where  I  tented  with 
Sheik  and  Sheba  Ingram. 

The  gypsies  I  came  to  know  as  Ray  and 


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Fanny  of  Punta  Corda;  but  in  the  cage  of 
Hollywood  they're  labeled  Mr.  and  Mrs.  Ray- 
mond Hatton,  with  colored  slaves  and  income 
tax  and  all  the  other  trials  of  a  Christian  life. 

They  likewise  were  Hollywood  deserters. 

"It's  a  madhouse  down  there,"  said  Ray, 
using  the  line  that  has  become  a  Hollywood 
slogan. 

"We're  tired  of  fighting,  so  we've  come  up 
here  to  rest  in  peace,"  said  Fanny. 

"Everything  comes  to  him  who  sits,"  said 
I,  re:all  the  council  of  those  estimable  Chinese 
sages,  Lao-tze  and  Miss  Terry. 

Lilllc  did  I  suspect  how  true  them  words 
would  prove. 

'WHERE   GILDA'S   GARMENTS   GROW 

By  way  of  celebrating  the  laying  of  corner- 
stones for  our  cabins,  we  slipped  into  bathing 
suits  and  took  a  dive  in  our  own  front  yard. 

Fanny  came  up  from  the  surf  draped  in  su'  h 
artistic  seaweed  that  I  suspected  Gilda  Gn  v 
had  been  washing  her  South  Sea  lingerie  off  the 
Santa  Monica  pier  and  some  of  it  had  gotten 
away.  I  suggested  calling  her  up  to  ask  if  she 
was  missing  anything  intimate,  but  Fanny  said 
Gilda  had  no  business  letting  her  wash  drift 
into  our  yard  and  if  she  was  that  careless  with 
her  things  she  ought  to  go  without,  whi  'h 
made  me  think  what  a  treat  that  would  be  for 
the  fans,  if  not  for  Will  Hays. 

BACK  TO  BUDDHA! 

Our  cabins  completed  Fanny  gave  a  house- 
warming  dinner  which  she  prepared  herself  in 
her  own  handpainted  kitchen,  and  the  aroma 
brought  gulls  and  pelicans  sniffing  from  points 
as  far  East  as  Singapore. 

When  the  sun  had  done  its  fire  dance  in  our 
front  yard,  on  its  way  to  illuminate  other 
worlds,  Fanny  lit  the  candles:  "Isn't  this  the 
hfe,  boys?" 

Gorged,  the  chorus  rang: 

"I'll  tell  the  cock-eyed  world!" 


What  Price  Glory?  A  mute  record 
of  Hollywood's  tragedies.  These 
war  medals,  displayed  by  Nancy 
Carroll,  were  purchased  in  pawn- 
shops where  they  had  been  left  so 
that  their  owners  might  live.  Each 
medal  represents  a  valiant  deed, 
performed  at  the  risk  of  life.  And 
here  they  are — film  "props" 


ornia 


A  revelation  in  service  —  even  to  the  experienced  traveler. 

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1^ 


ROSALINE    DUNN 


Photoplay  Magazine— Advertising  Section 

"  I  ^uess  we  can  tell  them  all  to  go  to ! "  reared  its  head.    It  did  not  come  out  of  the  sea 

"  Don'i  need  no  money  here ! "  it  was  man-made-the  Mthy  thing. _  A  thrust 

"Funny  how  you  pile  up  money  and  then 
find  you  want  to  li\-e  like  poor  folks,  the  way 
you  could  have  lived  all  along. " 

Yeh.  monev  makes  all  the  trouble,  we 
agreed.  Happiness  lies  in  renunciation.  Back 
to  Buddha!  and  Bic;  Brother.as  I  call  the  ocean, 
boomed  endorsement  as  he  did  when  Buddha 
got  the  big  idea  under  the  banyan  tree. 


Its   loveliness 
will  thrill 

SAIART  AMERICA 

P)R  fifteen  years  I  endeavored  to  bring 
more  grace,  more  loveliness  to  the 
hands  of  my  clients  who,  I  really  believe, 
are  among  the  most  fastidious  women  in 
the  world. 

My  only  problem  was  to  find  a  polish 
that  would  adorn  the  nails  with  beauty. 

I  had  begun  to  believe  that  I  was  looking 
for  a  rainbow  when  I  discovered  Glazo. 
First  I  applied  it  to  my  own  nails.  Imagine 
my  "delight  when  I  saw  that  my  fondest 
hopes  for  perfection  were  realized.  And 
my  clients  were  enthusiastic  too. 

Here  at  last  is  the  liquid  polish  that  be- 
stows on  the  nails  a  lustrous  beauty  to 
match  the  alluring  tint  of  a  flawless  pearl 
.     .  to  make  hands  fairer. 

Its  soft  patina,  its  lovely  lustre  ...  for  a 
whole  week  its  radiant  beauty  remains 
undimmed!  And  it  does  not  crack,  peel 
or  dull  in  spots. 

Its  ease  of  application  makes  Glazo  more 
wonderful.  For  now  you  can  give  your 
nails  the  same  loveliness  which  distin- 
guishes the  hands  of  my  clients. 

Of  course,  you  can  purchase  Glazo  at  all 
the  better  shops  and  stores.  Its  price  com- 
plete with  remover  is  only  fifty  cents.  Also 
for  preserving  the  beauty  of  the  cuticle 
there  is  nothing  better  than  Glazo  Cuticle 
Oil  or  Glazo  Cuticle  Cream.  I  suggest 
that  you  use  the  one  you  prefer. 

Just  the  merest  word  from  you  will  bring 
you  my  complete  little  booklet  on  mani- 
curing which  shows  you  how  to  keep 
mdustrious  hands  forever  lovely  —  and  a 
Miniature  Glazo  Manicure.  Fill  in  and 
mail  the  coupon  with  ten  cents. 


WARNER  OLAND  CONVERTED 

The  Warner  Olands  came  for  a  week-end 
visit  and  were  converted  quicker  than  if 
they'd  gone  to  Aimee  McPherson's  temple. 

Edith  and  "Jack"  Gland  were  painters, 
playwrights  and  scholars.  Edith  met  Jack 
when  he  was  appearing  in  one  of  her  plays. 
She  endorsed  his  performance  by  marrying 
him.  With  her  trousseau  money  they  produced 
Strindberg's  "The  Father"  in  New  York.  They 
were  the  first  translators  of  Strindberg  from  the 
Swedish. 

As  pioneers  of  tlie  Little  Theater  movement 
they  starved  for  Art,  but  one  day  Jack  got 
thirsty,  which  was  too  much,  and  decided  it 
profited  a  man  more  to  play  the  Fool,  and 
accordingly  accepted  that  part  in  "A  Fool 
There  Was." 

From  translating  Strindberg  he  took  to 
chasing  Pearl  White  the  year  round  in  serials 
and  got  the  reputation  of  being  the  dirtiest 
dog  that  every  tripped  a  blonde. 

But  his  ill-gotten  gains  did  him  no  good. 
And  so,  rich,  renowned  and  dissatisfied 
Brother  Jack  and  Sister  Edith  arrived  amid 
the  Holy  Sitters  of  Punta  Corda  .  .  . 

On  a  nearby  point  they  built  a  cottage  and 
settled  down  to  a  life  of  philosophic  calm. 
Before  their  white  brick  fireplace  in  the  high- 
rafted  li\'ing  room  we  invoked  the  presence  of 
Gautama,  a  Kempis,  Tolstoy  and  all  the 
saints  who  renounced  the  world  for  a  higher 
bliss. 

ENTER:  THE  MENACE 

Into  the  sunny  tranquillity  of  Nirvana  at- 
tained there  suddenly  stalked  the  Menace.  .  .  . 

To  illustrate  this  passage  I  should  have  some 
of  that  menace  music  that  goes  tump,  tump, 
tump,-ta-ta.  ...  I  wish  Jack  Donovan  were 
here  with  his  wicked  player  piano,  and  maybe 
Mae  Murray  would  go  into  a  trance  and  do  a 
little  devil  dance  for  us. 

.  .    .  Anyhow,  Enter  the  Menace: 

Out  of  the  sands  of  the  beach  a  monster 


ing  network  of  steel,  it  might  have  been 
spawned  illicitly  by  the  Eiffel  Tower:  It  was  an 
oil  well. 

Came  rappings  at  our  cabin  doors:  Lease 
hounds. 

We  dro\'e  them  off  with  imprecations  and 
flouted  their  offers  for  leasing  the  property. 
They  showed  their  teeth  and  said  if  we  didn't 
accept  a  million  dollar  bonus  right  away  and  a 
share  of  the  profits  from  the  wells  they'd  drill 
all  around  us  and  drain  the  oil  from  under  our 
places. 

SITTING  PAYS 

In  that  event,  I  suppose  we  would  all  collapse 
into  the  place  which  the  Lord  has  set  aside  for 
departing  Hollywood  folk. 

I>ove  of  money  certainly  is  the  root  of  evil, 
and  it  looks  as  though  it  were  going  to  uproot 
the  earth.  With  all  this  driOing  for  oil  and 
digging  for  gold  the  greed  of  man  is  going  to 
tear  the  stuffing  out  of  God's  Footstool,  and 
we're  all  going  to  collapse  into  space  and  be 
sitting  around  on  clouds.  And  with  our  sus- 
ceptibility to  colds,  Jim,  you  and  I  are  not 
going  to  last  long  sitting  on  a  damp  cloud  with 
no  chance  of  getting  a  prescription  filled. 

Well,  no  matter  how  much  money  they  force 
on  me  I'm  going  to  stick  with  Buddha:  I'll 
never  be  a  householder  again.  I'll  take  my 
Campbell's  soup  and  go  on  a  raft.  At  that,  I'll 
bet  they'd  want  to  scoop  the  water  out  from 
under  me  to  get  the  salt  out  of  it. 

Anyhow  I  ha^'e  the  laugh  on  my  idealistic 
friends  who  consider  me  an  Atheist  because  I 
don't  subscribe  to  their  superstitious  creed  of 
Work,  Work,  W'ork  and  you'll  be  a  Success, 
My  Boy. 

I  guess  if  by  sitting  you  hatch  oil,  sitting 
pays. 

What  does  the  oily  bird  want  of  the  work, 
tell  me  that? 

Yours  for  Buddha  and  Sitting  Bull. 

Herb 

P.  S. — If  I'm  among  the  prize  winning  letter- 
writers  I'U  write  another  letter  next  month. 
You  can  say  things  in  a  personal  letter  you 
couldn't  say  in  an  article  on  account  of  Will 
Hays.  But  Will  can't  tamper  with  personal 
mail  without  getting  into  trouble  with  the 
goverrunent,  and  I  guess  he's  been  having 
enough  trouble  with  them  without  courting 
any  more.  One  thing  you  must  say,  he  hasn't 
spared  himself  to  keep  film  folks'  scandals  out 
of  the  headlines. 


What  Price  Matrimony  in  Hollywood? 

[  CONTINUED  FROM  P..\GE   31  ] 


.\  series  of  showers  immediately  follows  the 
announcement  of  a  prominent  engagement. 
These  little  showers  cost  a  pretty  penny  to 
those  fortunate  or  unfortunate  enough  to  get 
invitations.  Every  thing  from  bathroom  fittings, 
towels  and  handkerchiefs  to  expensive  linens 
and  silver  are  presented  to  the  bride  to  be. 

TOURING  this  time  all  the  prospective  bride- 
J-^groom  has  to  do  is  look  around  for  a  suit- 
able gift  to  give  his  bride  on  the  day  of  the 
wedding.  According  to  the  exclusive  jewelers 
of  Hollywood  the  customary  gift  is  a  string  of 
real  pearls.  A  pickup  string  can  be  had  for 
SI, 500,  and  jewelry  merchants  say  that  the 
highest  priced  string  ever  purchased  in  the 
cinema  city  cost  $6,S,000.  It  is  also  reported 
that  one  motion  picture  star  lavished  a  quarter 
of  a  m  illion  dollars'  worth  of  jewelry  upon  his  in- 
tended bride  before  the  ceremony.  Shades  of 
the  Maharaja! 

Of  course,  not  all  the  young  men  in  Holly- 
wood go  in  so  extensively.  Diamond  pins, 
platinum-  chains  with  diamond  pendants, 
diamond  wrist  watches  and  bracelets  costing 
from  one  to  fifty  thousand  dollars  are  the  com- 


monest gifts.  Then,  don't  forget  that  the  bride 
must  make  a  suitable  gift  to  the  bridegroom,  so 
the  young  lady  spends  many  hours  at  the 
jewelry  marts  of  Hollywood  picking  out,  per- 
haps, evening  dress  appointments  of  platinum, 
pearl  and  diamond.  These  sets  cost  from  $250 
to  $1,000.  She  also  might  choose  a  cigarette 
case  bordered  with  diamonds  that  could  be  had 
for  the  small  sum  of  $1,500.  Whatever  she 
selects  it  is  certain  that  she  will  spend  less  than 
the  man. 

NOW  we  come  to  the  really  e.xpensive  part  of 
the  proceedings.  The  ceremony  and  its  at- 
tendant expenses.  Floral  decorations  range 
from  five  hundred  dollars  for  a  modest  display 
to  fifteen  hundred  dollars  for  lavish  decorations. 
Nothing  cheaper  than  a  $20,000  foreign  make 
automobile  is  suitable  for  transportation.  A 
two  hundred  dollar  fee  to  the  minister  who  per- 
forms the  ceremony  and  a  round  stone  diamond 
and  platinum  wedding  ring  at  the  list  price  of 
six  hundred  dollars  make  up  two  more  small 
items  of  expense.  .\  honeymoon  in  Europe, 
sometimes  delayed  by  production  schedules,  or 
a  yacht  trip  to  Honolulu  costs  the  ambitious 


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Photoplay  Magazine — Advertising  Section 


bridegroom  enough  money  to  keep  an  average 
small  town  family  for  a  year.  Then  there  is  the 
trousseau.  A  recent  Hollywood  bride  bought 
more  than  $5,000  worth  of  gowns  for  her  honey- 
moon trip  to  the  continent. 

One  little  girl  in  Hollywood,  however,  was 
very  emphatic  against  a  honeymoon  trip  to 
Europe. 

"There  are  so  many  things  to  see  in  Europe 
that  it  would  not  be  a  good  place  to  go  on  a 
honeymoon,"  she  said.  "I  think  Hawaii  would 
be  much  better.  There  you  wouldn't  have  to 
think  of  anything  but  love." 

Yachting  honeymoons  are  quite  the  thing 
these  days,  but  it  is  only  the  ultra  ultra  who 
can  go  to  the  extent  of  chartering  a  yacht  or 
buying  one. 

V\  7ITH  the  honeymoon  over,  the  question  of 
**  a  suitable  estate  becomes  the  pressing 
prol)lem.    .\s  Tom  Mix  says: 

"Everyone  in  pictures  must  have  an  'estate' 
high,  high  in  the  Hollywood  hills  or  in  the 
Beverly  Hills  district.  Mansions  with  mosaic 
swimming  pools,  marble  tennis  courts,  butlers, 
second  men,  fourth  and  fifth  door  slammers 
and  a  reasonable  equity  in  a  flock  of  high 
priced  and  high  powered  automobiles." 

This  estate  will  s  et  the  new  bridegroom  back 
anywhere  from  S50  ,000  to  $250,000,  depending 
upon  the  social  sta  tus  to  be  maintained.  Add 
to  this  SI. 000  for  a  membership  in  a  beach  club 
and  $1,500  for  a  golf  and  country  club  member- 
ship and  the  new  bri  dal  couple  is  ready  to  con- 
sider servants. 

"Some  of  the  girls  were  talking  at  tea  the 
other  day  about  the  number  of  servants  they 
wanted  when  they  became  mistresses  of  their 
own  home,"  said  Ruth  Taylor,  who  has  ideas 
of  her  own.  "But  1  don't  agree  with  them.  I 
think  too  many  servants  would  be  a  terrible 
bother.  You  wouldn't  have  time  to  do  any- 
thing else  but  look  after  them.  I  don't  think  I 
would  want  more  than  se\'en  serx'ants — a  cook, 
butler,  two  maids,  gardener,  chauffeur  and 
valet. 

"I  only  want  a  town  car  for  my  own  use  so  I 


Tacoma,  Wash. 

I  have  seen  many  rotten  pictures 
which  would  drive  a  saint  to  drink. 
But  here  is  a  case  of  a  man  driven  to 
liquor  because  a  photoplay  was  so  good. 

There  is  a  Russian  cobbler  here  who 
arrived  in  1919.  Seated  among  his 
leathers,  he  lives  in  the  past,  among 
the  crumpled  glories  of  old  Russia.  He 
was  (or  claims  he  was)  an  ofHcer  in  the 
Czar's  armies. 

"The  Last  Command"  came  to  town 
—that  terrifically  dramatic  account  of 
the  fall  of  a  mighty  Russian  general, 
who  became  a  broken  old  man,  the 
butt  of  cruel  jests  in  a  Hollywood 
studio. 

The  cobbler  saw  it  and  left  the 
theater,  so  the  house-manager  tells  me, 
cursing  violently  in  Russian.  The  next 
day,  at  his  bench,  he  kept  himself 
drunk  on  fiery  vodka  from  little  flat 
tins. 

"These  movies!  I  never  see  an- 
other!" he  growled  to  each  puzzled 
customer.  "'Why  they  tease  poor  sick  . 
man?    Bad  actors !" 

He  believed  the  film  to  be  a  picture 
of  real  life ! 

Prosit,  Herr  Jannings!  "When  you 
hit  'em  that  way,  that's  art! 

Stuart  'Whitehouse. 


s 


hampooing  this  way 
ffiveshair  Unusual  Beauty 

In  a  few  minutes  time,  your  hair  is  soft,  silky  and 
radiant  with  life,  gloss  and  lustre.  Try  it! — see 
how  lovely;  how  heautifid  your  hair  will  look. 


BEAUTIFUL  hair  is  now  easily  ob- 
tained. It  is  simply  a  matter  of 
shampooing. 

Ordinary,  old  time  methods,  however, 
will  not  do.  To  bring  out  the  REAL 
BEAUTY,  the  hair  must  be  shampooed 
properly. 

Proper  shampooing  makes  it  soft  and 
silky.  It  brings  out  all  the  real  life  and 
lustre,  all  the  natural  wave  and  color  and 
leaves  it  fresh-looking,  glossy  and  bright. 

When  your  hair  is  dry,  dull  and  heavy, 
lifeless,  stiff  and  gummy,  and  the  strands 
cling  together,  and  it  feels  harsh  and  dis- 
agreeable to  the  touch,  it  is  because  your 
hair  has  not  been  shampooed  properly. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  can 
not  stand  the  harsh  effect  of  ordinary  soaps. 
The  free  alkali  in  ordinary  soaps  soon  dries 
the  scalp,  makes  the  hair  brittle  and  ntins  it. 

That  is  why  thousands  of  women,  every- 
where, now  use  Mulsified  cocoanut  oil 
shampoo.  This  clear,  pure  and  entirely 
greaseless  product  brings  out  all  the  real 
beauty  of  the  hairand  cannot  possibly  injure. 
It  does  not  dry  the  scalp  or  make  the  hair 
brittle,  no  matter  how  often  you  use  it. 


Two  or  three  teaspoon  fuls  make  an  abun- 
dance of  rich,  creamy  lather,  which  cleanses 
thoroughly  and  rinses  out  easily,  removing 
every  particle  of  dust,  dirt  and  dandruff. 

Just  "Notice  the  Difference 

IT  keeps  the  scalp  soft  and  the  hair  fine 
and  silky,  bright,  glossy,  fresh-looking 
and  easy  to  manage,  and  makes  it  fairly 
sparkle  with  new  life,  gloss  and  lustre. 

You  can  get  Mulsified  cocoanut  oil  sham- 
poo at  any  drug  store  or  toilet  goods  count- 
er anj-^vhere  in  the  world. 

A  4-ounce  bottle  should  last  for  months. 


MULSIFIED    COCOANUT   OIL    SHAMPOO 


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rom  one  woman 
to  another 

This  important  discovery 
in  the  care  of  the  skin 
is  being  passed  along. 


Photoplay  Magazine- 

would  be  easily  satisfied  in  the  line  of  auto- 
mobiles. Of  course  my  husband  would  have  to 
have  a  roadster.'' 

NO  sooner  do  the  happy  young  couple  get 
settled  in  their  spacious  mansion,  after 
having  spent  several  weeks  in  an  expensi\e 
apartment  hotel  waiting  for  the  intenor  decora- 
tors to'make  things  comfortable,  than  it  is  time 
to  take  a  trip  to  New  York  and  perhaps  one  to 
Europe  for  a  new  wardrobe  and  a  little  Eastern 
culture. 

The  boat  trip  proved  monotonous  and  the 
train  ride  was  boring.  By  the  time  they  return 
to  Hollyivood  the  atmosphere  around  their 
home  begins  to  send  the  thermometer  down 
despite  the  warm  California  sunshine. 

Then  comes  a  rumor  that  the  man  has  taken 
a  suite  in  one  of  the  big  hotels  and  the  wife 
keeps  the  home.  Just  a  misunderstanding  that 
will  be  patched  up  in  a  few  days  or  weeks!  The 
papers  are  filed  and  another  expensive  step  in 
the  price  of  matrimony  is  taken. 

High  priced  lawyers  begin  their  battle,  and 
before  the  couple  is  happily  separated  the  fees 
have  run  up  to  a  hundred  thousand  dollars,  or 
what  have  you? 

Charles  Chaplin's  million  dollar  divorce  from 
Lita  Grey  ChapUn  probably  holds  the  record, 


IN  almost  no  other  field  is  there  so  much 
misinformation  as  in  the  matter  of  skin 
beauty.  Yet  there  is  one  simple  fact  at  the 
bottom  of  it  all,  that  any  physician  will  tell 
you.  And  women  themselves  are  beginning 
to  pass  it  along  from  one  to  another.  It  is 
simply  this: 

Below  the  surface  layers  of  the  skin,  nat- 
ural forces  are  fighting  day  and  night  to 
counteract  the  harsh  conditions  of  daily  life. 
Unaided,  these  forces  fight  a  losing  battle 
and  imperfections  appear.  The  dust  and 
germs  are  not  carried  off  as  fast  as  they 
accumulate;  infeaion  results. 

To  cleanse  the  pores  of  dust  and  germs, 
to  gently  restore  the  pulsing  of  the  tiny 
capillaries  in  the  lower  layers  of  the  skin,  to 
carry  off  infection,  and  then  to  stop  new  in- 
fection before  it  starts— thousands  ate  today 
using  Resinol  Soap. 

A  method  of  daily  care 

Start  today  to  use  Resinol  on  your  own 
skin.  Within  a  week  you  will  begin  to  notice 
your  complexion  has  become  finer,  smoother, 
ruddier.  You  will  notice  a  clearing  of  the 
ugly  little  blackheads  and  blemishes. 

Ointment  for 

serious  affections 

Resinol  Ointment 

has   for    years    been 

successfulin  relieving 

even  stubborn   skin 

,_y   ^fek      affections.  Rashes 

^J^  J^^      a^d  eczema  —  often 

■/^^        itching,    unpleasant 

'^^j^m  and  embarrassing  — 

JT      /Wjm  '*''"   '"    taany   cases 

'       /''   jM  vanish      promptly. 

^      /'  Thousa nds have 

wondered     at     the 

QUICKNESS  of 

its  action.   And  it  is 

absolutely   harmless. 

FREE  TRIAL  OFFER 

Dept.  9  t,  Rnmol,  Baltimore,  Md. 

Pleue  jtnd  mt,  without  charge,  a  trial  size  calcc 
of  Relinol  Soap  and  a  sample  of  Resinol  Oint 
tnent — enough  for  several  days'  ordinary 

Street 

City  Stare 


but  Tom  Mix  just  recently  found  that  the  price 
of  divorce  was  getting  higher  when  the  former 
Mrs.  MLx  had  the  courts  increase  their 
daughter's  allowance  from  fifty  dollars  a  week 
to  S4,400  a  year. 

Every  year  the  alimony  fund  in  Hollywood 
is  increased  thousands  of  dollars.  It  is  getting 
so  nowadays  that  when  a  movie  star  gets 
divorced  he  has  to  pay  from  a  thousand  to 
three  thousand  a  month  aUmony,  depending 
upon  the  number  of  figures  in  his  weekly  pay 
check.  There  was  great  rejoicing  the  other  day 
when  a  httle  girl  of  the  films  appeared  in  a  Los 
Angeles  court  to  apply  for  a  di\-orce  and  de- 
clared that  she  didn't  want  a  cent  of  alimony. 

"A  divorce  is  quite  enough  for  me,"  she  told 
the  court.  "No  able  bodied,  childless  woman 
should  take  money  from  an  ex-husband." 

HER  speech  was  applauded  to  the  echo  in 
the  bachelor  clubs  of  Hollywood. 
The  exorbitant  price  of  matrimony  in 
Hollywood  does  not  stop  the  parade  to  the 
altar,  however,  and  each  year  the  procedure  is 
done  over  and  over  again  with  the  ending 
either  happy  or  unhappy  as  the  case  may  be. 
But  there  is  no  chance  for  the  young  man  with- 
out the  Price.  Perhaps  this  is  the  reason  for 
so  many  unhappy  endings.    Who  can  tell? 


Making  a  Million 


[  COXTINfED  FROM  P.\GE 


the  S200  a  week  bird  is  frowned  upon  bj-  the 
guy  drawin'  $350.  The  S350  boy  in  turn  gets 
squelched  by  the  egg  a'  drawin'  $500,  an'  the 
$750  boy  gets  set  upon  by  the  chief.  Finallj; 
this  here  chief,  who  formerly  was  a  advertisin' 
solicitor  for  a  motion  picture  trade  journal, 
printed  at  Dubuque,  Iowa,  says,  "Boys  I  just 
got  a  idea,  an'  original  scene.  When  this  here 
girl  a  playin'  the  lead  is  a  settin'  at  the  table 
ready  to  eat,  up  will  come  Tony  and  he  will 
throw  some  pies  at  her,  thereby  a'  gettin'  a  big 
bcUy-laugh." 

AT  this  the  $750  egg  breaks  into  a  broad 
smile;  the  $500  bird  laughs  out  loud;  the 
$350  a  week  song  writer  throws  his  head  back 
an'  hollers  in  glee;  while  the  $200  a  week  song 
an'  gag  man  throws  himself  on  the  floor  an'  rolls 
about  in  wild  mirthful  abandon.  AU  agree  it's 
about  the  cleverest  thing  they  have  e\-er  heard, 
and  will  make  the  picture.  Any  bird  of  the 
four  who  didn't  laugh  at  the  chief's  jokes  would 
have  lost  his  job  the  same  night,  an'  it  is  in  this 
way  that  most  of  our  scenarios  are  half  soled 
an'  heeled  together,  and  this  here  story  confer- 
ence would  load  $3,750  on  the  cost  of  the  pic- 
ture. Some  times,  when  they  left  they  would 
wake  me  up.  As  a  rule  they,  howe\'er,  would  go 
an'  leave  me  peacefully  sleeping;  for  that  I  was 
indeed  grateful. 

I  made  up  my  mind  if  that  line  of  stor>' 
makin'  was  gettin'  paid  for  I  would  get  in  on  it. 
I  got  cow  hands  workin'  for  me  who  can  tell 
wilder  yarns  than  they  can.  Buster  Gardner, 
who  is  still  workin'  for  me,  tells  one  about  a 
chuck  wagon  cook  who  got  up  to  get  breakfast 
one  mornin'  an'  had  no  wood.    This  here  cook 


$1000  check.  I  had  fetched  with  me  my 
Knights  of  Pythias  card,  all  my  army  dis- 
charges an'  official  citations.  I  had  included 
a  letter  from  my  father  and  mother,  as  I 
figured  this  here  bank  cashier  would  be  a 
might  careful,  and  require  a  heap  of  identifica- 
tion before  he  paid  Tom  ]Mix  $1000.  I  reckon 
I  must  have  spent  half  a  day  gettin'  ready  to 
get  the  money  on  this  check.  I  reckoned  it 
would  be  as  tough  as  the  time  I  passed  the 
ci\-il  service  examination  to  be  a  Deputy  U.  S. 
Marshal  in  Oklahoma. 

IW.\LKED  into  this  here  bank  and  gets  my- 
self into  line.  Finally  I  got  to  the  window. 
As  I  laid  down  my  check  I  started  getting  out 
my  identification  papers.  The  young  teller 
could  not  have  been  more  than  twenty  years 
old.  I  was  amazed  that  a  boy  of  his  age  could 
handle  that  much  cash,  an'  reckoned  he  would 
send  me  to  some  other  window  where  they 
handled  the  big  money.  The  young  feller,  who 
all  the  time  was  a-talkin'  to  a  good  looking  girl 
in  the  next  cage  just  gave  me  one  glance, 
stuck  his  hand  in  the  money  drawer  and 
slipped  off  ten  $100  bills,  showed  'em  toward 
me,  an'  said  "next."  I  saw  in  his  estimation  I 
wasn't  much.  A  good  lookin'  woman  in  front 
of  me  cashed  one  for  $2000  and  the  feller  be- 
hind me  got  $2500  for  his.  I  didn't  feel  as  big 
as  I  did  when  I  first  came  in. 

It  was  just  before  this  that  I  bought  Tony, 
and  of  course  I  could  not  finish  this  yarn 
a-tellin'  how  I  got  my  million,  which  I  plead 
guilty  to  ownin',  without  a  few  words  con- 
cernin'  Tony, 

I  might  as  well  be  truthful  and  state  at  this 


resourceful  gent,   so  he  just  put  the     point  that,  if  Tony  could  talk,  I  would  ha\-e  to 


bacon  in  the  pan  and  accordin'  to  Buster 
started  a  prairie  fire.  He  ran  along  with  the 
pan  over  the  fire  an'  by  the  time  the  bacon  was 
done,  he  was  two  and  a  quarter  miles  from  the 
camp.  Scenario  writers  give  us  scenes  as  tough 
as  Buster's  prairie  fire  story. 

So  I  goes  to  the  producer  and  tells  him  I  am 
just  as  good  a  story  liar  as  any  one  in  his  em- 
ploy, and  finally  gets  the  job  of  writin'  my  own 
scenarios.  The  price  agreed  upon,  me  a 
furnishin'  my  horse,  directin'  an'  writin'  my 
own  story  was  $1000  a  week.  I  finally  knew 
at  last  the  million  was  in  sight. 

I   recall,  with  great  vividness,  the  time  I 

walked  into  a  Hollywood  bank  to  cash  my  first 

Efery  advcrlUemeDl  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 


shoot  him.  Aside  from  my  love  for  Tony  I 
wouldn't  shoot  him,  because  if  I  did  I  might 
have  to  go  to  work.  Tony  knows  a  heap  about 
me,  which  he  ain't  a  goin'  to  tell,  because  him 
an'  me  understand  each  other.  Old  Blue,  my 
other  horse,  was  gettin'  old.  He  was  past  21. 
an'  I  knew  he  couldn't  keep  a  goin'  many  years 
longer. 

(^NE  day  me  an'  Pat  Chrisman.  my  ranch 
^^foreman,  who  came  from  old  "101"  in  Okla- 
homa, an'  who  is  still  with  me  an'  on  this 
vaudexille  tour  I  am  now  a'  makin'  before 
leavin'  for  Argentine  to  make  a  new  picture  for 
FBO,   was   a    sittin'    on    Sunset   Boulevard, 


Photoplay  Magazine — Advertising  Section 


a  waitin'  for  a  man  to  come  home.  A  vegetable 
wagon  passed.  The  Italian  peddler  was  drivin' 
a.  mare  with  a  young  colt  runnin'  by  her  side. 
Me  and  Pat  watched  the  colt  angle  itself 
through  the  traffic,  cross  the  road  and  get  a 
little  grass  and  then  angle  back,  always 
a'keepin"  up  with  the  mother.  It  was  a  smart 
trick.  The  colt  was  undernourished,  due  to 
the  mother  having  to  work  all  day.  It  had  a 
fine  head,  and  four  fine,  straight  legs.  Me  an' 
Pat  de.-ided  the  decent  thing  to  do  would  be  to 
buy  the  colt  an'  give  it  a  good  home,  an'  in  the 
end,  it  might  make  a  good  cuttin'  ponj'.  We 
overtook  the  peddler  an'  found  the  colt  be- 
longed to  the  Italian's  son.  That  night  we  saw 
tlie  boy,  who  had  named  the  colt  Tony,  an' 
bought  him  for  S12.50,  an'  I  might  add  here 
that  Tony  has  paid  a  heap  of  interest  on  that 
investment.  As  investments  go  that  was  about 
the  best  one  I  ever  hope  to  make.  I  still  have 
the  original  bill  of  sale  an'  a  part  of  it  reads 
that  Tom  Mix  has  bought  "one  Sorrel  colt, 
one  an'  a  half  years  old,  named  Tony."' 

I  HAVE  never  been  able  to  learn  much  of 
Tony's  ancestn,',  although  many  horse- 
men think  there  is  some  "steel  dust"  strain 
in  him.  The  peddler  bought  his  mother  from 
a  horse  an'  mule  market  in  Los  Angeles.  She 
had  been  shipped  in  from  Arizona  with  a  car- 
load of  horses,  an'  was  w  ith  foal.  So  it  is  that 
Tony's  ancestry  will  always  be  shrouded  in 
mysterj'.  But  I  wiU  say  one  thing,  way  back 
somewhere  there  were  some  mighty  smart 
horses  in  Tony's  family.  Ton>-  is  now  16. 
Through  good  care  a  horse  is  at  his  best  at 
eight  or  nine.  Physically,  Tony  today  is  as 
sound  as  when  he  was  eight.  It  stands  to 
reason,  then,  that  being  good  at  sixteen,  he  is 
twice  as  smart  as  any  eight  year  old.  He  is  not 
an  educated  pony  an'  knows  no  tricks.  I  just 
show  him  what  he  is  to  do,  tell  him  about  it,  an' 
he  does  it.  He  is  just  naturally  a  sm.art  pony. 
I  don't  mind  addin'  that  after  mj'  family  is 
taken  care  of,  the  next  paragraph  in  mj'  will 
provides  for  Tony's  last  days.  It's  fixed  so  he'll 
be  surrounded  with  everythin'  that  a  horse 
could  desire. 

IDOX'T  know  if  they  have  horses  in  heaven, 
but  when  I  get  there,  I  e.xpect  to  see  Tony 
a-occup^'in'  a  box  stall,  with  plenty  of  nmnin' 
water,  a  lot  of  alfalfa  an'  a  couple  of  red 
blankets  a-hangin'  on  the  door.  If  Tony  ain't 
up  there,  there  ain't  much  use  of  a  lot  of  us 
goin'.    We  couldn't  get  in. 

Slowly  but  surel)'  I  made  progress.  I  may 
have  worn  big  hats  on  the  street,  an'  no  one 
ever  accused  my  o\ercoats  of  lookin'  like  a 
bunch  of  modest  violets.  They  always  knew 
I  was  Tom  Jlix.  That  was  what  I  was  aimin' 
for.    That's  what  I  got. 

Somewhere  around  this  time  a  big  producin' 
corporation  started  me  on  my  way  into  the 
big  money  as  a  Western  star  makin'  five-reel 
pictures.  I  have  made  more  than  a  hundred 
successful  Westerns.  ]\Iebbe  some  of  them 
were  not  so  good,  but  at  least,  all  made  mone)', 
so  the  exhibitors  wrote  me. 

