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OopigM0 


COWRiGHT  DEPOSIT. 


Ol'O 


Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY  i/CONGRL'SS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

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


THE  qUALITY  MAGAZINE    OF  THE    SCREEN 


FEBRUARY 


MAGAZINE 
25cj_s 


45a 


ie  First  Fan  Magazine  Celebrates  Its  14th  Birthday    see  Pages  50 


to  66 


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LUBIN 

TZ^  World's  Mosl  Exclusive  Parfumeur 

ONLY  fastidious  women,  women  who  have  been  accustomed  all  their  lives 
to  the  superlative — women  who  can  afford  to  be  exclusive — only  such 
fortunate  women  as  these  are  numbered  among  the  users  of  Lubin  perfumes. 

For  since  the  days  of  the  Empress  Josephine,  when  they  first  won  the  accept- 
ance of  the  Continental  aristocracy,  Parfums  Lubin  have  retained  their  charm 
by  retaining  their  exclusiveness. 


For  Parfums  Lubin  are  acknowledged  the 
finest  made  in  all  France.  The  firm  of  Lubin 
is  one  of  the  rare  French  houses  which  manu- 
factures in  France  only. 
So  quite  naturally  these  are  the  most  ex- 
pensive perfumes  in  the  world.  For  today 
that  is  the  only  way  they  can  be  kept  from 


becoming  common.  Everyone  would  like 
to  have  these  scents — only  a  fortunate  few 
may  have  them.  Only  in  the  most  exclusive 
shops  in  America  will  they  be  found.  A  few 
of  those  specially  selected  are  listed  below. 
Or  madame  may  write  to  us  and  wewillrefer 
her  to  one  who  sells  LUBIN. 


NEW  YORK  CITT 
B.   Altman  &  Co. 
John  Wanamaker 
Franklin  Simon  &  Co. 
Lord  &  Taylor,  Inc. 
Saks  &  Co..  Inc. 
Stern  Bros. 
Gimbel  Brothers 
P.  M.    Everts 
Munsch,    Protzman  Co. 
John  E.  Thomas 
BROOKLYN,  N.  Y. 

Abraham  &  Straus,  Inc. 
CHICAGO,  ILL. 

Marshall   Field  &  Co. 
J.  F.  Carnegie,   Drake 
Hotel  Pharmacy  and 
Blackstone   Hotel 
Pharmacy 
Atlantic  Hotel  Pharmacy 
Davis  Dry  Goods  Co. 
PHILADELPHIA,  PA. 
Bonwit  Teller  &  Co 
The  House  of  Wenger 
BOSTON.  MASS. 

C  Crawford  Hollidge 
R.  H.  Stearns  Company 
Melvin  &  Badger 
E.  T.  Slattery  Company 

CLEVELAND,  OHIO 

The  Halle  Bros.  Co. 
ST.  LOUIS.  MO. 

The  Famous — Barr  Co 
Stix  Baer  &  Fuller  Dry 

Goods  Co. 
Jefferson  Hotel  Drug 
Store  Co. 
LOS  ANGELES.  CALIF. 

J.  W.  Robinson  Co. 
KANSAS  CITY.  MO. 

Emery- Bird-Thayer  Dry 

Goods  Co. 
Fred  Harvey's  Union  Sta- 
tion Drug  Store 
SAN  FRANCTSCO.  CALIF. 

H.    Llebes  &   Co. 
ALLENTOWN,  PA.— H.  Leh&Co, 
ASBURY  PARK,  N.  J. 

Steinbach  Co. 
ATLANTA.    GA. 

Franklin  &  Cox,  Inc. 
BEVERLY  HILLS.  CALIF. 

Beverly  Hills  Pharmacy 
BINCHAMTON.  N.  Y. 

Hills. McLean  &  Haskins.Inc. 
BIRMINGHAM,    ALA. 

Augusta  Friedman  Shop. Inc. 


BLOOMINGTON,   ILL. 

Edw.  C.  Biasl 
CHARLESTON,  W.  VA. 

Scott  Bros. 
CHATTANOOGA,  TENN. 

D.  B.  Loveman  Co. 
CINCINNATI,   O. 

The  Lawton  Co. 
COLUMBIA,   S.  C. 

Bon  Marche 
COLUMBUS.   OHIO 

The  Morehouse-Martens  Co. 
DAVENPORT.  IA. 

Carl  E.  Schlegel  Drug 
Stores 
DAYTON,    OHIO 

The  Rike-Kumler  Co. 
DES  MOINES.  IA. 

Harris-Emery  Co. 
FORT  SMITH,   ARK. 

Boston  Store  Dry  Gds.  Co. 
FORT  WAYNE,  IND. 

Wolf  &  Dessauer  Co. 
FORT  WORTH,   TEX. 

Schermerhorn  Co. 
HARTFORD,  CONN. 

Albert  Steiger,   Inc. 
HOT  SPRINGS.  ARK. 

Colonial  Drug  Store 
HUNTINGTON,   W.    VA. 

Fountain  Drug  Co. 
JACKSONVILLE,  FLA. 

Cohen  Brothers 
JOHNSTOWN,  PA. 
Purity  Drug  Co. 
Shaffer-Davis  Co. 
JOPLIN,  MO. 

The  Christman  Dry  Goods  Co. 


>--i" '"''-, 


$? 


"    "'    '"■«»„/ 
r,-        "■■'■     J*Jcc. 


KNOXVILLE,   TENN. 

S.  H.  George  and  Sons 
LITTLE  ROCK.   ARK. 

Bruce  Ellis 
MACON,  GA. — Person's,  Inc. 
MINNEAPOLIS,   MINN. 
L.  S.  Donaldson  Co. 
MUSKOGEE.  OKLA. 

Durnil  Dry  Goods  Co. 
NEWARK.   N.  J. 

Anchor  Drug  Co. 
NEW    ORLEANS.    LA. 

D.  H.  Holmes  Co.,  Ltd. 
OAKLAND.    CALIF. 

H.  C.  Capvvell  Co. 
OKLAHOMA  CITY.  OKLA. 
Kerr  Dry  doods  Co. 
Roach,  the  Druggist 
OMAHA,   NEB. 

Buigess  Nash  Company 
PASADENA.  CALIF. 
Crown  Drug  Co. 
PINE  BLUFF.  ARK. 

Donathan's  Drug  Store 
PORTLAND,  ME. 

Porteous  Mitchell  & 
Braun  Co. 
RICHMOND.  VA. 

Miller  &  Rhoades,  Inc. 
ROCK  ISLAND.  ILL. 

Carl  E.  Schlegel  Drugstores 
SACRAMENTO.  CALIF. 

Weinstock,Lubin&Co.,Inc. 
SALT  LAKE   CITY,    UTAH 

Auerbach   Company 
SANANTONIO.TEX. — Wolff  &MarxCo. 
SAN  BERNARDINO.  CALIF. 

Central  Drug  Store 
SAN  DIEGO.  CALIF. 
The  Marston  Co 
SANTA    ANA.    CALIF. 

While  Cross  Drug  Co. 
SANTA  BARBARA,  CALIF. — Diehls 
SAVANNAH.    GA. 

Solomons  Company 
SPRINGFIELD,  ILL. — A.  L.  Crawford 
TERRE  HAUTE.    IND 

Root  Dry  Goods  Co. 
TOLEDO.  OHIO 

La  Salle  and  Koch  Company 
TOPEKA.KAN*. — The  Crosby  Bros.  Co. 
WICHITA,  KAN. — Till'ordDrugCo. 
CORSICANA,  TEXAS 

Penland  Drug  Company,  Inc. 


THE  CHANDON  COMPANY,  509  FIFTH  AVENUE,  NEW  YORK,   EXCLUSIVE  DISTRIBUTORS  FOR  THE  UNITED  STATE] 


DEC  31  1924" 


C1B647520 


A  BREWSTER  PUBLICATION 


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Tonight's  a 
Paramount  Night! 

The  Movies  and  Radio  are  the  en- 
tertainment twins. 

One  gets  you  Music  and  Wis- 
dom from  afar,  and  the  other  brings 
Romance  and  Adventure  to  your 
gaze. 

You  can  always  get  DX  with 
Paramount,  the  distance  that  is 
caught  by  the  heart-strings,  not  the 
ear-drum. 

Famous  Players-Lasky  Corpora' 
tion  welcomes  the  radio  because  it 
deepens  your  zest  for  first-class  en- 
tertainment, and  that  same  longing 
says  Paramount,  always  "  the  best 
.how  in  town!" 


CparamoMb 


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Jtl^&'.SJr. 


PRODUCED    BY 

IBvmousPuyers-LaskyCorr  1 
1  adolph  zukor-presioent 


paramount  Wktwvs 


10  Current  Paramount  Pictures 


Produced  by  Famous  Players'Lasky  Corporation 


Adolph  Zukor  and  Jesse  Lasky  present 

"THE  GOLDEN  BED" 

A  CECIL  B.  DE  MILLE 

PRODUCTION 

Screen  Play  by  Jeanie  Macpherson.  With  Rod  La 
Rocque,  Vera  Reynolds,  Lillian  Rich,  Warner 
Baxter,  Theodore  Kosloff  and  Julia  Faye.  From 
the  book  entitled  "The  Golden  Bed"  by  Wallace 
Irwin.  

J.  M.  Barrie's 

"PETER  PAN" 

A  HERBERT  BRENON  PRODUCTION 

Assisted  by  Roy  Pomeroy.  From  the  immortal 
story  and  play.    Screen  play  by  Willis  Goldbeck. 


"TONGUES  OF  FLAME" 

STARRING  THOMAS  MEIGHAN 

A  JOSEPH  HENABERY  PRODUCTION 
From    the    story    by    Peter    Clark    Macfarlane. 
Screen  play  by  Townsend  Martin. 


"NORTH  OF  36" 

AN  IRV1N  WILLAT  PRODUCTION 
With  Jack  Holt,  Lois  Wilson,  Ernest  Torrence, 
Noah  Beery.  From  the  story  by  Emerson  Hough. 


"FORBIDDEN  PARADISE" 
STARRING  POLA  NEGRI 

AN  ERNEST  LUBITSCH  PRODUCTION 
With  Rod  La  Rocque,  Adolphe  Menjou,  Pauline 
Starke.     From    "The    Czarina"    by     Biro    and 
Lengyel.    Screen  play  by  Agnes  Christine  Johns- 
ton and  Hans  Kraly. 


"MANHATTAN" 

Starring  RICHARD  DIX 

Based  on  "  The  Definite  Object "  by  Jeffery  Farnol. 
Directed  by  R.  H.  Burnside. 


"ARGENTINE  LOVE" 

AN  ALLAN  DWAN  PRODUCTION 

With  BEBE  DANIELS,  Ricardo  Cortez.  From 
the  novel  of  the  same  name  by  Vicente  Blasco 
Ibanez. 


Rex  Beach's 

"A  SAINTED  DEVIL" 

STARRING 

RUDOLPH  VALENTINO 

A  JOSEPH  HENABERY  PRODUCTION 

Adapted  by  Forrest  Halsey.  From  the  Rex  Beach 
novel  "Rope's End". 


"MERTON  OF  THE  MOVIES" 

A  JAMES  CRUZE  PRODUCTION 
Starring  GLENN  HUNTER.    With  Viola  Dana. 
From  Harry  Leon  Wilson's  novel  and  the  play 
by    Kaufman    and   Connelly.    Screen   play    by 
Walter  Woods. 


"LOCKED  DOORS" 

A  WM.  de  MILLE  PRODUCTION 
WithBe tty  Compson ,  Theodore  Roberts,  Kathlyn 
Williams.Theodore  Von  Eltz  and  Robert Edeson. 
Screen  play  by  Clara  Beranger. 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed". 


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LUBIN 

The  World's  Mosl  Exclusive  Parfumeur 

ONLY  fastidious  women,  women  who  have  been  accustomed  all  their  lives 
to  the  superlative — women  who  can  afford  to  be  exclusive  —  only  such 
fortunate  women  as  these  are  numbered  among  the  users  of  Lubin  perfumes. 

For  since  the  days  of  the  Empress  Josephine,  when  they  first  won  the  accept- 
ance of  the  Continental  aristocracy,  Parfums  Lubin  have  retained  their  charm 
by  retaining  their  exclusiveness. 


For  Parfums  Lubin  are  acknowledged  the 
finest  made  in  all  France.  The  firm  of  Lubin 
is  one  of  the  rare  French  houses  which  manu- 
factures in  France  only. 

So  quite  naturally  these  are  the  most  ex- 
pensive perfumes  in  the  world.  For  today 
that  is  the  only  way  they  can  be  kept  from 


becoming  common.  Everyone  would  like 
to  have  these  scents — only  a  fortunate  few 
may  have  them.  Only  in  the  most  exclusive 
shops  in  America  will  they  be  found.  A  few 
of  those  specially  selected  are  listed  below. 
Ormadamemaywriteto  us  and  we  will  refer 
her  to  one  who  sells  LUBIN. 


NEW  YORK  CITY 
B.  Altman  &  Co. 
John  Wanamaker 
Franklin  Simon  &  Co. 
Lord  &  Taylor,  Inc. 
Saks  &  Co..  Inc. 
Stern  Bros. 
Gimbel  Brothers 
P.  M.   Everts 
Munseh,   Protzman  Co. 
John  E.  Thomas 
BROOKLYN,  N.  Y. 

Abraham  &  Straus,  Inc. 
CHICAGO,  ILL. 

Marshall  Field  &  Co. 
J.  F.  Carnegie,   Drake 
Hotel  Pharmacy  and 
Blackstone   Hotel 
Pharmacy 
Atlantic  Hotel  Pharmacy 
Davis  Dry  Goods  Co. 
PHILADELPHIA,  PA. 
Bonwit  Teller  &  Co 
The  House  of  Wenger 

BOSTON.  MASS. 

C.  Crawford  Hollidge 
R.  H.  Stearns  Company 
Melvin  &  Badger 
E.  T.  Slattery  Company 

CLEVELAND,  OHIO 

The  Halle  Bros.  Co. 
ST.  LOUIS.  MO. 

The  Famous — Barr  Co 
Stix  Baer  &  Fuller  Dry 

Goods  Co. 
Jefferson  Hotel  Drug 
Store  Co. 
LOS  ANGELES,   CALIF. 

J.  W.  Robinson  Co. 
KANSAS  CITY.  MO. 

Emery-Bird-Thayer  Dry 

Goods  Co. 
Fred  Harvey's  Union  Sta- 
tion Drug  Store 
SAN  FRANCISCO.  CALIF. 

H.    I.iebes  &  Co. 
ALLENTOWN,  PA.— H.  Leh  &Co 
ASBURY  PARK,  N.  J. 

Steinbach  Co. 
ATLANTA,    GA. 

Franklin  &  Cox,  Inc. 
BEVERLY  HILLS,  CALIF. 

Beverly  Hills  Pharmacy 
BINGHAMTON.  N.  Y. 

Hills.McLean&Haskins.Inc. 
BIRMINGHAM.    ALA. 

Augusta  Friedman  Shop. Inc. 


BLOOMINGTON,  ILL. 

Edw.  C.  Biasi 
CHARLESTON.  W.  VA. 

Scott  Bros. 
CHATTANOOGA,   TENN. 

D.  B.  Loveman  Co. 
CINCINNATI,   O. 

The  Lawton  Co. 
COLUMBIA,  S.  C. 

Bon  Marche 
COLUMBUS.  OHIO 

The  Morehouse-Martens  Co. 
DAVENPORT,  IA. 

Carl  E.  Schlegel  Drug 
Scores 
DAYTON.    OHIO 

The  Rike-Kumler  Co. 
DES  MOINES.   IA. 

Harris-Emery  Co. 
FORT  SMITH,  ARK. 

Boston  Store  Dry  Gds.  Co. 
FORT  WAYNE.  IND. 

Wolf  &  Dessauer  Co. 
FORT  WORTH.   TEX. 

Schermerhorn  Co. 
HARTFORD,  CONN. 

Albert  Steiger,   Inc. 
HOT  SPRINGS.  ARK. 

Colonial  Drug  Store 
HUNTINGTON,  W.    VA. 

Fountain  Drug  Co. 
JACKSONVILLE,   FLA. 

Cohen  Brothers 
JOHNSTOWN,   PA. 

Purity  Drug  Co. 

Shaffer-Davis  Co. 
JOPLIN,  MO. 

The  Christman  Dry  Goods  Co. 


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KNOXVILLE.   TENN. 

S.  H.  George  and  Sons 
LITTLE  ROCK.   ARK. 

Bruce  Ellis 
MACON,  GA. — Person's,  Inc. 
MINNEAPOLIS,   MINN. 
L.  S.  Donaldson  Co. 
MUSKOGEE.  OKLA. 

Durnil  Dry  Goods  Co. 
NEWARK,   N.  J. 

Anchor  Drug  Co. 
NEW    ORLEANS,    LA. 

D.  H.  Holmes  Co.,  Ltd. 
OAKLAND.   CALIF. 

H.  C.  Capwell  Co. 
OKLAHOMA  CITY.  OKLA. 
Kerr  Dry  Goods  Co. 
Roach,  the  Druggist 
OMAHA,   NEB. 

Bui  gess  Nash  Company 
PASADENA.  CALIF. 
Crown  Drug  Co. 
PINE  BLUFF,  ARK. 

Donathun's  Drug  Store 
PORTLAND,  ME. 

Porteous  Mitchell  & 
Braun  Co. 
RICHMOND.  VA. 

Miller  &  Rhoades,  Inc. 
ROCK  ISLAND.   ILL. 

Carl  E.  Schlegel  Drugstores 
SACRAMENTO.   CALIF. 

Weinstock.Lubin  &  Co., Inc. 
SALT  LAKE  CITY,   UTAH 

Auerbueh    Company 
SANANTONIO.TEX. — Wolff  &MarxCo. 
SAN   BERNARDINO.  CALIF. 

Central  Drug  Store 
SAN  DIEGO.  CALIF. 
The  Marston  Co 
SANTA    ANA.   CALIF. 

White  Cross  Drug  Co. 
SANTA  BARBARA,  CALIF. — Diehls 
SAVANNAH.    GA. 

Solomons  Company 
SPRINGFIELD.  ILL. — A.  L.  Crawford 
TERRE  HAUTE.    IND. 

Root    Dry   Hoods  Co. 
TOLEDO.  OHIO 

La  Salle  anil  Koch  Company 
TOPEKA.KAN. — The  Crosby  Bros.  Co. 
WICHITA,  KAN — Tilford  DrugCo. 
CORSICANA,  TEXAS 

Penland  Drug  Company,  Inc. 


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THE  CHANDON  COMPANY,  509  FIFTH  AVENUE,  NEW  YORK,   EXCLUSIVE  DISTRIBUTORS  FOR  THE  UNITED  STATI 


DEC  31  1924'" 


CJB6475 


20 


OTIONPICTURn 

MAGAZINE      f\ 


_  A  BREWSTER  PUBLICATION 

You  can  arwayj-gww  ^  , 


Tonight's  a 
Paramount  Night! 

The  Movies  and  Radio  are  the  en- 
tertainment twins. 

One  gets  you  Music  and  Wis- 
dom from  afar,  and  the  other  brings 
Romance  and  Adventure  to  your 
gaze. 

You  can  always  get  DX  with 
Paramount,  the  distance  that  is 
caught  by  the  heart-strings,  not  the 
ear-drum. 

Famous  Players-Lasky  Corpora' 
tion  welcomes  the  radio  because  it 
deepens  your  zest  for  first-class  en- 
tertainment, and  that  same  longing 
says  Paramount,  always  "  the  best 
.how  in  town!" 


Cpa/nmount 


wSSM 


km^ 


PRODUCED    BY 

Famous  Players-Lasky  Corp  I 

ADOLPH  ZUKOR-PRESIOENT 


paramount ffictiuvs 


10  Current  Paramount  Pictures 


Produced  by  Famous  PlayerS'Lasky  Corporation 


Adolph  Zultor  and  Jesse  Lasky  present 

"THE  GOLDEN  BED" 

A  CECIL  B.  DE  MILLE 

PRODUCTION 

Screen  Play  by  Jeanie  Macpherson.  With  Rod  La 
Rocque,  Vera  Reynolds,  Lillian  Rich,  Warner 
Baxter,  Theodore  Kosloffand  Julia  Faye.  From 
the  book  entitled  "The  Golden  Bed"  by  Wallace 
Irwin.  

J.  M.  Barrie's 

"PETER  PAN" 

A  HERBERT  BRENON  PRODUCTION 

Assisted  by  Roy  Pomeroy.  From  the  immortal 
story  and  play.    Screen  play  by  Willis  Goldbeck. 


"TONGUES  OF  FLAME" 

STARRING  THOMAS  MEIGHAN 

A  JOSEPH  HENABERY  PRODUCTION 
From    the    story    by    Peter    Clark    Macfarlane. 
Screen  play  by  Townsend  Martin. 


"NORTH  OF  36" 

AN  IRVIN  WILLAT  PRODUCTION 
With  Jack  Holt,  Lois  Wilson,  Ernest  Torrence, 
Noah  Beery.  From  the  story  by  Emerson  Hough. 


"FORBIDDEN  PARADISE" 
STARRING  POLA  NEGRI 

AN  ERNEST  LUBITSCH  PRODUCTION 
With  Rod  La  Rocque,  Adolphe  Me njou,  Pauline 
Starke.     From    "The    Czarina"    by     Biro    and 
Lengyel.    Screen  play  by  Agnes  Christine  Johns- 
ton and  Hans  Kraly. 


"MANHATTAN" 

Starring  RICHARD  DIX 

Based  on  "The  Definite  Object"  by  JefferyFamol. 
Directed  by  R.  H.  Burnside. 


"ARGENTINE  LOVE" 

AN  ALLAN  DWAN  PRODUCTION 
With   BEBE  DANIELS,  Ricardo  Cortez.   From 
the  novel  of  the  same  name  by  Vicente  Blasco 
Ibanez. 


Rex  Beach's 

"A  SAINTED  DEVIL" 

STARRING 

RUDOLPH  VALENTINO 

A  JOSEPH  HENABERY  PRODUCTION 

Adapted  by  Forrest  Halsey.  From  the  Rex  Beach 
novel  "Rope's End". 


"MERTON  OF  THE  MOVIES" 

A  JAMES  CRUZE  PRODUCTION 
Starring  GLENN  HUNTER.    With  Viola  Dana. 
From  Harry  Leon  Wilson's  novel  and  the  play 
by    Kaufman   and   Connelly.    Screen   play    by 
Walter  Woods. 


"LOCKED  DOORS" 

A  WM.  de  MILLE  PRODUCTION 

WithBettyCompson, Theodore  Roberts,  Kathlyn 
Williams, Theodore  VonEltz  andRobertEdeson. 
Screen  play  by  Clara  Beranger. 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


"* 
* 


he 

y  ew 

.Tl- 

T. 