From  the  beginning  I  decided  to  make  clean 
pictures.  I  decided  to  create  a  clean  character. 
I  decided  to  give  the  boys  an'  grown  ups  good 
wholesome  entertainment,  free  from  sugges- 
tion or  anything  harmful  to  a  growin'  an'  fer- 
tile minded  youth.  I  tried  to  convey  to  the 
boys  an'  girls  a  message  of  helpfulness.  I  tried 
to  show  them  ihat  it  was  the  physically  fit  man 
who  usually  won  out.  The  character  I  por- 
trayed was  always  that  of  a  clean  minded  an' 
right  livin'  cow  puncher,  always  tryin'  to  do 
the  right  thing  because  it  was  the  right  thing  to 
do.  In  no  picture  have  I  ever  smoked,  taken 
a  drink,  played  cards,  or  gambled  or  done  any- 
thing that  I  considered  unmanly  or  dishonest 
or  that  any  boy  couldn't  copy  without  harm  to 
himself.  In  no  picture  have  I  ever  received 
a  reward,  other  than  accepting  the  job  of  ranch 
foreman  or  gettin'  regular  emplo>'ment  to 
drive  the  stage  coach.  The  girl  I  usually 
marry  at  the  end  of  the  picture  is  always  a 
woman  of  the  mountain  or  the  prairies — the 
daughter  of  the  ranch  foreman  or  the  express 

Wben 


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Tl 


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.      T  ,,.,-pr  niarrv  the  rich  rirl  from  the     the  last  chapter,  BiU  Steinkamp,  pay  master 
^f!"*-         "",?.r"r  'l.ent.^  at    the   Fox   Hollywood    Studios,    who   could 


lings 
women  have 


told 


me 

by  Ruth  Miller 


^40^ 


ff 


WOMEN  constantly  ask.  me 
how  they  can  be  free  from  the 
danger  of  underarm  odor  and  ruin- 
ous stains  on  dresses. 

I  can  answer  no  better  than  by 
telling  what  women  who  use  Odo- 
rono  regularly  tell  me. 

"My  doctor  told  me  about  Odo- 
rono  first  years  ago;  it's  marvelous, 
I  use  it  all  the  time." 

.Another,  "One  day  my  dress 
shield  slipped  and  I  ruined  a  new 
dress.  A  friend  told  me  about 
Odorono  and  now  I  don't  bother 
with  anything  else.  I  use  it  often 
enough  to  keep  the  underarm  dry 
all  the  time." 

A  businesswoman  sajrs,  "Perspir- 
ation odor  turns  men  in  an  office 
against  a  woman  quicker  than  any- 
thing else  and  Odorono  is  the  only 
way  I  know  to  keep  dainty  through 
the  strain  of  a  long  busy  office  day!" 

"It  makes  me  feel  so  much  more 
exquisite,  and  self-confident,"  says 
one  woman.  "I  use  Odorono  twice 
a  week  and  never  have  a  particle  of 
moisture  under  the  arm." 

Odorono  is  endorsed  by  Physicians. 
Odorono  (ruby  colored)  keeps 
underarm  dry  used  twice  a  week  the 
last  thing  at  night.  Odorono  No.  3, 
milder  (colorless),  is  for  sensitive 
skins.  At  toilet  goods  counters  35c 
and  60c.  New  Odorono  Cream 
Depilatory  50c.  If  you  have  never 
known  Odorono,  send  for  the  sam- 
ples at  once! 

n 


f> 


fn  of  breeding  use 
our  million  bottUs  of 
mfdically  approved 
"lusive"  every  year. 


New  \W  Offe 


PrTiiMiLtni,246BIa 
Cinrinnati.Ohio.     In  Canada 
1  he  Odorono  Co.,  468 
t.,  vVV^t,  Toronto,  Ont. 
I  enclose   IOC  for  samples. 


east,  as  it  would  be  mconsistent.  -^^^^  ^^^^  ^.^^^  -^^^^^^  ^^  ^^^^  .^  ^^   ^^^ 

character  of  a  clean     we  discovered  I  had  a  million— mebbe  more. 


T  HAVE  tried  to  create 
J-  livin'  voung  man  an'  to  successfully  portray 
that.  I  have  had  to  live  that  kind  of  a  life 
myself.  Young  America  has  placed  me  on 
so'methin'  hke  a  pedestal,  an'  made  more  or 
less  a  hero  out  of  me.  For  this  I  owe  every 
boy  and  giri  of  this  an'  other  countries  a  debt 
of 'gratitude,  for  in  hvin'  up  to  the  character 
they  believed  me  to  be  they  ha\-e  made  a 
better  man  out  of  Tom  Mix  than  Tom  MLx 
would  have  made  out  of  himself.  For  this  an 
the  many  other  comforts  an' happiness  the  boys 
and  giris  have  brought  me  I  am  truly  and 
fleeply  grateful,  an'  most  cheerfully  do  I 
acknowledge  the  debt 


Again,  that  is  a  matter  between  me  an'  the 
income  tax  man. 

From  a  little  three  room  shack  at  Xehall, 
California,  which  I  built  myself  and  where 
Mrs.  ISIix  an'  me  set  up  house  keepin',  v^e 
moved  into  a  rented  bungalow  on  Golden 
Gate  Avenue,  Los  Angeles.  Then  I  bought  a 
nice  little  home  at  Carlton  Way,  Hollywood, 
where  Mrs.  IMix  an'  I  lived  and  where  our 
little  Tommy  was  born. 

In  spite  of  all  that  has  been  printed,  my 
married  life  has  been  a  very  happy  one,  al- 
though twice  a  year  the  newspaper  boys  and 
magazine   writers   whenever   news   gets   dull. 


1  he  tirst^  sad  note  that  came  in  my  picture     print  a  story_  about  me  an'  Victoria  gett: 


rarcir  was  the  death  of  Old  Blue,  a  horse  that 
io\-lullv  and  safely  had  carried  me  for  years 
aiid  shared  equally  with  me  in  privation  and 
prosperity.  I  buried  Old  Blue  in  the  center  of 
the  corral  at  Mixville,  Cahfornia,  where  a  tall 
pillar  today  marks  his  grave.  I  buried  him 
there  because  I  thought  he  would  like  to  be 
near  the  horses,  and  that,  in  turn,  they  would 
all  like  to  be  near  Old  Blue.  On  Decoration 
Day,  and  in  fact  every  day  of  the  year,  there 
are'  sweet  \-ines  and  gentle  flowers  on  Old 
Blue's  grave,  as  sweet  and  as  gentle  as  Old 
Blue  himself.  It  is  the  least  I  can  do  to  show 
my  respect  an'  affection  for  one  of  the  best 
friends  that  I,  or  any  man,  ever  knew. 

THE  pictures  have  brought  me  pleasant 
associations.  Likewise  some  associations 
that  were  not  so  pleasant. 

I  reckon  I  have  had  more  leadin'  women 
than  any  other  man  today  in  pictures.  Around 
Hollywood  young  women  consider  it  good  luck 
to  make  a  picture  with  me,  for  most  of  my 
leading  women  sooner  or  later  have  achieved 
success. 

Thinking  back  for  the  moment  I  recall 
among  those  who  have  played  with  me. 
Colleen  Moore,  Myrtle  Stedman,  Wanda 
Hawley,  Kathleen  O'Conner,  Pauline  Starke, 
Juanita  Hanson,  Enid  IMarkey,  Kitty  Samp- 
son, Betty  Jewel,  Patsy  Ruth  Miller,  Billie 
Dove,  Alma  Bennett,  Lillian  Rich,  Dorothy 
Dwa        ~"         ~  "    "  " 


divorce.    Twi 
both  denied  it. 


a  year,  for  ten  years,  we  ha\e 


SOjNIETIMES  when  they  are  a  little  slow 
starting  the  rumor  I  start  it  myself  so  I  can 
have  my  secretary  deny  it  and  get  the  regular 
semi-annual  denial  out  of  the  way. 

I  ha\-e  often  been  asked  what  future  I  have 
in  mind  for  my  little  Tommy,  who  is  now 
between  six  and  seven.  I  have  none.  She  is 
goin'  to  public  school,  where  I  think  all  chil- 
dren should  be  sent.  I  aim  to  give  her  a  good 
education,  train  and  fit  her  to  be  a  good  wife 
an'  a  good  mother.  Mebbe  I  am  old  fashioned, 
but  to  my  mind  that  is  about  the  highest  aim 
any  father  can  have  for  a  child,  an'  that  is  our 
aim  for  little  Tommy. 

All  that  I  have  gained,  however,  has  not 
come  easy.  I  reckon  I  have  paid  as  great  a 
penalty,  at  least  as  great  a  physical  penalty 
for  success  as  any  livin"  man.  Makin'  pictures 
of  the  kind  I  turn  out  are  frequently  attended 
with  accident.  I  have  had  a  hundred  and 
fifty-six  stitches  taken  in  my  body.  I  have,  dur- 
ing my  picture  career  suffered  23  broken  and 
cracked  ribs.  My  right  arm  has  been  broken 
in  five  places,  my  left  in  three.  I  have  had 
three  fractures  of  the  left  leg,  in  addition  to 
two  clean  breaks  of  the  legs.  I  have  suffered 
numerous  bruises  and  sprains,  but  ha\-e  never 
snapped  an  ankle,  due  to  the  fact  that  my  spur 
straps  are  always  worn  tight  and  protects  'em. 
Clara   Bow,    Kathleen   Keys,   Helene     Of  broken  fingers  and  toes  I  have  never  kept  a 


Costello,  Ora  Carew,  Olive  Borden,  Clare 
.\dams,  Dorothy  Sebastian,  Marion  Nixon, 
Lucy  Fox,  Gertrude  Ohnstead,  Esther  Ralston, 
Jane  Novak,  Eve  Novak,  Pauline  Curry,  Ann 
Cornwall,  Helene  Chadwick,  Natalie  Joyce, 
Doris  May,  Natalie  Kingston,  Barbara  Bed- 
ford, Ann  Pennington,  Marjorie  Daw,  Sally 
Blane,  an'  many  others  whose  names  for  the 
moment  escapes  me. 

For  the  benefit  of  some  of  the  women  folks 
who  might  be  inquirin',  I  tried  just  now  to     present  estate  in  Beverly  Hills,  which  is  said 
figure  out  how  many  of  my  leading   women     to  be  a  ^'ery  fine  one.    It  has  a  nice  swimming 
were   blondes  an'   how   many   brunetts,   and     pool,  and  nifty  tennis  courts.    I  ha\-e  a  butler 


record  since  they  have  been  too  numerous 
record.  I  have  been  an  annoyin'  patient  an' 
worn  plaster  casts  in  hospitals  in  Mexico, 
Nevada,  Arizona,  New  Mexico  and  Cali- 
fornia. Frequently  I  have  escaped  injury 
through  the  sure  footedness  and  nimble  legs 
of  Tony. 

V\l  THEN  the  money  got  to  comin'  thick,  I 
»*  moved  from  the  Carlton  Way  house  to  my 


which  did  I  prefer.  But  since  playin'  with  me 
a  lot  of  'em  have  changed  the  color  of  their 
hair  so  many  times  that  I  can't  remember  how 
they  originally  started  out.  So  it  is  I  can't 
tell  whether  I  prefer  blondes  or  brunetts — 
mebbe  I  ain't  a  gentleman. 

From  time  to  time  my  income  was  increased 
until  I  was  popularly  supposed  to  be  receivin' 
quite  a  large  salary.  I  am  admittin'  to  that, 
although  I  will  say  mebbe  it  was  not  as  large 
as  the  publicity  department  tried  to  make 
out. 

In  fact,  at  one  time  there  arose  quite  a 
triflin'  dispute  between  me  an'  the  fellers  who 
pass  on  the  income  tax  a  tryin'  to  decide  who 
was  a  tellin'  the  truth,  me  or  the  press  agent. 

Money  came  in,  I'll  admit  faster  than  I 
could  spend  it.    An',  one  day,  as  I  stated  in 


and  my  wife  plays  bridge.  I  hope  by  the  time 
little  Tommy  grows  up  she  will  be  able  to  act 
like  she  lives  there. 

But  often  in  the  evenin'  I  look  back  an' 
think  of  the  nights  when  I  rolled  over  in  my 
blanket  an'  went  to  sleep,  soothed  by  the 
rumble  of  the  long-horns  as  they  milled  them- 
selves down  for  the  night. 

Often  again,  I  picture  once  more  the  mornin's 
when  the  sun  was  just  breakin'  over  the  east- 
ern foothills  an'  we  started  the  trail-herd  on 
the  long,  long  road  to  the  north.  Then  it  was 
that  the  broad  prairie  stretched  away,  green 
an'  invitin'  before  me;  the  wUd  flowers 
nodded  a  cheery  good  mornin',  an'  with  the 
blue  sky  above  me  an'  a  good  horse  under  me, 
I  was  a  King — the  richest  of  men. 

Just  how  rich,  I  didn't  then  know. 


FIRST 

CUT 

PUZZLE 

PICTURES 

There'.s 

$5,000   in 

Ca.sh 

Prizes  for  Winners  in  Photoplay's                     | 

Annual 

Cut 

Puzzle   Picture 

Contest 

«hieh 

start.s  in   this 

issue. 

See  rules  and  suggestions   on  page   58.                                  1 

tiscmcnt  In  PUOTOPhAY  MAGAZINE  Is  euaiantced. 


Photoplay  IVIagazine— Advertising  Section 


115 


Sketches  from 
Hollywood 


[  CONTINUED  FROM  PAGE  43  ] 

The  Very  Good  Friend:  "If  you  will  lend 
me  your  old  blue  bathing  suit,  I  can  get  work 
tomorrow." 

The  Man  with  the  Wardrobe:  "I  don't  see 
how  you  can  ask  me  that.  Don't  you  know 
that  I  have  no  other  way  of  getting  work 
myself?"  And  there  he  is  right.  Brains  or 
talent  he  has  not. 

THE  RISING  YOUNG  STAR 

I  WAS  walking  down  Hollywood  Boulevard 
with  my  secretary.  The  Boulevard  is  always 
interesting.  A  crowd  of  actors  and  e.xtras 
throng  the  street.  You  see  familiar  faces  and 
you  cannot  remember  the  names.  You  are 
about  to  speak  to  them,  when  you  recall  that 
they  are  only  faces  you  have  seen  in  the  movies. 

But  that  isn't  what  I  started  out  to  tell. 

While  we  were  \\-alking,  someone  called  to 
me,  "Highness,  hello  Highness."  When  I 
turned  around,  I  saw  an  excited  young  girl, 
very  charming,  very  young  and  with  very  big 
eyes,  steering  through  the  crowd  to  me. 

"How  do  you  do?" 

"Oh,  Highness,  wonderful!  Imagine,  I  am 
to  play  the  leading  role  in  the  next  Jannings 
picture.  You  must  hear  about  it.  Last 
night  I  talked  with  Jannings  in  a  restaurant. 
He  is  dehghted  with  me,  and  after  this,  J  am 
to  be  leading  woman  in  all  his  pictures.  You 
ought  to  eat  in  that  restaurant.  Highness.  The 
food  is  fine  and  all  the  stars  are  there. 

"When  I  came  into  the  restaurant,  the  wait- 
er gave  me  the  table  right  next  to  Jannings. 
It  was  just  as  if  he  had  a  feeling  about  what 
was  going  to  happen,  the  darling!" 

"'\\'ho,  Jannings?"  growled  my  secretary. 

"No,  the  waiter.  He  must  have  had  a  feel- 
ing that  it  was  going  to  be  my  Great  Day." 

"You  mean  evening,  don't  you?" 

For  that  my  secretary  only  got  a  dirty  look 
and  she  turned  to  me. 

"  You  know.  Highness,  I  saw  from  the 
moment  that  I  sat  down  that  Jannings  was 
looking  at  me,  studying  me  as  though  he  were 
considering  me  for  a  part  in  his  picture.  I  am 
so  happy  I  am  going  to  play  with  him.  Don't 
you  think  I  am  lucky? 

"Don't  tell  anyone;  this  is  in  confidence.  I 
think  he  is  interested  in  me  personally,  too. 
Anyway,  when  I  saw  him  looking  at  me,  and 
sort  of  giving  me  a  test  there  in  the  restaurant, 
I  decided  to  pull  myself  together  and  speak  to 
him.  You  must  come  to  my  dinner  party. 
I  am  going  to  get  a  nice  new  bungalow.  As  a 
star,  you  have  to  have  one. " 

At  that  point,  even  the  girl  discovered  that 
my  secretary  \^-as  walking  very  fast  and  look- 
ing intently  at  the  night  sky. 

"  What  do  you  find  so  interesting?  "  she  asked. 

"I  am  afraid  morning  will  come  before  I 
know  what  Jannings  said  to  you." 

Perhaps  the  girl  will  be  a  star  some  day.  She 
has  a  gift  for  gi\-ing  dirty  looks. 

"Well,  Highness,  I  went  over  and  spoke  to 
him.  I  told  him  that  I  felt  sure  that  I  could 
play  bigger  parts  if  I  had  a  chance.  So  far  I 
have  only  had  extra  bits.  Jannings  didn't 
have  much  time  to  talk.  They  had  just  brought 
him  his  dinner.  So  he  only  said  'Perhaps.' 
But  he  smiled  at  me.  And  I  could  see  from  the 
expression  on  his  face,  that  he  was  glad  he  had 
discovered  me. 

"But  I  have  to  go  now.  Won't  the  girl 
friends  be  jealous?" 

And  there  she  goes — the  rising  star. 

THE  TECHNICAL  DIRECTOR 

THE  business  of  the  technical  director  is  to 
advise  the  director  and  to  see  that  the  film  is 
really  authentic.  Which  means  that  the  cos- 
tumes,  the  furnishings  and  the  backgrounds 


ARE  Y€U  €NE  WHO  KN€WS 
there  i$a  MEW  FASHI0I\  inuseof  ROUGE? 


and  in  your  estimation  is  it  a  fashion  to  last? 


Mad: 


FRANKLY,  we  want  your  opin- 
ion. You  doubtless  know  that 
Princess  Pat— with  a  new  kind  of 
rouge — is  solely  responsible  for  the 
new  rouge  fashion  which  captured 
America,  then  Paris,  then  London 
— to  finally  become  the  subject  of 
widespread  newspaper  and  maga- 
zine comment. 

We  say  "solely  responsible"  because, 
as  yet,  no  one  has  discovered  the  exclusive 
Princess  Pat  secret  upon  which  the  new 
vogue  depends  for  its  very  existence.  For 
we  found  a  way  to  make  rouge  with  this 
startling  characteristic:  you  can  becom- 
ingly use  all  shades,  instead  of  the  usual 
one-to-match-the-skin. 
Then,  we  suggested  that  women  could 
.■select  rouge  clijfcrenthj — possess  a  nuvthtr 
of  shades,  and  use  them  to  secure  beautiful 
new  effects  based  on  having  complexion 
tints  harmonized  with  costume  colors. 
Usual  rouge  gives  no  such  opportunity. 
You  have  to  be  satisfied  with  just  one 
shade — to  match  the  skin. 

Evidently    We   Had   Hit    Upon   Something 
Women  Really  Wanted 

In  our  fondest  imagining,  we  could  not  comprehend 
the   startling   success  of   our  idea.     All    the   while, 


with  costumes  of  deep  orange,  our 
brought  glowing  complexion  beauty,  even  to  palest 
blondes.  And  so  it  went — always  a  Princess  Pat 
shade  that  magically  gave  new,  scintillant  beauty  of 
complexion,  no  matter  how  trying  the  costume  color. 
Not  only  were  all  six  shades  of  Princess  Pat  mail- 
able to  every  woman,  but  the  shades  could  be  blended 
together  upon  the  skin — to  produce  the  subtle  in- 
bctween-colors  essential  to  harmony  with  the  most 
subtle  costume  colors. 

And  That  You  May  Form   Your  Opinion 
More  Intelligently 

You  would  like  to  know  how  such  a  different  rouge 
is  possible.    Here  is  the  explanation.    This  new  type 


rouge  is  not  "painty,"  does  not  obscure 
and  blot  out  the  natural  skin  tone.  To 
understand,  imagine  that  you  have  for 
experiment  small  sheets  of  some  trans- 
parent  substance  in  various  colors.  Place 
these  transparencies  one  at  a  time  upon  a 
neutral  background.  Each  transparent 
sheet  gives  to  the  neutral  background  a 
perfect  new  color  without  having  to  be 
matched  in  any  way. 

Thus  it  is  with  Princess  Pat  rouge 
shades.  The  skin  is  never  blotted  out. 
Instead,  coloris  imparted  by  each  shade  so 
naturally  that  it  actually  seems  to  come 
from  within.  Princess  Pat  uses  new, 
njarvelously  delicate  tint  colors  to  secure 
this  wonderful  result. 
Just  a  few  suggestions:    With  frocks  of 


"Pri 

gives  therarest,  exotic 
effect  worn  with  this 
jewelled  gown,"  says 
beautiful  Marion 
Nixon,  Universal 
film   star   of    "Jazz 


Tint  or  Theatre. 

monies,  Squaw  ia  a  wonderful  touch, 
either  used  pure  or  blended  with  Vivid  or 
English  Tint.  And  to  enjoy  perfect  re- 
sults from  Princess  Pat  Medium,  you 
must  see  how  subtly  it  accents  your  sheer, 
pastel  shade  frocks.  Under  artificial  light, 
use  Nite — with  any  color  of  gown.  Nite 
responds  with  a  precious,  pearly  blush — 
a  ravishing  hue,  too  exquisite  for  words. 
You  must  see  Nite  on  your  own  cheeks  under  arti- 
ficial light  to  understand  its  lovehness. 
And  remember,  you  can  blend  Princess  Pat  shades 
at  will,  thus  securing  the  subtlest  gradations  of  color 
to  make  you  beautiful  individually. 
Frankly,  we  want  your  opinion.  Do  you  prefer 
this  new  beauty,  or  reliance  upon  usual  rouge  of 
which  you  can  use  only  one  shaded 


PRINCESS    PAT 

PRINCESS  PAT,  LTD.,  CHICAGO,  U.  S.  A. 

Princess  Pat  Lip  Rouge  a  new  sensation — nothing 

less.  For  it  does  what  no  other  lip  rouge  has  ever 
done.  Princess  Pat  Lip  Rouge  colors  that  inside  moist 
surface  of  lips  as  well  as  outside.  You'll  love  this  new 
beauty.  Keeps  lips  soft  and  free  of  chap  and  dryness. 
Permanent.     Dainty  enameled  metal  box. 


PRINCESS  PAT,  Ltd. 

2709  S.  Wells  St..  Dept.  No.  A-66  Chicago. 
Enclosed  find  25o  tor  which  send  mo  the  Princess  Pat 
Week  End  Set. 

Name  (print) 

Street 

City  and  State 


advertisers  ph 


PHOTOPLAY   MAGAZINB. 


Photoplay  Magazine— Advertising  Section 


Styled  Jor  You 
Months  Ahead! 

That's  the  great  advantase  of  buy- 
ing your  wardrobe  through  an 
Olovnit  Style  Counsellor.  Con- 
ceived in  Paris,  transmitted  to 
Ameriia  and  like  a  flash  adapted  in 
the  great  Olovnit  designing  plant — 
each  trend  of  fashion  reaches  you 
weeks  and  months  in  advance  of  its 
showing  elsewhere.  Why.''  Because 
you  buy  direct.    That's  the  secret! 

Through  the  Style  Counsellor 
you  are  assured  of  satisfactory  fit 
in  a  mode  and  color  that  becomes 
you.  For  she  has  been  chosen  by 
Olovnit  for  her  own  good  taste. 
Hence  her  reputation  is  at  stake. 
She  dare  not  sell  you  what  you 
ought  not  wear! 

She  comes  to  you,  in  your  home, 
studies  your  type,  your  figure, 
your  temperament — and  gowns  you 
accordingly.  Where  else,  save  in  the 
most  exclusive  salons,  could  you 
find  such  a  service  as  this? 

Shaughnessy 

O^xnmit 

GARMENTS  &  HOSIERY 

And  reiiK-mbiT — this  pcrsotiali/ed 
service  costs  yon,  not  more,  but 
actually  less!  liecause  you  buy 
direct!  Your  selections  comi-  to 
you  fresh  and  unhandled  from  the 
great  Olovnit  plant. 

If  you  linvc  nol  ypl  met  the  Olovnit 
Style  r.«uii!iclIor  in  your  noiKhhorliouiI. 
rookc  It  u  |H<int  U>  do  mi — soonl  You  arc 
miiwinft  an  opportunity  with  every  day's 
dehiy. 

Wrili!  uii  and  we  will  hove  her  call— 
with  her  iiampleit.  .She  han  tiuch  lovely 
thuiKH  l>cnideii  dnwHOH,  I/kj — coutH.  linK«rie. 
hnthioK  Builji,  and  hoHiery  in  the  latest 
Bhodcn— and  all  of  Olovnit  quulityl 

The  Shaughnessy  Knitting  Co. 

Watertouin,  Neic  York 


must  be  appropriate  to  the  time  and  place 
described  in  the  story. 

Of  course  the  technical  director  should  have 
accurate  knowledge  of  the  country  in  which 
the  story  is  laid.  If  possible,  he  should  ha\e 
lived  there  for  a  long  time,  and  not  get  all  his 
knowledge  from  books,  which  he  just  skips 
through. 

But  the  follo\^•ing  true  story  will  show  how 
the  technical  director  really  works. 

WHEN  I  was  in  Holly-nood,  one  of  the 
studios  was  making  a  \'ienne5e  picture. 
Its  technical  director  was,  Hea\en  knows  why, 
an  old  German  attache.  When  he  got  the 
contract,  he  swore  that  he  knew  Vienna  better 
than  his  own  home  town. 

.\s  a  point  of  fact,  the  man  ne\er  had  been  in 
Vienna.  .\t  first,  everything  went  fine  and 
dandy.  They  built  a  whole  \'iennese  street, 
they  designed  \"iennese  clothes,  they  engaged 
the  actors.  But  unfortunately  for  ^Ir. 
.Attache,  the  director  of  the  picture  had  a 
passion  for  details  that  was  most  disturbing. 

At  the  last  minute,  he  asked  abrupti}-  for  all 
sorts  of  delmite  information — details  like  street 
signs,  advertising  signs  on  stores,  exact  Viennese 
types.  The  books  of  reference  were  no  longer 
a  help.  In  his  despair,  the  attache  got  the 
brilliant  idea  of  smugghng  a  native  of  \'ienna 
into  the  studio  as  his  assistant. 

He  telephoned  aO  day  long,  to  everyone  he 
knew.  But  without  success.  Even  the  Ger- 
man legation  didn't  know  of  anybody.  At  last, 
on  the  second  day,  he  was  luckier  and  got  the 
name  of  a  real  native  of  \'ienna.  What  acci- 
dents there  are  in  hfel 

It  happens  that  the  man  he  discovered  was 
my  secretar)-.  Alfred  Neuhardt.  I'll  let  Mr. 
Xeuhardt  tell  his  own  storj-. 

"I  asked  the  .Archduke  to  give  me  a  couple 
of  days'  vacation  and  drove  out  to  the  studio. 
There  I  met  a  ^•ery  excited  man  who  shot 
questions  about  Vienna  at  me.  Much  to  his 
disgust,  I  first  wanted  to  straighten  out  certain 
financial  questions,  .\fter  a  short  but  exciting 
conversation,  I  was  promised,  not  only  good 
dollars,  but  the  magnificent  title  of  Technical 
.\ssistant. 

"In  that  position,  I  started  at  once  to  draft 


street  and  advertising  signs.  I  constructed 
marionibralocjen.  I  selected  Viennese  Prater 
types.  In  the  midst  of  my  work  I  was  intro- 
duced to  a  boy  with  blond,  curly  hair  who, 
because  of  his  tremendous  knowledge  about 
Europe,  was  the  chief  of  the  architectural  de- 
partment. I  found  out  later  that  he  had  spent 
nearly  six  whole  months  in  France. 

"He  was  burning  to  show  me  his  master- 
piece, a  Viennese  street  which  had  been  built 
under  his  direction.  I  stood  astonished  in  that 
Viennese  street.  The  facades  of  the  buildings 
were  decorated  with  the  most  beautiful  Italian 
wooden  window  shades.  The  lamp  posts  were 
old  Venetian  models  and  the  pavement  was 
made  of  the  exact  copies  of  the  stone  squares  of 
Genoa. 

"The  main  attraction  was  a  bakery  where 
you  could  not  only  buy  bread  but  also  sausage, 
which  you  could  eat  in  the  shop  off  small  tables. 
The  walls  were  hung  with  American  pictures. 

"When  I  protested,  both  the  directors 
listened  with  frightened  faces.  'Please,  just 
forget  it.  We  cannot  make  any  more  changes. 
Don't  think  any  more  about  it.    Just  forget  it.' 

"I  had  so  much  to  forget  that  I  asked  the 
gentlemen  if  they  couldn't  give  me  a  glass 
of  Idhc.  They  didn't  see  the  joke,  but  I  soon 
found  a  bottle  of  whiskey  in  my  pocket.  And 
that  Hollywood  Icthc  soon  did  its  duty. 

"When  I  saw  that  they  had  already  made  a 
lot  of  irreparable  mistakes  and  that  every  day 
new  ones  piled  up.  I  got  a  kicK  out  of  the  thing. 
And  I  couldn't  help  having  my  own  joke. 

"One  scene  showed  the  door  of  a  barracks. 
A  man,  with  a  bugle,  had  to  sound  an  alarm. 

"The  director  wanted  to  make  some  close- 
ups.  Nobody  knew  how  a  bugler  in  the 
Austrian  army  handled  his  bugle  when  he 
sounded  an  alarm. 

"The  technical  director  came  to  me  and 
took  me  to  the  stage.  When  the  situation  w  as 
ex-plained  to  me,  I  put  a  gun  in  the  buglers 
hand  and,  fighting  to  keep  from  laughing,  I 
explained  that  he  must  hold  the  bugle  in  his 
left  hand  while  blowing  and  keep  his  gun  in 
his  right. 

"The  picture  got  very  good  notices.  For 
that  reason,  the  gentlemen  of  Hollywood  can 
just  forget  about  it. " 


Not  a  terra  cotta  statue,  but  a  Mexican  hairless  dog.     Dynamite 

was  the  mascot  of  "Wings."     The  company  found  him  in  Texas 

and  Richard  Arlen  took  him  back  to  Hollywood  as  a  pet 

Every  odvertlsemcnt  la  pnOTOPLAT  SIAGAZINB  la  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Sadder  But  Wiser 


[  CONTINUED  FROM  PAGE   39  ] 

boiled  is  suicide,  pure  and  simple.  One  day  on 
the  way  to  Lahore,  fifty  miles  from  our  station, 
I  drank  a  cup  of  tea  which  had  not  been  pre- 
pared by  my  own  servants.  In  three  hours  I 
was  near  death.  As  I  lay  in  the  hospital,  wait- 
ing for  the  doctor,  I  looked  up  at  the  ceiling — 
twenty-four  feet  high  as  another  heat  protec- 
tion— and  saw  a  mammoth  scorpion  glaring 
down  at  me. 

"My  God — It  was  eight  days  before  I  was 
out  of  danger. 

"/^F  course  you  are  inoculated  once  a  year 

>^ against  cholera  and  tj'phoid  fever. 

"People  think  because  you  have  so  many 
servants  and  are  not  allowed  to  raise  your  hand 
for  the  least  personal  service,  that  you  are 
lucky!  We  had  twel\-e  servants  for  the  two  of 
us.  But  they,  too,  are  a  deadly  menace. 
Venereal  disease  is  not  a  crime  in  India  and  it's 
dangerous  to  have  servants  in  the  same  abode 
with  you. 

"Then  imagine  an  American  girl,  used  -to 
energetic  work,  not  allowed  to  lift  a  forefinger. 
I  used  to  go  against  every  convention  and 
sneak  out  to  the  cook  house  and  teach  the 
natives  new  dishes. 

"It  was  one  way  I  kept  myself  from  going 
cra7-y. 

"The  food  of  India  has  no  nourishment,  any- 
way. Canned  asparagus  is  the  rarest  delicacy 
you  can  purchase.  There  is  no  flesh  on  any 
fowl  in  that  country. 

"The  servants  are  thieves  by  profession. 
You  say,  'That  box  belongs  on  that  table. 
Leave  it  there. '  A  week  later  it  is  on  another 
table. 

"If  you  do  not  notice  it  has  been  changed — 
they  leave  it  a  week  giving  you  ample  time 
to  take  notice — they  move  it  to  another  table. 

"It  remains  there  three  days — goes  to 
another.     Until  it  makes  its  final  disappear- 

"You  must  remember  where  each  possession 
belongs  and  see  that  it  is  in  its  regular  place 
every  morning. 

"There  are  so  many  natives  that  death 
means  nothing  to  them.  In  1925 — the  year  I 
went  out  there — 19,000  were  killed  by  snakes. 
They  are  fatalists,  with  a  hatred  so  gruesome, 
that  if  they  can  implicate  a  person  to  whom 
they  have  taken  a  dislike  they  will  kUl  them- 
selves and  consider  it  a  glory. 

"Oh,  yes,  they  grow  wonderful  fruit,  but 
just  try  and  pick  it.  The  grapes  are  mar\'el- 
lous,  but  the  birds  swoop  down  in  such  swarms 
that  humans  haven't  a  chance  at  it.  The  fig 
trees  are  loaded.  But  try  and  pick  a  fig  and 
see  if  a  parrot  does  not  beat  you  to  it.  Servants 
are  stationed  beneath  the  trees  to  clang  upon 
pans — that  they  may  frighten  away  the  droves 
of  parrots. 

"They  saved  enough  that  we  had  a  few 
helpings  from  our  garden. 

"Have  you  read  'Mother  India'  by  Kather- 
ine  Mayo?  What  she  says  is  the  truth,  the 
stark  truth,  about  that  heartbreaking  country. 
I  only  met  one  other  American  woman  \Aho 
li\ed  there — There  are  few  girls  foohsh  enough 
to  suffer  such  a  harrowing  experience. 

"/^H,  yes,  there  is  a  bright  side  for  those 
^^passing  through  the  country.  The  odor — 
the  weird  music — the  mystical  spirit — they  are 
fascinating  until  you  live  with  them.  Then 
they  become  devastating." 

And  as  she  finished,  relaxed  on  the  low 
lounge  from  the  strain  of  her  recital,  eyes  closed 
as  if  picturing  Hollywood  with  its  grandeur 
and  its  glory,  its  comforts  and  its  luxuries,  its 
warm  friendly  feelings  in  lieu  of  the  centi- 
pedes and  the  scorpions,  the  mad  dogs  and  the 
snakes,  the  oil  lamps  and  thieving  servants  of 
the  land  she  had  so  recently  left — the  land  of 
heartbreaks  that  had  already  told  her  story. 


Daily  Massaging 
with  Forhan's 

keeps  gums  healthy  and 
teeth  alive 


STAND  before  your  mirror.  With 
your  forefinger  press  against  the 
lower  gum.  Increase  the  pressure 
gradually.  Then  quickly  lift  your  fin- 
ger. Its  shape  is  outlined  in  white  on 
the  gum.  Gradually  the  blood  returns 
and  the  gum  feels  invigorated. 

That  is  what  happens  when  gums  are 
massaged  with  Forhan's  night  and 
morning.  The  gums  are  kept  youth- 
ful, healthy.  And  as  a  result,  teeth  re- 
main alive  and  sound,  provided  they 
are  submitted  to  dental  inspection  at 
regular  intervals. 

Why  Gums  Must  Be 

Exercised  ^ 

Neglected  gums  pull  away 
from  the  teeth.  They  soften  ET' 

and  soon  become  a  favor-  lul 

ite  breeding  ground  for 
such  insidious  troubles  as  pi 

Pyorrhea,  Gingivitis,  and  J^£ 

Trench  Mouth  —  enemies  ^ 

of  good  health.  As  your 
dentist  will  tell  you,  to 
keep  gums  firm  and  free  ,, 

from  infection,  you  must  </ 

brush  and  massage  them. 

First  thing  in  the  morn-  tZ\ 

ing  and  the  last  thing  at  0i 

night,  massage  your  gums 
withForhan'sfortheGums. 
Just  apply  Forhan's  to  the 
i  ndex    finger   and   thumb.  _^ 

Rub  upper  and  lower  gums 
both   inside  and  out,  rub  ^ 

the  roof  of  the  mouth  until 


you  feel  the  exhilarating  glow  that 
comes  with  increased  circulation. 
Directions  are  in  booklet  that  comes 
with  each  tube. 

Don't  Be  Among 
The  Unlucky  ^  out  of  ^ 
Protect  health  against  the  grim  foe 
that  strikes  4  out  of  5  after  forty  and 
thousands  younger,  dread  Pyorrhea. 
Use  Forhan's  as  a  massage,  as  a 
dentifrice. 

It  cleans  teeth  and  restores  their 
natural  whiteness.    It  protects  them 
against  acids   which 
cause  decay. 