7B 

usll 


PA/Sli 


This  superb  HO-piece  set,  with  initial  in  2 
places  on  every  piece,  decorated  in  blue  and 
Bold,  with  gold  covered  handles,  consists  of 

12  Dinner  Plates,  9  inches    12  Saucers 

12  Breakfast  Plates,  7  in. 

12  SoupPlat.es, 73£  inches 

12  Cereal  Dishes  ,6  inches 

12  Fruit  Dishes,  6J£  in. 

12  Caps 


1  Small  Deep  Bowl,  Bin 

1  Sauce  Boat,  7X  inchej 
1  Creamer 

1  Sugar  Bowl  with  covej 
(2  pieces) 


No  C.  O.  D.— Nothing  to  Pay  for  Dishes  on  Arrival  15 

Not  a  penny  now.    Just  mail  the  couDon  nnrt  H„,tm»„    .L_t._ . . Ik.  , 


Not  a  penny  now.  Just  mail  the  coupon  and  Hartman,  the  Lareest 
Home  Furn.sh.ng  Concern  in  the  World,  will  send  you  this  corn^ete 

m sh  and  Game  Set.    It's  easy  to  get  this  set  from  Hartman.    Nothing 

£nal, _  and  if  not  satisned  send  them  back  and  we  will  pay  transDorta- 
*on  charges  both  ways.  K  you  keep  them,  pay  only  for  the  Dinner  Set 
—a  little  every  month.  Keep  the  7-piece  Fish  and  Game  Set  as  a  eif  t 
from  Hartman.    It  is  FREE.    Only  by  seeing  this  splendid  dlnnerware 

JZ^r«SSSS,S5rfwSS£e  "Sif  ffi»S« in  °«  e^°h  deaignJ 

have  not  such  elaborate  decorations.    Every  pie« >  lulrlnteed I  perfect.  7  expensive  ^Ported  sets 

110 -Piece  Colonial    Initialed 
Blue  and  Gold  Decorated 


IMPORTANT 

Hartman  guarantees  that  every 
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When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


DECV||Q24'     CIB64793l) 

s  A  BREWSTER  PUBLICATION 


Motion  Picture  Magazine 

Founded  by  J.   Stuart  Blackton  in   1910 — Trademark  Registered 

FEBRUARY,  1925 

Vol.  XXIX  Number  1 

(A  Complete  Table  of  Contents  will  be  found  on  page  9) 


WE  WANT  WHAT  WE  WANT-SO  THERE 

SEVERAL  foreign  directors  and  a  few  of  the  native-born  are  wasting  considerable  talent  in  an 
effort  to  sophisticate  the  American  motion-picture  public.     Of  which  we  are  a  part. 
They  feel  that  the  movie  public  is  unfortunate  in  its  taste ;  that  a  demand  for  happy  end- 
ings and  pure  heroines  is  a  sort  of  malady  that  can  be  overcome  by  patient  and  persistent  effort. 

The  Swedes  think  that  we  ought  to  like  gloomy  endings,  where  everybody  jumps  in  the  lake 
except  the  heroine's  illegitimate  daughter :  and  she  starves  to  death. 

The  Russians  think  that  our  failure  to  cry  for  tales  of  black  despair  is  an  infirmity ;  while  the 
Austrians  and  the  Germans  are  politely  incredulous  that  any  audience  could  bother  about  a  story 
wherein  everybody  loves  the  wife  of  his  bosom;  and  the  true  lovers  are  happy  forever  afterward. 
"Very  sweet  and  domestic."  they  say,  "but  wherein  is  the  drama?" 

All  of  these  gentlemen  of  genius  are  laying  the  seed  for  many  future  heartaches.  As  the  old 
Arkansas  farmer  said.  "It  caint  be  did." 

The  good  horse  sense  of  the  situation  is  this :  when  baking  pies  to  sell  in  a  bakery,  pick  out 
the  kind  of  pie  that  the  largest  number  of  people  like. 

By  its  very  nature,  the  motion-picture  industry  is  bound  by  a  law  of  general  averages.  The 
movies  have,  by  very  long  odds,  the  most  enormous  audience  that  ever  witnessed  any  form  of  enter- 
tainment since  the  world  began. 

Remember  this:  that  no  one  book,  with  the  possible  exception  of  the  Bible,  was  ever  read  by 
as  many  people  as  go  to  the  movies  every  night.  It  must  inevitably  be  the  aim  of  the  producer  to 
find  the  artistic  area  which  is  common  ground  for  all  these  people.  This  is  especially  true  as  regards 
moral    standards   and    ethical   vantage-points. 

From  these  accepted  standards  as  a  base,  they  can  soar  on  to  whatever  artistic  flights  they  wish. 

But  unless — or  until — the  American  public  changes  materially,  it  is  hopeless  to  ask  it  to  accept 
cynicism  or  sophistication. 

Charlie  Chaplin's  A  Woman  of  Paris,  and  Ernst  Lubitsch's  The  Marriage  Circle  were  two  of 
the  most  superbly  artistic  pictures  ever  made.  Yet  they  have  been  only  moderately  successful.  This 
on  account  of  the  sentiments  expressed  and  cynical  view-point. 

The  public  will  stand  for  and  patronize  bathing-girl  comedies,  and  even  google  at  much  that  is 
risque  in  flapper  drama;  but  the  moral  must  emerge  triumphant  at  the  end.  Virtue  must  end  the 
tale,  with  its  foot  upon  the  dragon's  neck. 

Perhaps  we  are  still  primitive  and  crude  and  Puritanic— even  Babbittical.  But  anyhow,  "that's 
the  way  we  are,  Mabel."  If  you  are  going  to  sell  us  dramas,  that's  the  kind  of  dramas  we  are  going 
to  buy. 

The  foreign  director  seeking  our  national  pube  would  do  better  to  consult  Harold  Bell  Wright 
and  Gene  Stratton  Porter  and  other  admitted  traffickers  in  naivete,  rather  than  the  young  sophisti- 
cates who  represent  a  superior  few — who  do  not  go  much  to  the  movies. 


F.  M.  Osborne,  Editor 
Harry  Carr,   Western  Editorial  Representative  A.  M.  Hopfmuller,  Art  Director 


Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  act  of  March  3rd.  1879.     Printed  in  the  V.  S.  A. 

EXECUTIVE  and  EDITORIAL  OFFICES,  175   Duffield  Street,  Brooklyn,  N.  Y. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief;  Duncan  A.  Dobie,  Jr.,   Vice-President    and    Business    Manager;    George    J.    Tresham,    Circulation    Director; 
E.  M.  Heinemann,  Secretary:  L.  G.  Conlon,   Treasurer.     Also  publishers  of  BEAUTY,  out  on  the  fifteenth  of  each  month;   the  CLASSIC,   out  on  the  tweUtn;    e 
MOVrE  THRILLERS,     out  on  the  fifteenth.     MOTION  PICTURE  MAGAZINE  is  issued  on  the  first  of  the  month  preceding  its  date.  * 


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Copyright,  1924.  in  United  States  and  Great  Britain  by  Brewster  Publications,  Inc. 

— m 

PAGli  i 


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in 


|OTION  PICTURE 
MAGAZINE     L 


Advertising  Section 


Only  Elinor  Qlyn  Would  Dare 

to  Write  a  Book  Like  This! 


Elinor  Glyn,  author  of  "Three  Weeks,"  has  written  a  sensa- 
tional novel  called  "The  Price  of  Things."  This  book  will 
amaze  all  America !  Thousands  of  people  will  say  it  is  not  fit 
to  be  read.  Small-minded  critics  will  claim  that  Elinor  Glyn 
should  not  have  dared  touch  such  a  breath-taking  subject — 
that  she  has  handled  a  delicate  topic  with  too  much  frankness. 
But  we  want  you  to  read  the  book  before  passing  an  opinion. 
This  you  can  do  at  our  risk— without  advancing  a  penny! 


"The  Price  of  Things"  is 
one  of  the  most  daring 
books  ever  written — ! 

"The  Price  of  Things"  is 
one  of  the  most  sensational 
books  ever  written — ! 

"The  Price  of  Things"  will 
be  one  of  the  most  fiercely 
criticized  books  ever  writ- 
ten—! 


Warning ! 


BUT — we  don't  ask  you  to 
take  our  word  for  all  this. 
Simply  send  us  your  name  and  we'll  send 
you  the  book.  Go  over  it  to  your  heart's 
content — read  it  from  cover  to  cover — let 
it  thrill  you  as  you  have  never  been  thrilled 
before— then,  if  you  don't  say  it  is  every- 
thing we  claim — and  a  lot  more! — simply 
mail  it  back  and  it  won't  cost  you  a  penny. 
Isn't  that  fair? 

YOU'VE  heard  of  Elinor  Glyn- — every- 
one has.  She  is  unquestionably  the 
most  audacious  author  in  the  world.  Her 
last  great  success,  "The  Philosophy  of 
Love,"  was  said  to  be  the  most  daring  book 
ever  written.  Her  sensational  novel, 
"Three  Weeks,"  shocked  the  whole  world 
a  few  years  ago.  But  "The  Price  of  Things" 
is  far  more  daring  than  "The  Philosophy 
of  Love"  and  much  more  sensational  than 
"Three  Weeks."     Need  more  be  said? 

After  you  have  read  "The  Price  of  Things" 
you  will  understand  why  Elinor  Glyn  is 
called  the  most  daring  writer  in  the  world. 
You  will  see  that  she  is  the  only  great  living 
author  who  dares  reveal  the  naked  truth 
about  love  and  passion — in  defiance  of  silly 
convention  and  false  hypocrisy.  Madame 
Glyn  never  minces  words — she  always  calls 
a  spade  a  spade — she  doesn't  care  a  snap 
of  her  fingers  what  hypocritical  people 
think.  And  it  is  just  this  admirable  quality 
in  her  writing — this  fearless  frankness,  utter 
candor,  and  resolute  daring — which  makes 
her  the  most  popular  writer  of  today! 

An  Uncensored  Story 
of  Love  and  Passion 

THE  books  of  most  French  and  English 
novelists  are  "toned  down"  when  pub- 
lished in  America.  Not  so  with  "The  Price 
of  Things."  This  book  comes  to  you  ex- 
actly in  the  form  in  which  Elinor  Glyn  first 
wrote  it — nothing  has  been  taken  out — the 
book  has  not  been  censored — everything  is 
there! 

Here  is  a  book  that  will  open  your  eyes! 
Each  succeeding  chapter  grows  more  daring. 
From  the  Magic  Pen  of  Elinor  Glyn  flows  a 
throbbing  tale  of  audacious  characters 
startling   incidents,   sensational   situations, 

6 


"The  Price  of  Things" 
is  not  a  bed-time  story 
for  children.  And  the 
publishers  positively  do 
not  care  to  have  the  book 
read  by  anyone  under 
eighteen  years  of  age.  So 
unless  you  are  over  eight- 
een, please  do  not  fill 
out  the  coupon  below. 


daring  scenes,  thrill  after  thrill! 
Oh!  what  an  amazing  story  it 
is — the  like  of  which  you  never 
dreamed  of! 


W    thro 
[(TV  star! 

r6 

LAGC. 


So  realistic  is  the  charm,  the 
fire,  and  the  passion  of  this 
fiercely-sweet  romance,  that 
the  hot  breath  of  the  hero 
seems  to  fan  your  face.  Your 
blood  races  madly  at  the  un- 
conditional surrender  of  the 
delicious  heroine.  You  feel  her 
soft    arms    about    your    neck. 

You  kiss  her  madly  and  seem  to  draw  her 

very  soul  through  her  lips! 

And  then  comes  the  big  scene!  Midnight 
has  struck — and  the  heroine,  sleeping  peace- 
fully, dreams  of  her  husband The 

door  squeaks!  .  .  .  Breathless  silence!  .  .  . 
Then  "Sweetheart,"  a  voice  whispers  in 
the  darkness.  .  .  .  "Oh,  dearest,"  she  mur- 
murs, as  but  half  awakened,  she  feels  her- 
self being  drawn  into  a  pair  of  strong 
arms.   .   .   .   "Oh,— you  know  I — ." 


But  we  must  not  tell  you  any  more- 
spoil  the  story. 


-it  will 


This  Book  Will  Shock 
Some  People! 

NARROW-MFNDED  people  will  be 
shocked  at  "The  Price  of  Things!" 
They  will  say  it  ought  to  be  suppressed— 
that  it  is  not  fit  to  be  read.  But  this  is 
not  true.  It  is  true  that  Madame  Glyn 
handles  a  delicate  topic  with  amazing  frank- 
ness, and  allows  herself  almost  unlimited 
freedom  in  writing  this  burning  story  of  love 
and  passion.  Still  the  story  is  so  skillfully 
written  that  it  can  safely  be  read  by  any 
grown-up  man  or  woman  who  is  not  afraid 
of  the  truth.  Furthermore,  Madame  Glyn 
does  not  care  what  small-minded  people  say. 
And  she  doesn't  write  to  please  men  and 
women  with  childish  ideas  and  prudish  sen- 
timents. She  always  calls  things  by  their 
right  names — whatever  phase  of  life  she 
writes  of,  she  reveals  the  naked  truth.  And 
in  "The  Price  of  Things"  she  writes  with 
amazing  candor  and  frank  daring  of  the 
things  she  knows  best- — the  greatest  things 
in  life — Love  and  Passion! 