And  in  addition,  i« 
helps  to  firm  gums  and 
keep  them  youthful  and 
sound.  This  dentifrice, 
the  formula  of  R.  J. 
Forhan,  D.D.S.,  is  com- 
pounded with  Forhan's 
Astringent  used  by 
dentists  in  the  treat- 
ment of  Pyorrhea. 

Don't  wait  for  warn- 
ing signs,  for  gums  to 
bleed  and  recede  from 
teeth,  for  teeth  to  loosen 
ia  their  sockets.  Begin 
using  Forhan's  for  the 
Gums,  today.  At  all 
druggists,  35c  and  60c 


Formula  of 
R.  J.  Forhan,  D.  D.  S. 

Forhan  Company.New  York 


Forhaifs  for  the  gums 

YOUR  TEETH   ARE  ONLY  AS  HEALTHY  AS  YOUR  GUMS 


PHOTOPLAY    MAG.VZINE. 


Photoplay  Magazine — Advertising  Section 


Rose  Marie  Wallace,  appearing  in  "Rosalie", 
New  Amsterdam  Theatre,  N.  Y.  C. 


ithtul    bloom    reproduced  by  MELLO-GLO 

^   -   ' wear  off  so  quickly.  This  n 

Carlotta   Marino    (acting 
57  \V.  58th  St.,  N.  Y.  C. 


is  delightfuT.' 
■  Bros.  Pictures) 


M  ELLO-GLO  Face  Powder  keeps  away  that  ugly  shine 
which  mars  the  velvety  touch  so  essential  to  a  youthful 
•km.       Martha  Marr,  Great  Northern  Hotel,  N.  Y.  C. 


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The  Shadow  Stage 


[  CONTINUED  FROM  P.4GE   82  ' 


STOCKS  AND  BLONDES— FBO 

GOLD-DIGGING  blondes  and  knishts  of 
the  ticker-tape  are  here  mi.xed  in  an  enter- 
taining tragi-comedy.  Jacqueline  Logan  is 
cast  as  a  night-club  entertainer.  She  loves  a 
good-hearted  boob,  Skeets  Gallagher,  whose 
big  business  ideas  make  him  an  excellent 
slock  exchange  messenger  boy.  To  make  him 
happy,  she  unknown  to  him,  supplies  him 
with  straight  tips  on  the  market,  which  she 
gleans  from  tired  business  men.  Complica- 
tions follow.     Pretty  negligee  in  spots. 

THE  DEVIL'S  CAGE—Chadwick 

THE  "Devil"  wasn't  a  devil,  however,  until 
he  got  out  of  his  cage,  but  he  didn't  get  out 
soon  enough  to  make  this  a  good  picture.  The 
villain  holds  a  gun  two  feet  from  the  heroine — 
she  falls  dead,  then  wakes  up  uninjured!  Such 
are  the  inconsistencies  of  this  picture. 

PHANTOM  OF  THE  TVRF—Rayart 

THE  plot  of  this  race-track  drama  follows 
the  ancient  formula.  Rex  Lease  is  the 
tahvart  young  hero  on  the  verge  of  being 
g>T3ped  out  of  his  estate,  his  girl,  and  his  hoss 
by  Forrest  Stanley,  who  plays  the  \'illain  with 
pre-war  thoroughness.  Helene  Costello  is 
.ippealing  as  the  girl,  and  a  fresh  novelty  gag 
iif  switched  horses,  proving  Major  a  super- 
equine,  pull  the  picture  out  of  banality.  If  you 
like  horse-races,  see  this. 

FASHION  MADNESS— Columbia 

A  FROTHY  society  debutante,  rolling  in 
^»-  wealth,  very  beautiful  and  very  snobby, 
;eems  to  thrive  completely  on  sensation.  Her 
"lance,  to  make  a  human  being  of  her,  shang- 
haies  her  on  his  cruiser  and  takes  her  to  his 
■abin  in  the  Canadian  woods.  She  balks  in- 
iignantly,  but  finally  faces  the  situation,  turn- 
ng  a  fri\-olous  yarn  into  a  stirring  drama. 
Claire  Windsor  is  beautiful,  as  usual,  and  en- 
ly  convincing  in  her  most  dramatic  role  in 
months. 


WILLFUL  YOUTH— Peerless 

ADR.A.MATIC  story  of  the  tall  timber- 
lands,  where  brotherly  love  doesn't  mean 
a  thing.  One  of  those  men  who  "always  gets 
what  he  wants"  gyps  his  young  brother  out  of 
the  family  fortune  and  pine  lands.  So  they 
have  that  to  fight  over,  and  a  pretty  girl,  be- 
sides. You'll  like  Kenneth  Harlan  as  the  two- 
fisted  younger  brother,  and  Edna  Murphy,  the 
blonde  interest,  who  refuses  millions  for  love. 
Fair  enough,  if  you  like  outdoor  stuff. 

OUT  OF  THE  PAST— Peerless 

A  MELODRAMA  that  should  not  have 
-'»•  been  dragged  "out  of  the  past."  A 
marriage  arranged  to  please  an  a\aricious 
mother  rarely  proves  satisfactory,  and  Dora 
Prentiss'  was  no  exception.  Her  husband 
cannot  forgive  her  virtues  because  her  vices 
are  unattractive.  A  re- vamped  "Enoch 
Arden"  that  helps  neither  Mildred  Harris  nor 
Robert  Frazer,  who  play  the  principal  roles. 

THE  CHORUS  KID— Gotham 

VIRGINIA  BROWNE  FAIRE,  who  looks 
like  a  million  and  is  just  as  hard  to  get,  is 
a  nice  little  chorus  girl  who  grew  up  too  soon. 
She  strikes  oil  and  decides  to  drop  five  years 
and  enter  boarding  school.  Imagine  her  em- 
barrassment when  she  falls  in  love  with  her 
roommate's  father!  Goofy  story,  but  highly 
entertaining,  with  titles  that  make  you  laugh 
out  loud. 

FIRE  AND  STEEL— Elbee 

A  NOTHER  red  hot  steel  yarn  about  yawn- 
■^*-ing  furnaces  and  liquid  metal;  it  might  as 
well  be  a  Pittsburgh  or  Birmingham  travelogue 
as  far  as  plot  is  concerned.  There  is  the  time- 
honored  formula,  of  course,  of  the  noble  young 
steel  worker  with  a  passion  for  in\enting 
things;  he  gets  the  inventor's  prize,  the  girl, 
and  a  hearty  handshake  from  the  big  boss  at 
the  finish  in  spite  of  the  jealous  foreman's  dirty 
work.     Not  terribly  important. 


Why  work  on  "The  Patsy"  stopped  for  the  day.     Milton  WorK, 
bridge  expert,  visits  the  studio  and  gives  a  lesson  to  Marion  Davies, 
Jane  Winton  and  King  Vidor.    Wonder  what  the  orchestra  is  play- 
ing?   That's  a  new  idea 


Bvenr  adwrtlsemcnt  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine— Advertising  Section 

Sexes  and  Sevens"  1    n<^<^^^^^^^>'^^^^^-^^^^^ 


[  COXIIXUED  FROM  PACE   69  ] 

down  to  ilr.  Hector  Cavet  and  in  another 
minute  we're  sitting  down  to  dinner,  up  to  our 
neckbands  in  movie  stars  and  school  graduates. 

"I  didn't  get  the  name,"  I  says,  by  way  of 
acting  dumb. 

"Cavet,"  he  says,  "back  home  they  called 
me  cavity,  but  I'm  not  as  hollow  as  I  sound. " 

When  he  pulls  that  wheeze.  I  gets  a  look  from 
Madge  and  busts  out  laughing. 

Later  I  learns  that  was  his  foremost  and  only 
laugh  provoker. 

Well.  Madge  is  sure  got  him  steamed  up. 

"What  do  you  think  of  Madge?"  he  says, 
and  before  I  gets  time  to  answer,  continues, 
"As  a  screen  subject,  don't  you  think  she'd  be 
wonderful?" 

IGNORIXG  his  answering  his  own  question.  I 
says.  "Well,  anytime  she  wants  to  start.  I 
can  tell  her  where  there's  a  big  fat  salar>-  d_ving 
to  join  her  family  exchequer. " 

Hector  beamed. 

"I  think  she'd  be  wonderful,"  he  reiterates, 
"and  I  been  telling  her  all  along,  I'd  like  to 
start  a  company  with  her  as  its  only  star  — 
modestly  at  first — then  if  we  are  successful, 
branch  out." 

"Nothing,"  I  says,  "like  usual  beginnings 
and  an  unusual  finish.  " 

"That's  my  opinion  exactly."  he  says. 

.\1I  the  time  this  is  taking  place.  JNIadge  is 
gi\-ing  the  menu  the  dirtiest  looks  I  ever  see  a 
woman  give,  and  I  decide  for  me  that  I'm  going 
to  do  a  little  catching  up  myself. 

To  make  a  long  meal  a  snack,  we  had  a  swell 
dinner. 

Madge  and  me  both  overdid  ourselves  and 
then  we  went  to  Madge's  hotel  for  a  talk,  and 
when  we  ended  Cavet  had  consented  to  put  up 
enough  money  to  make  a  picture,  and  «e  ha\e 
a  date  for  a  meeting  at  a  lawyer's  office  the 
ne.xt  day.  which  we  held  and  where  was  formed 
the  Splendid  Motion  Pictures  Corporation, 
with  Yours  Truly,  Vice-President  and  press 
agent  in  fuU. 

Story?  Sure!  Hector  had  one  in  mind. 
He'd  read  it  on  the  train  from  the  corn  belt 
to  L.  .A.,  and  what  do  you  think  it  was?  Righto. 
"  Lady  Godiva. " 

Madge  blew  to  her  agent's  office  to  cancel 
her  vaudeville  booking  contract  while  Ca\  et 
and  I  went  into  executive  session. 

"Xow,  this  here  storj-, "  he  says,  "is  got 
everything  in  it. '' 

""i'es,"  I  says,  "and  the  leading  woman  is 
got  nothing  on  her,"    I  comes  back. 

"Xow,"  he  offers,  "I  want  to  have  a  frank 
talk  with  you  about  Madge.  You  know  I'm 
pretty  fond  of  her,  but  don't  know  her  \-erv 
weU. " 

".\sk  me  anything,  I'll  shoot  straight.'' 

"Is  Madge  indifferent?"  he  queries. 

"To  what?"  I  queries  right  back  to  him. 

"I  mean,"  he  says,  "isn't  she  somewhat 
cold?" 

"/"^OLD."  I  ejaculated,  "why.  when  she  was 

^-^in  vaudeville,  when  she  came  on  the  stage, 
they  lowered  the  asbestos  curtain  half  way 
down.  Cold,  no  siree,  she's  hot  stuff  and  a  yard 
wide." 

I  see  a  funny  look  come  into  his  eyes. 

"That's  fine,  I  hate  cold  people."  he  avers. 

"You  got  nothing  on  me,"  I  tells  him,  "I 
was  married  once  to  a  dame  who  was  so  cold 
she  could  broadcast  on  an  electric  icebox." 

"You  must  a  got  my  ex- wife,"  he  says. 

Well,  we  talk  over  the  story  and  I  blow  to 
see  Madge. 

Madge  asks  me  how's  tricks  with  the  new 
troupe  and  then  the  matter  of  the  story  came 
up. 

"Well,"  I  says,  "it's  not  a  bad  story.  It's 
about  Lord  Coventry  whose  wife  was  a  social- 
ist, and  wanted  him  to  cut  down  the  income 


119 


we  MIEN  AIR  IE  lfA§CIINAiriEP 

jby  this 

IBIEAdJlV  IBAinni  §IEC«llEir 


FASTIDIOUS  ^omen  wlio 
desire  a  solt,  smoot-i  skin 
snould  try-  tne  marvelous  JLinit 
Beauty  BatL — 

It  is  sensational  in  immediate 
results  —  no  aiscomlort  —  no 
-waiting  —  and  trilling    expense! 

Alerely  dissolve  liall  a  pack- 
age ol  Linit  in  a  lialf  tutful  of 
-warm  -water — batne  in  tne  usual 
-way,  using  your  lavorite  soap 
and  tnen  leel  your  skin.  In 
texture  it  is  solt  and  smootli  as 
tlie  liiiest  velvet — as  -well  as  per- 
lect  m  elasticity  and  suppleness. 

Liiiiit  gives  tne  skin  just  tne 
right  amount  ot  lubrication, 
neitner  takes  a-way  too  mucn  ot 
tne   necessary  oil   m   tne 


utarch  Irom  corn  is  tne  main 
ingredient  ot  Jjinit  and  oeing  a 

f)ure  vegetable  product,  is  abso- 
utely  liariiiless. 

In  tact,  starcn  trom  corn  is 
generally-  recommended  by  doc- 
tors tor  tne  tender  skin  ol  babies. 

It  you  cannot  believe  tnat  a 
line  laundry  starcn  like  JLinit 
also  makes  a  marvelous   beauty 


It 

her  tak 

kin. 

nicn  otten  makes  it  dialed  and 
inllamed,  nor  does  it  dry  up  tne 
skin  by  clogging  tne  natural  oil 
in  tne  pores. 


batli,  -we  SI 

ggest  til 

at  you 

make 

tins  simple 

test 

After  dissolving 
so  ot  Ivinit  in  a  b 
-water,   -wash   your 

aliandfulor 
isin   ctI  warm 
liands.    The 

instant  your  bands 

come  in 

con- 

tact    -with 

tbe 

water    you    are 

aware  ot  a 

smooth 

less  like  rich 

cream — and  alter  you  dry  your 
bands  your  skin  lias  a  delignt- 
tul   sottness.    You  11   be   con- 

vinced  -  IN5TANTLY! 


Com  Products  Refining  Co.,  Department  P.,      17  Battery  Pla 
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Photoplay  Magazine- 


HAIR 

that  bespeaks-^ 

Individual 
Expression 


Billie  Dove  is  an  outstand- 
ing  screen  star  whose  glo- 
rious hair  tells  its  own  story 
of   personal  supervision. 

DO  I  make  it  quire  clear  when 
I  say  1  have  tried  many  hair 
rinse  suggestions  —  and  invari- 
ably return  to  rea/  fresh  lemon 
juice — immediately.  Truly,  I  do 
not  feel  my  hair  is  soft  and 
clean  and  brilliant  until  I  have 
rinsed    with    real  lemon   juice. 

Emil  washes  my  hair,  with 
say  two  lively  soapings,  then 
rinses  and  rinses  to  clear  out 
all  the  soap.  Then  into  a  fresh 
JKjwl  of  water*  goes  the  juice 
of   two   juicy  California  lemons. 

F.mil  mixes  this  vigorously, 
then  gives  my  hair  a  great  rins- 
ing— and  all  that  disagreeable 
soapiness  is  washed  out. 

Then  comes  a  rinse  in  clear 
water — and  back  comes  the  glo- 
rious gloss — each  time,  a  trifle 
glossier,  it  seems  to  me. 

(♦Four  fiuarts) 

Kvpr>'  modern  woman  should  unili  r- 
stand  thp  value  of  fresh  lemon  juice 
an  a  toilet  requiMlc.  Si^nd  the  coupon 
today  for  our  informative  booklet, 
"Lemon,  the  Natural  Cosmetic,"  con- 
taining tributes  from  screen  stars. 


•California  Fruit  Growers  Exchange, 
Sec.  1906,  Box  .S.10.  .Station  •'C,' 
Los  Angeles,  Calif. 

Please  send  me  free  book,  "  I.emon — the 
Natural  Cosmetic,"  telling  how  to  use 
lemon  for  the  skin.  In  manicuring,  and  in 
beautifying  the  hair. 


Street . 

.nty.. 


taxes,  as  most  of  the  people  in  her  town  was 
starving,  and  business  was  on  the  blink.  He 
gave  her  the  raspberry  and  told  her  that  she 
was  a  bimbo  for  sticking  up  for  the  townfolks. 
for  if  she  was  in  trouble,  they'd  walk  around 
her  like  she  was  a  swamp. " 

"What  did  she  do?"  Madge  wants  to  know 

'•Well,  she  told  her  husband  that  she  would 

bet  him  that  she  could  ride  through  the  mam 


the  reel,  soon  as  our  first 


Advertising  Section 

shooting  right  ( 
interior  is  built. 

Everything  was  all  up  and  up,  and  we  get 
down  to  where  Godiva  makes  the  bet  with  her 
husband.  This  is  the  last  sequence  and  I  tells 
Madge  now  she  can  open  up  and  refuse  to  play 
the  part  and  force  them  to  hire  a  double. 

Madge  sends  for  Hector,  which,  by  the  way, 
the  first  time  she's  ever  had  to  do  that,  he 


street  without'anyclotheson  and  not  one  per-     hanging  around  her  all  the  time. 

son  would  take  a  peek  at  her. "  "Mr.  Cavet,"  she  says,  "you  know  I  got 

-,        ,  -r  _  J,,    r* j;,.«     *'   oo.^    AToHnrfi  SCrUpICS. 

"That's  all  right,  Madge,"  he  says,  "get  the 
studio  doctor  and  he  can  fi.x  them  so  they  won't 


I  guess  I  play  iady  Godiva 
'That's  the  layout  now." 


'  said  Madge. 


TT  JELL,  Madge  starts  burning  up. 
\A/tJ        


Go  tell 
that  airedale  that  if  I  ever  take  even  a 
hair-net  off,  it's  going  to  be  in  the  ante-room 
of  some  active  and  progressive  church." 

"Wait  a  minute,"  I  interrupts,  "it  ain't 
necessary  throwing  an  angel  overboard  before 
he's  even  been  taught  to  fly.  Let  me  handle 
him — I  got  something  on  my  mind  beside  bone 
pressure." 

"Well,"  she  says,  "what  happens  when 
Lady  Godiva  does  the  naked  steeplechase?" 

"Well,  no  one  give  her  a  look  except  one 
egg  who  hid  behind  a  pair  of  shutters  and 
took  a  peek,  and  forever  after  he  was  shunned 
by  the  rest  of  the  townfolks  and  was  called, 
'Tom  the  Peep.'  " 

".\h  ha,"  says  Madge,  "and  I  bet  my  first 
month's  salary  he's  got  Mmself  all  cast  to  play 
Tom." 

"That's  0.  K.,"  I  says,  "don't  get  yourself 
all  hysterical,  I  ain't  been  studying  germs  all 
these  years  for  nothing.    I  can  handle  him." 

That's  where  we  leave  off  and  for  the  next 
week  I'm  busy  looking  for  studio  space,  actors, 
director  and  what  not. 

Hector  put  thirty  thousand  smackers  right 
into  the  bank  and  the  stock  is  issued. 

I  get  ten  certificates  of  stock  which  is  that 
cute  it  could  a  been  used  to  decorate  a  set. 
IMadge  spurns  her  share  and  grabs  a  big  salary 
— and  all  I  got  to  do  now  is  assemble  a  scenario 
writer,  and  the  other  people  essential  to  a  pro- 
duction. 

Well,  of  course,  it's  a  tough  job  finding  movie 
actors  in  Hollywood.  And  it's  tough  work 
getting  a  director. 

We're  set. 

We  rents  space  at  Universal  City  and  two 
weeks  after  the  company  is  formed,  we  are 
ready  to  shoot. 

We  ain't  a  bad  outfit.  Our  scenario  writer 
is  said  to  have  the  best  memory  in  the  business, 
and  our  director  made  a  feature  once  in  eight 
days.    We  got  our  company  all  set  and  begin 


show  through  the  make-up." 

"I  mean  I  got  principles,  Mr.  Cavet,  and  it's 
against  them  to  ride  around  naked  on  horse- 
back." jNIadge  is  nice  enough  but  there's  fire 
in  her  eyes. 

"Don't  be  foolish,"  Cavet  advises  her,  "it's 
all  part  of  the  story,  and  the  best  scene  in  it; 
why  the  whole  story  is  based  on  a  bet  she  can't 
doit." 

"  Can't  you  have  them  bet  on  something  else, 
the  Giants  and  Yankees,  or  Jack  Dempsey? 
Do  they  have  to  bet  she  can't  ride  around  with 
no  clothes  on?" 

"Madge,"  says  Hector,  "you  surprise  me. 
I  had  no  idea  you  were  so  narrow-minded. 
Why,  this  picture  will  be  the  making  of  you. 
It's  wonderful,  we  saw  parts  of  it  last  night." 

"  That's  not  changing  my  mind,  Mr.  Cavet." 

"Well,  anyhow,"  Hector  continued,  '"some- 
one's gotta  ride  that  horse  with  no  clothes  on, 
and  there  ain't  another  shape  in  the  town  like 
yours  so  we  can't  double  for  that." 

"T  ISTEN,  Mr.  Cavet,"  says  Madge,  "shape 

■"or  no  shape,  I  ain't  riding  horseback  a:i 
natitrcl  and  if  you  don't  like  it,  I  can  get  my 
vaudeville  route  back,  and  you  can  get  some- 
one else  to  star  in  it." 

Hector  is  getting  lost. 

"What  are  we  going  to  do,  Madge?  Here 
I've  got  more'n  thirty  thousand  dollars  in  this 
production  and  you  going  to  take  advantage  of 
me  in  the  very  last  and  most  important  situa- 
tion.    It  ain't  fair." 

"Fair  or  foul,  I'm  no  bare  back  rider,  and 
that's  my  ultimato  or  whatever  you  calls  the 
last  word." 

I  comes  onto  the  scene  right  then,  just  as  we 
had  arranged  it,  and  when  I  finds  Hector,  he's 
bluer  than  the  Mediterranean  isn't,  but  is  said 
to  be,  and  I  takes  hold. 

"  Now  come  on,  you  two,  what's  eating  you?" 

Hector  is  pouting  and  Madge  is  burning  up. 

"I  just  told  his  nibbs,"  says  Madge,  "that 


Photographic  record  of  Hollywood's  only  snow  storm  of  importance. 
Back  m  1914,  the  vicinity  of  Los  Angeles  was  visited  by  a  freak 
storm  and  the  Universal  cowboys  borrowed  a  sleigh  from  the 
Property  Department  and  went  for  a  ride.  Years  later,  Universal 
spent  a  lot  of  money  spreading  fake  snow  on  this  location  for 
"Uncle  Tom's  Cabin" 

K»fry  uclvMilscmcnt  In  PnOTOri.,AY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I'm  not  working  this  year  in  the  nude  and  that 
he  can  either  get  a  double  for  that  naked 
steeplechase,  or  another /cw we  for  my  part." 

"It's  terrible,"  moaned  Hector. 

Then  I  opens  up. 

"Now  look  here,"  I  begins,  "Madge  is  right 
and  Mr.  Cavet  you  ain't  altogether  wrong. 
There's  two  ways  of  looking  at  a  nude  body. 

"  One  is  to  look  at  it  without  seeing  it  and  the 
other  is  to  see  it  and  act  like  you  ain't  looking 
at  it.  Now  from  where  I  sit,  it  looks  like 
Madge  is  one  up  on  you  and  why,  well,  here. 
Nudity  is  barred  from  the  screen  in  every  state 
in  the  union  except  two,  which  are  in  Mexico, 
and  Madge,  if  she's  got  complexes  against 
being  seen  naked,  should  be  respected." 

"1"  KNOW  all  you  are  saying  is  somewhat 
-•■right,"  says  Hector,  "but  it's  an  awful  time 
to  discover  it,  when  the  picture  is  practicaOy 
finished." 

"Practically  finished,  nothing,"  says  Madge. 
"As  far  as  I'm  concerned,  it  is." 

Madge  is  wiping  the  youth  and  beauty  off 
her  face,  when  I  stops  her. 

"Listen,  Madge,"  says  I,  "Mr.  Cavet's  got 
his  rights  and  I  don't  think  you  oughta  be 
arbitrary." 

Hector  grabbed  this  life  line  and  starts  all 
over  again. 

"Whose  going  to  see  you  that  you  care  any- 
thing about?  It's  all  part  of  a  great  story,  a 
classic.  It's  been  done  by  a  Ladyship  of 
England  and  it  certainly  ain't  going  to  hurt  no 
movie  actress." 

"All  right  then,  if  the  Nobility  wants  to  do 
it,  let  them,  but  I'm  just  common  people  my- 
self and  got  scruples." 

There  the  argument  hung.  ^Madge  took  off 
her  make-up  and  scooted  for  home  and  left  Hec- 
tor and  I  to  our  own  counsels  as  they  say  in 
legal  matters. 

"Why  not  let  me  scour  around  Hollywood 
and  get  me  a  swell  looking  double  for  Madge?"' 
I  asks  him.  "Madge  is  strict  that  way  and  no 
one  will  know  it's  a  double.  We  can  make  the 
close-ups  of  Madge  and  the  clothes  off  the 
double.  Come  on.  Hector,  let's  not  bust  up  a 
sweD  outfit  just  for  one  little  scene  that  we  can 
easy  get  a  double  in." 

Dinner  was  almost  breakfast  when  I  finally 
prevails  on  Hector  to  let  me  hire  a  double,  and 
that  same  day  I  lamps  one  coming  out  of  Mack 
Sennett's  studio.  She's  just  climbing  into  a 
Rolls  Royce.  A  millionaire,  thinks  I,  without 
sex  appeal. 

She  had  on  one  of  those  maybe  skirts  with  a 
perhaps  blouse  and  what  a  coast  line!  In 
keeping  with  custom,  I  walks  up  to  her,  asks 
her  if  she's  open  for  some  work  in  a  film,  gets  a 
positive,  and  she's  hired  on  the  spot. 

We're  to  shoot  the  scene  the  next  day. 

I  tells  the  new  double  what  the  scene  is  all 
about  and  breaks  the  news  she  don't  wear  no 
clothes. 

"That's  O.  K.,  sonny,  compared  to  what  I 
been  doing  over  on  the  Sennett  lot,  I'll  be  all 
dolled  up." 

Well  the  big  day  comes  on  schedule,  which  is 
the  only  thing  that  was  during  the  making  of 
Godiva. 

■K/T.ADGE  shows  up  and  has  half  a  dozen 
■^^-^closeups  and  vamooses  and  then  we  clear 
the  set  for  the  big  ride. 

Everyone  is  shooed  off,  but  the  director  and 
cameraman  and  Hector,  who  is  to  play  Tom 
ilie  Peep,  is  put  on  a  scaffold  on  the  second 
floor  behind  a  "profile." 

A  "  profile ' '  is  the  front  of  a  building  that  the 
studio  force  is  able  to  build  at  only  twice  the 
cost  an  entire  structure  would  set  the  com- 
pany back. 

The  double  is  on  her  horse  behind  a  canvas. 
The  set  is  all  housed  in  so  that  we  have  only  one 
Tom  the  Peep  to  contend  with.  The  orches- 
tra strikes  up,  the  camera  is  all  set  and  the 
di.rector  shouts,  "All  right,  Godiva,  here's 
where  you  come  on." 

And  Godiva,  looking  as  serene  as  a  child, 
rode  right  out  onto  that  set  nakeder  than  the 
day  she  was  born. 


\ 


Ralph  Forbes,  starring  in  Metro-Goldwyn-Mayer  Pictures 

The  Leading  Man 

On  your  next  visit  to  a  motion  picture  house, 
take  special  notice  of  the  clothes  worn  by  the 
leading  man. 

You  will  discover  that,  whatever  the  occasion, 
his  clothes  are  CORRECT. 

The  leading  actors  of  the  screen  dress  the  part. 
And  when  the  "part"  calls  for  a  starched  col- 
lar— for  example,  at  business,  at  the  club  or 
social  gatherings — it  is  a  Starched  Collar  that 
is  worn. 

Arrow  starched  Collars 

Cliiett,  Peabody  &  Co.,  Inc.    Troy.  N.  Y. 
ARROW  SHIRTS,  COLLARS,  UNDERWEAR,  HANDKERCHIEFS 


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Photoplay  Magazine— Advertising  Section 

Outside  of  the  camera  cranking  a  little  faster,         '.'  Come  on  back,"  I  says,  "  they're  waiting  to 

denly  a  shriek  rended  the  air,  and  in  an  instant 
a  human  form  is  seen  flying  out  the  studio  gate. 

It's  Hector. 

I  takes  after  him  on  the  run.  FinaUy  I 
catches  up  to  him  and  grabs  him.  He  s  out  of 
breath.  ,,  ^  „    ,      ,    ^i. 

•'What's  the  big  idea,"  I  says  "what  s  the 
matter  with  you  running  away  like  this,  have 
you  suddenly  gone  dippy?" 

Hector  stands  and  bhnks  like  an  idiot. 
He's  so  out  of  breath  he  can  hardly  talk. 


Always  at 
her  best  *  * 


To  be  always  "at  one's  best"  !  .  .  . 
whatever  else  that  may  require  of  the 
modern  woman,  it  obviously  does 
require  complete  freedom  from  that 
unforgivable  social  error, perspira- 
tion odor. 

"Mum"  is  the  (rue  deodorant 
cream  that  gently  but  surely  neutral- 
izes all  perspiration  odor,  and  keeps 
one  sweet  and  fresh  for  all  day  and 
evening. 

And  with  the  sanitary  pad,  the 
soothing  and  completely  deodoriz- 
ing effectiveness  of  "Mum"  is 
welcome  to  the  truly  dainty  woman. 

"Mum"  is  3  5c  and  60c  at  all  stores. 

SPECIAL     OFFER 

To  introduce  Ban,  the  remarkable 
newnon-irritating  Cream  Hair  Remover 
(SOc  per  tube)  we  make  a  special  ofFer 
in  the  coupon  below. 

"Mluiimi  fl 

prevents  all 
body  odors 


trembled  all  over  and  then  between  deep  in- 
takes of  breath,  says: 

"God,  to  think  of  it,  thirty  thousand  bucks 
to  look  at  my  ex-wife.  Get  a  double,  get  a 
double." 

There  you  are.  neighbors,  life  is  sure  all  se.xes 
and  sevens,  but  the  picture's  running  at  the 
Climax  Theater,  Madge  and  I  are  Mr.  and 
Mrs.,  we  bought  Hector's  interest  for  a  song, 
and  it  looks  like  we're  going  to  make  a  sequel 
called  "  Godiva's  Return  Ride." 


Stepping  Stones 


[  CONTINUED  FROM  PAGE   50  ] 


pro\e  to  Mr.  Frane  that  she  really  justified  his 
interest  in  her.  He  wished  she  wasn't  quite  so 
conscientious  about  it. 

But  all  work  and  no  play,  Lola,"  he  said 
playfully,  "is  very  bad  for  little  girls.  How 
about  a  drive  down  to  the  beach?  We'll  have 
a  lobster  dinner — " 

ola  consented  reluctantly,  making  him 
promise  he  would  bring  her  home  by  ten 
o'clock  at  the  latest. 

They  had  a  shore  dinner  at  a  noisy  beach 
cave.  Mr.  Frane  would  have  preferred  a  more 
intimate  place  but  this  was  Lola's  choice  and 
he  indulged  her.  .-\fterwards,  they  had  their 
fortunes  told,  their  pictures  taken  in  an  aero- 
plane and  a  ride  on  the  merry-go-round. 

IT  all  seemed  very  childish  to  Mr.  Frane 
but  Lola's  pleasure  electrified  him  and 
when  she  impulsively  caught  his  hand,  as  the 
horses  galloped  round  a  cur\'e,  it  sent  a  high- 
powered  thriU  racing  along  his  arm  which  for 
the  moment  quite  unner\ed  him. 

It  was  still  early  when  they  started  for  home. 
Driving  along  the  Palisades,  overlooking  the 
Pacific  which  the  moonlight  had  silvered  until 
it  glistened  like  a  mirror,  ilr.  Frane  momen- 
tarily forgot  his  paternal  manner.  In  one 
swift  second  he  crushed  his  lips  against  Lola's 
mouth  of  honey.  She  drew  away  in  quick 
alarm. 

"What's  the  matter,  Lola  dear?" 

"Oh,  Mister  Frane,  I  thought  you  were  so — 
different." 

The  shocked  surprise  in  her  voice  shamed 
him.  "I  thought  you  were  interested  in  my 
career.  I  didn't  think  you  wanted — "  She 
stopped.  There  was  the  suggestion  of  a  quiver 
in  her  voice. 

"Oh,  Lola  dear,  don't  say  that — not  that!" 
He  spoke  breathlessly.  "It  isn't  true,  dear. 
It  isn't  true."  His  heart  was  thumping  so 
furiously  that  he  felt  a  sharp  pain  in  his 
temple. 

"Because  I  could  never  have  let  you  do  all 
those  wonderful  things  for  me  if  I  had  thought 
that  you — "  she  paused,  "were  only  interested 
in  me — that  way. " 

Mr.  Frane  was  indeed  touched.  There  was 
something  so  lovely,  so  virginal  about  her. 

"I'm  sorry,  Lola.  I  shouldn't  have  kissed 
you.  Please  forgive  me.  You  looked  so  en- 
chanting in  the  moonlight." 

.\  tear  seemed  to  be  trembling  on  her  long 
lashes  when  she  looked  up  at  him  timidly. 

"I  want  you  to  rcspeel  me.  Mister  Frane. 
And  of  course  you  couldn't  if  I  was  the  kind  of 
girl  who  would  let  you  kiss  me — like  thai — 
could  you?" 

He  patted  her  shoulder  tenderly. 

"You're  a  dear,  sweet  little  girl,  Lola.  I 
wouldn't  for  worlds  do  anything  to  violate 
your  confidence  in  me.  You  know  that  you 
can  trust  me,  don't  you,  Lola?" 

That  hurt,  big-eyed  way  she  looked  at  him 
was  so  upsetting. 

"It  would  make  me  feel  very,  very  badly  if 
you  thought  that  I  expected  payment  for  the 
things  I  have  been  aUc  to  do  for  you." 


She  sighed  exTJressively. 

He  had  intended  to  suggest  that  they  drop 
in  at  his  house  so  he  could  show  her  his  books 
and  his  Japanese  prints  but  he  changed  his 
mind.  The  clock  was  striking  ten  when  he 
delivered  Lola  at  her  door.  Very  gallantly  he 
kissed  the  tips  of  her  short  little  fingers. 
Gerland  Frane  knew  women. 

.\n  hour  later,  at  a  club  which  was  popular 
with  film  celebrities,  Mr.  Frane,  still  under  the 
spell  of  Lola's  enchanting  presence,  plus  two 
Bacardi  cocktails,  was  confiding  to  Roger 
Clayton,  a  fellow  writer: 

"I've  discovered  the  most  wonderful  little 
girl.  Honestly,  I'm  about  to  take  the  count. 
I  thought  her  type  was  practically  obsolete — " 

"Yes?    Where'd  you  find  her?" 

"You'd  never  guess.  In  a  cheap  little  quick 
lunch  place.  Really  it's  unbelievable.  Why  if 
she  had  a  chance  on  the  screen  she  could  play 
rings  around  any  of  these  girls  who  are  drag- 
ging down  big  salaries.  But  the  amazing  thing 
is  that  she  has  no  aspiration  toward  the  screen 
at  all. " 

Mr.  Frane  watched  the  smoke  of  his  cigarette 
rise  in  slender,  curling  spirals  toward  the 
ceiling  and  thought  of  Lola.  He  thought  of 
her  delicately  perfumed,  silks  caressing  her 
fragrant  young  body.  Gold  cushions  heaped 
back  of  her.  -\  room,  candle-lighted,  with  the 
flames  from  the  fire  dancing  upon  lo\ely  old 
Italian  furniture  and  red  and  gold  hangings, 
leaving  the  low  couch,  with  its  coverlet  of 
quilted  satin,  in  shadows.  A  room,  in  fact, 
very  much  like  Mr.  Franc's  own.  He  thought 
of  holding  her  in  his  arms,  captive,  her  fright- 
ened young  heart  beating  wildly  against  his 
own.  Even  the  mental  picture  was  dizzying. 
He  called  for  another  cocktail. 

BEING  clever  about  women,  however,  ]\Ir. 
Frane  determined  not  to  take  time  by  the 
forelock.  Lola  was  worth  waiting  for.  .And  so 
as  the  days  slipped  by  he  continued  to  play  his 
paternal  role.  He  listened  indulgently  while 
she  told  him  of  her  progress  at  the  business 
college  and  rather  apologized  for  not  ha\-ing  a 
report  card  to  show  him.  They  did  not  give 
them  at  business  colleges,  it  seemed.  He 
assured  her  that  he  was  certain  she  was  the 
brightest  girl  in  the  class — and,  perhaps,  when 
she  had  finished  her  course  he  might  be  able  to 
give  her  a  position  as  l/is  secretary. 

"Oh,  I  would  love  that.  Mister  Frane, "she 
murmured  in  a  way  that  thrilled  him.  He 
fancied  he  saw  his  own  mood  reflected  in 
Lola's  eyes.  He  could  hardly  refrain  from 
kissing  her.  How  intoxicating  it  would  be  to 
have  her  untutored  lips  pressed  against  his 
own — which  had  received  excellent  training  in 
the  best  Hollywood  schools. 

That  evening  he  stood  on  the  little  iron 
balcony  on  his  hillside  home,  looking  down  on 
the  twinkling  lights  of  the  cinema  city.  The 
soft  night  air  was  filled  with  the  perfume  of  the 
acacia  blossoms  and  he  caught  the  pungent 
fragrance  of  pepper  berries.  In  the  narrow 
street  below  a  boy  and  a  girl  strolled  along, 
arm  in  arm.    He  watched  them  as  they  paused 


•dverlUcmcnt  In  PlIOTOri^Y  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


in  the  shadows  of  the  acacia  tree.  He  could 
just  see  the  outline  of  their  bodies  as  they  met 
in  a  quick  embrace. 

He  summoned  his  man,  Saki.  and  instructed 
him  to  prepare  a  little  supper  for  t\\-o.  Then 
he  telephoned  Lola. 

"Lola,  would  you  be  a  sweet  child  and  do 
something  for  me,  if  I  wanted  you  to  very, 
\'ery  much?"  His  voice  sounded  very  tired 
o\er  the  'phone  and  of  course  Lola  could  not 
see  his  restless  fingers  tapping  against  the 
table. 

""V\7HY,  of  course,  Mister  Frane.  You  know 

**  I  would  do  anything  I  could  for  you. 
You  have  done  so  much  for  me." 

"I  have  been  working  very  hard  and  tonight 
I  am  really  ill.  It  would  rest  me  if  you  would 
come  over  and  talk  to  me  for  a  little  while — 
maybe  we  could  have  a  little  supper  here.  I'll 
send  a  car  for  you — ' ' 

He  waited  eagerly  for  her  answer,  fingers 
tap-tapping  against  the  table. 

"Oh,  Mister  Frane,  I  couldn't  do  that — not 
come  to  your  house  all  alone. " 

He  caught  sight  of  himself  in  the  mirror. 
His  eyes  were  unnaturally  bright  and  his  face 
was  flushed. 

"Why,  Lola?"  he  asked  in  a  low,  hoarse 
voice. 

"I  have  to  study  tonight — and  practice  my 
typing.  We  have  an  examination  tomorrow 
and  I'm  so  afraid  I  '11  fail  and  then  you  would 
be  disappointed  in   me. " 

"But,  Lola  dear,  you  know  I  couldn't  be 
disappointed  in  you.  Please  come — just  for 
an  hour.    I  want  you  so  much. " 

He  wondered  if  Lola  could  sense  the  desire  in 
his  voice. 

"I'm  just  awfully  sorry.  Mister  Frane. 
Honestly  I  am. "  She  hesitated  for  the  fraction 
of  a  second.  "But  I  don't  think  it  would  be 
right  for  me  to  come.     Really,  I  don't. " 

"Why,  Lola,  that  is  absurd — it'snotworthy 
of  you — it's   childish." 

"But  I'm  a  good  girl.  Mister  Frane.  It 
wouldn't  be  right  for  me  to  come  to  your  house 
— all  alone.    Please  don't  ask  me  to  do  that. " 

Mr.  Frane  hung  up  the  receiver  and  gulped 
down  the  drink  which  Saki  had  brought  for 
him.  At  that  moment  virtue  seemed  very 
much  overrated  and  he  was  half  inclined  to 
catalog  Lola  as  being  just  a  little  dumb.  He 
ordered  the  mauve  roadster  and  dro\'e  reck- 
lessly across  town,  trying  to  run  away  from 
his  conflagrating  thoughts.  He  drove  for  hours. 
Finally  he  stopped  at  the  club,  picked  up  a  few 
cocktails,  and  at  midnight  he  found  himself  at 
the  Cocoanut  Grove.  He  scarcely  noticed  when 
the  waiter  placed   the  menu  before  him. 

"What  will  it  be,  sir?" 

Mr.  Frane  glanced  at  the  card  with  unseeing 
eyes. 

"Oysters." 

"What  style,  sir?" 

"Any  style,"  he  replied  indifferently. 

IT  was  a  curious  thing  that  had  happened  to 
Mr.  Frane,  of  all  people.  He  who  prided  him- 
self upon  keeping  his  emotions  so  carefully 
leashed.  He  wondered  if  by  chance  it  could 
be  love.  A  mental  flash  of  a  headline  in  the 
movie  magazines  shot  through  his  mind. 
Celehraled  screen  writer  marries  waitress.  He 
almost  blushed.  Still,  he  could  depend  upon 
his  publicity  man  to  take  care  of  Lola's  past. 

"Hello,  Gerry.  All  alone?"  Kirk  Smith,  a 
technical  director  from  the  Over-Prod uction 
lot,  flopped  down  into  the  chair  opposite  Mr. 
Frane. 

"I'm  working  on  a  night  club  sequence  for 
my  next  story.  Thought  I  might  get  an  idea 
watching  these  morons  dance."  Mr.  Frane 
was  quick  to  alibi  himself. 

"Well,  I  guess  there  are  plenty  of  stories 
here  if  you  know  the  inside.  A  lot  of  trick 
picture  contracts  have  originated  in  this 
setting."  Smith  lighted  a  cigarette  and  or- 
dered some  black  coffee. 

"Say,  talk  about  stories,"  he  smiled  sug- 
gestively, "  wait  tUl  they  start  dancing.  I 
want  to  show  you  'Stepping'  Stone's  new  find. " 


123 


as  if  a  dazzling  flood 

of  light  were  playing  always 
on  her  hair 


Those  lovely  heroines  of  happy-end- 
ing books — have  you  ever  heard  of  one 
described  as  "drab"  or  "plain"?  Im- 
aginary characters  perhaps — or  possi- 
bly some  man's  ideal,  pictured  in  uords 
from  a  memory  ....  a  romance  that 
was,  or  might  have  been! 

"He"  reads  those  books.  How  do  you 
measure  up? 


FICTION  is  life!  You  may  be  to- 
morrow's heroine !  Romance,  pop- 
ularity may  be  but  around  the  corner. 
.  .  .  But  not  if  dull,  lifeless  hair  is  dim- 
ming your  charm. 

Why  not  be  rid  of  this  depressing 
note  ?  Why  not  banish  dullness  —  to- 
night —  in  one  shampooing?  ^'ou  can 
do  so  —  as  millions  do  —  with  Golden 
Glint. 

The  "Shampoo-plus"  it's  called — for 
it  does  much  more  than  cleanse.  In 
one  shampooing  dullness  flees  —  those 
youthful  lights  return.  It  gives  your 
hair  a  special  charm;  a  finish!  It  is 
as  "cold  cream"  and  "powder"  and 
"rouge" — all  three — translated  to  your 
hair! 

Rich,  copious  lather  —  faintly  fra- 
grant—  removes  the  film  that  hides  the 
natural  color  of  your  hair.  Two  lathers 


and  your  hair  is  clean,  gloriously  im- 
maculate ! 

You  rinse,  remove  all  trace  of  soap, 
and  your  hair  appears  shades  lighter. 
Then  you  apply  the  extra  touch,  a, 
special  rinse  —  the  "plus"  that  makes 
this  shampoo  different.  Your  hair  takes 
on  new  gloss  —  new  finish.  Its  natural 
color,  now  revealed,  is  enhanced  by 
sparkling  lights.  You  are  reminded 
faintly  of  your  childhood's  tresses.  Now 
your  hair  is  worthy  of  the  face  it  frames! 

Millions  today  use  this  modern 
"shampoo-plus".  It  brings  much  of  the 
skill  of  the  master  hairdresser  to  your 
own  boudoir.  No  harsh  chemicals  to 
bleach  or  change  the  natural  color  of 
your  hair.  Just  a  wonderful  shampoo, 
plus  an  extra  touch  that  brings  back 
youth !  Your  nearest  toilet  goods  dealer 
can  supply  you.  Money  back  if  not 
delighted. 

Golden  Glint 

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124 


Pho- 


r 


roPLAY  Magazine— Advertising  Section 

~,  ,     .        ,„,  t    „„  .  wncooated  wail         "What  are  you  doing  now,  Frane?"  ques 

ani  Mr^Frane  faw  the'narrSouldered,     tioned  Clayton  as  they  waited  for  coffee  ^ 
slender-waisted  "  Stepping  "Stone  leaning  over 
lip  of  a  girl  whose  face  he  could  not  see- 


Its 
delicate  texture 
Clings 

So    soft,    so    fine — Lablache    clings — 

smoothly,  perfectly — defying  wind  and 

weather. 

And  of  an  odeur  distinctive — gratifying 

to    the     most    fastidious — individuaWy 

Lablache.  ' 

Attractively    packaged — in    the    large 

dollar  box. 

In  the  original 

Lahlacht  size 

Lablache  in  the  fifty  cent  box — the 
original  size — is  more  delicately  per- 
fumed to  accord  with  the  taste  of  those 
who  prefer  the  old  formula  in  use  since 
1871. 

Your  dealer  has  Lablache  in  the  one 
dollar  and  the  fifty  cent  size.  Generous 
trial  box  sent  for  ten  cents.  Mention 
shade  desired. 

BEN  LEVY  CO 

Dept.  57 

125  Kingston  St. 

Paris  BOSTON 


The  Face  Powder 
with  a  million  friends 


the  club  lo 

"I'm  working  on 


^inal,"  Mr.  Frane 


;„;!  the  flntterin"  chiffon  of  her  frock  of  lettuce     twisted  the  waxed  tip  of  his  little  mustache. 
^eeiT   Mr  Frane  had  the  feeling  that  it  was     "  A  sort  of  an  epic.    I'm  calling  it  'The  Virgin 


Sar."' Somewhere  he  had  seen  a  lettuce 
green  frock  trimmed  with  daisy  petals. 

"(Jet  this,"  Smith  nudged  him  as  "Step- 
pin.''  Stone  executed  an  exaggerated  whirl 
ancfslidc  which  brought  him  in  line  with  Mr. 
Francs  table.  Smith  did  not  notice  that  Mr. 
Frane  had  suddenly  paled  and  that  his  fork 
slipped  and  sent  an  oyster  skidding  into  the 
little  glass  of  catsup  which  was  sunken  in  the 
cracked  ice. 

"Xow  there's  a  gal  that  uses  her  sex  appeal 
like  nobody's  business,"  continued  Smith. 
"  'Stepping'  Stone  is  certainly  a  wizard  for 
picking  em.  Did  you  ever  see  such  big,  inno- 
cent ej-es  as  that  kid's  got?  Say,  I'll  bet  she 
could  fool  even  a  sophisticate  like  you. 

"She  ought  to  screen  like  a  million,"  Smith 


of  Hollywood.' 

"Sounds  great,"  commented  Clayton,  his 
eyes  following  the  smart  little  waitress  who 
had  just  poured  the  coffee  from  a  silver  pot. 
"New  waitress,  isn't  she?"  He  indicated  the 
little  blonde  child  who  was  just  gliding  through 
the  doorway  with  the  silver  coffee  pot.  "Cute 
little  number.    Ought  to  be  good  in  pictures. " 

Mr.  Frane  made  no  comment.  He  was 
apparently  still  thinking  about  his  epic. 

"By  the  way,  Frane,"  continued  Clayton, 
"whatever  happened  to  your  little  waitress?" 

Mr.  Frane  lighted  one  of  his  Russian  cigar- 
ettes, carefully  flicked  a  bit  of  ash  from  his 
sleeve. 

"She  was  an  unusual  little  girl,  Clayton. 
She  taught  me  a  great  deal.    In  fact,  I  might 


babbled  on.    "Classy  little  dress.    She  makes  say  she  renewed  my  confidence  in  women." 

it  look  like  Paris.     She  ought  to  go  far,  that  Mr.   Frane   watched  a  ring  of  smoke   spiral 

yd."  toward  the  ceiling.     "I  sent  her  a  t>T)ewriter 

:Mr.  Frane  had  occasion  to  know  that  the  to  use — my  own,  in  fact.    The  kid  was  broke 

lettuce    green    frock    which    had    seemed    so  and  I  suppose  there  were  plenty  of  times  when 

famihar  had  come  from  a  certain  Hollywood  she  could  have  hocked  the  typewriter.      Now 


shop.  Incongruously  enough  he  remembered 
that  the  statement  for  same  was  still  on  his 
desk.  He  drew  a  crisp  bill  from  his  mono- 
grammed  billfold  and  handed  it  to  the  waiter. 

"You're  not  going?"  Smith  remonstrated. 

"Yes,  I  think  I'll  take  the  air.  These  dance 
places  bore  me  to  tears, "  shrugged  the  sophisti- 
cated Mr.  Frane. 

It  was  perhaps  two  weeks  later  that  Frane 
encountered  Roger  Clayton. 


just  to  show  you  how  square  she  was,  do  you 
know  what  she  did?  She  sent  the  tj'pewriter 
back.  Not  many  Hollywood  girls  would  have 
done  that." 

"Well,  of  course,  Frane,  it's  not  every  man 
who  can  size  women  up  the  way  you  can.  You 
know  so  darned  much  about  them. " 

''T  suppose  it's  a  gift,"  remarked  Mr.  Frane 
wisely  as  he  finished  his  cigarette  and  said 
goodnight  to  !Mr.  Clayton. 


Jack  Gilbert  Writes  His  Own  Story 


CONTINUED  FROM  PAGE 


What  to  do?  .\imless  wanderings.  Movie 
shows.  The  Million  Dollar  Mystery — Selig 
zoo  pictures  with  Tom  Santschi  and  Kathlyn 
Williams;  Earle  Williams  and  Anita  Stewart; 
a  new  fascination — I  could  do  that !  I  should 
photograph  well.     Charlie  Chaplin.     Grand! 


But  my  heart  beat  quickly  as  a  low  wind 
from  the  Golden  Gate  whispered  in  my  ears: 
"Y^ou  are  going  to  be  a  movie  actor."  That 
was  important.  That  was  amazing.  That 
destroyed  these  obelisks  rising  precipitate, 
these  clusters  of  domes  and  towers,  these  dis- 


And  one  night  an  honest-to-goodness  Merton  plays  of  man's  mechanical  genius,  ily  expres- 
prayer:  "Oh,  God,  please  make  me  a  movie  sion  was  to  be  a  complete  projection  of  my 
actor."  inner  self  on  an  entirely  mental  plane,  with 

No  sooner  was  my  burning  desire  communi-     nothing  visible  but  a  shadow  of  me  thrown  on 
cated  to  my  father  than  a  letter  was  despatched     a  screen.    To  hell  with  this  man's  Exposition! 
to  Walter  Edwards,  then  a  director  of  pictures     I  was  seventeen!    Hi!    Ho!    What  a  world  to 
for  Thomas  H.  Ince,  of  the  New  York  Motion     live  in! 
Picture  Corporation  at  Inceville,  Santa  Monica. 
Two  especially  posed  photographs  were  en- 
closed.   A  week  of  foodless  days  and  sleepless 
nights,  awaiting  a   reply.     I   was  consumed 
with  my  ambition  and  was  completely  "movie 
truck."    I  absorbed  all  the  magazines  contain 


TN  the  afternoon  I  saw  a  picture.  A  new  idol 
J-sprang  up  before  me — William  S.  Hart.  I 
thought  he  was  great.  So  was  the  picture.  It 
was  called  "On  the  Night  Stage."  And  then 
time    turned    backward.      YVars    before,    my 


ing  news  of  pictures,  I  went  to  as  many  shows     mother  had  played  in  a  stock  company  in  Cin 

as  I  could  cram  into  a  day,  I  was  fe^•erish  and     -'"'•"''     "" '"-"'' '" "" — *- 

delirious  with  hopes  and  fears.  Then  came  the 
answer,  brief,  but  exploding  like  dynamite! 
"Mr.  Ince  says  he  can  give  the  boy  fifteen 
dollars  a  week  if  he  cares  to  come  down." 

I'm  afraid  I  became  a  bit  hysterical.  That 
night  I  dreamed  dreams  and  planned  plans, 
and  being  very  human,  I  forgot  all  about  God 
and  didn't  thank  Him  at  all.  Two  days  later  I 
left  for  Los  ,\ngeles.  Ariel  had  begun  to  play 
for  me,  and  I,  sure  of  his  capture,  chased  madly 
after  him.  But  I  did  not  catch  him.  I  never 
will. 


cinnati.  Her  leading  man's  name  was  Herschel 
Mayall.  The  last  time  I  had  seen  him  wias 
when  my  father  had  taken  me  into  a  saloon 
near  the  theater  to  say  goodbye,  as  the  com- 
pany was  closing.  A  few  words  of  farewell 
were  exchanged  and  we  departed,  leaving 
Herschel  leaning  against  the  bar,  one  foot  on 
the  rail,  his  glass  to  his  lips.  "On  the  Night 
Stage"  had  barely  started  when  a  title  was 
flashed  on  the  screen  introducing  "Black  Jack 
ISIalone,"  the  bad  man  of  the  movie.  As  the 
scene  faded  into  view  there  stood  Herschel, 
leaning  against  the  bar,  one  foot  on  the  rail, 
with  a  glass  raised  to  his  lips.  The  effect  upon 
me  was  startling.  Herschel  either  held  his 
liquor  well,  or  it  had  been  a  long  time  between 


C.\N   FRANCISCO,  and  several  hours   to 
^wait  for  a  southbound  train.     Time  in  the 

morning  for  a   trip   through   the   Exposition  drinks. 

Grounds,    the   great    World's    Fair   of    1915.         When  the  train  arrived  in  Los  Angeles,   I 

Magnificent  buildings,  designed  and  erected  by  rushed  to  a  telephone.   Santa  Monica,  I  knew, 

fie  greatest  architects  and  builders  in  America,  was  some  distance  from  the  city,  but  I  wished 

hut    for    me— unimportant.      The    Tower   of  to  announce  my  arrival.     The  studio  would 

Jewels,  radiant  in  the  sunlight,  reaching  far  probably  send  a  car  for  me.     (Do  not  forget 

into  the  heavens.    Insignificant.      The  exhibit  that  during  the  few  days  on  the  train  I  had 

of  machines,  massive,  cool  and  naked,  sullen  in  gone  through  my  entire  movie  apprenticeship. 

their  inactivity.    .Stupid  and  tiresome.  had  graduated  from  bits  and  small  parts  and 

Bfery  aclvcrllsomcnt   In  niOTOPLAY  M.AQAZINE  Is  gui:antecd. 


Photoplay  Magazine — Advertising  Section 


had  now  arrived,  important  and  a  bit  blase, 
ready  to  start  my  first  starring  vehicle.)  Some- 
one at  Inceville  answered  the  telephone.  I 
proclaimed  my  presence.  The  voice  inquired : 
"What  of  it?" 

I  asked:   "How  shall  I  get  out  there?" 

The  voice  came  back:  "Walk." 

I  answered:   "Don't  get  fresh." 

Inceville  retorted:  "  Go  to  hell,"  and  rang  up. 

A  bit  disturbed,  but  by  no  means  humbled,  I 
once  more  rang  the  studio  and  when  the  same 
disquieting  voice  came  over  the  wire  I  repeated 
my  previous  announcement  and  quer>',  where- 
upon the  gentleman  at  the  other  end  asked  who 
the  hell  I  was  and  what  the  hell  I  wanted  and 
what  the  hell  I  thought  that  place  was,  and 
once  more  told  me  to  go  to  hell,  and  again  rang 
up.  The  telephone  calls  had  cost  sixty  cents. 
I  decided  to  try  an  appearance  in  the  flesh. 

L-ATE  in  the  afternoon  I  found  Inceville,  God 
knows  how.  Trains  and  street  cars  and  busses 
carried  me  far  up  the  beach  beyond  Santa 
Monica.  There  lay  the  studio  of  my  dreams, 
under  two  feet  of  dust.  Inceville  resembled 
nothing  more  than  a  sleep}%  dirt)'  Western 
town — scattered  buildings,  of  plain  boards,  and 
rut  worn  roads  leading  up  into  the  hills.  Bar- 
ring the  entrance  was  a  high  swinging  gate 
with  a  "No  .\dmittance"  sign  barely  legible 
through  a  mixture  of  caked  mud  and  manure, 
and  guarded  by  a  crumby,  grisled  old  desert- 
rat.     Few  people  were  visible. 

I  approached  the  gateman  and  told  him  who 
I  was,  and  that  I  had  been  engaged  by  Mr. 
Ince.  He  merely  looked  at  me.  Stared  at  me 
for  a  long  time,  and  said  nothing, — and  did 
nothing. 

I  became  embarrassed.  I  repeated  my  in- 
formation. The  gateman  merel)'  stared.  My 
discomfiture  increased.  I  appeared  to  be  talk- 
ing to  a  deaf  mute.  .\n  impulse  seized  me  to 
open  the  gate  and  pass  through.  The  sight  of  a 
six-shooter  hanging  on  the  wall  of  the  gate 
house  smothered  the  impulse  at  birth.  I  looked 
about  me.  A  rugged,  endless  coast  hne 
stretched  east  and  west;  lazy  waves  lapped  in- 
termittently upon  the  sandy  beach;  a  tired 
seagull  floated  near,  casting  his  eyes  inquisi- 
tively in  my  direction. 

In  a  tremulous  voice  I  asked  the  gateman  if 
he  would  telephone  the  office  and  notify  some- 
one that  I  was  waiting.  His  reply  was  sharp 
and  laconic:   "No  'phone  here." 

I  felt  very  small  and  unimportant.  I  asked 
if  I  might  sit  down.  The  gateman  waited  a 
long  time  before  repl\ing,  then  asked :  "Where?" 

I  didn't  know,  so  I  remained  standing.  The 
gateman  spat  tobacco  juice  and  returned  to  the 
magazine  he  was  reading.  After  several  min- 
utes of  this  tortuous  silence  he  cocked  one  eye 
at  me  and  inquired:   "Actor?" 

Timidly  I  rephed:   "Yes,  sir." 

.\nother  long  silence  as  the  gateman's  eyes 
bored  into  my  soul,  then  he  mused:  "Hmm. 
Lot  of  'em  here." 

The  Ford  bus  from  Santa  Monica  chugged 
up  and  came  to  a  spasmodic  halt  to  await 
homegoing  passenge  s  from  Inceville.  The 
driver  said  to  the  gateman:  "'Lo,  Tom." 
The  gateman  said  to  the  driver:  "'Lo,  Joe." 
Silence. 

I  CLIMBED  into  the  bus  and  slipped  into  a 
dust  covered  seat.  I  shut  my  ej'es  and 
dreamed  a  little  bit.  I  was  not  aware  that 
nothing  ever  turns  out  as  we  have  planned. 
Inside  of  me  was  a  duU  ache,  and  Ariel  was 
silent. 

I  heard  the  sound  of  hinges  squeaking.  The 
gate  was  being  opened.  A  man  walked  toward 
the  bus.  The  man  was  Herschel  Mayall.  I 
leaped  upon  him.  He  did  not  recognize  me. 
I  told  him  who  I  was,  then  he  remembered.  I 
explained  my  predicament  and  he  was  entirely 
sympathetic. 

The  gateman  said  nothing  as  Herschel  led 
me  through  and  into  the  forbidden  territory'. 
I  was  taken  to  Walter  Edward's  office.  I  was 
so  voluble  and  excited  that  I  tried  to  mouth 
three  words  at  a  time.  Then  I  was  brought 
before  Mr.  Ince  and   his   business   manager. 


125 


m ' 


How  you 
can  help  him 

WIN!   f^ 


The  very  food  you  serve  at  the  table 

can  aid  him  in  avoiding  a  condition 

that  holds  men  hack 

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husband's  health.  The  food  she 
selects  can  help  him  in  his  daily  battle 
for  success. 

To  many  men,  the  limcheon  table  is 
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home,  therefore,  that  the  proper  precau- 
tions must  be  taken  against  the  menace 
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To  this  unnatural  condition,  physicians 
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'NOW     YOU'LL     LIKE     BRAN' 


PnOTOPLAY    M.\GAZINE. 


Photoplay  Magazine— Adv-ertising  Section 


rrlESE  new  sanitary  napkins 
solve  women's  problem  of 
personal  hygiene  in  a  safer, 
morecomfortable  way.  Made 
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Q^uM 


DRUG     S  TO  RE 

Lieeetts  are  also  ^Q/XaSl  stores 


V 

M 

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jm^  ^K^'t^M 

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W'-Z:"^. 

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SM-if 

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m.wa 

::r,«"-!^  ^ 

'Si* 

Not  a  European  ruin,  but  a  picture  of  the  old  church  at  Inceville. 
It  is  the  last  remaining  setting  of  what  was  once  the  most  thriving 
company  in  California.  Gilbert,  like  many  other  stars,  made  his 
debut  at  Inceville  under  the  management  of  the  late  Thomas  H. 
Ince 


Next 


EXD  or  P.AJIT  0.\-E. 
h,  Mr.  Gilbert  tells  voti  about  hh 


E.  H.  ADen.    They  were  both  cordial,  and 

made  me  welcome.     I  dined  that  night  with 

Walter  Ed^'^■ards,  and  lea\-ing  him,  rented  a  .                                  a    j   j           ■    ,j        ^ 

room  at  a  hotel  near  by.       I  tried  to  sleep  but  expenetices  as  an  extra.    And,  dramatically  and 

could  not.    I  was  neither  happy  nor  unhappy,  touclnngly,  he  writes  about  his  first  love  afair. 

I  was  not  calm,  neither  was  I  excited.    I  was  a  ^ou  will  want  to  read  nery  line  of  this  vivid  and 

mo\ie  actor  and — well — what  the  hell  of  it?  interesting  story. 


What  Makes  You  Laugh? 


[  CO:\TIXT.-ED  FEOil  P.^GE  35  ] 


Usually  you  are  able  to  be  the  conqueror  in 
that  conflict  and  in  the  main  you  succeed  in 
having  enough  to  eat,  in  caring  for  those  who 
are  near  and  dear  to  you,  and  in  a  measure, 
in  fulfilUng  your  ambitions  and  at  least  realizing 
a  few  of  your  long-cherished  dreams. 

But  in  many,  many  ways  you  are  not  the 
lonqueror.    You  are  the  vanquished. 

The  poverty  and  misery  of  others  may  upset 
\(ju  but  you  are  powerless  to  help. 

Disappointments  you  have  aplenty  but  you 
can,  apparently,  do  nothing  about  it. 

Your  love-life  may  be  thwarted. 

You  may  be  harassed  with  illness  and  debts. 

Under  manifold  circumstances  and  condi- 
tions life  gives  you — everyone  of  us — its  hard 
and  often  brutal  blows. 

A  N'D  just  here  it  is  that  laughter  steps  in  to 
■'  »■  soothe  the  pain  or  to  submerge  and  belittle 
tlio  sorrow  as  though  it  were  non-existent. 

That  is  why  a  sense  of  humor  has  always 
l)('cn  credited  as  one  of  the  greatest  of  person- 
ality assets.  To  see  the  funny  side,  the  ridicu- 
lous side — this  is  worth  more  than  a  million. 

With  the  threshold  of  your  laughter  instinct 
[iropcrly  placed  you  are  indeed  a  lucky  in- 
iliMilual.  Yes,  when  you  are  fit,  physiologic- 
ally and  psychologically,  you  find  your  risibil- 
ities tickled  over  trivialities  that  might  even 
annoy  you  under  other  conditions. 

When  you  are  properly  and  normally 
equipped  with  the  armor  of  laughter  you  may 
even  smile  when  a  man  steps  on  your  own  toes. 


Then  you  don't  take  the  world  at  its  face 
\-alue.  You  feel  so  good  that  you  rise  superior 
to  the  world.  You  laugh  it  out  of  court  in  an 
attempt  to  belittle  it.  But  to  get  back  to  the 
deeper  analysis  of  laughter. 

Laughter,  I  said  before,  acts  as  a  safety 
valve  for  pent-up  emotion.  That  is  why  a  girl 
giggles  when  she  is  embarrassed.  You  laugh 
when  you  see  a  situation  on  the  screen  that  is 
embarrassing  to  the  actors. 

Undoubtedly  that  ex-plains  why  pictures 
dealing  with  sex  topics  one  ordinarily  does  not 
discuss  in  polite  society  draw  such  large 
audiences. 

TN  the  darkness  of  the  theater  we  feel  sort  of 
•^-protected  and  unseen.  We  therefore  dare 
to  laugh  at  compromising  situations  which 
might  make  us  blush  ordinarily  or  make  us 
w^ant  to  hide  our  faces  in  shame.  If  this  pent- 
up  emotion  is  ^-erj'  great  you  will  tind  that  the 
laughter  becomes  rather  hysterical. 

Under  such  circumstances  the  individual  not 
only  laughs  to  work  ofif  his  embarrassment, 
but  finding  himself  laughing  and  therefore 
responding  to  the  embarrassing  situation,  he 
becomes  further  embarrassed  because  of  his 
sense  of  guilt  and  he  laughs  still  harder  in 
order  to  try  to  cover  it. 

Indeed,  laughter  may  verj'  easily  become 
weeping.  And  perhaps  you  have  noted  that 
from  the  facial  e.xpression  it  is  often  difficult  to 
determine  whether  a  person  is  laughing  or 
crying. 


Every  advertliement  in  PHOTOPLAY  MAOAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


It  is  a  curious  psychological  fact  that  we  also 
invariably  laugh  at  the  misfortune  of  others, 
provided  that  misfortune  is  not  very  marked. 
In  other  words,  if  you  see  a  person  tripped  up 
in  the  street  so  that  he  falls  you  laugh,  but 
should  you  see  him  knocked  unconscious  or 
break  a  leg  you  would  not  laugh. 

In  this  instance  it  is  not  the  situation  as 
much  as  the  result  of  the  situation  that  deter- 
mines the  laughter  or  the  sorrow.  In  the  one 
case  you  are  pleased  at  seeing  somebody  else 
get  the  worst  of  it  while  in  the  other  you  feel 
sorry  because  the  suffering  to  the  other  is  loo 
intense  and  j-ou  are  ashamed  of  taking  pleasure 
in  that. 

V\  7HAT  always  brings  a  laugh  is  someone 
**  sitting  on  a  hat  or  slipping  on  a  banana 
peel. 

Here  we  have  an  unusual  and  unexpected 
situation  coupled  with  loss  of  dignity  of  the 
person  invohed.    We  get  a  kick  out  of  that. 

It  gives  a  fillip  to  our  egoes. 

In  a  psychological  sense  we  rise  superior  and, 
sjTnbolically,  we  are  the  conquerors  of  reality. 

Anything  that  is  striking  or  bizarre  may  also 
make  us  smile  or  laugh. 

In  "The  Circus"  and  "The  Gold  Rush" 
Chaplin  invents  many  such  situations. 

Bernard  Shaw  has  a  way  of  turning  things 
upside  down,  putting  them  in  peculiar,  strange 
relationships  and  that  is  one  reason  why  his 
comedies  are  so  effective. 

All  farces  are  built  upon  similar  lines.  It  is 
stiU  funny  when  a  man  unwittingly  enters  the 
wrong  bedroom  and  prepares  for  a  quiet, 
peaceful  sleep.  Unfortunately,  screen  humor 
started  at  the  wrong  end. 

All  sorts  of  slap-stick  comedy  of  the  most 
ordinary  and  obvious  variety  received  prom- 
inence and  was  commercialized  with  unflagging 
zeal.  We  still  see  this  sort  of  thing  on  the  screen 
but  happOy  real  comedy  and  humor  is  being 
presented  more  and  more  frequently  in  recent 
years. 

The  screen  no  longer  seems  to  depend  for 
laughs  upon  such  situations  where  the  gentle 
shy  lover  is  surprised  at  his  courtship  by  his 
tough-looking  rival  who  threatens  corporal 
punishment. 

When  papa  is  forced  to  walk  the  floor  with  the 
baby  at  night  the  picture-makers  cannot  be  so 
sure  of  a  laugh  response  from  its  audience  as 
they  could  ten  or  fifteen  years  ago. 

The  reason  for  this  is  not  because  the  public 
has  changed  regarding  its  laugh  mechanisms 
but  rather  because  these  situations,  so  A  B  C 
like  and  childish,  have  become  hackneyed  and 
stale  from  over-use.  We  still  respond  to  slap- 
stick comed}'  because,  in  the  last  analysis,  we 
are  aU  children  at  heart. 

"KTO  matter  how  old  or  experienced  or  world- 
■^^ly  wise  we  may  be,  childish  mischievous- 
ness  and  delight  in  beholding  such  mischief  lies 
not  very  deep  down  under  the  skin  of  each  and 
every  one  of  us.  But  nowadays  this  sort  of 
comedy  must  be  no\el  and  somewhat  more 
subtle  than  it  used  to  be  if  the  childhood 
responses  in  us  are  to  be  elicited.  You  may 
laugh  if  a  brick  falls  off  a  piece  of  scaffolding 
and  hits  a  man  on  the  head.  That  is,  you  will 
laugh  the  first  time  you  see  it.  But  you  won't 
laugh  at  so  obvious  an  accident  if  you  see  it  for 
the  second  or  third  time. 

The  one  thing  you  can  be  sure  of  about  the 
why  and  wherefore  of  laughter  is  that  it  always 
caters  to  your  pride,  j'our  self-assurance,  your 
ego.  When  j'ou  laugh  you  feel,  by  comparison, 
superior  to  the  person  you  laugh  at! 

When  you  laugh  you  are  the  mnner  in  the 
conflict  of  Ufe! 

But  when  all  is  said  and  done,  what  does  it 
matter  which  of  these  theories  of  laughter  is 
the  most  satisfactory  so  long  as  you  actually  do 
laujh.^  Let  your  laughter  pat  you  on  the  back 
all  it  can.  Laugh  all  you  can  and  whenever  you 
can. 

And  may  the  day  soon  dawn  when  movie 
comedies  will  be  so  prolific  and  ingenious  that 
)'ou  and  I  and  anyone  of  us  will  be  able  to  buy 
all  the  laughter  we  require  for  a  mere  pittance. 


27 


BOL7RJOIS 

P  APa  S  FRANCE 


^^^HE  modern  woman  knows  one 

Cf}  goal  above  all  others— to  keep  her 

youth.    And  whether  her  Junes  are 

coming  or  going,  she  finds  Manon 

Lescaut  Face  Powder  uniquely 

suited  to  this  vital  outdoor  age 

when  every  woman  is  young. 


Blanche.  Naturelle,  Rachel.  Ocre'e,  Mauve. 
Peaches*  Powder,  Peaches -and -Cream*  Powder 


MANON 
LESCAUT 

FACE    PO^H^DER 

OVP-JOIS       ISC-     PAH-IS      A.H-D       VE-*V    YO  TUK 


III! inNiiiNiiiiMiiiiiiMiiiiiiiniiiiriiMriiiiiiMiiiiiiiMiiiiiiiiiiiiiiiuiiiiniiiiiiiiiHiiinMinMiiiiiiiiiiiiijniiiiiiiiiiniiiiiiim 

to  advertisers  please  mention  PII0T0PI,AT  MAG-VZIXE. 


iiiiiii IIIIIHIIIII llllllf 


Photoplay  Magazine — Advertising  Section 


Brief  Reviews  of 
Current  Pictures 


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[  COXTI-MED  FKOII  P.^GE    14  ] 

IRRESISTIBLE  LOVER,  THE— Universal.— 
What  happens  when  a  hard-boiled  bachelor  meets  a 
sweet  voung  thing.  Just  a  lot  of  nonsense,  snapped  up 
by  Norman  Kerry  and  Lois  Moran.  (January.) 

JAWS  OF  STEEL— Warners.— Rin-Tin-Tin  draws 
a  bad  one.     (December.) 