SEND   NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Price  of  Things."  Simply  fill 
out  the  coupon  below — or  write  a  letter — 
and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.97,   plus  a 


JLnAmnringBoohf 


(DMtro 


most 

sensational 

novel  eveti 

written 


few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read  it 
from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  mail  the  book 
back  in  good  condition  within  five  days  and 
your  $1.97  will  be  refunded  gladly. 

Elinor  Glyn's  books  sell  like  magic — by  the 
million!  "The  Price  of  Things,"  being  the 
most  sensational  book  she  has  ever  written 
— and  that's  saying  a  lot! — will  be  in  greater 
demand  than  all  others.  Everybody  will 
talk  about  it — everybody  will  buy  it.  So 
it  will  be  exceedingly  difficult  to  keep  the 
book  in  print.  We  know  this  from  experi- 
ence. It  is  possible  that  the  present  edi- 
tion may  be  exhausted,  and  you  may  be 
compelled  to  wait  for  your  copy,  unless  you 
mail  the  coupon  below  AT  ONCE.  We  do 
not  say  this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon  NOW. 
Mail  it  to  The  Authors'  Press,  Auburn, 
N.  Y.,  before  it  is  too  late.  Then  be  pre- 
pared to  read  the  most  sensational  novel 
ever  written! 


The  Authors'  Press,  Dept.  525,  Auburn,  N.  Y. 

Send  me  on  approval  Elinor  Glyn's  sensational  novel, 
The  Price  of  Things."  When  the  postman  delivers 
the  book  to  my  door,  I  will  pay  him  only  SI. 97.  plus 
a  few  pennies  postage.  If  the  book  is  not  satisfactory, 
I  may  return  it  any  time  within  five  days  after  it  is 
received,  and  you  agree  to  refund  my  money. 


De  Luxe  Leather  Edition— We  hare  prepared  a  Limited  Edi- 
tion, handsomely  bound  in  Royal  Purple  Genuine  Leather  and 
lettered  in  Gold,  with  Gold  Tops  and  Purple  Silk  Markers.  No 
expense  spared—makee  a  gorgeous  gift.      If  you  prefer  this 

leather  edition- -as  most  people    do— simply  sign  beiow.   . . 

place  a  cross  in  the  little  square  at  the  right,  and  pay  \ 
the  postman  only  $2.97  plus  postage.  L_J 


Name. 


City  and  State 

IMPORTANT— If  it  is  possible  that  ou  may  not  be  at  home 
when  the  postman  calls,  send  cash  in  advance.  Also  if  you  re- 
Bide  outside  the  U.S.A.,  payment  must  be  made  in  advance. 
Regular  Edition,  S2.I1.  Leather  Edition,  $3.11.  Cash  with 
coupon. 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


,,-jOTlON  PICTUR 

101  I   MAGAZINE 


Amazing  New  MethodjJrings 
Skin  Beauty 
OVERNIGHT/ 


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Famous  Health  Authority 

For  years  Susanna  Cocroft 
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ments she  has  personally  helped 
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skin.  Her  crowning  achieve- 
ment is  this  wonderful  new 
home  method — as  effective  as  a 
S100  course  of  beauty  treat- 
ments— which  you  give  your- 
self at  home  at  a  cost  of  only  a 
few  cents  a  treatment. 


Look  Years  Younger 

Now  you, 
too,  can  look 


New  Home  Beauty 
Treatment  For 

— clearing  the  complexion 
— giving  color  to  the  cheeks 
— firming  sagging  muscles 
— filling  out  scrawny  hollows 
— lifting  double  chin 
— building  graceful  neck 
— removing  tired  lines  and 

wrinkles 
— closing  enlarged  pores 
— resting  tired  eyes 
— correcting  excessive  dryness 
— correcting  excessive  oiliness 
— whitening  the  skiB 


years  younger 
and  many 
times  more 
beautiful — 
without  pay- 
ing a  cent  to 
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specialists. 

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Cocroft,  who 
has  done  more 
for  the  health 
and  improve- 
ment of  Amer- 


Wonderful  Change 
The  First  Night 

It  works  so  rapidly  that 
users  say  the  very  morning 
following  your  first  use  it 
shows  an  improvement 
that  will  delight  you. 

And  you  do  want  this 
new  skin  beauty,  don't 
you?  For  no  matter  how 
REGULAR  the  features, 
you  can't  be  beautiful  un- 
less the  skin  is  soft,  clear, 
smooth  and  fresh.  And  no 
matter  how  IRREGULAR 
the  features,  if  the  skin  is 
clear,  girl-like  and  radiant, 
one  has  a  distinctive  at- 
traction. 

Learn  This 
Beauty  Secret 

You  know  every  fresh,  healthy  clear  skin 
is  beautiful  and  now  YOU  may  bring  out 
this  rose-petal  beauty  as  well  as  do  the 
stage,  society  and  screen  beauties  who  have 
taken  10  to  20  years  off  their  age.  You, 
too,  may  obtain  the  clear  white  skin,  the 
sparkling  eyes,  the  delicate,  pink  cheeks, 
the  white,  well-rounded  neck  of  which  they 
are  so  proud.  You,  too,  may  obtain  new 
social  triumphs;  you,  too,  may  excite  the 
envy  and  admiration  of  less  fortunate  ac- 
quaintances. And  you  do  it  in  a  safe,  rapid, 
easy,  delightful  way,  without  using  any 
harmful  drugs,  mercury,  or  caustics.  And 
not  only  that,  you  can  do  it  QUICKLY— 
you  can  bring  an  astonishing  improvement 
OVERNIGHT. 


ft  T/>c 


ADDRESS 

CITY STATE. 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


Thompson  Barlow  Co.,  Inc. 

Dept.  F-152,  404  Fourth  Ave.,  N.Y. 

Without  any  obligation  on  my  part  send  me  the 
free  book  which  explains  Susanna  Cocroft's  new 
method  whereby  I  may  obtain  an  astonishing  im- 
provement in  my  complexion  almost  OVERNIGHT. 


NAME. 


I 


Send  For  This  FREE  Book  Today 

This  amazing  method  is  disclosed  in  an 
interesting  FREE  BOOK  which  will  be 
sent  to  every  woman  as  long  as  the  supply 
lasts. 

Make  sure  of  YOUR  copy  by  mailing  the 
Coupon  today.  See  how  easily,  how  rap- 
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peach-like  cheeks  of  youth.  See  how  easily 
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eyes  become  bright  and  youthful-looking. 
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SINGLE  PENNY. 

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GIN this  treatment, 
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SELF by  the  re- 
markable im- 
provement. 

Thompson  Barlow 
Co.,  Inc , 
Dept.  F-152 
404  Fourth  Ave.,  N.Y. 


S 


7 

PAG 


f 


-     === 


/1CM°™n  picturp 

Unt'l  I  MAGAZINE     I- 


Advertising  Section 


'8 


Mellin's  Food 


The  use  of  the  Mellin's  Food  Method  of 
Milk  Modification  will  enable  your  little 
one  to  have  the  healthy  and  robust  appear- 
ance so  typical  of  all  Mellin's  Food  babies. 

We  will  be  pleased  to  send  you  our  book,  ffThe  Care 

and  Feeding  of  Infants/'  also  a  Free 

Trial  Bottle  of  Mellin's  Food. 

Mellin's  Food  Co.,        177  State  St.,        Boston,  Mass. 

Every  advertisement  in  MOTION  PICTURE  MAGAZINE   is  guaranteed. 


A  scene  from  Vitagraph's  The  Haunted  Hotel.  This  was  made  in  1907,  and  was  the  very  first  picture  to  use  "trick  stuff" 

With  this  issue,  TWotion  Picture  jWagazine  celebrates  its  fourteenth    birthday.      We   have   in- 
cluded a  special  anniversary  section  covering  pages  50  to  67,  an  illustrated  article  on  pages  20-21, 
and  many  reproductions  or  interesting  and  valuable  old  pictures  besides 


Portraits  and   Picture  Pages 


Betty  Blythe — A  painting  by  M.  Paddock,  from  a  portrait,  by  Edwin  Boner Hesser 

Our  Portrait  Gallery — New  studies  of  Madge  Bellamy,   Betty  Compson,    Ramon   Novarro,  Frances  Howard, 

Lois  Wilson,  George  O'Brien,  Alice  Joyce,   Norma  Talmadge,  and  Buster  Keaton 

The  Valentinos — An  exclusive  study  of  Mr.  and  Mrs.  Valentino  and   Rudolph's  brother 

Love's  Old  Sweet  Song — Doris  Ken  yon  and  Ronald  Colman  in  a  scene  from  their  new  picture 

His  Highness,  Adolphe  Menjou,  Impersonating  an  Arrogant  Prince — a  sketch  by  Eldon  Kelley 

The  Boy  Who  Never  Grew  Up — Three  scenes  from  the  film  version  of  Sir  James  Barrie's  Peter  Pan 

The  Laundress  Who  Loved  an  Emperor — Studies  of  the  principal  characters  in  Madame  Sans-Gene 

We  Present  Kenneth  Harlan  and  Marie  Prevost,  Hollywood's  Newest  Newlyweds 

We'd  Like  to  See  Them  Again — Portraits  of  stars  who  left  the  screen  at  the  height  of  their  career.  . 

Presenting  the  Queen  of  the  Motion  Picture  Serial — Studies,  new  and  old,  of  Pearl  White 

Scenes  from  Our  Mary's  Very  First  Pictures — Selected  from  the  file  made  by  the  old  Biograph  Company.  . 

Reproductions  from  Old  Motion  Pictures — Here  you  see  again  your  favorites  of  the  Early  Days 

A  Few  Scenes  from  Some  of  the  Popular  Comedies  That  Brought  Down  the  House  a  Few  Years  Ago. . 

Famous  Directors  Who  Were  Once  Popular  Stars — Dramatized  bits  from  old  features 

An  Original  Picture  with  an  Original  Director — All  about  Josef  von  Sternberg  and  The  Salvation  Hunters   . 
Colleen  Moore — Her  remarkable  impersonation  of  Selina  Peake  De  Jong,  in  her  new  starring  vehicle,  So  Big.  . 

Feature  Articles 

Stories  About  the  Old  Times,  Told  by  the  Old-Timers — A  wonderful  collection  of  anecdotes 

Confidences  Off-Screen — Chats  with  Frances  Howard,  Conway  Tearle,  and  others.  .  .  .by  IF.  Adolphe  Roberts 

Irish — and  in  Love — The  story  of  Pat  O'Malley's  screen  debut by  Harry  Carr 

Betty  Was  a  College  Widow — Harry  Carr  discloses  a  wonderful  chapter  in  the  life  of  the  girl  on  our  cover.  .  .  . 
What  I  Can  Read  in  the  Faces  of  the  Film  Stars — An  analysis  of  Mary  Hay,  Richard  Barthelmess,  Bebe 

Daniels  and  Harold  Lloyd by  F.  Vance  de  Revere 

Shots  from  the  First  Fan  Magazine — Reprinting  prophecies  made  in  the  first  numbers  of  this  magazine 

The  Story  of  My  Life — Covering  twelve  years  of  motion  picture  work by  Ruth  Roland 

The  Movies  Are  Growing  Ur> — Comparisons  between  the  old  and  the  new by  /.  Stuart  Blackton 

"Close-Ups  of  Cut-Backs"- — John  Bunny's  partner  talks  about  their  first  comedies by  Flora  Finch 

For  Light  Entertainment 

New  Year's  Resolutions  That  the  Stars  Will  Try  to  Keep  in  1925 — Four  pages  of  good  intentions.  . . . 