JAZZ  SINGER,  THE  — Warners.  — Neither  a 
Broadway  reputation  nor  "Mammy"  songs  on  the 
Vitaphone  nor  a  good  story  can  conceal  the  painful 
fact  that  Al  Jolson  is  no  movie  actor.    (December.) 

♦JESSE  JAMES— Paramount.— Fred  Thomson  in 
an  exciting,  sure-fire  presentation  of  the  exploits  of  the 
distinguished  train  robber.  Don't  let  the  blue-noses 
interfere  OTth  your  enjoyment  of  a  corking  melo- 
drama.    (December.) 

JUDGMENT  OF  THE  HILLS— FBO.— An  inter- 
esting and  human  story  of  life  in  the  Kentucky 
mountains.    Our  hats  off  to  Frankie  Darro,  a  fine  boy 


LADIES  MUST  DRESS— Fox.— A  comedy  that 
starts  off  like  a  whirlwind  and  then  collapses.  (Janu- 
ary.) 

LADIES'  NIGHT  IN  A  TURKISH  BATH— First 

National. — There  are  lots  of  laughs  in  this  adaptation 
of  the  stage  farce.  Not  subtle,  but  funny.  With 
Dorothy  Mackaill  and  Jack  Mulhall.    (March.) 

LADY  BE  GOOD — First  National. — How  Dor- 
othy Mackaill  can  dance  1  And  what  a  snappy 
comedienne!  Don't  forget  that  Jack  Mulhall  is 
featured  with  her.     A  neat  little  show.     (May.) 

LADY  OF  VICTORIES,  THE— Metro-Goldwyn- 
Ma^•er. — The  romance  of  Napoleon  and  Josephine, 
gorgeouslj'  presented  in  Technicolor.  Only  two  reels, 
but  very  much  worth  seeing.     (March.) 

*LAST  COMMAND,  THE  —  Paramount.  —  A 
powerful  and  tragic  story  of  a  cousin  of  the  Tsar  of 
Russia  who  becomes  a  Hollywood  "extra."  Thanks 
to  the  magnificent  acting  of  Emil  Jannings,  this  film 
is  the  most  popular  crying-fest  of  the  season.  (March.) 

LAST  MOMENT,  THE— Fine  Arts.— An  inde- 
pendent film,  built  around  the  theory  that  a  drowning 
man  sees  his  whole  life  pass  in  review  in  a  few  seconds. 
Terribly  overacted.     (February.) 

LAST  WALTZ,  THE— UFA-Paramount.— Ger- 
man sentiment  that  needs  music — and  a  certain 
verbolen  beverage — to  put  it  over.  Willy  Fritsch 
wears  uniforms — and  how!     (December.) 

LATEST  FROM  PARIS,  THE— Metro-Goldwyn- 
Mayer. — Norma  Shearer  plays  a  travelling  sales- 
woman.   Bright,  snappy  entertainment.    (March.) 

LAW  OF  FEAR,  THE— FBO— The  best  part  of 
this  picture  is  the  review  of  the  private  life  of  Ranger, 
the  police  dog.     (May.) 

LAW  OF  THE  RANGE,  THE— Metro-Goldwyn- 
Mayer. — Tim  McCoy  in  a  thriller  that  has  heart 
interest.  Joan  Crawford  plays  a  sweet,  old-fashioned 
girl.    That  ought  to  send  you  to  see  it.    (March.) 


*LEGION  OF  THE  CONDEMNED,  THE— Para- 
mount.— More  heart-gripping  than  "Wings."  It's  a 
story  of  tlie  exoloits  of  a  French  Flying  Squadron. 
(February.) 

LEGIONNAIRES  IN  PARIS  —  FBO.  —  A  bur- 
lesque of  what  happened  to  the  American  Legion  in 
Paris  last  summer.  You'll  laugh  and  laugh  and  laugh. 
(February.) 

♦LEOPARD  LADY,  THE— Pathe-De  Mille.— A 
story  with  a  new  slant  and  a  surprise  ending.  It  all 
takes  place  in  a  Continental  travelling  circus.  A  fine 
performance  by  Jacqueline  Logan.     (March.) 

LIGHT  IN  THE  WINDOW,  A— Rayart— Simple 
tear  jcrker  with  some  sincere  acting  by  Henry  B. 
Walthall.      (February.) 

LIGHTER  THAT  FAILED.  THE  —  Metro- 
Goldwyn-Mayer. — Hal  Roach  builds  a  comedy  on  a 
gift  fad.    Little,  but  oh,  my!    (February.) 

LITTLE  MICKEY  GROGAN— FBO.— A  sweet 
and  sloppy  story,  which  Frankie  Darro  and  Jobyna 
Ralston  cannot  help  much.     (May.) 

LONDON  AFTER  MIDNIGHT  —  Metro- 
Goldwyn-Mayer. — Lon  Chaney  in  a  grand  murder 
mystery.    Mr.  Chaney  plays  a  dual  r61e.    (February.) 

LONE  EAGLE,  THE— Universal.— Another  pic- 
ture inspired  by  Lindbergh.  Fair,  thanks  to  young 
Raymond  Kcane.     (December.) 

LOVE  AND  LEARN  —  Paramount.  —  Wherein 
Esther  Ralston  keeps  Papa  and  Mamma  from  getting 
a  divorce.    Smart,  light  comedy.     (March.) 


DANDRUFF 

A  Sure  Way  to  End  It 

There  is  one  sure  way  that  never  fails  to  re- 
move dandruff  completely,  and  that  is  to  dissolve 
it.  Then  you  destroy  it  entirely.  To  do  this, 
just  apply  a  little  Liquid  Arvon  at  night  before 
retiring;  use  enough  to  moisten  the  scalp  and 
rub  it  in  gently  with  the  finger  tips. 

By  morning,  most,  if  not  all,  of  your  dandruff 
will  be  gone,  and  two  or  three  more  applications 
will  completely  dissolve  and  entirely  destroy 
every  single  sign  and  trace  of  it,  no  matter  how 
much  dandruff  you  may  have. 

You  will  find,  too,  that  all  itching  of  the  scalp 
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You  can  get  Liquid  Arvon  at  any  drug  store, 
and  a  four  ounce  bottle  is  all  you  will  need. 

This  simple  remedy  has  never  been  known  to 
fail. 


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Photoplay  Magazine — Advertising  Section 


129 


LOVELORN,  THE— Metro-Goldwyn-Mayer.— 
The  tale  of  two  sisters  who  could  have  avoided  a  lot  of 
tragedy  by  heeding  the  wisdom  of  Beatrice  Fairfax. 
Not  for  the  sophisticated,    {January.) 

LOVE  MART,  THE— First  Natioral.— Pictorially 
fine  romance  of  old  Louisiana,  with  Billie  Dove  and 
Gilbert  Roland.     (February.) 

LOVE  ME  AND  THE  WORLD  IS  MINE— Uni- 
versal.— Dowdy  story  of  war-time  Vienna,  with  a 
Daddy  Browning  romance  between  Mary  Philbin 
and  Henry  B.  Walthall.  Betty  Compson  is  the  only 
live  thing  in  the  show.      (April.) 

MAD  HOUR— First  National.— Elinor  Glyn 
preaches  a  none  too  convincing  story  on  the  follies  of 
jazzmania.    Snappy  acting  by  Sally  O'Neil.     (May.) 

MAIN  EVENT,  THE  — Pathe-De  Mille.  — Prize- 
fight stuff.  The  story  is  old ;  the  directorial  twists  are 
new.  The  acting  is  above  par.  That's  all.  (Janu- 
ary.) 

MAN  CRAZY— First  National.— Dorothy  Mac- 
kaill  and  Jack  Mulhall  in  a  comedy  about  a  couple  of 
Down  East  high-hats  who  go  in  for  adventure. 
Pleasant  light  fiction.    (January.) 

MAN  WHO  LAUGHS,  THE— Universal.— 
Draggy  version  of  a  classic  that  may  interest  the 
hounds  for  art.  Conrad  Veidt's  acting  is  the  iiigh 
spot  of  the  film.     (May.) 

*MAN,  WOMAN  AND  SIN— Metro-Cfoldwyn- 
Mayer. — Scandal  in  a  Washington  newspaper  ofSce. 
with  some  good  capital  atmosphere  and  some  con- 
ventional movie  melodrama.  John  Gilbert  does  well, 
but  Jeanne  Eagels  is  no  Greta  Garbo.    (January.) 

♦MOTHER  MACHREE— Fox.— Get  out  your 
handkerchiefs;  this  is  a  tear-fcst.  The  story  of  the 
Irish  mother  is  conventional  but  Belle  Bennett's 
performance  nlucks  at  the  heart  strings.  And  little 
Piiilippe  de  Lacy  will  delight  you.  What  a  boy!   (May.) 

MUM'S  THE  WORD— Fox.— Another  two-reel 
comedy  with  Nick  Stuart  and  Sally  Phipps  that 
deserves  your  kind  attention.    (January.) 

*MY  BEST  GIRL— United  Artists.— Some  of  Mary 
Pickford's  best  comedy  and  a  romantic  episode, 
played  with  "Buddy"  Rogers,  that  is  Mary  at  her 
greatest.    The  children,  of  coursel    (December.) 

MY  FRIEND  FROM  INDIA— Pathe-De  Mille.— 
The  sort  of  thing  that  made  'em  laugh  when  girls  wore 
long  skirts  and  high  laced  shoes.    (January.) 

NAMELESS  MEN— Tiffany-Stahl.— Claire  Wind- 
sor flutters  through  a  story  of  the  secret  service. 
Don't  cry  if  you  miss  it.    (May.) 

NEST,  THE— Excellent.— Pauline  Frederick  brings 
her  great  gifts  to  the  sincere  portrayal  of  a  mother 
r61e.     (December.) 

NIGHT  FLYER,  THE— Pathe-D,-  Mille.  —  Big 
doings  among  the  railroaders,  with  William  Boyd's 
charm  triumphing  over  a  dirty  face.      (April.) 

NIGHT  LIFE — Tiffany. — An  engrossing  drama  of 
Vienna,  before  and  after  the  war.  The  crook  stuff  has 
an  original  twist  and  Eddie  Gribbon,  Johnnie  Harron 
and  Alice  Day  contribute  some  fine  acting.  (January.) 

*NIGHT  OF  MYSTERY,  A— Paramount  — 
Adolphe  Menjou  involved  in  the  romantic  dilemma 
of  a  captain  of  the  French-.\frican  Chausseurs.  One 
of  liis  most  attractive  pictures.  With  Evelyn  Brent. 
Adult  amusement.     (May.) 


*NOOSE,  THE — First  National. — Richard  Barth- 
elmess  again  gets  a  picture  worthy  of  his  talents.  An 
extra-fine  melodrama  that  will  hold  you  Isppll- 
bound.     (March.) 

NO  PLACE  TO  GO— First  National.— Fun  on  a 
South  Sea  Island,  with  Mary  Astor  and  Lloyd 
Hughes.      (December.) 


Fred   Freitas   Gets   His 
$500    Check 

WTien  the  judges  in  the  $15,000 
PHOTOPLAY-Paramount-Famous-Lasky 
Corporation  Idea  Contest  named  their 
winners,  the  sixth  prize,  of  S500,  was 
awarded  to  Fred  L.  Freitas.  Mr.  Freitas 
neglected  to  give  his  full  address  and  he 
was  requested  to  write  to  Photoplay, 
giving  his  address  and  identifying  him- 
self. 

Mr.  Freitas  has  identified  himself  to 
the  satisfaction  of  the  contest  judges 
and  his  check  for  S500  has  been  for- 
warded to  him.  Mr.  Freitas  lives  at 
No.  504  Fortieth  Street,  Sacramento, 
Cal.  He  has  the  belated  congratula- 
tions of  Photopl.'VY  upon  his  success. 


ne 


'^/y^^cS 


IDE 


GRUNTS.  Sco-wls.  Mutterings. 
What's  it  all  about'? 

Oh,  nothing  much— just  the  -way 
the  Joneses  start  the  day. 

Don't  they  like  each  otherl 

Oh,  yes — but  they  probably  "won't 
if  they  keep  on  this  "way. 

Well ! — tvhat's  ivrong  with  the  Joneses? 
Probably  something  that  isn't  usu- 
ally mentioned  in  polite  society: 
Intestinal  sluggishness. 

You  know  how  intestinal  sluggishness 
ruins  the  sweetest  disposition,  how  it 
saps  energy,  invites  disease.  Yet  you 
probably  share  the  distrust  of  most  in- 
telligent people  for  ordinary  laxatives. 

Now,  in  a  deliciously  cool,  mint- 
flavored  tablet  —  Feen-a-mint  — 
modern  Science  has  ans-wered  this 
perplexing  problem  of  modern  life! 


Bed., 


For  Feen-a-mint  is  different.  You 
don't  swallow  it  hastily — you  cheiu 
it.  And  as  you  chew,  its  tasteless 
yet  almost  magically  effective  lax- 
ative principle  begins  to  mix  -with 
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So,  instead  of  striking  the  body  a 
blow  without  -warning,  Feen-a-mint 
helps  the  system  to  help  itself  I 

RESULTS  are  amazing.  A  new  vi- 
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clear-eyed,  up-in-the-morning-early 
feeling,  as  hundreds  of  thousands  of 
men  and  women  know.  You  -will 
find  this  wonderful  laxative  at  your 
druggist's  now.  Take  a  Feen-a-mint 
tablet  at  any  time,  confident  of  feel- 
ing a  different  person  in  six  to  eight 
hours. 


HEALTH  PRODUCTS  CORP.,  Dept.5-L,  Newark,  N.J. 
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Photoplay  Magazine — Advertising  Section 


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NOW  WE'RE  IN  THE  AIR— Paramount.— Wal- 
lace Beery  and  Raymond  Hatton  show  signs  of  weak- 
ening under  the  strain.  They  need  a  fresh  line. 
{^December.) 

ONE  ROUND  HOGAN— Warners.— Wherein  love 
saves  the  championship  for  a  prizefighter.  With 
Monte  Blue  and  Leila  Hyams.  Not  so  bad.  {De- 
cember.) 

ON  TO  RENO— Pathe-De  Mille.— Pretty  good 
comedy,  but  Marie  Prevost,  aided  by  James  Cruze, 
sliould  do  better  than  this.     (December.) 

ON  YOUR  TOES— Universal.— Well,  there's  a 
good  prize  fight  episode.  With  Reginald  Denny, 
(March.) 

OPEN  RANGE— Paramount. — Lane  Chandler 
and  his  horse,  "Flash,"  in  one  of  the  best  Westerns 
now  leaping  across  our  screens.    (January.) 

OUT  ALL  NIGHT— Universal.— Reginald  Denny 
does  his  best  to  put  spontaneity  into  a  machine-made 
farce.      (December.) 


PAJAMAS— Fox. — Olive  Borden  as  one  of  those 
terrible  movie  society  girls  that  ought  to  be  slapped  to 
sleep.      (February.) 

PARIS  OR  BUST— Universal.— Glenn  Trj'on  as  a 
boy  who  knew  he  was  a  flyer  "because  his  mother 
gave  his  father  the  air."  Anyway,  you'll  laugh  at  it. 
(December.) 

PARTNERS  IN  CRIME— Paramount.— Beery 
and  Hatton  in  the  undenvorld.  Mostly  gags.  You 
know  the  type.      (May.) 

PATSY,  THE— Metro-Goldwj'n-Mayer.- Marion 
Da\aes  is  charming  in  a  modern  ugly  duckling  stor>'. 
You'll  love  her  impersonations  of  famous  screen  gals. 
Your  money's  worth.     (May.) 

PHANTOM  OF  THE  RANGE— FBO.— Not  the 
kitchen  range,  Geraldine,  but  the  wide  open  spaces. 
However,  don't  let  the  title  fool  you;  it's  a  good 
film  and  it  features  Tom  Tyler  and  little  Frankie 
Darro.      (.April.) 

PIONEER  SCOUT,  THE— Paramount.— Fred 
Thomson  and  Silver  King  in  a  Western  that  strives 
for  variety  by  having  Thomson  play  a  dual  role. 
(May.) 


POWDER  MY  BACK— Warners.— Irene  Rich  in 
an  improbable  but  sophisticated  comedy.  It  has  a 
political    background.       (May.) 

-Moral:     Don't 
(February.) 

PRICE  OF  HONOR,  THE— Columbia.— An  old- 
time,  tear-jerking,  heart-stirring  melodrama,  well  pre- 
sented and  well  acted.  Better  than  a  lot  of  more 
widely  touted  extravaganzas.      (December.) 

*PRIVATE  LIFE  OF  HELEN  OF  TROY,  THE— 

First  National. — Not  the  satireof  Erskine's  novel,  but 
a  movie  burlesque  of  Homer  with  wise-cracking  titles. 
Maria  Corda  is  a  fascinating  new  type.    (January.) 

RACING  ROMEO,  THE  —  FBO.  —  "  Red  " 
Grange  in  a  motor  maniac  yarn.  A  weak  one, 
(January.) 

RAGTIME— First  Division.— Just  a  lot  of  cellu- 
loid.   (January.) 

*RAMONA  —  United  Artists.  —  A  pictorially 
lovely  version  of  Helen  Hunt  Jackson's  novel  of  early 
California.  Dolores  Del  Rio  is  excellent  as  the  Indian 
girl.     (March.) 

RED  HAIR— Paramount.— Clara  Bow's  hair  in 
natural  colors!    Also  an  Elinor  Glyn  story  of  a  gold- 


RED  RIDERS  OF  CANADA— FBO.— Heroic  stuff 
about  the  Great  Northwest.    Okay.    (February.) 

RIDERS  OF  THE  DARK— Metro-Goldwyn- 
Mayer. — Tim  McCoy  in  Western  Plot  Number  Four, 
Roy  D'Arcy's  teeth  in  the  foreground.   (May.) 


ROAD  TO   ROMANCE,   THE 

Mayer. — Joseph  Conrad's  novel  co 
rial  movie.    Not  congenial  stuff  for  Ra 
(December.) 


Metro-Goldwyn 
is  an  un- 
Novarro. 


ROAD  TO  RUIN,  THE— Cliff  Broughton.— 
Sponsored  by  the  Juvenile  Courts,  this  film  should 
only  be  shown  to  selected  audiences.  A  sensational 
portrayal  of  a  deplorable  social  evil,  with  nothing  left 
to  the  imagination.  If  you  like  this  sort  of  thing — 
(May.) 

ROSE-MARIE  —  Metro-Goldwyn-Mayer.  — 
Adapted  from  the  musical  comedy.  Exciting  doings 
and  hot  romance  among  the  fur  traders  of  Canada 
With  Joan  Crawford  and  James  Murray,     (March.) 

RUSH  HOUR,  THE— Pathe-De  Mille.— Convcn- 
tional  stuff,  ornamented  by  Marie  Prevost  and  Seena 
Owen.  Oh,  dear,  these  eternal  working  girlsl    (April.) 

SADDLE  MATES— Pathe.—Wally  Wales  in- 
dulges in  a  lot  of  rough  and  tumble  fighting.  You've 
guessed  it— it's  a  Western.     (May.) 


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*SADIE  THOMPSON— United  Artists 
Swansoii  triumphs  over  tlie  censors.  A  racy,  ironic 
and  dramatically  fine  story,  with  a  swell  performance 
by  Lionel  Barrymore  and  Gloria's  finest  acting  to 
date.  Not  for  eiehth-grade  intelligences,  but  real 
stuff  for  persons  of  normal,  healthy  mentalities. 
(April.) 

SAILORS  SWEETHEART.  A  — Warners.— 
They  have  nerve  to  call  this  "comedy,"  Don't  do  it 
again,  Louise  Fazendal    ^December.) 

SAILORS'  WIVES— First  National.— .\  fumi- 
gated sequel  to  "Flaming  Youth."  A  couple  of 
suburban  orgies  enliven  it,  but  it  is  mostly  sombre. 
Mary  Astor  does  her  darndest  to  act  wild.     (May.) 

SAN  FRANCISCO  NIGHTS— Gotham —Mae 
Busch,  as  a  cabaret  girl,  rescues  Percy  Marmont 
from  life  in  the  underworld.  Mae's  a  good  trouper. 
Ufril.) 

SATAN  AND  THE  WOMAN— Excellent.— Show- 
ing how  a  narrow-minded  small  town  can  be  mean  to 
a  prettv  girl  like  Claire  Windsor.  Fie  on  them! 
Upril.) 

SCARLET  YOUTH— S.  S.  Millard.— Supposed  to 
have  a  big  social  message;  one  of  those  medical  films 
that  plays  to  "men  only"  and  "women  only"  audi- 
ences. Don't  let  them  kid  you.  It's  just  to  get  the 
easy  money  of  an\-one  simple  enough  to  be  taken  in  by 
the  sensational  advertising.      (/I  pril.) 

SECRET  HOUR,  THE— Paramount.— A  white- 
washing of  that  fine  play,  "They  Knew  What  They 
Wanted,"  wliich  proves  that  you  can't  make  pictures 
to  please  the  censors  and  have  'em  good.    (December.) 

SERENADE — Paramount. — Holding  a  stethoscope 
to  the  fluttering  heart  of  a  musician.  One  of  Adolplie 
Menjou's  best,  and  brightened  by  the  presence  of 
Kathryn  Carver.      (February.) 

SHEPHERD  OF  THE  HILLS— First  National.- 
Pure  Harold  Bell  Wright  and  very  sweet  and  clean. 
But  just  a  teeny,  weeny  bit  slow.     (March.) 

•SHE'S  A  SHEIK— Paramount.— Bebe  Daniels  is 
great  as  a  wild  .'Arabian  gal  who  captures  her  man  and 
tames  his  proud  spirit.    A  swell  evening.    (January.) 

SHIELD  OF  HONOR— Universal.— Help  your- 
self, if  you  like  crook  stories.     (December.) 

SHOWDOWN,  THE— Paramount.— .A  good  pic- 
ture of  life  in  the  depressing  Mexican  oil  fields.  Not 
exactly  cheery  but  well  acted  by  George  Bancroft 
and  Evelyn  Brent.     (May.) 

SILK  LEGS— Fox.— Madge  Bellamy  demonstrates 
how  to  sell  silk  stockings.   Whipped  cream.    (March.) 


Photoplay  Magazine 

GIoi 


-Advertising  Section 


SILVER  SLAVE,  THE— Warne 
saves  daughter  from  the  clutches  of  i 
ing  him  herself.  Ah,  these  self-sai 
(February.) 

SILVER  VALLEY— Fox.— Ton 
formin'  sheriff.     Tom  has  IT.     (Dei 


5. — How  mother 
villain  by  vamp- 
ificing  mothersi 


John 


SIMBA— Martii 

ing  travellers,  the  Ma 
another  one  of  thrir  e 
Gre^t  studies  ot  wild  an 
(April.) 


Corp.  —  Those  charm- 
Jolinsons,    have    made 

taining   jungle   pictures. 

s  in  their  native  haunts. 


SKINNER'S   BIG    IDEA— FBC- 

,me-lapse.    Bryant    Washburn    cont 
1  of  your  old  friend.  Skinner. 


— .'\fter   a    long 
inues    the    ad- 
(May.) 

SKY-SCRAPER— Pathe-De  Mille.— Love  among 
the  riveters.  The  locations  are  thri.ling,  although  the 
plot  is  hackneyed.  With  Sue  Carol  and  Winiam 
Boyd.      (April.) 

SMART  SET,  THE— Metro-Goldwyn-Mayer.  — 
William  Haines  takes  up  polo.  Always  the  same, 
fresh  kid.  But  good,  if  you  go  in  for  flippant  youth. 
(April.) 

SOFT  LIVING— Fox.— Adventures  of  a  stenog- 
rapher who  finds  that  it  is  easier  to  get  alimony  than 
work  for  a  living.  But  love  saves  a.l.  With  Madge 
Bellamy  and  Johnny  Mack  Brown.      {April.) 

SOMETHING  ALWAYS  HAPPENS  —  Para- 
mount.— Esoecially  in  a  haunted  house.  Good 
comedy  thrills  and  lots  of  action.  With  the  eye- 
soothing  Esther  Ralston.     (May.) 

*SORRELL  AND  SON— United  Artists.— Herbert 
Brenon  has  made  a  touchingly  beautiful  picture  of 
this  story  of  a  father's  love  for  his  son.  Superbly 
played  by  H.  B.  Warner  and  a  fine  cast.    (January.) 

*SPEEDY — Lloyd-Paramount. — Harold  Lloyd  cap- 
tures all  the  dash  and  excitement  of  Manhattan.  .\n 
ingenious  and  high-powered  comedy.  For  the  whole 
family,  of  course.      (May.) 

SPORTING  GOODS— Paramount.-Richard  Dix 
plays  an  enterprising  salesman  in  one  of  the  very  best 
current  light  comedies.     (March.) 

SPOTLIGHT,  THE— Paramount.— How  the  bu- 
colic Lizzie  Slokes  became  Roslova,  the  Russian  star. 
Nice  kidding  of  our  craze  for  foreign  names  and  tem- 
perament.   With  Esther  Ralston.     (January.) 

SQUARE  CROOKS — Fox. — Original  variations  of 
the  usual  crook  business  lift  this  comedy  above  the 
ordinary.  Jackie  Coombs,  a  three-year-old  kid,  runs 
away  with  the  laughs.      (April.) 

STAND  AND  DELIVER— Pathe-De  Mille.— Rod 
La  Rocque  joins  the  French  Army  and  goes  on  a  ban- 
dit hunt.  Once  more  Lupe  Velez  registers  a  hit. 
(February.) 


TRE-JUR 

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You  will  find  it  in  a  new  series  of  Tre-Jur's 
exquisite  compacts  ....  in  the  "Little  One", 
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new  "Thinest",  no  deeper  than  a  dollar  (and 
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of  beautifully  lacquered  colors  attuned  to 
your  costume  and  to  Modern  Art.  (Rich 
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Did  you  knoiv  that  Tre-Jur's 
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Two  powders,  a  heavy  and  a  light,  pre-blended 
in  perfect  proportions  —  a  secret  union  that 
yields  the  smoothest  powder  ever  known. 
A  powder  that  never  cakes  or  .flakes — a 
powder  that  stays  steadfast  in  its  loyal  ad- 
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Pat  a  pufFof  Tre-Jur's  pre-blended  powder  on 
your  face.   Now  look  closely  in  the  mirror. 
Note  how  evenly,  how  delicately  it  satinizes  fl 
and  perfects !  And  if  your  reflection  seems  to    ' 
flatter,  remember  that  mirrors  tell  the  truth. 

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32 


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STRANDED — Sterling. — A  little  girl  goes  to  Hol- 
lywood to  make  her  fortune.  .  .  .  It's  hard  to  believe 
that  Anita  Loos  wTote  the  story.    {December.) 

♦STREET  ANGEL— Fox.— Janet  Gaynor  and 
Charles  Farrell  continue  to  remain  in  Seventh 
Heaven.  A  human,  appealing  story,  adorably  acted. 
By  all  means  see  it.      (April.) 

STREETS  OF  SHANGHAI— Tiffany-Stah!.— 
Dirty  work  in  China  and  slightly  reminiscent  of  a  lot 
of  better  plays.     Not  so  much.     (May.) 

*SUNRISE— Fox.— F.  W.  Murnau  makes  the  camera 
do  everything  but  talk.  Short  on  stor>'  interest  but 
long  on  beauty.     (December.) 

SYMPHONY,  THE— Universal.— Rather  wooden 
story  that  tries  to  be  another  "Music  Master." 
Redeemed  by  a  good  performance  by  Jean  Hersholt. 
(January.) 

TENDERLOIN— Warners.— This  time  the  dirty 
crooks  blame  the  robbery  on  Dolores  Costello,  thereby 
giving  her  an  excuse  to  register  a  lot  of  anguish. 
(March.) 

TEXAS  STEER,  A— First  National.— Will  Rogers- 
as  star  and  title-writer,  pokes  fun  at  our  politicians- 
A  picture  that  papa  will  enjoy.    (January.) 

THANKS  FOR  THE  BUGGY  RIDE— Universal. 

— Or  the  Birth  of  a  Popular  Song.  A  comedy  with  an 
original  idea  and,  incidentally,  Laura  La  Plante's 
best.     (December.) 

THIRTEENTH  HOUR,  THE  —  Metro-Goldwyn- 
Mayer. — In  spite  of  trapdoors,  secret  panels  and 
underground  passages.  Napoleon,  the  crafty  canine. 
the  villains.      (February.) 


THOROUGHBREDS— Universal— Once      again 

the  innocent  country  lad  falls  in  with  a  gang  of  wild 
women.  Good  direction  and  some  race-track  scenes 
help  some.     (May.) 


TILLIES  PUNCTURED  ROMANCE— Christie- 
Paramount. — Rare  antique  that  has  been  redone  for 
no  good  reason.  Even  with  the  hard  work  of  Louise 
Fazenda,  it  is  mostly  just  plain  silh".     (May.) 

TRAGEDY  OF  YOUTH,  THE— Tiffanv-Stahl  — 
Patsy  Ruth  Miller  and  Buster  ColHer  in  an  ultra- 
modern comedy  showing  the  folly  of  ^■outhful  mar- 
riages.   Smooth  and  sophisticated.     (May.) 

*TRAIL  OF  '98,  THE— Metro-GoldwTn-Mayer. 
— .'\  mighty  panorama  of  the  Klondike  rush,  told  with 
power  and  breath-taking  realism.  Congratulations 
to  Clarence  Brown  for  making  a  really  thrilling  film. 
(.ipril.) 

TREE  OF  LIFE,  THE— Zenith.— The  ston"  of  the 
world's  creation,  no  less!  L.  H.  Tolhurst,  with  the 
assistance  of  the  University  of  California,  prepared 
the  scientific  data.  Educational  and  worth  vour 
while.      (.April.) 

TRICK  OF  HEARTS,  A— Universal.— Hoot 
Gibson  in  a  simple-minded  storj'.  Rather  puerile. 
Algernon!     (May.) 

TURN  BACK  THE  HOURS— Gotham.— All 
right,  turn  back  the  hours  and  what  does  it  get  you? 
Just  a  quickie,  with  a  lot  of  well-known  players  filling 
in  between  more  important  pictures.     (May.) 

TWO  FLAMING  YOUTHS  —  Paramount.  —  In- 
troducing a  new  co-starring  team — 'W.  C.  Fields  and 
Chester  Conklin.  Great  fun  for  all  but  the  chronic 
weepers.     (March.) 

TWO  GIRLS  WANTED— Fox.— Adapted  from 
John  Golden's  stage  success,  it's  a  nice,  amusing  story 
about  a  modern  working  girl.  With  the  adorable 
Janet  Gaynor.    (February.) 


TWO  LOVERS— United  Artists.— Sot 
neat  acting  and  fine  settings  cannot  disguise  the  fact 
that  this  is  the  same  old  plot.  But  Ronald  Colman 
and  Vilma  Banky  are  simply  swell.     (May.) 

*UNCLE  TOM'S  CABIN— Universal.— Harriet 
Beecher  Stowe's  storv  re-written  to  include  the  Civil 
War  and  Sherman's  March  to  the  Sea.  An  effective 
picture,  if  you  don't  mind  the  violence  done  to  the  old 
favorite.    (January.) 

UNDER  THE  BLACK  FLAG— Metro-Goldwyn- 

Mayer. — Flash,  "the  wonder  dog,"  shows  that  the 
doggies  did  their  share  in  fighting  the  war.     (March.) 

UNDER  THE  TONTO  RIM— Paramount.— 
More  gold  rush.  Richard  Arlen  and  Mary  Brian  in  a 
fairly  exciting  Zane  Grey  story.      (Apnl.) 

UPLAND  RIDER,  THE— First  National.— Ken 
Maynard  rides  the  winning  horse  in  the  race  that 
saves  the  old  homestead.  A  routine  plot  but  a  grand 
hoss-race.      (May.) 

*VALLEY  OF  THE  GIANTS,  THE  —  First  Na- 
tional.— Splendidly  presented  drama  of  the  Big  Tree 
Country,  stirringly  acted  by  Milton  Sills  and  Doris 
Kenyon.      (February.) 

VAMPING  VENUS— First  National.— A  "Con- 
necticut Yankee"  comedy  designed  to  gel  back  some 
of  the  money  spent  on  the  "Helen  of  Troy"  sets. 
Cock-eyed  enough  to  be  popular.  Thelma  Todd  is 
beautiful  and  Charlie  Murray  is  funny.  What  else 
do  you  want?     (May.) 


Bfetj  adTertlsemcnt  1 


['HOTOPLAY  MAGAZINE  is  cuaranteed. 


Photoplay  Magazine — Advertising  Section 


VERY  CONFIDENTIAL— Fox.— The  little 
sales-girl  ensnares  the  heart  of  society's  pet.  An  old 
story  in  new  clothes,  with  Madge  Bellamy  as  the 
lucky  gal.      (February.) 

WALLFLOWERS— F BO.— One  of  those  stories 
that  is  motivated  by  a  trick  will.  Light  but  adequate. 
(April.) 

WANTED,  A  COWARD— Sterling.— If  this  hap- 
pens to  get  into  your  theater,  tell  your  manager  what 
you  think  of  him.     (December.) 

WARNING,  THE— Columbia.— Jack  Holfs  sense 
of  humor  saves  this  melodrama  of  the  Hong  Kong 
dives  from  being  dull.      (May.) 

13  WASHINGTON  SQUARE  —  Universal.  —  A 
mediocre  mystery  story  with  a  bit  of  comedy  and  a 
good  performance  by  ZaSu  Pitts.  Also  with  -Mice 
Joyce  and  Jean  Hersholt.    Only  fair.     (March.) 

*WE  AMERICANS— Universal.— A  fine  drama  of 
our  immigrants.  The  struggles,  loyalty  and  problems 
of  these  new  Americans  will  make  you  more  tolerant 
and  sympathetic.  A  fine  study  in  patriotism, 
splendidly  acted.    (May.) 

WEST  POINT  —  Metro-Goldwyn-Mayer.  — 
William  Haines  in  a  gay  and  amusing  comedy  of  the 
U.  S.  Military  Academy.  Joan  Crawford  is  the  girl. 
(February.) 

WHIP  WOMAN,  THE— First  National.— A  pic- 
ture so  badly  made  the  audience  laughed.  Through 
bad  judgment  of  a  reviewer,  we  failed  to  warn  you 
how  bad  it  was.     (March.) 


by  Russell  Simpson.    (January.) 

WISE  WIFE,  THE— Pathe-De  Mille.— One  of 
those  stories  about  How  to  Hold  a  Husband — if  you 
are  interested.    (January.) 

WIZARD,  THE— Fox.— One  of  Monsieur  Leroux's 
most  thrilling  mystery  yarns  enacted  by  Edmund 
Lowe  and  other  capable  performers.    (February.) 

WIZARD    OF    THE    SADDLE,    THE— FBO.— 

Western  hokum,  made  enjoyable  by  the  horse- 
manship of  Buzz  Barton,  the  freckled  kid.   (February.) 

WOLF  FANGS— Fox.— Ranger,  the  dog,  saves  the 
poor  gal  from  her  brutal  step-father.  Elemental 
amusement.      (February.) 

WOMAN  WISE— Fox.— Showing  the  downfall  of 
a  hard-boiled  bachelor.  With  Walter  Pidgeon  and 
June  Collyer.    (February.) 

WOMEN'S  WARES— Tiffany.— Evelyn  Brent  as 
a  beautiful  model  who  is  being  constantly  annoyed  by 
naughty  men.      (December.) 

WRECK  OF  THE  HESPERUS,  THE— Pathe-De 

Mille. — Elmer  Clifton,  who  made  "Down  to  the  Sea 
in  Ships,"  has  again  turned  out  some  glorious  sea 
stuff.  Longfellow's  ballad  has  been  movie-ized,  but 
you'Ulike Virginia  Bradford.      (February.) 

VOU  CAN'T  BEAT  THE  LAW— Rayart.— The 
title  tells  the  story.  Full  of  crooks  and  such-like. 
Cornelius  Keefe  is  the  handsome  cop.      (May.) 


Klamath  Falls,  Ore. 

All  the  boys  were  gomg  out  on  the 
hillside  to  play  and  I  wanted  to  go,  too. 
But  of  course,  I  couldn't  go  with  my 
crutches.  After  the  boys  left,  mother 
said  I  could  go  to  the  theater  and  take 
the  children  who  live  in  the  shack  on 
our  lot. 