Romola — The  beautiful  story  of  Lillian  Gish's  new  picture,  made  in  Italy by  Dorothy  Donnell  Calhoun 

Whose  Hand? — The  second  instalment  of  our  exciting  mystery  story by  W.  Adolphe  Roberts 

"Them  Good  Old  Days"- — -When  the  magazine  was  a  mere  infant by  Tlie  Answer  Man 

That's  Out — Keen  Comment  about  the  people  and  affairs  of  Movieland by  Tamar  Lane 


Departments 


We  Want  What  We  Want— So  There!— An  Editorial 

The  Winners  of  the  Month — The  four  best  pictures  recently  released Reviewed  by  Laurence  Reid 

Reeling  with  Laughter — A  number  of  amusing  scenes  from  current  comedies 

On  the  Camera  Coast — News  about  stars  and  studios  on  the  Pacific  Coast by  Harry  Carr 

Trailing  the  Eastern  Stars — News  about  stars  and  studios  in  the  East by  Dorothy    Herzog 

Critical  Paragraphs  About  New  Productions Reviews  by  the  Editorial  Staff 

We're  Asking  You — A  Question-Box  for  Our  Readers Conducted  by  the  Editorial  Staff 

Letters  to  the  Editor — A  department  containing  prize- winning  letters  from  readers,  and  excerpts  from  letters. . 

The  Answer  Man — Brief  replies  to  readers  who  have  asked  for  information  about  stars  and  studios 

What  the  Stars  Are  Doing — Information  about  screen  players Conducted  by  Gertrude  Driscoll 


Cover 

11-19 

22 
23 
26 
38 
39 
42 
SO 
56 
59 
60-61 
64-65 
66 
70 
73 


20-21 

24-25 

27 

28-29 

40-41 
51 

52-53 
54-55 
57-58 


30-33 
34-37 
43-45 
62-63 
67 


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Advertising  Section 


AFTER,  THIRTY  ~  can  a  woman  still  gain 

the  charm  of  A  skin  you  Love  to  Touch  T 


^gpqp^OME    women 
Cj£)L^    Q$2  have    a    better 


\*-fc  complexion    at 

*&&*  thirtyorthirty- 

rive  than  they 

ever  had  in  their  twenties. 

The  reason  is  simply  that 
they  have  learned  to  take 
better  care  of  their  skin. 

At  twenty,  contrary  to 
popular  tradition,  a  girl's 
complexion  is  often  at  its 
worst. 

Too  many  sweets  —  late 
hours — and  above  all,  neg- 
lect of  a  few  simple  rules  of 
skin  hygiene,  result  in  a 
dull,  sallow  color,  disfigur- 
ing blemishes,  and  ugly 
little  blackheads. 


h 


By  giving  your  skin  the 
right  care  you  can  often  gain  a  love- 
lier skin  at  thirty  than  you  ever  had 
before. 

Remember  that  each  day  your  skin 
is  changing;  old  skin  dies  and  new 
takes  its  place.  Whatever  your  com- 
plexion has  been  in  the  past — by  be- 
ginning, now,  to  give  this  new  skin 
the  treatment  it  needs,  you  can 
gradually  build  up  a  fresh,  clear, 
radiant  complexion. 

Use  this  treatment 

to  overcome  blackheads 

Every  night  before  retiring  apply  hot 
cloths  to  your  face  until  the  skin  is 
reddened.  Then  with  a  rough  wash- 
cloth work  up  a  heavy  lather  of 
Woodbury's  Facial  Soap  and  rub  it 
into  the  pores  thoroughly,  always 
with  an  upward  and  outward  motion. 
Rinse  with  clear  hot  water,  then  with 
cold.  If  possible,  rub  your  face  for 
thirty  seconds  with  a  piece  of  ice. 

How  you  can  free 

your  skin  from  blemishes 

Just  before  you  go  to  bed,  wash  in 
your  usual  way  with  warm  water  and 
Woodbury's  Facial  Soap,  finishing 
with  a  dash  of  cold  water.  Then  dip 

Copyright,  1024,  by  The  Andrew  Jergens  Co. 

10 


Often  the  best  of  life  doesn't  begin  for  a  woman  until  she  is  thirty. 
Often  it  is  only  then  that  she  begins  to  realize  herself  and  her  own 
possibilities.  Dont  think  of  your  age,  whatever  it  is,  as  a  limitation 
— think  of  it  as  an  opportunity  !  Use  the  knowledge  you  have  gained 
from  life  to  overcome  past  faults  and  disadvantages.  Make  up  your 
mind  to  be  lovelier  every  year — and  you  will  be! 


the  tips  of  your  fingers  in  warm  water 
and  rub  them  on  the  cake  of  Wood- 
bury'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  very  carefully,  first  with  clear 
hot  water,  then  with  cold. 

A  special  treatment  for  an  oily  skin 

First,  cleanse  your  skin  by  washing 
in  your  usual  way  with  Woodbury's 
Facial  Soap  and  luke-warm  water. 
Wipe  off  the  surplus  moisture,  but 
leave  the  skin  slightly  damp.  Now, 
with  warm  water  work  up  a  heavy 
lather  of  Woodbury's  Facial  Soap  in 
your  hands.  Apply  it  to  your  face 
and  rub  it  into  the  pores  thoroughly 
— always  with  an  upward  and  out- 
ward motion.  Rinse  with  warm  water, 
then  with  cold — the  colder  the  better. 
If  possible,  rub  your  face  for  thirty 
seconds  with  a  piece  of  ice. 

How  to  give 

a  sallow  skin  color  and  life 

Once  or  twice  a  week,  just  before  re- 
tiring, fill  your  basin  full  of  hot  water 
— almost  boiling  hot.  Bend  over  the 
top  of  the  basin  and  cover  your  head 
and   the  bowl  with  a  heavy  bath 


towel,  so  that  no  steam 
can  escape.  Steam  your 
face  for  thirty  seconds. 
Now  lather  a  hot  cloth 
with  Woodbury's  Facial 
Soap.  With  this  wash  your 
face  thoroughly,  rubbing 
the  lather  well  into  the 
skin  with  an  upward  and 
outward  motion.  Then 
rinse  the  skin  well,  first 
with  warm  water,  then 
with  cold,  and  finish  by 
rubbing  it  for  thirty  sec- 
onds with  a  piece  of  ice. 


No  matter  what  your  type 
of  skin  happens  to  be — you 
will  find  the  treatment  that 
exactly  meets  its  needs  in 
the  booklet  of  famous  skin 
treatments,  "A  Skin  You 
Love  to   Touch,"  which  is 

wrapped  around    every   cake  of 

Woodbury's  Facial  Soap. 

Get  a  cake  of  Woodbury's  today 
and  begin  your  treatment  tonight. 
You  can  get  Woodbury's  Facial 
Soap  at  any  drug  store  or  toilet  goods 
counter.  A  25-cent  cake  lasts  a 
month  or  six  weeks  for  regular  use, 
including  any  of  the  special  Wood- 
bury treatments.  For  convenience — 
get  Woodbury's  in  3-cake  boxes. 

Three  Woodbury  skin  preparations 
— guest  size — for  10  cents 


w 


m 


The  Andrew  Jergens  Co., 

1302  Spring  Grove  Ave.,  Cincinnati,  Ohio 
For  the  enclosed  10  cents — Please  send  me  a 
miniature  set  of  the  Woodbury  skin  prepara- 
tions, containing: 

A  trial  size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  Woodbury's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet,  "A  Skin 
You  Love  to  Touch." 

If  you  live  in  Canada,  address  The  Andrew 
Jergens  Co.,  Limited,  1302Sherbrooke  St.,  Perth, 
Ontario.  English  Agents:  H.  C.  Quelch  &  Co., 
4  Ludgate  Square,  London,  E.  C.  4. 


Name. 
Street . 
City. . 


. State . 


£ 


Cutout  this  coupon  and  send  it  to  us  today 

Every  advertisement  in  MOTION  PICTURE  MAGAZINE  Is  guaranteed. 


ivnaHnfft1 


r^rr-^-ygrrjgga;"1  ryrrr. ..'.  I  _. MM 


i  i    i  ibiiiiiiiih  iniw    in  i  i  ■n—pti— m— mm— i  ii         n   ip  lumuuMMiiiiiJiw-UJ-iiiUMW 


Edwin  Hower  Hesser 


MADGE   BELLAMY 

The  little  heroine  of  Love  and  Glory  and  The  Iron  Horse  will  next  be  seen 
in  the  role  of  Una,  in  The  Dancers 


Tho  this  popular  star  has  just  received  a 
new  title,  that  of  Mrs.  James  Cruze,  she  has 
already  directed  this  famous  director  to  tell 
the  world  that  she'll  continue  starring  as 
Betty  Compson.  She's  now  making  Locked 
Doors.  At  the  left  she's  flirting  with  Warner 
Baxter  in  a  scene  from  The  Garden  of  Weeds 


Every  mail  brings  us  dozens  of  letters  from 
Ramon's  admirers  asking  when  they  are  to 
see  him  in  Ben  Hur.  As  this  production 
is  still  being  filmed  in  Italy,  we  can  make 
no  definite  answer  to  their  inquiries. 
Therefore,  we  give  them,  as  a  sort  of  "con- 
solation prize,"  these  wonderful  studies  of 
Ramon,  as  himself  and  in  the  character  of 
Ben  Hur 


FRANCES 
HOWARD 


Frances  Howard  was 
"the  talk  of  the  town" 
when  she,  a  girl  un- 
known in  the  world 
of  motion  pictures, 
was  chosen  as  the  star 
of  The  Swan.  But 
having  watched  Miss 
Howard  at  work  in 
the  studio,  we  proph- 
esy that,  as  soon  as 
the  picture  is  re- 
leased, she  will  be- 
come "the  toast  of  the 
town."  At  the  right 
you  see  her  with  her 
two  small  picture- 
brothers,  and  their 
tutor  (Ricardo 
Cortez) 


LOIS 
WILSON 


Do  human  beings  ever  remind  you  of  inani- 
mate things?  Valentino,  for  instance,  reminds 
us  of  a  rare  old  violin;  as  we  watch  Lillian 
Gish  we  seem  to  be  watching  the  stars  come 
out,  one  by  one,  in  a  Colorado  sky;  but  when 
we  see  Lois  Wilson,  we  also  see  our  great- 
grandmother's  sampler.  It  is  worked  on  linen 
that  she  wove  herself  and  is  now  turned  an 
exquisite  creamy  yellow.  Her  sterling  quali- 
ties shine  forth  in  the  mottoes  she  chose;  her 
sense  of  humor  in  the  quaint  little  designs  that 
she  embroidered.  Sometimes  the  colors  on  it 
are  delicate  and  elusive,  and  sometimes  they 
are  so  intense  that  they  burn.  See  if  you  can 
understand  what  we  mean  by  this  comparison 
when  you  see  Lois  in  North  of  36 


GEORGE 
O'BRIEN 

All  the  flapper 
fans  will  readily 
agree  that  George 
O'Brien  is  the  em- 
bodiment of  the 
ideal  American 
football  hero.  His 
film  career  is  only 
one  year  old,  but 
in  that  time  he  has 
battled  his  way  to 
the  top.  Of  course, 
you  have  seen  him 
in  the  Fox  super- 
feature,  The  Iron 
Horse.  Watch  for 
him  in  the  role  of 
Tony,  in  The 
Dancers 


Melbourne  Spurr 


ALICE 
JOYCE 

For  the  past  few 
years  the  fans  have 
been  faithfully 
singing  Alice, 
Where  Art  Thou? 
Constant  repetition 
brings  results,  as 
any  good  advertis- 
ing copy-writer 
will  tell  you,  and 
now  Alice  has 
come  back  to  the 
screen.  You'll  see 
her  in  White  Man, 
and,  after  that,  in 
A  Man's  World 


Pach  Brothers 


Kenneth  Alexander 


NORMA  TALMADGE 

After  gazing  at  this  lovely  study,  dont  you  all 
feel  like  chanting,  Norma,  Norma,  you  must 
never  bob  your  hair.  Norma's  hair  is  a  glori- 
ous brownish  black,  with  glints  of  red  when 
you  see  it  in  the  sunshine.  She  has  finished 
her  work  in  The  Lady,  a  scene  from  which  we 
reproduce  at  the  right,  and  is  now  sailing  for 
a  long  vacation  in  Europe 


We  asked  Buster  to  give  us  a  portrait 
of  himself  in  which  "he  cracked  a  smile," 
but  he  said  he  couldn't  take  the  risk, 
that  it  might  crack  the  loyalty  of  his 
fans  if  they  knew  he  could  look  other 
than  solemn  and  cynical.  He's  now  mak- 
ing Seven  Chances,  which  will  be  repro- 
duced oil  the  screen  in  color 


Stories  About  the  Old  Times 


Told  By  tKe   Old-Timers 


DW.     GRIFFITH    discov 
ered  most   of   the  big 
stars   who  are   now 
on  the  top  of  the 
heap.    He  told  me,  once,  how 
he  happened   to  find  them. 
The    very    first    one    he 
picked  was  Arthur  John- 
son,    now    dead.       Many 
critics     consider     Arthur 
Johnson  to  have  been  the 
finest    actor    ever    on    the 
screen. 