While  I  was  deciding  whether  to  go 
or  not,  mother  had  gone  over  to  see  if 
the  children  could  go.  Soon  she  came 
back  with  the  two  boys  and  Flossie,  the 
baby. 

After  I  saw  how  happy  the  children 
were,  I  was  really  ashamed  of  myself. 
The  twins  are  thirteen  and  they  had 
never  seen  a  moving  picture.  I 
couldn't  believe  it  at  first,  but  they 
are  very  poor. 

We  went  to  see  "The  Covered 
Wagon."  I  had  seen  it  before  but  I 
enjoyed  seeing  the  picture  again.  And 
how  the  boys  enjoyed  it!  I  suppose 
they  will  never  forget  their  first  moving 
picture.  I  know  I  shall  never  forget 
their  happy  faces.  They  helped  me 
forget  that  I  was  a  cripple  and  couldn't 
go  out  playing  with  the  boys. 

Beulah  D.  Johnson 


Timing  the 

Active  Hours 

Hurried  hours  like  split  seconds  — 
pleasure  hours.  Tennis  fades  to  tea 
and  tea  blends  to  a  gay  foursome  of 
flashing  clubs.  Dusk . . .  then  homing 
...for  dinner  and  the  dance! 

Winton  Watches  —  gleaming  on 
wrists  that  pilot  rakish  roadsters . . . 
flashing  with  the  swing  of  whirring 
clubs . . .  glowing  to  the  rhythm  of 
softest  music.  Beauty  like  a  flame 
...in  cases  with  the  lines  of  a  master 
etching  . . .  new . . .  modern . . .  with 
the  dash  and  verve  of  youth. 
More— movements  with  the  de- 
pendability of  thoroughbreds — 
true  to  the  second  .  .  .  finely 
jeweled  .  .  .  the  creations  of 
one  family  for  over  one 
hundred  years.  At  better 
jewelers  —  of  course!  — 
where  you'll  instinctively 
choose    a    WINTON. 


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^WATCHES->^ 

GUARDIAN  OF  THE  FLIGHT  OF  TIME 

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[  CONTINUED  FROM  PAGE  88  ] 

I  endowed  her  with  a  mother  and  a  chap- 
eron. I  said  that  her  favorite  flower  was  the 
hlac  and  her  favorite  color  baby-blue.  And  I 
"killed"  the  gentleman  with  the  string  bean 
ears  by  means  known  only  to  press  agents. 

In  short,  the  result  was  the  stardom  of 
Florence  Floozelle. 

THERE  was,  next,  the  case  of  Morgan 
Kapscallion. 

Morgan  was  born  on  the  lower  East  side. 
Very  low  and  very  East.  Which  was,  I 
figured,  no  fault  of  his. 

His  parentage  was  conveniently  dubious 
and  it  was  just  as  fair  to  pick  an  Andalusian 
mother  and  a  Romany  father  as  any  other 
twain.    Which  I  did. 

Morganhad  played  perilously  close  to  the  Law 
in  his  peccadillos  with  the  ladies,  but  I  capital- 
ized that  into  sheikdom.  I  dressed  him  in 
garments  not  golden  but  gUded.  I  trussed 
up  his  East  side  colloquialisms  into  an  am- 
biguously foreign  accent.  I  gave  him  a  wistful 
hungry  look,  only  slightly  predatory  and  wrote 
a  whale  of  a  story  about  the  Great  God  Pan 
come  back  to  earth  again  to  pipe  the  hearts 
from  maidens  and  from  matrons,  irrespective. 

I  caused  him  to  say  to  interviewers  that  he 
had  known  loves  but  never  "  T/ie  love. " 
Where  was  she?    Where  might  he  find  her? 

You  all  know  the  rest.  Morgan  is  a  star 
today.  Women  pine  for  him  in  the  privacy 
of  their  boudoirs.  Husbands  and  sweeties 
pay  him  the  ultimate  tribute  of  expostulating, 
"Now,  what  can  you  see  in  him?" 

I  may  say  that  the  credit  is  due  to  me.  To 
me  alone.  Did  anyone  then  accuse  me  of 
being  insane?  Certainly  not.  Why  should 
they?  I  was  considered  fairly,  what  I  am,  a 
press  agent,  a  star-maker.  I  had  merely  done 
the  best  I  could  to  the  full  extent  of,  if  I  may 
say  so,  my  by  no  means  limited  abilities. 
In  exchange  for  which  I  was  the  recipient  of 
moderate  salaries  and  a  modest  share  of 
approbation. 

A  S  the  third  case,  I  ^\'ill  cite  that  of  Flavia 
■**-Faustina. 

Flavia  was  bom,  actually,  in  a  small  town. 
Mama  took  in  washing  and  papa  took  in  what 
he  could  get. 

The  first  thing  for  me  to  do,  obviously,  was 
to  relegate  papa  to  a  nebulous  background. 
At  a  glance  I  could  tell  that  he  was  a  non- 
conformist. 

A  thick  coating  of  romanticism — and  the 
thing  was  done. 

After  all,  no  bona  fide  star  should  have  a 
papa. 

The  next  thing  to  do  was  to  gild  the  lily 
which  was,  unhappily,  mama. 

Mama  became,  overnight,  the  daughter  of  a 
belted  Earl  who,  by  an  unwise  marriage  or 
something,  had  forfeited  his  lordly  lineage  and 
the  parental  protection. 

.So  far,  so  good.  Fla\'ia  told  interviewers 
that  mama  was  the  third  daughter  of  the  Earl 

of at  which  point,  per  instructions, 

she  would  convincingly  stammer,  stutter, 
l)Iush  and  say  that  mama's  parentage  must  be 
kept,  perforce,  a  secret. 

As  for  papa,  papa  figured  as  a  dashing, 
romantic,  red-blooded  if  not  blue-blooded 
figure  who  had  broken  his  passionate  heart  at 
the  spectacle  of  proud  mama,  reduced  in 
circum.stanccs.    E.\it  papa,  as  any  child  can  see. 

Fla\ia  had  been  born  on  the  right  breast  of 
the  Sphinx  during  the  prolonged  honeymoon 
migration  of  mama  and  papa.  She  knew  the 
secret  of  the  Sphinx,  having  been  nurtured  on 
that  sleuthy  bosom,  and  she  was  familiar  with 
the  hidden  labyrinths  of  love.  (I  figured 
Ihat  ought  to  get  the  Tired  Business  Men. 
It  did.) 

Czars  and  Emperors,  Maharajas  and  Emirs 

.■  advortlscmont  In  PIIOTorLAY  MAGAZINE  Is  Euarantced. 


Freckle  Soap 

washes  away 

Freckles 


spots  surely,  completely.  It  simply  washes  them  away. 

Narola  soap  not  only  rids  you  of  freckles,  but  it 
reveals  the  fairness  and  beauty  of  your  skin,  bringing 
you  the  charm  and  beauty  of  a  clear,  soft,  unfreckled 
skin — an  attractiveness  rightfully  yours. 

Aside  from  freckles  and  other  skin  spots,  Narola  is 
matchless  for  the  complexion  of  young  or  old.  .'^pecial 
price  to  readers  of  Photoplay,  three  full-size  50-cent 
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Kill  The  Hair   Root 


My  method  la  the  only  way  to  preyent  the  hair  Jrom  erow- 
IngaKaln.  Eaay.palnless.harmless.  No  scars.  Booljlei  free. 
Write  today.  enclOBlngS  red  etampe.  We  teach  beauty 
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Photoplay  Magazine — Advertising  Section 


had  languished  for  her  hand  and  for — but  we 
won't  go  into  that. 

She  could  stun,  stupify,  astonish,  amaze, 
petrify,  confound,  bewUder,  flabbergast,  stag- 
ger, throw  on  one's  beam  end,  fascinate, 
turn  the  head,  cause  the  tongue  to  cleave  to 
the  roof  of  the  mouth,  annihilate,  etc.,  etc.,  etc. 

Did  anyone  accuse  me  of  madness?  Not 
anyone.  On  the  contrary,  they  rallied  to  the 
newly  risen  star  by  the  gross  and  wrote  her 
letters  that  took  three  secretaries  working 
on  day  and  night  shifts  to  answer.  They  told 
her  that  it  was  "simply  grand"  to  be  able  to 
see  the  grand-daughter  of  a  Belted  Earl  who 
had  been  born  on  the  right  breast  of  the 
Sphinx,  and  no  wonder  she  could  surprise, 
astonish,  amaze  and  astound. 

NOW  comes  my  point: 
Attracted  by  me  by  the  reports  of  my 
success  I   was,   in   the   nature  of  things,   be- 
sieged by  this  one  and  that  one  to  take  him 
or  her  "on." 

"Make  me  a  star,  too,"  was  a  part  of  my 
daily  bread. 

Well,  there  came  my  way  a  quaint-appearing 
little  man  desirous  of  doing  character  bits.  A 
small  stern  person,  he  was,  with  a  shifty  eye 
and  a  pocket  full  of  inferiority  complexes. 

With  my  perspicacious  eye  I  saw  at  once 
that  he  had  possibilities;  that  he  was,  or  could 
be,  a  type.  And  the  first  steps  to  be  taken  were 
the  eliminations  of  the  shifty  eye  and  the 
inferiority  complexes. 

This  I  did  and  lo.  Napoleon  emerged.  ■ 

I  am  telling  you  the  simple  truth.  The  man 
was  Napoleon  Bonaparte. 

Naturally,  in  pursuance  of  my  duty,  my 
job,  I  announced  to  the  world  that  I  had 
found  Napoleon. 

I  didn't  go  into  a  lot  of  hokum  about  re- 
incarnation and  all  that  stuff. 

I  am  sane  enough  to  know  that  I  don 't  know 
the  ins  and  outs  of  all  that.  I  can't  account 
for  a  great  many  things.  I  don't  try  to.  Nor 
can  I  account  for  the  phenomenon  of  Napoleon 
living  again  in  this,  our  age. 

Just  as  naturally  I  went  about  informing 
friends  and  foes  of  the  astounding  discovery. 
I  talked  convincingly  and  at  length  to  directors, 
producers,  exhibitors  and  interviewers.  And 
where,  but  yesterday,  they  had  believed  me, 
today  they  call  me  mad. 

I  can't  understand  it.  It  is  very  unfair. 
You  see,  the  man  IS  Napoleon.  They  be- 
lieved me  about  Florence  and  Morgan  and 
Flavia. 

About  Napoleon  they  will  not  believe. 
Yet  one  is  as  true  as  the  other.  It  is  very 
strange. 

And  I  am  asking  you,  is  it  fair,  is  it  right, 
is  it  just? 


Why  it  Js  hard  to  buy  tickets  for 
California.  An  off-screen  pose  of 
Thelma  Todd  on  the  beach.  Just  a 
New  England  girl,  but  First  Na- 
tional prizes  her  above  many 
foreign  stars 


^'^f)ENTYNE 

J J .  .  and  smile! 


zs 


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winning  smile.  And  somehow  he  gets  things 
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Keep  them  sparkling  white  with  delicious 
Dentyne.  It's  a  quality  gum.  Chew  Dentyne 
.  .  .  and  smile! 


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Photoplay  Magazine— Advertising  Section 


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[  CONTINUED  FROM  PAGE  67  ] 


Taylor-Hobson  Cooke  E.3.S.  Universal  lens. 
He  used  Cine-Kodak  film,  made  all  the  titles  on 
Eastman  positive  stock  and  developed  the  film. 

The  chief  9  millimeter  pri^e,  of  $500,  was 
awarded  to  Clarence  R.  Underwood,  of  3838 
Kennedy  Avenue,  St.  Louis,  Mo.  This  was  a 
well  photographed  and  smoothly  assembled 
study  of  the  famous  St.  Louis  Zoo,  Mr. 
Underwood  is  twenty-three  years  old. 

His  film  was  made  under  trying  conditions 
with  a  Pathex.  Most  of  the  scenes  were  photo- 
graphed in  December.  The  interior  shots,  of 
the  reptile  house,  were  made  without  the  use  of 
artificial  lights.  A  movable  celluloid  letter 
title  board,  with  two  500-watt  lamps  for  illu- 
mination, was  used  in  making  the  captions. 
The  lead  title  was  a  double  e.\posure  one. 

The  special  award,  also  of  SSOO,  went  to 
Kennin  Hamilton,  of  28  Maitland  Street, 
Toronto,  Ontario,  Canada,  for  his  visualiza- 
tion of  Hood's  "The  Dream  of  Eugene  Aram" 
in  16  miUimeters.  Mr.  Hamilton  played  the 
principal  role  of  Eugene  Aram,  disclosing  a 
graceful  pantomimic  skill.  The  photography 
was  handled  by  K.  A.  JMackenzie.     A  Cine- 


Kodak,  using  Kodak  Safety  Film,  was  used. 
Mr.  Hamilton  had  no  special  lenses  or  equip- 
ment and  yet  he  achieved  some  singularly 
beautiful  shots.  Nature  supplied  his  Hghting, 
even  for  his  interiors.  A  stepladder  ser\-ed  as 
a  tripod. 

Mr.  Hamilton  is  twenty-three  years  old  and 
was  educated  at  Lakefield  Preparatory  School, 
Lakefield,  Ontario.  He  is  now  employed  in  a 
Toronto  stock  and  bond  house.  Most  of  the 
scenes  of  "The  Dream  of  Eugene  Aram"  were 
shot  at  Lakefield. 

"In  making  the  picture,"  says  Mr.  Hamil- 
ton, "I  used  a  scenario  first,  then  made  a  list  of 
what  I  considered  appropriate  backgrounds. 
The  titling  and  cutting  involved  some  time  and 
thought  and  scenes  which  seemed  too  ponder- 
ous were  cut  down.  In  attempting  to  make 
a  smooth  continuity,  one  or  two  unanticipated 
scenes  were  made  and  injected.  Each  scene 
was  rehearsed  and  the  positions  of  the  players 
made  as  effective  as  possible." 

After  deciding  upon  the  winners  of  the  three 
divisions — 35,  16  and  9  millimeter — the  judges 
had  considerable  difficulty  in  arriving  at  a  de- 


"AND  HOwI" 


Fade   In.   Camera  moves  along  floor  showing  slippers  at    yt 
""     "3t     foot  of  two  beds.        Fade  out. 


-^     Fade  in.   Closeup.   Alarm  clock  ringing.   7  o'clock.   Ruth' 
hand  reaches   over,  shuts   off  alarm,    iaa^dia  elnn 

ClOflfci 

3.  Close  shot.  Level  of  bed  to  floor,  covers  thrown  aside, 

Ruth  gets  out  showing  only  ankles, puts  on  slipp- 
erg  walks  out  scene.  _ 

//^^.   Close  shot.  Ruth  closes  window  (where  curtains  are  blow-  //// 
Ing.)  (Do  not  show  face)  / 

5.  Clo,>3eup.  She  is  opening  valve  on  radiator.  Fade  out. 

y^ (>.   Fade  in.  Close  shot.  Top  of  stove,  cooking  utensils 

\  steaming  hot,  showing  egg  being  broken  and  frie 

1/        /   (Show  arms  only)  /,    .      .,  /  irrf.    j--{,'^?^/» 

yl.   Closeup.  Coffee  percolator  disconnected  and  removed. y//^ 

//8,  Full  shot.  Ruth  pouring  coffee  for  Andy  who  is  reading  .  / 

paper  and  eating  hurriedly.  She  is  talking  \,a''//0 
him  but  he  pays  no  attention.  ' 

Ex  Title:   Now  you  probably  realize  that  Ruth  Davis, after 
a  year  of  married  life  Is  still  taking  things  seriously. 

Back  to  8,  Pan  to  Andy  with  sour  look -oiT his  face.  ///jO 

Ex.  Title;  Andy  Davis  has  had  a  hard  time  settling  down. 


/? 


iX. 


i'f 


l^^\0.   Back  to  9.   Then  show  closeup  of  amusement  ads  he  is 
reading  In  paper. 

/^11.   Back  to  9.   Andy   looks  up   from  paper, speaks    // // ^ 

Sp. Title:    "This  simple  life's  killing  me — "  ' 

yyz.    same  as    11 .  ////  f 

l/^\'i.    Seml-oloseup.   Ruth  stops  eating,    starts  talking  to  Andy  ///l<f 
gradually  breaks   into  crying.  /    ' 

1/14.   Seml-oloseup.   Andy  becomes  disgusted, gets  up  to  walk.   /^//Q 
over  next  to  Ruth.  /'/ 

15.   Med. shot.   Andy  trying  to  quiet  Ruth.   He  finally   says 


The  first  page  of  the  continuity  of  "And  How!"   the  winning  35 

millimeter  film  of  PHOTOPLAY'S  Amateur  Movie  Contest.      The 

Motion  Picture  Club  of  the  Oranges  followed  this  continuity  exactly 

and  obtained  very  professional  results 


Every  ndverlUcracnt  In 


PIIOTOrLAY  M.VOAZINE  I 


Photoplay  Magazine — Advertising  Section 


cision  regarding  the  special  prize.  This  prize 
rested  between  a  number  of  films  of  almost 
equal  merit.  Finally,  howe\^er,  the  award  went 
to  Mr.  Hamilton  and  honorable  mentions  were 
given  the  two  nearest  contenders,  Margaret  L. 
Bodine  and  WUliam  George  Taylor. 

Miss  Bodine,  who  lives  on  Rittenhouse 
Plaza,  19th  and  Walnut  Streets,  PhOadelphia, 
submitted  a  superb  study  of  humming  birds, 
captured  after  weeks  of  work.  Miss  Bodine 
achieved  some  amazing  photography. 

TN  describing  her  film,  Miss  Bodine  says: 
-"-"I  did  all  the  camera  work  myself,  using  a 
FUmo  double  speed  Camera,  although  some  of 
the  picture  was  taken  at  single  speed. 

"Most  of  the  picture  was  made  with  a  Tay- 
lor-Hobson  Cooke  lens,  a  3  3-4  telephoto,  the 
film  being  the  regular  Kodak  safety  stock.  All 
of  the  work  was  done  on  a  tiny  porch  of  a  sum- 
mer cottage  in  Maine."  Miss  Bodine  used 
small  bottles,  filled  with  sweetened  water,  to 
attract  the  humming  birds  before  her  camera. 

Miss  Bodine  is  a  graduate  of  Harcourt  Place 
Seminary,  Gambler,  Ohio.  Since  childhood 
she  has  been  interested  in  photography  and  for 
the  last  three  years  she  has  been  especially 
interested  in  movie  work  with  birds.  Miss 
Bodine  is  a  member  of  the  Amateur  Motion 
Picture  Club  of  Philadelphia  and  also  of  The 
Lantern  and  Lens,  the  Guild  of  AA'omen 
Photographers. 

Mr.  Taylor,  who  is  sixteen  years  old  and 
lives  at  6927  Hawthorne  Avenue,  Hollywood, 
Calif.,  is  an  amateur  despite  the  fact  that  he 
dwells  in  the  capital  of  pictures.  Mr.  Taylor 
submitted  an  amusing  scenic  film  in  the  35 
millimeter  division,  showing  the  varied  and 
bizarre  architecture  of  Hollywood.  An  honor- 
able mention  was  awarded  this  film. 

This  contest  contribution  was  made  last 
Summer  and  Fall  during  Mr.  Taylor's  spare 
time.  He  used  a  small  automatic  camera, 
equipped  with  an  F.3.5.  lens,  and  an  old  Pathe 
of  doubtful  vintage. 

"I  employed  backhghting  wherever  pos- 
sible," Mr.  Taylor  says,  "exposing  for  the 
shadows  and  letting  the  development  take  care 
of  the  highlights.  My  exposures  varied  from 
F.3.5.  to  F.5.6.,  according  to  the  light  and 
nature  of  the  subject.  The  titles  were  made  on 
a  grooved  black  baize  title-board,  with  white 
celluloid  letters,  and  photographed  at  F  8  in 
the  shade  of  our  house. 

ALBERT  F.  WAYMEYER  of  926  IMon- 
tague  Street,  Covington,  Ky.,  received 
honorable  mention  in  the  9  millimeter  dixision. 
Mr.  Waymeyer  is  twenty-six  years  old  and  an 
engineering  draftsman.  Mr.  Waymeyer's  film 
was  a  scenic  of  Kentucky  bridges  and  dams. 
His  film  was  hand  tinted  by  himself.  "Jlany 
hours  of  labor  with  a  fine  brush  and  pen  and 
a  magnifying  glass  were  the  chief  tools,"  he 
saj's,  not  mentioning  the  required  persever- 
ance.   Mr.  Waymeyer  used  a  Pathex. 

An  honorable  mention  in  the  35  millimeter 
division  went  to  Thomas  Fisher,  of  410  Semple 
Street,  Pittsburgh,  Pa.,  for  his  grim  and 
Barrymorish  study  of  Poe's  "The  Tell-Tale 
Heart."  Mr.  Fisher  played  two  parts,  dis- 
played no  httle  skill  in  make-up  and  worked 
out  an  interesting,  if  gory,  film. 

Mr.  Fisher  is  twenty-one  and  in  his  third 
year  at  the  College  of  Fme  Arts  Drama  School 
of  the  Carnegie  Institute  of  Technology  in 
Pittsburgh.  George  Fox,  a  student  at  the 
Industries  School  of  Carnegie  Tech,  did  the 
camera  work  for  Mr.  Fisher.  He  utilized  a  fi\e 
year  old  Universal  Camera,  borrowed  for  the 
occasion.  A  15  ampere  arc  light,  three  100- 
watt  daylight-blue  bulbs  and  the  sun  were  used 
for  illumination.  Mirrors  were  put  into  use  in 
the  attic  room  scenes  in  order  to  catch  the  sun- 
light. 

Clyde  Hammond,  of  65  Murdock  Street, 
Youngstown,  Ohio,  won  an  honorable  mention 
in  the  16  millimeter  division  for  his  study  of 
country  life,  "The  Dragon  Fly."  Mr.  Ham- 
mond worked  out  a  strong  atmospheric 
study  of  a  selfish  country  boy,  home  from  col- 
lege, and  his  hard-working  farmer  father. 


37 


ood  Knows 

Movie 
Cameras 


Malcolm  St.   Clair,   Director, 

^^Gentlemen  Prefer  Blondes.'^ 

Paramount 


And  Hollywood  says 

DeVry  Is  Best! 

TODAY"  there  is  scarcely  a  studio 
in  Hollywood  that  does  not  use 
the  DeVry  for  filming  "difficult 
shots"  in  feature  productions. 
In  fact,  so  many  famous  camera- 
men and  directors  use  and  acclaim 
this  magic  camera  for  professional 
and  personal  movie  making,  that 
the  DeVry  has  come  to 
be  known  as  "Holly- 
wood's Own"  movie 
camera. 

Why  not  take  your 
own  precious  movies 
with  the  chosen  cam- 
era of  experts  and  be 
assured  of  professional 
results?      Anyone     can 


Irene  Rich,  Warner  Bros,  s  tar 


takeperfectmovies  with  the  DeVry. 
It's  as  easy  as  taking  snapshots. 
All  you  have  to  do  is  point  the 
camera  and  press  a  button — the 
movies  take  themselves. 
And  DeVry-made  movies  are  just 
as  sharp,  as  perfect,  as  true  to  life 
as  those  you  see  in  the  theatre.  For 
the  DeVry  embodies 
advanced  features 
found  in  no  other 
amateur  camera  and 
its  movies  are  re- 
corded on  professional 
35mni  film.  See  the 
DeVry  at  your  cam- 
era store  or  M'rite  for 
Free  book. 


DeVry  movies  can  be  shoicn  on 
the  famous  DeVry  35mm  pro- 
jector or  by  reduction  prints 
on   the  neio    26mm   projector. 


DeVry  Corporation,  Dept.  6-PP,  1111  Center  Street,  Chicago,  lU. 


PRICES 
CUT 


st  makes— Under- 


2  and  it's  yours 


BERMUDA  &  QUEBEC 
CRUISES 

M.  S.  Bermuda 

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OT  any  anthoTized  agent 


HOLLYWOOD  SHOPPING  SERVICE 

"We  Buy  You  What  The  Stars  Buy"  (Reg.) 

Do  you  know  that  Hollywood  stylos  are  a  year  ahead  of  New  York  and  that  dally  Hollywood's  film  stars  shop 

'^'^^Ti^^^^Yfo^YOvS^f&lstsnoes'K^^  article  you  desire  without  additional 

COST  TO  YOU.  ^       ^  .     .^^,„ 

Km  Mavnard'  t  dress  gloves  of  perforated  pfgskini  B.OO    I    Pola  Negri's  opera  hags  broeade  and  seed  prar.s .  tge.CO 

Phyllis  Haver's  dress  of  hand-painted  chiffon. .     SS.OO        Esther  Ralston' s  etched  glars  breakfast  sets 16.00 

ronrad  If aget's  golf  hose  and  sveater  to  match.   11.60       i^„{s  Wilson's  suimming  svit H.OO 

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S^te  youTsize.  measurements  and  color  preferences.     Enclose  postal  money  o.-<ler  for  articles  dclred. 

Correspondence  solkited.  „t-„,.,^.t- 

THERE  IS  NO  CH.-VRGE  FOR  THIS  PHOPPINO  PEU\  ICE. 
••We  Buy  Vou  What  The  Stars  Buy"  (Reg.) 

HOLLYWOOD   SHOPPING   SERVICE  ''^wo^od^ca.r 


ers    please   mention   PHOTOPLAT   MAGAZINE. 


Photoplay  Magazine— Ad\'ertising  Section 


ren  a  Wall-Flower 


Even  a  wall-flower  can 
become  an  American 
Beauty.  For  Po-Qo  is  a 
French,  handmade  rouge 
that  transforms  !  Its 
smooth  touch,  in  your 
own  becoming  shade,  re- 
suits  in  that  rose-like 
blush  that  once  was  the 
secret  of  Mother  Nature ! 
Po-Go's  three  colors  are  uni- 
versaUy  desired:  The  new  Vif 

—  a  bright  touch  that  mates 
with  every  complexion;  Briqite 

—  the  favorite  for  fair  skins; 
Ronce — an  alluring  raspberry 
tint  that  all  brunettes  adore  ! 


0\J9  ROUGE 

50c 

Say  *'Po-Go*'  to  your  druggist. 
He'll  say,  "how  clever."  Or 
we'll  admire  your  judgment 
by  mall.   Just  send  us  the  50c. 


How  Corns 

Calluses  are  ended  now 

This  new  way  stops 
pain  in  3  seconds 

SCIENCE  has  perfcclfd  nrw  mpthods  in  ending 
c<jrn»  and  callus  spots.  No  more  parinir.  That 
18  temporary:  that  is  dangeroUH. 

You  touch  the  moKt  painful  corn  with  this 
amazing  lii/uid  wA/c/t  acta  like  a  local  anaeathetic. 
The  pain  slops  in  :i  seconds.  You  wear  tight 
shoes,    walk,    dance,    in    comlort  .   .  .  instantly! 

Then  soon  the  corn  licgins  to  shrivel  up  and 
loosen.  You  peel  il  off  with  your  Angers  like 
dead  skin.  The  whole  com  Is  gone.  Works  on 
any  kind  o(  com  or  callus,  hard  or  soft;  new  or 

d.      Ask   your  druggist   lor   ' 

e  guaranteed. 

CC^PTO       IT"        World's 
VI  b  I  9  "  I    I         Fastoat  W»y 


The  New  QRS  Combination  Camera  and  Projector 


AFTER  an  extended  inxestigation  of  the 
amateur  movie  field,  the  QRS  Company 
of  Chicago  has  announced  that  it  will  market 
a  movie  camera  and  projector  at  a  total  cost 
of  $98.50.  This  is  a  combination  machine,  the 
camera  and  projector  being  one  and  the  same. 
By  the  attachment  of  a  lamphouse  and  electric 
motor,  the  camera  becomes  a  projector.  The 
QRS  Company  believes  that,  if  a  film  is  run 
through  the  same  mechanism  for  projection  as 


the  one  photographing  the  picture,  a  more 
perfect  result  will  be  obtained  than  by  utilizing 
two  separate  machines. 

The  camera  department  of  the  QRS  Com- 
pany is  a  new  departure.  This  organization 
holds  a  supreme  position  in  the  music  and  radio 
activity,  being  famous  for  its  QRS  music  rolls 
and  QRS  radio  and  rectifier  tubes.  The  com- 
plete resources  of  the  company  are  behind  the 
making  of  the  new  movie  camera  and  projector. 


Mr.  Hammond  is  twent)^  and  at  present  en- 
gaged as  a  stenographer.  He  used  a  Cine- 
Kodak  B,  with  the  regular  F  3.5.  lens.  His 
only  attachment  was  a  Wollensak  vignetter. 
Two  Traut-Minima  arc  lights  were  tried  and 
later  a  100-watt  Mazda  was  added.  These 
were  used  for  close-ups  only. 

A  number  of  other  interesting  films  were  re- 
ceived, many  of  them  getting  into  the  finals. 
Dr.  H.  A.  Heise.  23  Delaware  Avenue,  Union- 
town,  Pa.,  sent  in  two  16  millimeter  films,  one 
of  them  a  fantastic  study  of  a  surgeon  and  a 
lost  soul,  which  attracted  the  attention  of  the 
judges.  It  was  well-photographed,  with  numer- 
ous near-UF.V  touches.  Mrs.  Heise  did  some 
good  acting  in  this,  playing  a  young  woman 
who  loses  her  soul  under  an  unscrupulous 
surgeon's  scalpel. 

The  Rochester  Community  Players,  of 
Rochester,  N.  Y.,  submitted  their  drama 
"Fly  Low  Jack  and  the  Game,"  which  has 
been  much  talked  about  in  amateur  circles. 
It  was  very  workmanlike.     (16  mm.) 

■WYRON  ZOBEL,  of  8  Strathmore  Drive, 
-'■^-'■Berkeley,  Calif,,  entered  a  scenic,  filmed  in 
the  South  Seas,  showing  a  fantastic  native 
burial.  It  was  striking  and  decidedly  pro- 
fessional in  its  handling,     (16  mm.) 

The  Drama  Class  of  the  Newport  News  High 
School,  Newport  News,  Ya.,  presented  a  foot- 
ball story  in  which  most  of  the  students  seem 
to  have  taken  part. 

It  was  done  with  a  lot  of  spontaneity  and 
Photoplay  wishes  to  congratulate  the  New- 
port News  boys  and  girls  upon  their  work. 
(16  mm,) 

A  reel  showing  many  interesting  shots  of  the 
tragic  Dole  air  race  to  Hawaii,  submitted  by 
C,  S,  Morris,  of  240  Montgomery  Street,  San 


Francisco,  Calif,,  had  much  merit,  Mr,  Morris 
caught  close-ups  of  all  the  lucky  and  unlucky 
participants,     (16  mm.) 

Varick  Frissel,  of  132  East  72nd  Street,  New 
York,  submitted  a  very  interesting  Cana- 
dian scenic,  "The  Lure  of  Labrador,"  made 
during  an  exploring  trip.     (16  mm.) 

A  MYSTERY  story  came  from  the  ^Motion 
Picture  Club  of  New  Haven,  175  Orange 
Street,  New  Haven,  Conn.  This  was  well 
filmed,  smoothly  acted  and  of  unusual  merit. 
(16  mm.) 

Thomas  Cardoza,  of  43  East  49th  Street, 
New  York,  went  to  great  pains  in  filming  in  the 
35  millimeter  division,  a  flower  study.  This 
was  done  in  slow  motion  with  many  beautiful 
close-ups.  This  entry  was  of  striking  excel- 
lence. 

The  Cinema  Crafters,  of  1619  Sansom 
Street,  Philadelphia,  Pa.,  presented  an  inter- 
esting 35  millimeter  e.xperimental  film  which 
revealed    unusual    treatment. 

The  Cinema  Crafters  are  doing  a  lot  of 
pioneer  work  and  their  contest  film  had  inter- 
esting possibilities. 

Photoplay  regrets  that  it  can  not  tell  in 
detail  of  many  other  unusual  contest  flms. 
These  were  of  a  high  standard,  revealing  care 
and  skill,  as  weU  as  a  great  interest  in  amateur 
cinematography.  Photopl.\y  congratulates 
each  and  every  contestant  upon  his  or  her  work. 

Photoplay  also  wishes  to  thank  the  Ama- 
teur Cinema  League  for  its  co-operation  and 
specifically  to  thank  Major  Roy  ^^'.  \\'inton, 
Stephen  V.  Voorhees,  John  Beardslee  Carrigan, 
Arthur  L.  Gale  and  Walter  D.  Kerst  of  that 
organization  for  their  interest  and  personal 
aid  in  examining  and  studying  the  contest 
films. 


Persistency  Wins 


[  CONTINUED  FROM  PACE    101  ] 

"  Getting  signed  was  nothing  compared  to  to  use  make-up,  where  just  a  flicker  of  an  eye 

getting  them  to  use  me!     I  saw  Mr.  Mayer  lash   shows   your    dramatic    ability,"    is    her 

every  week  until  he  made  a  place  for  me,"  she  frank  ambition, 

told  me.    Once  as  an  extra;  once  in  a  Western.  "And  I'll  get  it.     Persistency  wins  in  this 

"Now  I  want  a  role  where  you  don't  have  game,  I  tell  you." 


Every  advertisement  In  PUOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


^39 


Misinformation 


[  CONTINUED  FROM  PAGE   41  ] 

truth  of  the  matter  is,  he  saw  the  Countess 
three  times,  always  at  large  social  gatherings. 
Last  Thanksgiving  Dick  had  dinner  with  his 
former  wife  and  her  new  family.  No  paper 
printed  anything  about  that.  It  was  such  an 
evident  e.xpression  of  friendliness  and  fair  play, 
that  no  one  saw  enough  news  value  to  carry  the 
story. 

THERE  is  one  man  in  this  city  who  is  called 
The  Saint  of  Hollywood  because  of  his  un- 
limited kindness  to  friendless  girls  in  this  city. 
Yet  even  this  man  is  not  exempted  from  these 
stories  of  misinformation.  When  Barbara  La 
Marr  died,  she  left  him  as  guardian  of  her 
child.  Immediately  the  claim  went  forth  that 
he  was  the  father  of  the  child.  Yet  ZaSu  Pitts, 
who  has  since  adopted  the  youngster,  has  a 
letter  from  a  Texas  orphan  asylum  where  Bar- 
bara La  Marr  found  the  infant,  which  should 
prove  the  adoption  story.  Of  course,  no  star  in 
the  city  can  adopt  a  family  without  immedi- 
ately being  heralded  as  the  parent.  Yet  adop- 
tion among  other  folk  is  not  an  unusual 
situation! 

Another  cinema  youngster,  one  of  the  pa- 
thetic young  women  who  came  out  here  with- 
out sufficient  funds  to  maintain  herself,  was 
trapped  into  a  wild  party  on  the  bogus  promise 
that  the  people  concerned  would  assist  her  to  a 
motion-picture  position.  The  revelation  was 
too  much.  She  went  into  hysterics  and  was  con- 
fined to  the  psychopathic  ward  by  the  fright- 
ened party-givers.  She  would  undoubtedly 
have  been  sent  to  the  insane  asylum  had  not 
this  same  man  heard  of  her  plight  and  furnished 
thirty-five  dollars  a  week  for  her  recovery  in  a 
mountain  sanitarium.  But  if  this  had  been 
printed,  do  you  suppose  people  would  have  be- 
lieved that  he  had  never  even  seen  the  young- 
ster? She  would  simply  have  been  added  to  the 
list  of  young  women  he  is  supposed — because  of 
Misinformation — to  have  helped  for  personal 
reasons. 

The  girls  in  Hollywood  many  times  lose 
chances  for  splendid  marriages  because  misin- 
formation is  given  out  in  advance  that  they  are 
engaged  to  the  men  paying  them  attention.  I 
know  of  two  cases  recently  where  young  femi- 
nine players  were  going  about  with  well-known 
actors.  Some  over-zealous  newspaper  reporter 
flashed  the  word  of  the  engagements  across  the 
country.  The  men  did  not  call  again.  And 
neither  girl  had  actually  made  an  announce- 
ment. One  was  depending  upon  playing  op- 
posite the  man,  and  through  this  bit  of  misin- 
formation lost  a  position  which  she  very  much 
needed. 