Griffith  said  he  was  mak- 
ing-one of  his  very  first  pic- 
tures at  the  old  Biograph  Studio 
on  Fourteenth  Street,  New  York. 
He  simply  had  to  have  an  actor  who 
could  look  like  a  society  man  without 
too  great  a  strain  on  his  imagination. 

There  was  no  one  then  at  the  studio 
who   would    do,    so    Griffith    went   down    to   a   theatrical 
agency  on  Broadway.    As  he  went  in  the  door,  he  bumped 
into  a  man  coming  out  the  door.    He  was  exactly  the  type 
Griffith  was  looking  for. 

Dashing  wildly  into  the  office,  Griffith  asked  the  name  of 

the  man  he  had  seen  going  out ;   found  his  name  was 

Arthur  Johnson  and  tore  downstairs  in  pursuit  of  him. 

D.  W.  was  all  out  of  breath  when  he  overtook  the  tall, 

fastidious  figure.  He 
had  just  enough  wind 
left  to  gasp : 

"Say,  are  you  an 
actor  ?" 

Johnson  stopped; 
hung  his  cane  o'n  his 
arm,  took  off  his  hat ; 
wearily  smoothed  back 
his  hair. 


The  Cishes  in  The  Two  Orphans 


Then  he  said :  "There  is 
some  difference  of  opinion 
about  it." 


At  the  left,  Mae 
Marsh  as  she 
looked  when  D. 
W.  Griffith  dis- 
covered  her;  at 
the  right,  Bobby 
Harron,  who 
was  his  greatest 
actor,  and  who 
met  with  an  ac- 
cidental death 
a  few  years  ago 


extracted  a  "dear"  from  her ;  but  be- 
fore he  looked  he  says  he  had  de- 
cided to  give  her  a  job-— whoever 
it  was. 
What  he   saw  was  a  plump 
and     self-confident     young 
miss,    to    whom    the    ogre 
was  saying:     "But,  dear, 
how    can    you    see    Mr. 
Griffith,  he  doesn't  know 
you." 

"Well,"    said    the    girl 
promptly,    "how    can    Mr. 
Griffith     know     whether    he 
^r  wants  to  see  me  until  he  has 

seen  me  ?  He's  got  to  see  me  be- 
fore   he   knows    if    I    would    do, 
hasn't  he?" 

The  ogre  hesitated.    "Who  shall  I  say 
wants  to  see  him?" 

"You  just  tell  him  Mary  Pickford 
wants  to  see  him ;  and  if  he  doesn't  know  who  Mary  Pick- 
ford  is  I'll  come  up  and  tell  him." 

After  Mary  Pickford  had  been  working  for  the  Bio- 
graph Company  for  a  while,  she  appeared  one  day  with 
two  very  badly  scared  little  girls.  She  told  Mr.  Griffith 
that  they  wanted  to  be  movie  actresses,  like  her. 

Down  thru  the  center  of  the  old  drawing-room  was  a 
rail  to  divide  the  public  from  the  promised  land. 

Mr.  Griffith  smiled. 
"Now,  Mary,"  he  said. 
"Be  careful.  These  little 
girls  are  on  the  outside  of 
the  gate.  If  they  pass 
thru,  Mary  Pickford  may 
have  some  very  dangerous 
rivals.    Look  out." 

Mary  tossed  her  head 
with  scorn.  "Mary 
Pickford,"  she  said, 
"isn't  afraid  to  have 
any  girls  pass  thru 
that  gate." 

And  so  Lillian  and 
Dorothy  Gish  got 
into  the  movies. 


T^  zr 


l 


"K/Tary    Pickford    found    herself    for 
■*■  -"■   Griffith,  so  to  speak. 

The  Biograph  was  located  in  an  old 
New  York  house.  The  drawing-room  of 
this  house  was  in  use  as  an  office.  An 
ogre  was  in  charge.  She  was  a  lady  ogre, 
but  none  the  less  fierce. 

She  could  get  rid  of  a  pest  with  one 
glare. 

One  day  as  Griffith  was  coming  down- 
stairs, over  the  banisters,  he  heard  the 
ogre  say  "Dear"  to  someone.  -He  leaned 
over  the  balcony  to  see  who  could  have 
20 
at 


Blanche  Sweet,  in  the  days 

when    she    was    known    as 

"The  Biograph  Girl" 


hortly   after   he 
came  to  Califor- 
nia to  make  pictures, 
Mr.  Griffith  was  di- 
recting a  scene  in  which  Marguerite 
Loveridge  was  working.     She  asked 
him  if  she  might  bring  her  little  sister 
to  look  on. 

Little  sister  came  and  watched  with 
eyes  big  with  wonder.  She  was  a 
quaint,  elfin,  little  thing.  Mr.  Griffith 
kept  watching  her  out  of  the  corner 
of  his  eye.  Finally  he  crossed  over 
to  where  she  was  sitting  on  an 
old  log. 

"Get  up  and  turn  around  two  or 
three  times  as  tho  you  were  so  happy 
you  couldn't  hold  yourself  in." 


~\ 


The  little,  scared  girl  did 
it. 

"Now,  imagine  that  you 
have  waited  a  long  time  for 
your  beau,  and  there  he  goes 
with  another  girl  on  his  arm. 
Now,  how  do  you  feel  ?" 

And  the  little,  scared  girl 
showed  him. 

Then  Mr.  Griffith  turned 
to  the  company.  "All  of  you 
are  now  excused.  None  of 
you  need  come  back  to- 
morrow except  this  little 
girl." 

The  little,  scared  girl,  was 
Mae  Marsh. 

Griffith  found  Mack  Sen- 
nett  waiting  in  his  outer 
office  asking  for  a  job  as  a 
strong  man.  He  was  an 
adventurous,  romantic 
young  Irishman  who  had  left 
his  home  in  Canada  to  see  the 
world  and  was  working  at 
any  old  job  he  could  get  in 
New  York.  Almost  at  once 
he  became  one  of  the  leading  comedians  of  the  screen. 


Texas    Guinan,   the 

original  "cow-girl"  of 

the  movies 


Monte  Blue  in  The 
Kentuckians,  one  of 
his  first  picture   roles 


T>  lanche  Sweet  first  got  into  the  Griffith  studio  in 
"*-^  reply  to  a  request  for  a  dancer.  She  was  a  young 
professional  dancer,  and  had  no  thought  of  being  a  movie 
actress.  With  D.  W.'s  strange  prescience  in  detecting 
genius,  he  made  her  an  actress.  She  was  one  of  the  first 
girls  of  the  screen  to  show  symptoms  of  real  greatness. 

Mabel  Normand's  story  was  very  much  the  same.  She 
was  a  cloak  model  and  was  employed  at  Biograph  to 
appear  in  a  scene  as  an  extra  to  wear  some  beautiful 
clothes. 

'Robert  Harron  was  a  prop  boy  in  the  company.  One 
day  the  parish  priest  brought  two  young  boys  around  to 
the  studio.  He  said  they  were  good  boys  and  he  wanted 
to  get  them  jobs.    They  both  got  the  jobs. 

One  was  James  Smith,  who  has  been  with  Griffith  ever 
since  as  his  film  editor.     Bobbie  Harron  was  the  finest 
actor    Griffith    ever    had    until    his 
death  by  an  accident  with  a  revolver 
a  few  years  ago. 

Florence  Lawrence,  one  of  the 
great  stars  of  the  old  Biograph  days, 
was  found  by  Mr.  Griffith  at  a  so- 
ciety dance.  He  asked  for  an  intro- 
duction and  invited  her  on  the  spot 
to  become  a  movie  star.  She  is  now 
in  Hollywood  in  the  real-estate 
business. 

Griffith  found  Monte  Blue  among 
the  cow-punchers  who  rode  at  day's 
wages  in  the  Ku  Klux  scenes  in 
The  Birth  of  a  Nation.  He  con- 
siders Monte  one  of  the  finest  actors 
that  ever  worked  in  his  studio. 

Altho  Jack  Pickford  is  still  a  boy 
"*^"  on  the  sunny  side  of  thirty,  he 
is  one  of  the  veterans  of  pictures 
and  has  been  in  the  business  since 
the  earliest  days  of  the  old 
Biograph. 

■  He  says  that  one  day  Mary  came 
home  in  a  very  haughty  and  im- 
portant mood ;  she  announced  that 


Below,  Earle  Williams  as  John  Storm 
in    The    Christian,    his    favorite    role 


she  was  now  a  movie  actress. 
This  was  too  much  for  Jack 
and  his  other  sister,  Lottie ; 
they  didn't  propose  to  let 
Mary  get  away  with  that.  So 
they  hustled  down  to  the  near- 
est rival  studio.  As  I  remem- 
ber it,  it  was  the  old  Pathe. 

The  man  at  the  window 
handed  them  out  a  printed  slip 
with  a  lot  of  questions  :  Could 
they  ride,  shoot,  swim,  dive, 
perform  acrobatics  ?  Also,  had 
they  experience  as  actors? 

Jack  said  the  truth  was  they 
couldn't  do  anything  but  eat; 
but  a  small  formality  like  that 
was  not  allowed  to  stand  in  the 
way.  So  he  and  Lottie  wrote 
"Yes"  to  every  question  on  the 
slip.  Such  genius  was  not  to 
be  overlooked  ;  so  the  manager 
made  haste  to  sign  up  two  per 
sons  of  such  enormous  versa- 
tility. That  night  they  came 
home  and  informed  Mary  with 
uplifted  noses  that  they,  too, 
were    motion-picture    actors,    and    had    important    parts. 

Soon  after  Jack  joined,  the  company  moved  to  Cali- 
fornia— then  a  pioneer  picture  land.  Nearly  all  the  pic- 
tures they  made  then  were  Westerns. 

Jack  says  the  grandees  of  the  company  rode  out  in 
automobiles ;  but  he  wasn't  one  of  the  grandees.  Every 
morning,  about  daylight,  he  could  call  at  a  certain  house 
with  his  bicycle  and  a  boy  would  come  out  and  perch  him- 
self on  the  handle-bars  and  they  would  ride  thus  to  the 
distant  location ;  the  boy  who  rode  the  handle-bars  was 
Robert  Harron,  afterward  one  of  the  great  stars  of 
pictures. 


'  I  'ex as  Guinan's  movie  reminiscences  come  in  a  volley 
■*■  of   re-echoing  shot  and  shell,  the  beating  of   horses' 

hoofs  and  the  hiss  of  the  lariat. 

"My  big  chance  for  the  movies,"  said  Texas,  "came 

when  a  Vitagraph  manager  saw  me  ride  a  snow-white 
charger  down  the  runway  of  the 
old  Winter  Garden  theater,  all 
dressed  up  in  black  lace  chaps  and 
swinging  a  lariat.  Of  course,  we 
poor  chorus  girls  at  the  Winter 
Garden  were  always  looking  for 
some  new  stunt  whereby  to  distin- 
guish ourselves,  so  when  I  asked  the 
manager  if  I  rtiight  ride  a  horse 
down  the  runway  instead  of  merely 
dancing  down,  he  said,  'All  right,  if 
you  dont  kill  too  many  of  the  cus- 
tomers.' 

"I'll  admit  most  of  them  got  un- 
der their  seats  when  they  heard  my 
steed  thundering  above  their  heads, 
but  a  few  stayed  up  to  watch  me, 
and  after  the  show  a  Vitagraph  man 
in  the  audience  signed  me  up  for 
the  movies  at  $1,200  a  week — a  sal- 
ary then  unheard-of  in  screen  land. 
For  the  next  two  years  I  made  a 
two-reel  Wild  Western  picture 
every  two  weeks,  and  what  a  time 
I  had !  I  could  throw  a  lariat,  rope 
a  steer,  ride  and  shoot  to  beat  any 
(Continued  on  page  84) 

21 
P*<3 


t 


-J 


4 


-i 


Rudolph  Valentino  returned 
from  a  long  vacation  in  Europe 
recently,  wearing  his  new  and 
already  celebrated  beard,  which 
he  defended  thus:  "My  next 
picture,  The  Scarlet  Power,  is 
to  be  a  Spanish-Moorish  story 
of  the  Fourteenth  Century,  and 
in  those  days  it  was  simply 
unknown  for  a  gentleman  of 
Spain  or  Morocco  to  be  clean- 
shaven. Now,  I'm  opposed  to 
fakery — so  I  refuse  to  wear 
a  ridiculous  false  beard." 
Bravo!    Valentino! 


In  the  picture  at  the  top  of  the 
page  you  will  see  Rudolph 
Valentino  chatting  with  his 
brother  on  the  terrace  of  their 
villa  overlooking  Nice.  At  the 
right  is  Mrs.  Valentino  (Natacha 
Rambova)  wearing  one  of  the 
many  exquisite  costumes  de- 
signed especially  for  her  by  a 
celebrated  Parisian  artist 


I 


22 
AGe. 


LOVE'S 
OLD 

SWEET 
SONG 


: 


If  the  stage  and  the  screen  had  not  claimed  Doris  Kenyon,  she  would 
undoubtedly  have  become  a  distinguished  musician.  She  plays  beautifully, 
&nd  makes  her  own  musical  atmosphere  for  her  new  picture,  A  Thief  in 
Paradise,  in  which  she  stars  with  Ronald  Colman.  Isn't  it  too  bad  that  the 
camera  doesn't  translate  melody?  However,  by  observing  the  way  that 
Ronald  makes  love  when  you  see  the  picture  on  the  screen,  you  will 
realize  Miss  Kenyon  has  achieved  the  desired  effect 


23 

PAG 


I 


* 


Confidences  Off-Screen 

By 
Wild  Women  and     Beards  and  Sudden  Stars 


t 


THE  latesl  Ead  among  motion-picture  stars  is  to 
proclaim  thai  their  work  should  not  he  called 
acting.  On  the  legitimate  stage,  they  say,  certain 
definite  values  are  obtained  with  the  voice  and 
accompanying  gestures.  And  that  is  acting.  For  the 
screen,  one  must  he  a  silent  portrayer.  The  trick  is  to  he 
so  imbued  with  one's  role  that  everything  done  before  the^ 
camera  seems  natural  and  inevitable. 

1  quoted  A.dolphe  Menjou  to  the  above  effect  last 
mouth,  lie  made  it  convincing,  and  1  agree  he  couldn't 
have  Eound  a  better  formula  for  his  method.  Hut  it's 
only  a  formula.  It's  another  way  of  saying  that  he  makes 
his  characters  live,  which  is  the  object  o\  every  mime, 
silent  or  otherwise.  To  clarify  the  point,  1  beg  to  assure 
the  reader  that  a  real  prince  would  not  be  half  so  effec- 
tive in  The  Swan  as  is  Monsieur  Menjou.  The  prince 
would  be  incapable  of 'a  false  move,  yet  would  seem  dull 
because  he  lacked  the  art  of  acting. 

All  of  which  brings  me  to  the  subject  of  this  con- 
fidence off-screen — the  extremely  talented  Jetta  Goudal. 
After  several  other  stars  had  declared  their  joy  in  the 
new  title  of  portrayer,  I  went  to  see  Miss  Goudal  at 
Famous  Players  studio,  where  she  is  playing  the  lead  in 
the  film  version  of  Anzia  Yczierska's  Salome  of  the 
Tenements, 

She  was  born  at  Versailles  near   Paris,  and 
is  three-quarters  French,  one-quarter  Dutch. 
Mere    is   a    vivid,    exotic    type,   a    blending  of 
Latin    street    gamine    and    international    vamp. 
I  f   I   could  express  her  singular  at 
traction  in  suaver  terms,   I'd  gladly 
do   so;    but    these   seem   to   tit.      In 
Open     .III     Night,     she     played     a 
daughter  of  joy   infatuated  with  a 
six-dav  bicycle  champion,  as  such  a 
role  was  never  before  played  in  an 
American -made     picture.       It      was 
real,  it   was  subtle,  it   was   Parisian 

You    gasped    at     the 

gaudy  malignity  of  the 
character,  and  saluted 
the  artistry  of  Jetta 
every  moment  she  was 
on  the  screen. 

Now.  in  the  Ye/ier- 
ska  Ghetto  drama  she 
is  to  be  a  young  Jewess 
with  a  soul  and  a  pas- 
sion for  luxury,  who 
marries  a  millionaire  settlement  worker, 
feel  aboul  it  ?     1  asked. 

"I  love  doing  Sonia  (the  heroine'),"  she  answered  in- 
tensely. "For  the  time  being,  1  am  Sonia.  First  as  a 
child  in  the  tenements,  then  as  a  beautv-mad  girl  who 
knows  how  to  make  life  give  her  what  she  wants.  It 
wont  be  acting.      It   will  be  living  the  part  in  a  picture." 

"You,  too!"  I  thought.  But  m\  next  question  was: 
"Do  you  prefer  extreme  roles  ?" 

"Absolutely.      1    want    chance    after   chanCe    to    go    to 
extremes  in  portraying  character.      1   have  been  a   Hindu 
in  The  Green  Goddess  and  a  half-Chinese  woman  in  The 
24 
at 


Adolphe  Menjou  and  Frances  II 
of  The 


Mow  did  she 


Bright  Shawl,  a  Paris  cocotte  and  now  an  East  Side 
immigrant.     I  have  enjoyed  all  of  them." 

We  chatted  along  these  lines  for  a  delightful  half- 
hour.  1  had  rarely  met  any  one  whose  temperament  was 
so  completely  that  of  the  actress.  By  asserting  that  she 
merged  herself  in  the  heroine  of  the  moment  and  that 
she  liked  to  pass  from  one  strange  part  to  another  far 
removed  from  it,  she  merely  proved  her  devotion  to  the 
technique  of  her  profession.     Eventually,  I  told  her  so. 

She  thought  it  over,  her  eyes  twinkled,  and  she  said 
she'd  known  it  all  along.  Even  race  was  of  little  con- 
sequence, she  added.  1  didn't  admit  that  an  artist  can 
wholly  put  off  the  cloak  of  nationality,  but  that  is  an- 
other story. 

For  esthetic  satisfaction,  avoid  the  amateur.  And 
when  you  find  a  good  thing,  shout  about  it.  I  present 
to  you,  therefore,  Jetta  Goudal — one  hundred  per  cent, 
conscious  actress.' 

Bearded  for  Sincerity 

/~"\n  his  return  from  Europe  to  star  for  Ritz-Carltou 
^^  Pictures,  I  dropped  in  for  a  talk  with  Rudolph 
Valentino.  He  was  wearing  his  new  and  already  cele- 
brated beard,  and  for  some  reason  he  thought  it  well  to 
lose  no  time  about  defending  it. 

''Our  first  production  is  going  to  be  a  Spanish- 
Moorish  story,  with  the  scene  laid  in  the  four- 
teenth century/'  he  said,  fingering 
the  beard  with  a  picturesque  ges- 
ture. "In  those  days,  it  was  simply 
unknown  for  a  Spanish  gentleman 
to  be  clean  shaven.  Then,  there  is 
an  episode  in  which  I  take  refuge 
among  the  Moors  and  pass  as  one 
of  them.  The  Moors  have  always 
worn  luxuriant  wdiiskers.  A 
barbered  fugitive  in  their  midst 
would  be  a  conspicuous  object." 

"And  a  false  beard  is  never  con- 
vincing.    Is  that  it  ?" 

"Precisely.      I     am 
opposed     to     fake ry 
of     any     kind.        The 
picture   starts   o(i  with 
1 1       me     as     a     boy,     when 
1^^*      naturally     I'll     be 
oward.  the  Prince  and  Princess  smooth- faced .      But 

Swan  as     jt     develops,      l'\e 

grown  to  be  a  man 
of  about  thirty,  who  is  noted  for  his  sinister  appear- 
ance. It  would  be  pretty  bard  for  me  to  appear  sinister 
without  a  beard,  ami  in  a  false  one  I'd  only  succeed  in 
being  comical." 

For  my  part,  1  thought  the  beard  suited  Valentino. 
It  gives  him  the  final  romantic  touch,  makes  him  look- 
like  a  real  sheik.  Bui  he's  afraid  the  fans  wont  like  it. 
What  do  those  who  read  this  think? 

There  will  be  more  about  him  in  the  next  department. 
The  picture  has  been  titled  The  Scarlet  Power,  and  June 
Mathis  has  written  the  scenario  from  the  novel  by  Justus 
Laine.    Valentino's  contract  gives  him  the  free  hand  he 


OT.M0TI0N  PICTUR 

1 1101  I    MAGAZINE 


has  always  wanted.  He  impresses  me  as  being  on  his 
way  to  greater  success  than  ever. 

How  the  Movies  Lost  One  Extra 

"Crances  Howard  gave  a  party  the  other  day  for  the 
■*■  lucky  writers  of  the  motion-picture  press.  A  regal 
party  it  was,  in  all  senses-  of  the  word,  for  Miss  Howard 
received  us  in  costume  as  the  princess  in  The  Swan,  and 
the  luncheon  tables  were  laid  at  Famous  Players 
studio  beside  one  of  the  most  gorgeous  court  sets  ever 
built.  One  looked  down  a  vista  that  fulfilled  every  illu- 
sion concerning  ballrooms  in  the  palaces  of  kings.  The 
furniture  was  sumptuous.  The  chandelier — but  enough 
about  material  details.  The  chief  attraction  was  charm- 
ing Frances  Howard. 

She  was  playing  on  Broadway  in  a  comedy  called  The 
Best  People  when  it  was  suddenly  announced  that  she, 
and  not  Elsie  Ferguson,  would  be  starred  along  with 
Adolphe  Menjou  in  The  Szvan.  It  was  a  big  surprise. 
One  didn't  exactly  ask,  "Who  is  Frances  Howard?"  be- 
cause she  had  made  a  decided  hit  on  the  speaking  stage. 
But  one  searched  one's  memory  for  a  record  in  pictures 
that  would  justify  her  promotion — and  failed.     The  next 

bulletin  avowed 
nonchalantly  that 
this  would  be  her 
screen  debut,  that 
she  had  been 
chosen  because  she 
looked  the  part, 
had  the  tempera- 
ment, and  had 
come  thru  the 
photographic  tests 
triumphantly. 

I  found  it  hard 
to  believe.  So  I 
made  an  oppor- 
tunity  at  her 
party,  and  backed 
her  up  against  the 
scenery. 