A  LOS  .\NGELES  evening  newspaper  car- 
ried the  headlines  that  Irene  Rich  was 
trapped  by  a  forest  fire.  The  girl  in  the 
mountains  who  might  have  been  trapped,  had 
she  not  escaped,  was  Arma  Q.  Nilsson.  Imme- 
diately the  report  was  set  in  action  that  Miss 
Rich  herself  had  given  out  the  information  that 
she  might  get  her  name  in  the  papers. 

A  few  days  later  came  the  story  that  Miss 
Rich  had  been  severely  bitten  on  the  wrist  by 
a  dog  in  a  picture.  The  tale  added  that  in  the 
fracas  Miss  Rich  had  also  resorted  to  biting  and 
chunked  off  a  piece  of  the  animal's  ear.  But 
Miss  Rich  was  so  afraid  that  people  would 
again  clamor  "just  another  publicity  story" 
that  she  did  up  her  arm  in  a  bandage  before  she 
went  out  to  a  party. 

She  would  rather  have  the  world  believe  the 
first  bit  of  misinformation  than  to  believe  that 
she  had  made  it  all  up  to  get  her  name  in  the 
papers. 

Of  course,  we  could  go  on  and  write  a  book 
on  this  subject,  so  multitudinous  are  the  mis- 
information stories.  Conrad  Nagel  was  work- 
ing nights  and  met  his  own  wife  at  midnight 
at  a  little  restaurant  for  dinner.    Soon  the  word 


You  can  do  it!  It's  easily  and  quickly 
done!  A  few  drops  of  NONSPI  (an 
antiseptic  liquid)  applied  to  your  under- 
arms about  twice  a  week  will  keep  your 
armpits  dry  and  odorless.. 
"NONSPI,  used  and  endorsed  by  physicians  and 
nurses,  does  not  actually  stop  perspiration — it  destroys 
the  odor  and  diverts  the  underarm  perspiration  to 
parts  of  the  body  where  there  is  better  evaporation. 
There  is  no  excuse  for  anyone  being  annoyed 
by  underarm  perspiration  and  its  disagreeable 
odor.  NONSPI  willcorrectit!  NONSPI  will  keep 
your  armpits  dry  and  odorless — also  save  your 
clothing  from  destructive  perspiration  stains. 
NONSPI  is  more  than  a  deodorant.  It  is  an  old, 
tried  and  proven,  dependable  preparation  which 
for  many  years  has  brought  relief  to  men  and 
women  from  excessive  underarm  perspiration 
and  its  disagreeable  odor.  More  than  a  million 
of  them  keep  their  armpits  dry  and  odorless 
and  protect  their  clothing  by  using  NONSPI. 

NONSPI  should  be  used  the  year  around— spring, 
fall  and  winter.     It  i 


at   eas( 


Try  NONSPI!  Purchase 
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Name 

Address- 
City 


arn  more 


from 
your  Writing 

"  .  .  .  .  greatly  encouraged    by   the    receipt  of  a 

check  for  $100^'  Miss  C.  J.,  Chicago,  111.  "  . .  .  . 

sold  nine  short  stories  in  less  than  a  yeary  having 

broken  intofoiir  different  magaxines"  writes  Mrs. 

M.V.H.  Carnegie,  Pa, 

Such  testimonials  from  successful  Palmer  students  speak 

for  themselves.  Palmer  training  is  personal,  thorough, 

psychological.    You,  too,can  write  stories  that  sell.    If 

you  have  imagination— the  urge  to  write— the_  Palmer 

Institute  can  quicken  ycur  ability.  It  can  give  you 

careful,  sympathetic  instruction  as    to    the   kind    of 

stories  your  native  ulent  can  produce. 

Jim  Tully,  author  of  "Jamegan'* 
and  of  stories  appearing  in 
American  Mercury,  Canity  F<iir, 
Liberty,   writes,   'The    Palmer 

years  of  labor."  Many  profes- 
sional writers  have  been  helped 
by  Palmer  training.  If  you  want 
to  write  siorics  that  sell  profit- 
ably— regularly,  use  the  coupon. 


PALMER  institute  OF  AUTHORSHIP 
Dept.  12-F,  Palmer BuiIding,HolIywood,CaI. 

Please  send  me,  without  obligation,  details 
about  the  course  I  have  checked. 
D  Short  Story  Writing        D  Photoplay  Writing 
D  English  and  Self-Expression 

Kflme 

t^ddress . 


HbW^lLbitl 


inasafeeasywojf 

You  stout  folks  will  be  inter- 
ested in  the  story  of  my 
redt 


thyr 


and   aft 


gLindulat     ex 

lotions,    soap; 

lose  9  7   poun 

Today  my 

I  have  no  wr 


hat  I  have  probably  added 
■ears  to  my  life.  As  a  consequence  my  prcm- 
ums  have  been  reduced  over  $1,000  a  year. 
Won't  you  let  me  tell  you  without  cost 
■  c  obligation  how  easy  and  safe  it  is?  Just 
end   your  name  and  address   today. 

M.  E.  HART 

Dept.    4 
Hart    Bldg. 


When  you  write  to  advertisers 


PHOTOPLAY  MAGAZINE. 


140 


Latest  Styles  Make 

IJouthforms 


a  Necessity 


Round  Out  Your  Form 
Make  It  Beautiful 

Youthforms  hold  the  bust  in  a  comfort- 
able, stylish,  healthful  position. 

Youthform's  secret  is  in  the  elastic  band 
which  goes  around  the  body,  and  the 
beautiful  first  quality  pink  Swami  Silk 
forms  which  hold  the  bust  in  shape,  remov- 
ing all  weight  from  them.  Doctors  and 
physical  culture  experts  are  indorsing 
Youthforms  to  correct  sagging  busts. 

Thousands  arc  praising  Youthforms  daily 
for  the  great  comfort  and  pleasure  they 
give.  They  are  unnoticeable,  wonderfully 
restful  and  enjoyable  to  wear.  Not  sold  in 
stores,  order  direct. 


I  YOUTHFORM  COMPANY 
I  83  Walton  St.,  .\tlanta,  Ga. 
I       Enclosed   find   check,    mono 


I  just  under  bust 
I  center  of  bust 


around    body   I 
in.;  around  body  across  1 


standard  colo 


1-= i 

I  Address | 

!  I 

I  City .«tate | 


Thin  Women!!  Gain!! 

Three  to  five  pounds 

a  tveek 

Beautiful,    firm 

Mesh  which  will 

stay    on    pro- 

duced   health- 

fully and  rapid- 

ly.   Neither  cx- 

(rrcisc  nor  medi- 

cine IS  used  for 

the  gain.    You 

will  certainly  be 

nmajed  and  de- 

liKhted  with  rc- 

hclng  sure  to  en- 

close a  two  cent 

Thi  star  Developing  System  '"Sil^S^iVn""  \ 

Photoplay  M.\gazixe— Advertising  Section 

was  out  that  he  was  conniving  with  a  strange 
woman  at  the  midnight  supper  hour.  A  girl 
walked  into  Hollywood  claiming  to  be  the 
daughter  of  Bebe  Daniels  and  a  well-known 
male  star.  She  proved  to  be  two  years  younger 
than  Bebe.  A  recent  screen  discovery  was  seen 
a  couple  of  times  with  a  director.  A  reporter 
dug  up  the  director's  flower  bill,  discoxered 
some  of  them  had  been  sent  to  this  joungster 
and  the  tale  went  out  that  the  girl  \\as  111 
trouble  and  the  wife  of  the  man  was  sumg  hini 
naming  the  player  as  corespondent.  Absolute 
misinformation. 

TKLEPHONE  calls  from  Xew  York  and 
Chicago  newspapers  to  Hollywood  inquirmg 
about  false  scandals  are  almost  daily  occur 
rences.  When  Doris  Ivenyon  went  to  Xeu 
York  to  consult  a  specialist,  came  the  «ord 
that  she  had  separated  from  her  husband. 
Wilton  Sills.  Charlie  Farrell's  marriage  to 
Greta  Nissen  in  Ri\erside  was  a  two-column 
headline  story  which  brought  CharHe's  mother 
and  father  to  the  coast  for  a  \isit. 

Charlie  has  never  been  married. 

Mary  Brian's  engagement  to  George  O'Brien 
was  announced  in  the  San  Francisco  papers. 
"Father"  O'Brien  from  his  position  as  chief  of 
police  of  the  northern  city, said,  "I  would  be 
proud  if  it  were  true, "  when  he  read  it. 

Bebe  IJanicls  was  locked  up  in  the  Santa 
Ana  jail  for  speeding.  Her  friends  and  her 
studio  insisted  upon  senchng  in  food  and  luxu- 
ries. The  Women's  Clubs  took  up  the  matter, 
claiming  that  she  was  being  made  an  exception, 
when  she  had  only  been  arrested  for  publicity. 

The  restaurant  where  friends  had  arranged 
for  the  food,  had  a  sign  in  their  window.  "We 
feed  liebe  Daniels,"  but  Bebe  in  her  cell  knew 
nothing  about  it. 

Clara  Bow  is  naturally  vivacious  and  gets 
much  fun  out  of  li\ing.  The  stories  printed 
about  her  would  stretch  many  a  mile.  Most  of 
them  are  ridiculous  to  those  of  us  who  know 
the  real  Clara. 

Joan  Crawford  was  asked  to  refrain  from 
going  out  evenings  and  get  to  bed  earlj-  for  the 
sake  of  her  health  and  her  pictures. 

She  did  as  requested,  but  the  radios  at  the 
various  places  to  dine  and  to  dance  continued 
to  announce,  "Miss  Joan  Crawford  is  now  en- 
tering." Joan  successfully  proved  again  and 
again  thatshe  was  in  bed  on  the.se  occasions,  b.;t 
the  radios  continue  to  make  the  statement. 

John  Gilbert  had  not  seen  his  father  for 
years.  Suddenly  a  man  purporting  to  be  his 
parent  arrived  in  the  city.  Without  absolute 
proof  of  the  relationship,  John  accepted  it  as  a 
fact  and  made  a  hberal  allowance  for  the  man 
who  had  done  nothing  for  him  since  John  was 
an  infant.  The  son  did  not  invite  him  to  live 
at  his  home — it  would  have  been  like  inviting 
a  stranger.  You  know  how  he  has  been  pub-  ,  t^Uj^ 
licly  maligned  as  either  neglecting  his  father  or  ;  •jiifu 
being  disappointed  to  find  he  was  not  an  illegiti-  '•  Can't. 
mate  son.     Falsehoods  from  every  angle.  I   SVip' 

Reginald  Morris,  a  scenario  writer,  died  from 
heart  failure  caused  by  acute  indigestion.  Any 
average  citizen  would  simply  ha\e  died  and 
that  would  have  been  all  there  was  to  it.  But 
the  next  day  one  paper  stated  an  extra  girl  had 
been  found  in  his  room,  another  that  there  had 
been  bootleg  liquor  discovered,  another  that 
the  doctor  refused  to  sign  a  certificate.  But 
the  man  was  buried — and  his  death  was  caused 
by  heart  failure.  No,  you  cannot  die  honestly 
in  Hollywood. 


FREC 


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Simply  get  an  ounce  of  Othine  from  any 
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that  even  the  worst  freckles  have  begun 
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vanished  entirely.  It  is  seldom  that  more 
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the  skin  and  gain  a  beautiful  complexion. 

Be  sui-e  to  ask  for  double  strength  Othine 
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c-5SS« 


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A  ND  so  on,  down  the  endless  list  of  "facts" 
■**-given  out  as  truths  about  the  motion  picture 
people.  Hollywood  is  the  Mecca  for  reporters 
and  writers.  Undoubtedly  none  of  them  means 
to  give  out  wrong  information,  but  because  it 
is  Hollywood,  they  make  the  almost  universal 
mistake  of  believing  what  is  told  them — and 
pass  it  on  to  their  readers  reahzing  that  what- 
e\er  they  write  about  the  nation's  favorites  will 
be  read  with  unusual  interest. 

This  situation  has  caused  many  of  the  Holly- 
wood stars  to  retreat  into  themselves  and  re- 
fuse much  truth  which  would  be  entertaining 
just  because  they  fear  misrepresentation. 

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skin  they 
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Beauty 

Of  Hair  and  Skin 
Preserved  By 

Cuticura 


PHOTOPLAY    MAGAZINE ADVERTISING    SECTION 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"ACROSS  TO  SINGAPORE"— M.-G.-M.— From 
the  story  by  Ben  Ames  Williams.  Continuity  by 
Richard  Schayer.  Directed  by  William  Nigh. 
Photography  by  John  Seitz.  The  cast;  Joel  Shore, 
Ramon  Novarro;  Priscilla  Crmtimnshidd,  Joan  Craw- 
ford; Capl.  Mark  Shore,  Ernest  Torrence;  Jeremiah 
Shore,  Frank  Currier;  Noah  Shore,  Dan  Wolheim; 
Mathew  Shore,  Duke  Martin;  Joshua  Crowninshield, 
Edward  Connelly;  Finch,  James  Mason. 

"ACTRESS,  THE"— M.-G.-M.— From  the  story 
by  Sir  Arthur  Wing  Pincro.  Scenario  by  Albert  Lewin 
and  l^chard  Sclia\'cr.  Directed  by  Sidney  Franklin. 
The  cast:  THEATRICAL  FOLK— Rose  Trelawney, 
Norma  Shearer;  Tom  Wrench,  Owen  Moore;  Avonia, 
Gwen  Lee;  Colpoys,  Lee  Moran;  Gadd,  Roy  D'Arcy; 
Mrs.  Telfer,  Virginia  Pearson;  Mr.  Telfer,  William 
Humphrey;  Mrs,  Mossop.  Effie  Ellsler;  NON- 
THEATRICAL  FOLK— Arthur  Ccnm-,  Ralph 
Forbes;  Vice  Chancellor  Sir  William  Comer.  O.  P. 
Heggie;  Clara  Defoenix,  Andrce  Tourneur;  Captain 
Defoenix.  Cyril  Chadwick;  Miss  Trafalgar  Cower. 
Margaret  Seddon. 

"ADORABLE  CHEAT,  THE"— Chesterfield. 
— From  the  story  by  Arthur  Hoerl.  Directed  by 
Burton  King.  The  cast:  Marian  Dorsey,  Lila  Lee; 
Georse  Mason,  Cornelius  Keefe;  Cyrus  Dorsey,  Burr 
Mcintosh;  Will  Dorsey,  Reginald  Sheffield;  Howard 
Carver,  Gladden  James;  "Dad"  Mason,  Harry  Allen; 
Mrs.  Mason,  Alice  Knovvland;  Roberta  Arnood, 
Virginia  Lee. 

"AFTER  THE  STORM  "—Columbia.— Adapted 
by  Will  M.  Ritchey.  Directed  by  George  B.  Seitz. 
Photography  by  Joe  Walker,  A.  S.  C.  The  cast: 
Martin  Dane,  Hobart  Bosworth;  Joan  Wells,  Mary 
Brian,  Eugenia  Gilbert;  Joe  Dane,  Charles  Delaney; 
Mdly  O'Doon,  Maude  George;  .4.  Hop,  George  Kuwa; 
Malay  Dancer,  Linda  Loredo. 

"A  HORSEMAN  OF  THE  PLAINS"— Fox.— 
From  the  story  bv  Harry  Sinclair.  Scenario  by  Fred 
Mvton.  Directed  by  Benjamin  Stoloff.  The  cast: 
Tom  Swift,  Tom  Mix;  Dawn  O'Day,  Sally  Blane; 
Snmt'shoe,  Heinie  Conklin;  J.  Rutherford  Gates, 
Charles  Byers;  Flash  Egan,  Lew  Harvey;  Esmeralda, 
Grace  Marvin;   Michael  O'Day,  William  Ryno. 

"ALMOST  HUMAN  "  —  Pathe-De  Mille.  — 
From  the  story  by  Clara  Beranger.  Directed  by 
Frank  Urson.  Photography  by  Lucien  Andriot.  The 
cast;  Mary  Kelly,  Vera  Reynolds;  John  Livingston, 
Kenneth  Thomson;  Cecile  Adams,  Mabel  Coleman; 
Mrs.  Livingston,  Claire  McDowell;  Kaite,  Ethel 
Wales;  Doctor,  Fred  Walton;  DOGS— Pal,  Hank; 
Regent  Royal,  Paul;  Maggie,  Trixie. 

"A  MILLION  FOR  LOVE"— Sterling.— From 
the  story  by  Frances  Guihan.  Scenario  by  Frances 
Guihan.  Directed  by  Robert  Francis  Hill.  The  cast: 
Denny  Eat^an,  Reed  Howes;  Mary  Norfleet,  Josephine 
Dunn;  Mrs.  Eagan,  Mary  Carr;  District  Attorney 
Norfleet,  Lee  Shumway;  Jimmy  Eagan,  Lew  Sargent; 
Slim,  Jack  Rich;  Pete,  Frank  Baker;  Judge,  Alfred 
Fisher. 

"AVENGING  SHADOW,  THE"  — Pathe. — 
From  the  story  b\-  Bennett  Cohen.  Directed  by  Ray 
Taylor.     Photographs-  by  Harry  Cooper  and  David 


Smith.  The  cast:  James  Hamilton.  Ray  Hallor; 
Worlhington,  Wilbur  Mack;  Sheriff  Apling,  Clark 
Comstock;  Tom  Sommers,  Howard  Davies;  Marie, 
Margaret  Morris;  George  Brooks,  Le  Roy  Mason;  Gi-ay 
Boy,  Klondyke. 

"  BABY  MOTHER,  THE"— Plaza.— Directed  by 
John  Harvey.  The  cast:  "Palsy"  O'Day,  Priscilla 
Moran;  Michael  O'Day,  William  V.  Mong;  Martha 
Whitney,  Dorothy  Devore;  "Old  Ironsides"  (The 
Landlady),  Emily  Fitzroy;  The  Orphanage  Woman. 
Cissy  Fitzgerald;  The  Baby,  John  Richard  Becker; 
"Dinty,"  Himself. 

"BURNING  UP  BROADWAY  "-Sterling.— 
From  the  story  by  Norman  Huston.  Directed  by 
Phil  Rosen.  The  cast;  Floss,  Hclene  Costcllo;  Bob 
Travers,  Robert  Frazer;  Harry  Wells,  Ernest  Hilliard; 
Spike,  Sam  Hardy;  Nick,  Max  Asher;  Slim,  Jack 
Rich. 

"CANYON  OF  ADVENTURE,  THE"  — First 
National. — From  the  story  by  Marion  Jackvon. 
Directed  by  Albert  Rogell.  The  cast;  Steven  Bnu' 
croft.  Ken  Maynard;  Dolores  Caslanares,  Virgini.i 
Browne  Faire;  Don  Migtiel,  Eric  Mayne;  Don  Alfredo 
Villegas,  Theodore  Lorch;  Luis  Villegas,  Tyrone 
Brereton;  Jake  Leach,  Hal  Salter;  Buzzard  Koke,  Hilly 
Franey;  Slim  Burke,  Charles  Witaker;  Tarzan,  By 
Himself. 

"CHORUS  KID,  THE"— Gotham.— From  tlie 
story  by  Howard  Rockey.  Scenario  by  Harold 
Shumate.  Directed  by  Howard  Bretherton.  Photog- 
raphy by  Charles  Van  Enger.  The  cast:  Biatme 
Brown,  Virginia  Browne  Faire;  John  Powell.  Bryant 
Washburn;  Peggy  Powell,  Thclma  Hill;  Mrs.  Garrett, 
Hedda  Hopper;  Jimmy  Garrett,  John  Batten;  Bill 
Whipple,    Tom    O'Brien;    Jacob    Feldman.    Sheldon 

"DEVIL'S  CAGE,  THE"— Chadwick.— From 
the  story  by  Isadore  Bernstein.  Directed  b\-  Wilfred 
Noy.  "Tile  cast:  Eloise,  Pauline  Garon;  Franklyn, 
Donald  Keith;  Pierre,  Armand  Kaliz;  Marcel,  Ruth 
Stonehouse;  Maurice,  Lincoln  Stedman. 

"DIAMONDHANDCUFFS"— M.-G.-M.— From 
the  story  by  Carey  Wilson  and  Henry  C.  Vance. 
Continuity  by  Bradley  King.  Directed  by  John  P. 
McCarthy.  The  cast:  Tillie,  Eleanor  Boardman; 
John,  Conrad  Nagel;  Larry,  Lawrence  Gray;  Spike, 
Sam  Hardy;  Musa,  Lena  Malena;  Cecile,  Gwen  Lee; 
Jerry,  John  Roche;  Crook,  George  Cooper;  Nick,  Lew 
Harvey;  Smartz.  E.  Allyn  Warren;  Niambo,  Charles 
Stevens. 

"EASY  COME,  EASY  GO  "—Paramount.— 
From  the  play  by  Owen  Davis.  Scenario  by  Florence 
Ryerson.  Directed  by  Frank  Tuttle.  The  cast: 
Robert  Parker,  Richard  Dix;  Babs  Quayle,  Nancy 
Carroll;  Jim  Bailey,  Charles  Sellon;  Mr.  Quayle, 
Frank  Currier;  Winthrop,  Arnold  Kent;  Detective, 
Christian  J.  Frank;  Detective.  Joseph  J.  Franz;  Con- 
ductor, Guy  Oliver. 

"  FANDANGO  "  —  Educational.  —  Directed  by 
Henry  W.  George.  The  cast:  Senor  Lane,  Lupino 
Lane;  His  Rival,  Wallace  Lupino;  His  Sweetheart, 
Marjorie  Moore;  The  Dancer,  Anita  Garvin. 


Hitting  the  camera  line  for  a  closeup.    The  player  to  the  right  is 
William  Haines  just  about  to  make  a  gain  of  fifty  yards — on  cellu- 
loid bootage.    It's  a  scene  from  "West  Point" 


C/NCE  upoS"*r  time  .  .  .  (ten 
pages  of  story  and  then  —  ) .  .  . 
when  suddenly  she  woke  up,  ran 
to  the  looking  glass  and  found 
that  her  fairy-godmother  had 
made  her  beautiful  overnight. 

.  Today,  Science  takes  the  place 
of  Fairies,  and  in  a  few  minutes, 
with  the  aid  of  ZIP,  adds  un- 
dreamed-of beauty. 

'  Superfluous  hair,  that  bane  of 
modern  woman,  can  quickly  be 
eliminated  . . .  effectively  . . .  and 
pleasantly,  by  a  one  minute  ap- 
plication of 


More  rapid;  fragrant;  delight- 
fully easy  to  use;  a  balm  to  your 
skin,  making  it  charmingly  at- 
tractive, ZIP  is  just  the  prepara- 
tion you  have  been  looking  for. 
At  $5.00  a  package  it  is  very 
economical  because  of  its  com- 
plete effectiveness.  ZIP  destroys 
the  growth.  Unexcelled  for 
face,  arms,  underarms,  body, 
legs  and  back  of  neck. 
Sold  in  pachuKe  form  the  world  over. 
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ZIXE. 


142 


Photoplay  Magazine— Advertising  Section 

DEL*/\-TGNE 


IN  a  few  weeks,  you  can 
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Blonde 

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BLONDE  h.iir  is  of  such  delicate  texture  that  or- 
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darken  its  color.  Blondex,  the  special  shampoo  for 
blondes  only,  keeps  hair  light  and  lovely,  brings 
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dye.  Noharshchemicals.  Finefor scalp.  Overa  mil- 
lion users.  At  all  good  drug  and  department  stores. 


"F.-\SHION  MADNESS"  — Columbia.  —From 
the  *tory  bv  Victoria  Moore.  Continuity  by  Olga 
Printzlaii.  Directed  by  Louis  J.  Gasnier.  Pliotog- 
rapUv  by  J.  O.  Tavlor.  The  cast:  Gloria  Vane.  Claire 
Windsor;  VMor  Redding,  Reed  Howes;  Tanaka, 
Laska  Winter;  Bill,  Donald  McNamee;  Co«h/ 
Coslano,  Boris  Snegoff. 

"FIRE  AND  STEEL "—Elbee.— From  the  story 
b\-  E.  A.  BarrinEcr.  Directed  by  Bertram  Bracken. 
The  cast:  Ann  McGreagor,  Mary  McAllister;  Terry 
OTarrell,  Jack  Perrin;  Mary  O'Farrell,  Cissy  Fitz- 
gerald; Sandy  McGreagor,  Burr  Mcintosh;  Tom  Wel- 
bourne,  Philo  McCuIlough;  G.  11'.  Branson,  Frank 
Newburg. 

"FOOLS  FOR  LUCK" — Paramount. — From  the 
■;torv  by  Harry  Fried.  Scenario  by  Sam  Mintz  and  J. 
Walter  Ruben.  Directed  by  Charles  Reisner.  The 
cast:  Richard  Whitehead,  W.  C;  Fields;  Samuel 
Hunter,  Chester  Conklin;  Louise  Hunter,  Sally  Blane; 
Ray  Caldwell,  Jack  Luden;  Mrs.  Hunter.  Mary  Alden; 
Charles  Grogan.  Arthur  Housman;  Jim  Simpson, 
Robert  Dudley;  Mrs.  Simpson,  Martha  Mattox. 

"HONOR  BOUND  "—Fox.— From  the  story  by 
Jack  Betliea.  Scenario  by  C.  Graham  Baker. 
Directed  by  Alfred  E.  Green.  The  cast:  John  Ogle- 
Iree,  George  O'Brien;  Evelyn  Mortimer,  Estelle 
Taylor;  Selma  Ritchie,  Leila  Hyams;  Mr.  Mortimer, 
Tom  Santschi;  Dr.  Ritchie.  Frank  Cooley;  Blood 
Keller,  Sam  De  Grasse;  Gid  Ames,  Al  Hart;  Skip 
Collier,  Harry  Gripp. 

"LAUGH,  CLOWN,  LAUGH"— M.-G.-M.— 
From  the  play  by  David  Belasco  and  Tom  Cushmg. 
Screen  play  by  Elizabeth  Meehan.  Directed  by 
Herbert  Brenon.  The  cast:  Tito.  Lon  Chaney; 
Simon.  Bernard  Siegel;  Simonetta.  Loretta  Young; 
Giacinia,  Cissy  Fitzgerald;  Luigi,  Nils  Asther;  Diane, 
Gvven  Lee. 

"LITTLE  SHEPHERD  OF  KINGDOM  COME" 
— First  National. — From  the  story  by  John  Fox, 
Jr.  Adapted  by  Bess  Meredyth.  Directed  by  Alfred 
Santell.  The  cast:  Chad  Buford,  Richard  Barthel- 
mess;  Old  Joel  Turner.  Nelson  McDowell;  Maw 
Turner,  Martha  Mattox;  Tom  Turner,  Victor  Potel; 
Dolph  Turner,  Mark  Hamilton;  Melissa  Turner, 
Molly  O'Day;  Caleb  Hazel,  William  Bertram;  Old  Tad 
Dillon.  Walter  Lewis;  Daws  Dillon.  Gardner  James; 
Tad  Dillon.  Ralph  Yearsley;  Nathan  Cherry.  Gustav 
von  Seyffertitz;  The  Circuit  Rider.  Bob  Milasch;  Jack, 
the  dog.  Bump;  Major  Buford,  Claude  Gillingwater; 
General  Dean,  David  Torrence;  Mrs.  Dean,  his  wife. 
Eulalie  Jensen;  Margaret  Dean,  his  daughter,  Doris 
Dawson;  General  Grant,  Walter  Rogers. 

"LOVE  HUNGRY"— Fox.— From  the  storj'  by 
Randall  H.  Faye  and  Victor  Heerman.  Directed  by 
Victor  Heerman.  The  cast:  Joan  Robinson,  Lois 
Moran;  Tom  Harvey,  Lawrence  Gray;  Mamie  Potts, 
Marjorie  Beebe;  Ma  Robinson,  Edythe  Chapman;  Pa 
Robinson,  James  Neill;  Lonnie  Van  Hook,  John 
Patrick. 

"LOVE  IS  INCURABLE"— PAEAMOUNT.—From 
the  play  by  Alfred  Savoir.  Adapted  by  Ernest  Vajda. 
Directed  by  Hobart  Henley.  The  cast:  Henri, 
.'^dolphe  Menjou;  The  Tiger  Princess.  Evelyn  Brent; 
Mme.  Duval.  Rose  Dione;  Stage  Manager,  Emil 
Chautard;  The  Duke,  Mario  Carillo;  The  Count, 
Leonardo  de  Vesa;  The  Marquis,  Jules  Raucourt. 

"MAN-MADE  WOMEN"— Pathe-De  Mille.— 
From  the  story  by  Ernest  Pascal.  Scenario  by  Alice 
D.  G.  Miller.  Directed  by  Paul  L.  Stein.  Photog- 
raphy by  John  Mescall.  The  cast:  Nan  Payson, 
Leatrice  Joy;  John  Payson.  John  Boles;  Jules  Moret. 
H.  B.  Warner;  Mademoiselle  Georgette.  Seena  Owen; 
Garth,  Jay  Eaton;  Marjorie,  Jeanette  Loff;  Owens, 
Sidney  Bracy. 

"MATINEE  IDOL,  THE"— Columbia.- From 
the  story  by  Robert  ILord  and  Ernest  Pagano. 
.\daptcd  by  Elmer  Harris.  Directed  bv  Frank  Capra. 
Photograpliy  by  Philip  Tannura.  The  cast:  Ginger 
Bolivar,  Bessie  Love;  Don  Wilson,  Harry  Mann. 
Johnnie  Walker;  Col.  Jaspar  Bolivar.  Lionel  Belmore; 
Wingale.  Ernest  Hilliard;  J.  Madison  Wilherforcc, 
Sidney  D'Albrook;  Eric  Barrymaine,  David  Mir. 

"MY  HOME  TOWN"— Ravart.— From  the 
story  by  .Arthur  Hoerl.  Directed  by  Scott  Pembroke. 
Photography  by  Hap  Depew.  The  cast:  Mae 
Andrews.  Ghidvs  Brockwell;  David  Warren.  Gaston 
Glass;  Prr.nlla.  M..l,t  LaPlante;  The  Evangelist. 
Carl  Stock,!;, l.-;  Ihuvrr  luldy,  Henry  Sedley;  Joey  the 
Penman.  Wni.  n,iinii;  The  Mother.  Ruth  Cheringlon; 
r/!c  fa//R-r,  Frank  Clark. 

"ON  THE  GO"— Action.— From  the  story  by 
Frank  L.  Inghram.  Directed  by  Richard  Thorpe. 
Photography  by  Ray  Ries.  The  cast:  Bill  Drake. 
Hiffialo  Bill,  Jr.;  Tom  Evans,  Charles  Whitaker; 
I'hilip  Graves.  Nelson  Stevens;  Snoopy  O'Sullivan, 
A  Lonely  Wanderer  on  life's 


"OUT  OF  THE  PAST"— Peerless.— From  the 
story  by  John  S.  Lopez.  Continuity  by  H.  Tipton 
Stock.  Directed  by  Dallas  M.  Fitzgerald.  Photog- 
rapliy by  Milton  Moore.  The  cast:  Dora  Prentiss, 
Mildred  Harris;  Beverly  Carpenter,  Robert  Frazcr; 
Harold  Nesbitt.  Ernest  Wood;  Mrs.  Prentiss.  Rose 
Tapley;  Juan  Serrano.  Mario  Marano;  Saida,  Joyzell 
Joyncr;  Captain  John  Barrister,  Harold  Miller; 
Beverly  Carpenter,  Jr.,  Byron  Sage. 

"PATRIOT,  THE"— Paramount.— From  the 
story  by  Alfred  Neumann.  Directed  by  Ernst 
l.cihitsrh.  The  cast:  Paul,  EmW  Jannings;  Alexander. 
Niil  Hamilton;  Pahlen.  Lewis  Stone;  Anna  Oster- 
mu««,  Florence  Vidor. 


Removes  Hair 


Skin  Without  Hair 

"I've  tried  other  methods  but  I  give  all  praise 
to  Del-a-tone.  It's  far  better  than  sha\'ing  or 
pulling  hair  out  by  the  roots,  and  it  tends  to 
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Adds  that  touch  of  daintiness  so  essential  to  feminine 
charm.  The  standard  depilatory  for  20  years.  Del-a-tone 
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Removes  hair  in  only  3  minutes  from  arms,  under 
arms,  legs,  back  of  neck  or  face.  Leaves  skin  smooth, 
white,  dainty.  Del-a-tone  Cream  or  Powder  is  sold  by 
drug  and  department  stores,  or  sen  t  prepaid,  in  plain  wrap- 
per, in  U.S.  for  Sl.OO.  Money  back  if  desired.  For  generous 
sample  send  lOc  to  Miss  Mildred  Hadley,  Dept.  86. 
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HOTEL 


CHICAGO 


Rooms  with  bath,  $5.00  a  day, 
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cated on  shore  of  Lake  Michigan, 
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Under  the  famous  BLACK- 
STONE  management,  known  the 
world  over. 

The   Drake,  Lake   Shore   Drive 
and    Michigan    Ave.,     Chicago 


MARCELWAVE^ 
without  heat  in 
utes  Will  Not  Injure 

-^/       Bobbed  or  Long  Hair,  No  Winding 
No  Twisting.    Put  on  in  a  second 
Easy  to  use.    Gay  Marr  Wavers 
(patented)  trains  a  beautiful,  natural^ 
lasting  wave.  16.000  women  use  it  and  save 

money.    Loolts  lilce  a  professionai  wave    Waver,  1 
not  a  curler.    Nothing  else  like  it.     Don't  Accept    . 
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Olear  Skin 

of  Blemishes 

Yoa  can  have  a  clear,  smooth  velvety  skin  if  yon 
will  only  try  pure,  cooling:  liquid  D.  D.  D.  Soothes 
the  tissues,  quickly  driving  away  pimples,  blotches 
and  other  blemishes.  Stops  itching  instantly.  This 
healing,  Btainles3  wash  penetrates  the  skin  and 
dries  up  almost  immediately.  A  35c  trial  bottle 
is  guaranteed  to  prove  the  merits  of  this  famoos 
antiseptic— or  your  money  back.    All  drag  stores. 


in  h\g  demand.  Cummerical 
Photograph?  also  pays  h\«  money. 
LflK-D  quickly  at  home  in  Bpare  tune. 


k,    Opjxrrtunities  %n 

Modern  Photography.  American 

■-■ '-'—— 'OBraphy,pept.  125-A 

n  Ave,  Chicago. 


IIOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


43 


"PAY  AS  YOU  ENTER  "—Warners.— From 
the  story  by  Gregory  Ropers.  Scenario  by  Fred  Stan- 
ley. Directed  by  Lloyd  Bacon.  The  cast:  Mary 
Smilh,  Louise  Fazenda;  Clyde  Jones.  Clyde  Cook; 
"Terrible  Bill"  McGovern,  Wm.  Demarest;  Yvonne 
de  Russo,  Myrna  Loy. 

"PHANTOM  OF  THE  TURF"— Rayart.— From 
the  story  by  Leota  Morgan.  Scenario  by  Arthur 
Hoerl.  Directed  by  Duke  Worne.  The  cast:  Joan, 
Helene  Costello;  John  Nichols,  Rex  Lease;  Dunbarton, 
Forrest  Stanley;  Billy.  Danny  Hoy;  The  Lawyer, 
Clarence  H.  Wilson;  Phantom,  Major. 

"PHYLLIS  OF  THE  FOLLIES"— Universal.— 
From  the  story  by  Arthur  Gregor.  Scenario  by 
John  B.  Clymer.  Directed  by  Ernst  Laemmle.  The 
cast:  Phyllis.  Alice  Day;  Clydi;,  Edmund  Burns; 
Hmvard  Decker.  Matt  Moore;  Mrs.  Decker,  Lilian 
Tashraan;  Mabel.  Duane  Thompson. 

"  PINTO  KID,  THE"— FBO.— From  the  story  by 
Jean  Dunont  and  John  Twist.  Directed  by  Louis 
King.  Thecast:  Dovrd  "7?f(/" //f^wer,  Buzz  Barton; 
Wank  Robbins,  Frank  Rice;  Andy  Bruce.  James 
Walsh;  Janel  Bruce.  Gloria  Lee;  Pal  Logan.  Mil- 
bourne  Moranti;  Dan  Logan,  Hugh  Trevor;  Rufe 
Skyles,  William  Patton;  Berl  Lower y,  Walter  Shum- 


" SOUTH  SEA  LOVE"— FBO.— From  the  story 
by  Georges  Surdez.  Directed  by  Ralph  I  nee.  The 
cast:  Charlotte  Guesl,  Patsy  Ruth  Miller;  Fred 
Steward,  Lee  Shumway;  Tom  M alloy.  Allan  Brooks; 
Bob  Bernard.  Harry  Crocker;  G.orge  Billways.  Barney 
Gilmore. 

"SPORTING  AGE,  THE"— Columbia.— From 
the  story  by  Armand  Kaliz.  .Adapted  by  Elmer 
Harris.  Directed  by  Erie  C.  Kenton.  Photograpliv 
bv  Ray  June.  The  cast:  Miriam  Driscoll,  Brlle 
Bennett;  James  Driscoll,  Holmes  Herbert;  Phillip 
Kingston,  Carroll  Nye;  Nancy  Driscoll,  Josepliine 
Borio ;  Doctor,  Edwards  Davis. 

"STOCKS  AND  BLONDES""- FBO.  — Story 
adaptation  and  direction.  Dudley  Murphy.  Photog- 
raphy by  Virgil  Miller.  The  cast:  Goldie,  Gertrude 
Astor;  Palsy,  Jacqueline  Logan;  Tom  Greene,  Richard 
"Skeets"  Gallaglier;  Powers,  Albert  Conti. 

"TEMPEST"— United  Artists.— Adapted  bv  C. 
Gardner  Sullivan.  Directed  by  Sam  Taj-Ior.  The 
cast:  Sergeant  Ivan  Markov,  John  Barrjmore;  The 
General,  George  Fawcett;  Princess  Tamara,  Camilla 
Horn;  The  Captain,  Ulrich  Haupt;  Sergeant  Bulba, 
Louis  Wolheim;  The  Peddler,  Boris  de  Fas;  The 
Guard,  Michael  Visaroff. 

"TEMPTATIONS  OF  A  SHOP  GIRL"— First 
DiviSKJN. — From  the  story  by  L.  V.  Jefferson.  Con- 
tinuit.\-  by  L.  V.  Jefferson.  Directed  by  Tom  Terris. 
Photography  by  George  Benoit  and  Ted  Tetzlaff. 
The  cast:  Ruth  Harrington,  Betty  Compson;  Betty 
Barrington,  Pauline  Garon;  Andre  Le  Croix,  Armand 
Kaliz;  Jerry  Horton,  Raymond  Glenn;  John  Horton, 
William  Humphries;  Mrs.  Harrington,  Cora  Williams; 
Bud  Conway,  Gladden  James;  Jim  Butler,  John  F. 
Dillon. 


"THEIR  HOUR"— Tiffany-Stahl.— From  the 
story  by  Albert  Shelby  Levino.  Directed  by  Al 
Raboch.  Photography  by  Faxon  Dean.  The  cast: 
Cora,  Dorothy  Sebastian;  Jerry,  John  Harron;  Peggy, 
June  Marlowe;  Cora's  Father,  Holmes  Herbert;  Cora's 
Fiance,  John  Roche;  Mr.  Shaw,  Huntly  Gordon; 
feggy's  Father,  John  Steppling;  Peggy's  Mother, 
Myrtle  Stedman. 

"THIEF  IN  THE  DARK,  THE"— Fox.— From 
the  story  by  Albert  Ray  and  Kenneth  Hawks. 
Scenario  by  C.  Graham  Baker.  Directed  bv  Albert 
Ray.  The  cast:  Ernest,  George  Meeker;  Elise,  Doris 
Hill;  Flo,  Gwcn  Lee;  Jeanne,  Marjorie  Beebe;  Pro- 
fessor Zeno,  Michael  Vavitch;  Monk,  Noah  Young; 
Duke,  G.  M.  Belcher;  Beauregard,  Raymond  Turner; 
Armstrong,  Erville  Alderson. 

"THREE  SINNERS"— PARAMOtraT.-From  the 
play  1)5-  Bcrnauer  and  Ospcrreicher.  Adapted  bv 
Doris  Anderson.  Directed  by  Roland  V.  Lee.  The 
cast:  Countess  Gerda  Wallentin,  Pola  Neqri;  James 
Harris,  Warner  Baxter;  Count  Die/rich  Wallenlin, 
Paul  Lukas;  Count  Hellemuth  Wallentin.  Anders 
Randolf;  Raoul  Stanislaw.  Tullio  Carminati;  Bara- 
vess  Hilda  Brings.  Olga  Baklanova;  Prince  Scher- 
dinski,  Robert  Klein. 

"WICKEDNESS  PREFERRED"— M.-G.-.M.— 
From  the  story  by  Florence  Ryerson  and  Colin 
Clement.  Directed  by  Hobart  Henlev.  Photography 
by  Clyde  de  Vinna.  The  cast:  Anthony  Dare,  Lew 
Cody:  Kitty  Dare,  Aileen  Pringle;  Baby  Burton,  Marv 
McAllister;  Homer  Burton,  Bert  Roach;  Leslie, 
George  K.  Arthur. 

"WILLFUL  YOUTH  "—Peerless.— From  the 
storv  bv  Edith  Sessions  Tupper.  Continuity  bv  .-Ada 
McQuillan  and  Gladys  Gordon.  Directed  bv  Dalkis 
M.  Fitzgerald.  The  cast:  Jack  Comflon.  Kenneth 
Harlan;  Edna  Tavernay.  Edna  Murph\';  Edward 
Compton,  Jack  Richardson;  Terence  Clancy.  Walter 
Perry;  Steve  Daley.  James  Aubrey;  Bull  Thompson. 
James  Florey;  Mrs.  Claudia  Tavernay,  Eugenie  Forde; 
Sheriff,  Arthur  Morrison. 

"WHY  SAILORS  GO  WRONG"— Fox.— From 
the  story  by  William  Consclman  and  Frank  O'Connor. 
Scenario  by  Randall  H.  Faye.  Directed  by  Henry 
I^hrman.  The  cast:  Sammy  Cohen,  Sammy  Cohen; 
Mac,  Ted  McNamara;  Doris  Martin.  Sally  Phipps; 
Dick  Wright.  Nick  Stuart;  Paul  Hastings.  Carl  Miller; 
Cyrus  Martin.  E.  H.  Calvert;  First  Male.  Jack  Pen- 


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Photoplay  Magazine — Advertising  Section 


n  Will  Pay  $500 
If  You  Lose  25  Ibs^^ 

said  my  husband  to  me  one  day 


This  is  the  story  a  lady 
told  the  writer.  She  accepted 
the  offer,  and  started  that 
day  on  Marmola.  The  cost 
of  losing  25  pounds  was  $5. 
The  effort  was  almost  noth- 
ing.   Her  profit  was  $495. 

But  think  what  she  gained 
in  new  beaut>%  new  vitalitj', 
new  charm.  She  looked  ten 
years  younger,  and  money 
can't  measure  that. 

Men  and  women,  for  20 
years,  have  been  using  Mar- 
mola prescription  tablets  — 
millions  of  boxes  of  them. 
The  results  are  seen  in  every  circle.  Almost 
everyone  has  friends  who  can  tell  them.  Ex- 
cess fat  is  far  less  common  than  it  was. 

Marmola  aims  to  correct  a  common  cause 
of  obesity  in  a  scientific  way.  Its  chief  factor 
is  now  employed  by  physicians,  the  world 
over  in  treating  excess  fat.  The  complete 
formula  appears  in  every  box.   Also   the 


reasons  for  results.  This  is 
done  to  ward  off  any  fear 
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Abnormal  exercise  or  diet 
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vised, but  moderation  helps. 
Simply  take  four  tablets 
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Marmola  prescription  tablets  are  sold  by 
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IVrARIVrOI    A    Prescription  Tablets 

XT  AxmE^lT  JLV^*^A3L      The  Pleasant   Way  to  Reduce 


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The  Story  of  Greta 
Garbo 


[  COXTINUED  FROM  P.4GE   65  ] 


".\fter  'The  Torrent,'  I  started  on  'The 
Temptress'  with  Mr.  Stiller.  But,"  her  voice 
changed,  choked  for  a  moment.  "Mr.  Stiller 
is  an  artist.  He  does  not  understand  about 
the  American  factories.  He  has  always  made 
his  own  pictures  in  Europe,  where  he  is  the 
master.  In  our  country  it  is  always  the  small 
studio.  He  does  not  understand  the  .\inerican 
Business.  He  could  speak  no  English.  So  he 
was  taken  ofif  the  picture.  It  was  given  to  jNIr. 
Niblo. 

"How  I  was  broken  to  pieces,  nobody  knows. 
I  was  so  unhappy  I  did  not  think  I  could  go  on. 
I  could  not  understand  the  English  directions. 
Week  in,  week  out  from  seven  until  sLx.  Six 
months  on  the  story.  More  than  twenty  cos- 
tumes to  try  on  over  and  over.  That  is  wh)'  I 
do  not  care  about  clothes.  There  are  so  many 
clothes  in  every  picture.  I  cannot  think  of 
them  when  I  am  away  from  a  picture. 

"I  never  missed  a  day.  I  was  never  late  to 
w-ork. 

"It  is  not  true  that  I  have  refused  to 
work  and  have  said,  'I  will  go  home'  as  the 
papers  have  said  about  me. 

"  When  I  had  finished  '  The  Temptress,'  they 
gave  me  the  script  for  'The  Flesh  and  the 
Devil' to  read.  I  did  not  like  the  storj'.  I  did 
not  want  to  be  a  siUy  temptress.  I  cannot  see 
any  sense  in  getting  dressed  up  and  doing 
nothing  but  tempting  men  in  pictures. 

"Mr.  Mayer  called  me  in  and  said  I  was  to 
start  right  away.  My  sister  had  died  whUe  I 
was  making 'The  Temptress.'  My  poor  body 
wasn't  able  to  carry  on  any  longer.  I  was  so 
tired,  so  sick,  so  heart-broken. 

"I  went  to  Mr.  Mayer  and  said,  'Meester 
Mayer,  I  am  dead  tired.  I  am  sick.  I  cannot 
do  another  picture  right  away.  And  I  am  un- 
happy about  this  picture — ' 

"  And  they  said, '  That's  just  too  bad.  Go  on 
and  try  on  your  clothes  and  get  ready.' 

"  'If  people  are  not  happy,  I  should  think 
you  would  try  and  make  them  happy.  I  am 
sick,'  was  all  that  I  answered. 

"I  am  not  the  kind  of  a  girl  who  can  powder 
my  nose  and  say,  '  Ah,  go  on  with  you.'  What 
wouldn't  I  have  given  to  ha\-e  been  born  an 


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darling  in  "Roulette."  Dick  plays 
dual  roles  and  does  one  of  those 
twin  brother,  tempest  and  sun- 
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ican language  and  the  American  business. 

"What  could  I  do?  I  went  to  the  hotel  in 
Santa  Monica  and  lay  down  to  think.  I  did 
not  think  I  could  go  on.  I  had  heard  of  a 
manager.  So  I  got  one! — somebody  who  could 
talk  the  English  language. 

"He  saw  how  sick  I  was,  how  tired.  'Poor 
lady,  why  don't  you  go  home  and  rest?'  he  told 

"So  I  went  home  for  two  days.  Then  I 
heard  about  the  papers.  They  say,  'Greta 
C.arbo  go  home' — 'She  is  temperamental — she 
cannot  be  handled.'  I  did  not  understand  that, 
so  I  went  to  my  manager  and  said,  'Maybe  I 
better  go  back  to  the  studio.  I  have  rested  two 
days.  It  does  not  make  any  difference  here 
whether  I  am  tired  and  sick  and  have  lost  my 
sister.    I  do  not  understand  and  I  wiU  go  back.' 

"So  I  went  back  and  said  nothing. 

"  A  ND  there  I  met  for  the  first  time,  except 
-'»-to  nod  to  him,  John  Gilbert.  And  he  was 
so  terribly  good  to  work  with!  He  has  such 
vitality,  spirit,  eagerness.  Every  morning  at 
nine  o'clock  he  would  slip  to  work  opposite  me. 
He  was  so  nice,  that  I  felt  better;  felt  a  little 
closer  to  this  strange  America. 

"When  I  finished  'The  Flesh  and  the 
Devil,'  they  wanted  me  to  do  'Women  Love 
Diamonds.'  I  could  not  do  that  story.  Four 
or  five  bad  pictures  and  there  would  be  no 
more  of  me  for  the  American  people. 

"I  did  not  know  what  to  do.  No  one  would 
tell  me.  I  still  could  not  speak  good  English. 
So  I  went  to  the  hotel  and  sat  down  and  waited. 
I  did  not  know  what  else  I  could  do.  I  wanted 
to  be  home  in  Sweden. 

"And  the  next  morning  they  telephoned  me 
to  look  at  some  sketches  for  the  story.  It  was 
the  first  time  I  had  not  done  what  they  wanted, 
except  to  sign  a  new  contract  when  I  already 
had  a  new  one. 

"And  I  had  a  letter  saying  by  not  coming 
down  to  see  the  sketches  I  had  refused  to  work 
and  they  could  not  pay  me.  What  could  I  do? 

"Then  a  very  kind  friend  told  me  about  a 
man  who  would  understand  both  me  and  the 
people  of  this  country.  I  had  a  lawyer  to 
manage  me  up  to  this  time.  But  this  new  man, 
they  said,  knew  all  about  the  studio  and  all 
about  the  making  of  pictures.  He  had  been  in 
Europe  a  long  time  and  would  sympathize  and 
understand  that  all  I  wanted  was  no  trouble 
and  just  a  chance  to  make  good  stories.  So  I 
went  to  see  ISIr.  Harry  Edington,  and  after 
talking  to  me  every  day,  almost,  for  more  than 
a  week,  and  coming  to  believe  that  I  was  not 
all  the  papers  had  said  about  me,  he  said  he 
would  handle  all  of  my  things  for  me.  My  con- 
tracts, my  money,  my  work, — everything.  You 
do  not  know  what  that  means  to  a  girl  who 
knows  nothing  about  this  big  country  and  this 
big  American  studio  business. 

"  CINCE  then,  I  have  not  had  trouble.  Be- 
k-'cause  he  understands  both  their  business 
and  understands  me  and  my  business. 

"But  before  I  employed  him  I  was  home 
seven  months  without  pay.  I  did  not  say 
anything  or  do  anything.  And  the  papers  al- 
ways said  I  want  money. 

"I  was  terribly  restless.  I  figured  out  that 
maybe  the  next  moment  I  would  be  packing 
my  trunks.  I  was  so  low,  as  you  say,  that  I 
thought  I  woidd  break.  But  it's  like  when  you 
are  in  love.  Suppose  the  man  you  love  does 
something  to  hurt  you.  You  think  you  will 
break  it  off;  but  you  don't  do  it. 

"  Finally,  they  call  me  and  say  they  have  a 
story.  I  read  it  and  went  out  and  asked  what 
part  I  was  to  play  and  they  said  the  little  part. 
Aileen  Pringle  and  Lew  Cody  were  to  play  the 
big  parts.  Mr.  Edington  tell  me  to  do  it,  so  I 
did  not  say  a  word,  but  tried  on  the  dresses  and 
was  all  ready  to  play  the  little  part  in  the  pic- 
ture, when  Miss  Pringle  said  she  would  not  do 
it. 

"Then  they  called  me  and  said  I  was  im- 
possible and  could  not  be  handled.  For  the 
first  time  I  answered  Mr.  Mayer  back.  I  said 
I  had  all  my  clothes  fitted  and  was  ready  to 


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PHOTOPLAY   MAGAZINE. 


146 


Photoplay  Magazine — Advertising  Section 


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play  the  little  part.    'W'liat  more  did  they  want?     what  you  are  doing?    And  the  other  American 

I  am  very  sorry  I  answered  back.    I  guess  I 

did  not  understand  them.    It  was  all  because  I 

speak  one  language  and  they  speak  another. 

And  the  newspaper  men  who  print  all  the  bad 

stories,  they  could  not  understand  either. 

"They  said  it  was  a  new  contract  they 
wanted.  So  JMr.  Edington  fixed  up  a  new  con- 
tract, for  five  years.  Because  it  was  not 
money  I  had  wanted  in  the  first  place,  money 
was  not  so  important.  But  Mr.  Edington's 
contract  did  give  me  more  money  than  when  I 
came  to  this  country.  They  had  a  cartoon  of 
me  in  my  country,  holding  out  my  hand  with 
many  American  dollars.  They  thought  I  get 
fi\-e  thousand  dollars  a  week.    That  is  funny. 

"Now  Mr.  Edington  makes  us  understand 
one  another  and  we  are  all  very  happy. 

"And  that  is  all  there  is  to  my  story.  I  am 
twenty-two  years  old  and  I  have  played  in  two 
pictures  in  Europe  and  five  in  this  country.  I 
was  nineteen  when  I  came  to  New  York  City. 


not  know  whether  I  will  bring  my  mother 
to  this  country.  When  I  am  working  I  like  to 
be  alone. 

"And  if  I  were  working  hard — I  love  my 
mother.     We  will  see. 

"I  want  to  stay  in  this  countrj'.  Hollywood 
is  the  place  to  make  pictures.  It  is  where  there 
is  a  future  for  me  or  any  other  actress. 

"I  cannot  help  it  if  I  do  not  like  to  be  with 
many  people.  I  have  some  good  friends.  Mr. 
and  ]\Irs.  Jannings.  Mrs.  Jannings  is  a  real 
woman. 

"  She  says  what  she  means.  Mr.  Jannings  is 
a  real  man. 

"I  do  not  mean  feminine  and  mascuUne,  as 
\ou  say  it.  I  mean  the  inside,  deep — real 
people.  I  have  to  keep  learning  German  so 
I  can  talk  with  my  good  friends,  the  Jannings. 

"They  wanted  me  to  go  to  a  Mayfair  party. 
It  was  a  nice  party.  But  why  do  I  have  to  go. 
I  do  not  like  parties. 

"I  never  know  what  I  am  going  to  do  ne.xt, 
when  1  am  not  working.  I  walk  on  the  beach 
for  many  miles.  But  I  never  know  what  time 
I  will  do  it.  I  stand  on  the  beach  and  watch 
the  sea  for  an  hour,  perhaps  two.  What  is  that 
to  people? 

"I  like  it.    That  is  all  there  is  to  it. 

"I  do  not  think  one  person  should  judge 
another.  You  can  never  tell  why  one  person 
does  not  like  another. 

I  do  not  think  one  person  can  talk  about 
another.  It  is  not  of  their  own  business  they 
are  talking. 

"  I  love  my  work.  I  want  to  be  a  big  actress. 
That  is  natural.    Do  you  not  want  to  be  big  in 


people? 

"When  I  was  starting  'Anna  Karenina,'  the 
wardrobe  department  sent  me  flowers.  I  was 
so  pleased.  I  know  in  a  big  factory-studio  they 
cannot  send  you  flowers  and  do  things  for 
others. 

"But — it  made  me  feel  a  little  closer. 

"Love?"  She  laughed  softly.  "Of  course, 
I  have  been  in  love.  Love  is  the  last  and  the 
first  of  a  woman's  education.  How  could  you 
express  love,  if  you  have  never  felt  it?  You  can 
imagine,  but  it  is  not  like  the  feeling — who 
hasn't  been  in  love?  I  am  no  diS^erent  from 
the  others. 

"Marriage?  I  have  told  many  times,  I  do 
not  know.  I  like  to  be  alone;  not  always  with 
some  other  person. 

"There  are  many  things  in  your  heart  you 
can  never  tell  to  another  person.  They  arc 
you! 

"Your  joys  and  sorrows — and  you  can  never, 
ne\er  tell  them.  It  is  not  right  that  you  should 
tell  them. 

"You  cheapen  yourself,  the  inside  of  your- 
self, when  you  tell  them. 

"There  is  really  nothing  to  my  story,  as  I 
told  in  the  beginning.  I  was  born  in  a  house, 
I  grew  up  like  other  people.  I  have  found  my 
life  work,  and  all  I  want  is  to  do  it  and  then 
travel. 

"I  have  had  troubles  the  same  as  other  per- 
sons. The  company  went  broke  in  Constan- 
tinople, but  I  found  another.  Mr.  Stiller  had 
to  go  back  to  Europe.  How  I  miss  him.  He 
talked  in  my  own  language.  I  owe  everything 
to  Mr.  Stiller.  I  have  not  understood  every- 
thing over  here,  but  now  everything  is  settled 
and  we  are  all  working  together.  I  cannot 
stand  trouble. 

"The  future?  I  have  no  plans.  After  I  go 
back  to  Sweden,  then  who  knows?  My  con- 
tract is  for  five  years,  remember. 

"I  have  told  the  truth.  That  is  everything 
there  is  to  it.  Honest!  No,"  she  smiled  a  wee 
smile,  "American  cities  are  not  covered  with 
flowers,  but  I  have  found  many  flowers  in 
America. 

"  And  that's  afl.  My  little  story  of  my  life  in 
pictures, — of  my  whole  life  as  far  as  that 
matters — is  finished." 

GRETA  GARBO  drew  her  grey  woolly  cloak 
"such  as  we  wear  in  Sweden"  around  her. 
Her  eyes  sought  the  windows,  as  though  to 
penetrate  the  dark  secrets  beyond  them.  And 
as  she  looked  past  me,  beyond,  into  a  world 
which  my  eyes  could  not  vision,  there  was  born 
in  me  a  great  ambition,  an  ambition  to  acquire 
this  woman  as  a  friend. 


Statement  of  the  Ownership,  Management,  Circulation,  etc.,  RequirecJ  by 
the  Act  of  Congress  of  August  24,  1912, 

of  Photoplay  Magazine  Published  Monthly  at  Chicago,  Illinois,  for  April  1st,  1928 


otary  Public  in  and  for  the  State  and  Cou 
uly  sworn  according  to  law,  deposes  and 

the  following  is,  to  the  best  of  her  know 
daily  paper,  the  circulation),  etc.,  of  tht 
y  the  Act  of  August  24,  1912.  embodied 
orm.  to  wit:     1.  That  the  names  and  addresses  of  the  publisher,  edit 

Publisher,  Photoplay   Publishing  Co..   750  N.   Michig 

,  Chicago.  111.      Managing  Editor,  F.  J.  Smith,  221   W.  57 


IfoH 


Dougherty, 
:  Photopt 
of  the  ownership,  ma 


pager,  Kathym  tjoughe 


750  N.  Michlga 
,  be  1 


-    shown  in  the  above 

Postal  Laws  and  Regulations,  printed  on 

anaging  editor,  and  busi- 

Chicago,  ni.     Editor,  James  R. 

•    ■"  ■    street.  New  York,  N.  Y. 

3wner  is:  (If  owned  by  a 

J  of  stock- 


esses  of  the  individual  owners  r 


<  name  and  addr 
I.;  R.  M.  - 


thei 


,  Chica 
3.  Tha 


I  ;  J.  R.  Quirk,  Chicago, 
known  bondholde 

ving  thei 


,.)     Esta 


ny  but  also, 
n  any  other 


Chicago,  III. 
n-nt  or  more  of  total  amount  of  bonds,  mortgages,  or  other  securities  are:     (If  there 
I  hat  the  two  paragraphs  next  above,  giving  the  names  of  the  owners,  stockholders,  and  securit 
l;ii[i   ij.,<    fiiih'    Dm-  list  of  stockholders  and  security  holders  as  they  appear  upon  the  books  of  i 
'"  '   '  '      -■  In  ti    I  )ii'  stockholder  or  security  holder  appears  upon  the  books  of  the  company  as  t 

'''"'  '■"  ■    "  '  "■  ^''f'.  name  of  the  person  or  corporation  for  whom  such  trustee  is  acting,  is  gi 

'     '' !■  "  '•■'■'''''    '  ""^^in  statements  embracing  affiant's  full  knowledge  and  belief  as  to  the  circum 

uii'l'  I  \'.  hi'  li  Mill  khiildiTs  and  security  holders  who  do  not  appear  upon  the  books  of  the  company  as  trustees,  hold  stock 
:iiiil  ,1.  unlit  J  111  a  capacity  other  than  that  of  a  bona  fide  owner;  and  this  affiant  has  no  reason  to  believe  that  any  other 
IMTfton,  a.ssociatton.  or  corporation  has  any  interest  direct  or  indirect  in  the  said  stock,  bonds,  or  other  securities  than  as 
BO  stated  by  her.  S.  That  the  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed 
mails  or  othor\vi8e,  to  paid  subscribers  during  the  six  I  ... 

tion  is  required  from  daily  publications  only.) 

KATHYRN  DOUGHERTY. 

(Signature  of  Business  Manager.) 
of  March,  192S 


.(Th 


irough  the 


tSEAl,; 


subscribed  before  : 


(My 


Evpry  aUvertlsi 


I'llOTOPLAT  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


'I'here  dashed  across  my  mind  a  story  I  had 
forgotten. 

Greta  Garbo  was  on  one  of  her  rare  party- 
gatherings. 

A  woman  told  a  story  about  Susan.  A  story 
which  left  the  inflection  that  Susan  was  not 
honest. 

"  But  I  thought  you  and  Susan  were  friends?" 
Greta  had  inquired. 

"Why,  we  are!"  the  woman  had  laughingly 
answered. 

"  But  if  you  are  friends  you  could  not  say 
that  of  one  another." 

You  have  heard  her  reference  to  children. 
She  understands  them  because  she  is  herself  a 
child.  In  her  simplicity,  her  beliefs,  her  de- 
votiorts.  And  as  I  listened  to  her  life  story,  I 
knew  I  could  not  help  but  believe  each  word  she 
was  saying.  She  told  it  in  perfect  English, 
exactly  as  it  is  written, — the  English  of  a  child 
who  is  learning. 

And  I  wondered,  as  she  concluded,  has 
America  become  so  compHcated,  so  civihzed, 
that  it  has  become  difficult  for  them  to  love  and 
to  believe  in  their  children? 


47 


Nita  Naldi  no  longer  likee.  After  a 
brief  sojourn  in  New  York,  Nita 
packed  her  trunks  and  sailed  back 
for  Europe  where  a  girl  may  eat 
and  still  play  in  pictures.  You  will 
notice  that  Nita  is  still  slender 
enough  to  squeeze  into  a  single 
column  picture 


c/lge  lines  musthc  erased 

-^hey  cannotbe  concealed' 


Silk  Muscle  Lifting  Mask 

Your  mirror  knows  no  suave  amenities.  It  reveals 
with  brutal  frankness  just  how  old — or  young — 
you  really  look.  That  network  of  wrinkles  about 
the  eyes;  the  creases  from  nose  to  mouth;  the 
flabby  fullness  under  the  chin  and  the  coarsened 
texture  of  the  skin  cannot  be  concealed  with  lavish 
makeup.      They  must  be  erased. 

The  Way  Has  Been  Found 


Catherine  McCune,  one  of  America's  foremost  skin 
and  beauty  specialists  says:  "In  all  my  experience 
I  have  never  seen  such  a  safe,  sensible  and  inex- 
pensive method  of  improving  the  contour  of  face 
and  texture  of  skin.  My  Silk  Muscle  Lifting  Mask 
treatment  is  so  easily  applied  in  the  privacy  of  your 
home.  Its  principle  of  muscle  lifting  is  most  helpful 
in  erasing  tired  lines,  pouches,  wrinkles,  crows-feet, 
double  chin  and  sagging  muscles.  The  gentle  mas- 
sage induced  by  breathing  while  wearing  the  mask 
purifies,  brightens  and  refines  the  skin,  thus  restor- 
ing a  wrinkle-free  bloom  of  youth  that  requires 
little,  if  any,  concealing  makeup.  My  Silk  Muscle 
Lifting  Mask  treatment  is  a  natural  and  inexpensive 
way  of  accomplishing  that  which  required  expensive 
plastic  surgery  or  deep  peel  heretofore. 


Let  Catherine  McCune  tell  you  how  to  regain  and 
retain  your  youthful  freshness  by  sending  for  her 
wonderful  book  '^Beauty  is  Yours  to  Have  and 
to  Hold." 

Ifs  Free— Send  No  Money 


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NED  ><WVi' BURN 


America'!  Foremost  Dance  Authority, 
who  staged  the  best  editioDs  of  the  Follies 
and  over  600  other  Musical  Shows  and 
whose  inspirational  direction  contributed 
so  much  to  the  success  of  I^arilyn  Miller, 
Ann  Pennington,  Gilda  Gray ,  Fred  and  Adele 
Astaire,  Mary  Eaton.  Ada  May,  Al  Jolson, 
Eddie  Cantor,  Will  Rogers,  Oscar  Shaw. 
Evelyn  Law  and  many  others,  offers 

A  Complete 
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THIS  course  gives  yoa— right  in  your  own  home 
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There  is  a  constantly  increasing  demand  from 
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AmongthemanyMovieStarsvvhohavebeenben- 
efited  by  Ned  Wayburn's  instructions  are  Marion 
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Dancing.  It  is  complete  in  every  detail,  clearly  described 
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48 


Photoplay  ^L\GAZI^E — Advertising  Section 


SIX 
SUPERIORITIES 


Gaoze  specially  softened 
with  a  fiJm  of  down. 


2.  Pliant  fluffy  611er  of  amaz- 
ing absorbency. 


3.  Rounded  sides  assuring 
comfort  and  no  clumsi- 


4.  A  moisture-resisting  back 
giving  positive  security. 

5.  Disposable — flushes  away. 

6.  Silent  purchase  coupon. 
ObrJ&J 


Silent  Purchase 

o^  Modess 
Advantage 

i  .  "r70R  the  first  time,  a  silent  purchase  plan  for 
'/.-La  sanitary  napkin !  And  a  napkin  of  wonder- 
ful improvements — soft,  protective,  absolutely 
disposable — Modess.  Women  are  buying  it,  mar- 
%elling  at  it,  and  buying  again.  But  even  with 
this  new  and  ideal  napkin  the  old  embarrassment 
of  purchasing  was  still  a  problem  until  Johnson 
&.  Johnson  solved  it  so  easily  and  ingeniously 
that  you  will  wonder  no  one  thought  of  it  before. 

In  order  that  Modess  may  be  obtained  in  a 
crowded  store  without  embarrassment  or  discus- 
sion, Johnson  &  Johnson  devised  the  Silent  Pur- 
chase Coupon  presented  below.  Simply  cut  it  out 
and  hand  to  the  sales  person.  You  will  receive 
one  box  of  Modess.  Could  anything  be  easier? 
Is  there  a  woman  anyw^here  who  will  not  be 
grateful  for  this  method  of  silent  purchase? 

Your  first  Modess  will  be  a  revelation  of  un- 
hoped-for comfort.  The  great  Johnson  &  Johnson 
laboratories  worked  four  years  to  make  the  finest 
and  most  comfortable  sanitary  napkin  ever  offered 
to  women.  An  entirely  new  substance,  soft  as 
the  finest  cotton,  was  invented  for  the  disposable 
center.  The  gauze  is  specially  softened  and  sides 
are  gently  rounded  to  prevent  chafing.  Modess 
has  a  moisture-resisting  back.  Once  more  the  fa- 
mous Red  Cross  trade-mark  distinguishes  a  sani- 
tary product  of  amazing  superiority. 

Fifty  cents  for  a  box  of  tw^elve. 

Modess 

so  infinitely  finer 


^    SILENT   ^^ 

PURCHASE 

COUPON 


To  Sales  Person — 

One  box  o^Modess,  please 

The  New  sanitary  napkin  made  by 

U  NEW  BRUNSWICK,    ij     N  J.  u  S  A. 


PHOTOPLAY  MAGAZINE  Is  guaranteed. 


j;.  y  Ls>^ 


^li. 


HE'S    PROUD  OF 

LEO,  JUNIOR- 


Metro-Goldwyn-Mayer,  Greatest  of  Feature 

Producers,  has  become  Greatest  of 

Short  Film  Producers 


STAN  LAUREL  and 
OLIVER  HARDY 

in  "Leave  'Em  Laughing" 
and  "The  Battle  of  the 
Century"  established 
themselves  as  screen- 
dom'snewest  fun-makers. 


MAX  DAVIDSON 

never  permits  a  dull  mo- 
ment when  he  is  on  the 
screen  in  his  uproarious 
dialect  comedies. 


ALL  of  the 
BEST  theatres 
ARE  now  showing 
COMPLETE  M  GM 
QUALITY  programs— 
M-G-M  short  films 
AS  well  as  M-G-M's 
BIG  feature  films— 
DEMAND  the  best! 
THAT'S  M  G  M! 


CHARLEY  CHASE 

has  won  thousands  of 
laugh  -  loving  followers. 
See  "The  Family  Group!" 


M-G-M  NEWS 

within  a  year  has  become 
the  most  popular  of  all 
news-reels.  Issued  twice 
each  week. 


*21 


3^ 


"OUR  GANG"  chases  the  blues  away.  Never  pass  up  a  chance  to  see  these  rascals  at  work.  If  your 
favorite  theatre  doesn't  show  "Our  Gang"  comedies  ask  the  manager  to  book  them  right  -i"'^"! 


M  tTRO- COLDWYN  -  MAYER 

"MORE    STARS     THAN    THERE     ARE     IN      MEAVEN" 


HAL  ROACH,  THE 
FAMOUS  COMEDY 
PRODUCER,SAYS: 

From  letters  that  come  to  me, 
I  notice  a  growing  demand  for 
short  films  in  addition  to  fea- 
ture length  films.  Watch  these 
Short  Subjects  when  you  go  to 
theatre  and  see  how  many  of 
the  questions  below  you  can 
answer.  I  will  give  $50  and  a 
handsome  cane  offered  by 
Charley  Chase  to  the  man  with 
the  best  score.  The  most  suc- 
cessful lady  will  receive  $50 
and  the  tiara  head-dress  worn 
by  Agnes  Ayres  in  the  Tech- 
nicolor subject  "Lady  of  Vic- 
tories." For  the  next  50  best 
answers,  the  "Our  Gang" 
rascals  will  present  their  pho- 
tographs. 

THE  TEST 


->  Tel 

^  Ne 


has 


Newsreels. 

3  What  company  produces  theOdd- 
ities  for  M-G-M? 
4  In  what  Technicolor  Great  Events 
picture  does   the  Father   of  our 
country  appear? 

5  Of    what    great    living    national 
hero  has  M-G-M  made  a  special 
short  subject? 

Write  your  answers  on  one  side  of  a 
single  sheet  of  paper  and  mail  to 
3rd  Floor,  1540  Broadway.  All  an- 
swers must  be  received  by  June  15th. 
Winners'  names  will  be  published  in 
a  later  issue  of  this  magazine. 
Note:  If  you  do  not  attend  pictures 
yourself  you  may  question  your 
friends  or  consult  motion  picture 
magazines.  In  event  of  ties,  each 
tying  contestant  will  be  awarded  a 
prize  identical  in  character  with  that 


The  Czarina's  Secret— 
M-G-M    GREAT   EVENTS  1 

(entirely  in  Technicolor)  are 

something  new  in  films.  Ask  your 

theatre  manager  about  them. 


Battle  of  Octopus  and  Lobster— 

M-G-M  ODDITIES  arethrill- 

^ing  moments  from  Life.  Are 

^you  seeing  these  wonder 

.films  at  your  theatre? 


to  protect  his  throat, 
smokes  Luckies 
"The  voice  is  essential  to  stage  work 
and  its  care  one  of  the  actor's  great- 
est ivorries.  During  the  course  of 
some  of  my  stage  appearaiices,  I  am 
called  upon  at  intervals  to  smoke  a 
cigarette  and  naturally  I  have  to  be 
careful  about  my  choice.  I  smoke 
Lucky  Strikes  and  have  yet  to  feel 
the  slightest  effect  upon  my  throat. 
I  understand  that  toasting  frees  this 
cigarette  from  any  throat  irritants. 
They're  100%  ivith  me." 


®I928,  The  American  Tobacco  Co.,  In, 


It's  toasted 

No  Throat  Irritation  No  Cough. 


PN1993 

.P56    Photoplay. 
vol.33 
34 


Robert  L. 

LIPPERT 

Personal  Property