"Is  it  true,"  I 
demanded    in    mv 


Corinne  Griffith  was  de- 
lighted  to    be    given   a    role 
in    Love's    Wilderness,    that 
wasn't  "all   dressed  up" 


most  impressive  tone,  "is  it 
true  that  you  are  acting  be- 
fore a  camera  for  the  first 
time?" 

"Cross  my  heart,"  she  an- 
swered, and  crossed  it. 

"You  were  never  even  an 
extra,  in  hard  times?" 

"Never,"  she  swore.  But 
my  use  of  the  word  "extra" 
proved  to  be  fortunate.  It 
led  her  to  give  me  a  con- 
fidence that  ranks  high  among 
the  romances  of  a  romantic 
calling. 

"I  wasn't  indifferent  to  mo- 
tion pictures,"  she  said.  "No 
actress  very  well  could  be. 
But  I  didn't  know  how  to  get 
into  them.  My  connections 
were  all  with  the  theater.  I 
was    sincerely     modest,    too. 


How    many    of    Conway 
Tearle's    admirers    know 
that   he   is   an   accom- 
plished pianist? 


about  my 
lack  of  ex- 
perience, and 
felt  I'd  have 
to  begin  at 
the  ■  bottom 
of  the  movie 
ladder.  Some- 
one told  me 
about  the  op- 
por  tunities 
for  extras, 
and  do.  you 
know  what  I 
decided  to 
do?  My  full 
name  is  Frances 
Howard  Mc- 
Laughlin. I 
made  up  my 
mind  I'd  go  out 


Jetta  Coudal  as  the  child  of 

the  ghetto  in  Salome  of  the 

Tenements 


as  unkn  own 
Frances  Mc- 
Laughlin, and 
ask  for  work  as 

an  extra  at  this  very  studio.  When  Frances  Howard 
later  tried  for  a  big  role,  no  one  need  know  how  or  when 
she  had  got  her  training.  Just  as  I  was  about  to-do  it, 
Famous  Players  offered  me  my  contract  to  be  a  princess." 
Almost  like  a  fairy-tale,  isn't  it?  The  movies  lost  one 
grand  little  extra  in  Miss  Howard,  but  they  have  gained 
a  star. 

Conway  Tearle  and  the  Critics 

A  correspondent,  Marianne  Carpenter,  dropped  me  a 
■*^*  line  in  praise  of  Conway  Tearle.  "Ask  him  to  ex- 
press his  ideas  about  the  effect  of  newspaper  criticism 
upon  the  popularity  of  a  player,"  she  suggested,  "and 
also  his  individual  reactions  to  the  opinions  of  profes- 
sional critics." 

When  a  fan  wants  reasonable  questions  asked,  I  am 
happy  to  comply.  So  I  went  to  see  Mr.  Tearle  at  the 
New  York  studio  where  he  and  Madge  Kennedy  were 
working  in  The  Ultimate  Good  for  the  -Associated  Ex- 
hibitors. I  showed  him  the  letter,  which  ran  to  four 
pages  and  afforded  good  material  for  an  interview. 
Conway  Tearle,  Miss  Carpenter,  is  a  finished  actor 
with  a  long  career  both  on  the  stage 
and  in  motion  pictures.  He  is, 
you  know,  one  of  the 
handsomest  men  in 
the  game,  and  he 
looks  particu- 
larly well  in 
evening  clothes. 
This  has  caused 
him  to  be  in 
demand  to  play 
opposite  beauti- 
ful  women 
stars,  and  in 
any  such  com- 
bination it  is 
the  woman  who 
gets  the  best  of 
the  break.  Pro- 
ducers and  di- 
rectors —  or  so 
he  says  —  have 
done  their 
(Continued  on 
page  111) 

25 
PAG 


i 


His  Highness,  Adolpke  Menjou,  Impersonating  an  Arrogant  Prince 

Sketched  by  Eldon  Kclley 


The  role  of  prince  of  the  royal  blood,  which  he  plays  in  his  latest 
picture,  The  Swan,  is  peculiarly  fitted  to  Adolphe  Menjou,  since 
he  is  one  of  the  really-truly  highbrows  of  the  screen.  He  is  a 
graduate  of  Culver  Military  Academy  and  of  Cornell  University 
and,  on-  top  of  all  this,  he  is  a  hero  of  the  World  War.  This  sketcb 
was  made  in  the  Famous  Players-Lasky  Studio,  on  Long  Island, 
while  the  director,  the  cameramen,  the  electricians,  and  the 
musicians  were  all  busily  working — as  well  as  the  actors 


I 


26 
at 


Irish — and  in  L 


ove 


Pat  OMalley  tells  Harry  Carr  all  about  the  early   days    when    a   film   actor    called    himself   lucky 

if  he    received   fifteen   dollars    a    week 


MORE  Irish  than  potatoes  with  their  jackets  on : 
that's  Pat  O'Malley. 
Pat  says  it  is  like  to  ruin  his  life.    At  a  time 
when    mysterious    young    sheiks    with    stove- 
polish  hair  are  in  high  demand,  Pat  cant  even  make  his 
red  hair  stay  down — much  less  look  like  a  wet  sea-lion. 

Not  only  his  hair  but  his  heart — that  Irish  heart  that 
was  always  making  him  fall  in  love. 

"It  began  when  I  was  a  little  boy,"  said  Pat,  setting 
a  match  to  the  old  Irish  dudeen. 

"One  day  I  went  to  a  circus  and  fell  in  love  with  a  lady 
horseback  rider  in  pink  tights.  I  decided  to  be  a  circus 
actor  right  there  and  then.  Not  having  a  horse  to  prac- 
tise on,  I  decided  I  would  have  to  be  a  tight-rope  walker. 

"I  went  right  home  and  stretched  my  mother's  clothes- 
line out  between  two  fence-posts  and  practised  until  I 
was  plastered  with  black-and-blue  spots — more  spots  than 
a  turkey's  egg. 

"They  laughed  at  me  until  I  got  sensitive.  I  decided  I 
would  have  to  perfect  my  art  in  private.  I  strung  the  old 
clothes-line  between  two  door-knobs  in  my  mother's 
kitchen.  This  also  ended  with  embarrassment.  We  hadn't 
paid  the  rent  for  some  time  and  the  landlord  happened  to 
come  in  just  as  I  pulled  both  the  door-knobs  off. 

"From  what  he  said  and  my  mother  said,  I  couldn't  see 
where  I  was  going  to  find  much  encouragement  in  my 
art  around  home,  so  I  ran  away  and  got  a  job  with 
a  circus.  And  sure  enough  I  learned  to  walk  the 
tight  rope.  It's  a  trick,  like  anything  else.  You 
think  you  will  never  learn  how ;  then  all  of  a  sud- 
den you  find  yourself  doing  it.  But  alas,  by  the 
time  I  got  with  the  circus  I  had  forgotten  all  about  » 

the  girl   with  the  pink  tights— which  is  the   way 
with  life  and  circuses. 

"I  stayed  with  the  circus  for  some  years. 
Most  of  the  time  I  was  a  tight-rope  walker. 
Sometimes  I  played  a  strong  man  and  flung 
a  girl  all  around  the  ring ;  sometimes  I  got 
dressed  up  and  played  the  girl  who  was 
flung  around.  That  stuff  is  all  tricks,  you 
understand. 


I 


T  was  falling  in  love  again  that  made  me 
an  actor.      I    forget  her  name  entirely. 
But  anyhow  she  was  an  actress  with  the  old 
Kalem    company.      I    saw    her    in    Chicago 
while  I   was  waiting  to  go  out 
with  a  big  top  show.     Well,  I 
haven't  been  inside  a  circus-tent 
since. 

"I  heard  she  was  going  to 
Florida,  so  I  parted  with  my 
old  yellow  diamond,  which 
looked  like  a  fried  egg,  and  fol- 
lowed her. 

"I  made  up  my  mind  that  I 
should  not  fail  to  win 
her  on  account  of  any 
possible  deficiencies  in 
my  own  scenery. 
When  I  arrived  in 
Florida,  I  was  a 
vision   in    a   red    suit 


Irish 
away 


And  tho  Pat  is  now 

a   great  film  star,  at 

heart  he  is  still  the 

kid    who    ran 

and    joined    a 

circus 


with  white  spats  and  chamois  gloves  turned  down  at  the 
wrists. 

"To  my  enormous  delight,  the  manager  gave  me  a  job 
the  very  first  day.  And  that  without  me  speaking  for  it 
at  all.  He  gave  me  a  look  and  said,  'Are  you  an  actor?' 
With  those  clothes  he  thought  I  must  be  something  queer. 
'Sure/  said  I,  very  careless. 

"And  so  he  gives  me  a  job  in  the  same  company  with 
the  charmer.  She  didn't  work  the  first  few  days  I  was 
there.  They  told  me  I  was  a  policeman  and  gave  me  a 
club  and  told  me  to  arrest  Robert  Yignola,  at  that  time 
he  being  an  actor  and  playing  the  leading  part.  He  is  now 
one  of  the  great  directors  of  the  world. 

"I  wasn't  going  to  fall  down  for  lack  of  zeal.  When 
they  told  me  to  arrest  him.  I  gave  him  a  whack  with  my 
stick  that  made  his  eyes  bulge  out,  and  grabbed  him  by 
the  arm.  I  didn't  know  I  was  supposed  to  let  him  go 
when  the  director  called  'Cut.'  So  when  he  tried  to 
struggle  loose,  I  gave  him  a  couple  more  good  cracks  and 
pretty  near  wrenched  his  arm  off.  I'd  have  killed  him  if 
he  hadn't  come  along.  They  told  me  to  arrest  him,  so  I 
arrested  him. 

"My  heart  almost  stood  still  when  at  last  the  dream 

girl  came  out  to  work  in  a  scene.     It  started  to  move  along 

at  its  regular  pace  again  when  I  saw,  following  along  in 

her  wake,  her  loving  husband  and  three  children.     That's 

the  way  with  the  Irish;  they  never  calculate. 

"But  once  started,  I  thought  I  might  as  well 
keep  on  being  an  actor  anyhow.     Maybe  I  fell 
in  love  again  or  something;  but  anyhow  I  found 
myself    working    for    Sidney    Alcott,    who    has 
since     become     one     of     the 
highest-priced  directors  in  the 
world.      Maybe  he  was  high- 
priced  then ;  but  I  sure  wasn't. 
My.   my,   what  that   Irishman 
made  me  do  for  my  living! 

"One  of  the  first  parts  I 
had  with  him  was  in  a  melo- 
drama. I  never  could  make 
out  what  it  was  all  about  and 
I  dont  think  he  could  either. 
Anyhow,  I  was  somebody's 
brother ;  and  there  never  was 
any  busier  brother,  I  can 
promise  you  that. 

"They  poured  some  gaso- 
line out  on  the  water  and  set 
it  on  fire  and  told  me  to  dive 
in  under  it.  I  asked  him  what 
I  was  to  do  when  I  came  up 
in  the  middle  of  that  fire.  He 
said,  careless,  'Oh,  you  can 
just  brush  it  away  or  some- 
thing with  vour  hands  when  you  come 

"Well,  I  did  and  escaped  with  my  life. 

"Between  times  of  acting  I  was  prop 
boy  and  stage  carpenter.  I  hammered 
together  the  sets  and  then  acted  in  them. 
For  all  this  I  got  fifteen  dollars  a  week. 
Every  time  I  made  a  kick,  Alcott  would 
(Continued  on  page  102) 

27 
PAG 


t 


Kenneth  Alexander 


Above,  meet  Betty  in  the  role  of  her  real  self;  below,  meet  her  as  the  heroine  of  Chu  Chin  Chow 

Betty  Was  a  College  Widow 

Before  Betty  Blytlie  was  a  movie  star  she  -was  reigning  belle  of  her  home-town  college. 
Such  a  good  sport  was  Betty  that  every  football  hero   would  gladly  have  died  for  her 


By  HARRY  CARR 


BETTY  BLYTHE  is  one  of  the  few  stars 
who  know  which  fork  to  use  without 
I  watching  out  of  the  corner  of  her 
eye  to  see  which  tool  the  hostess 
is  going  to  eat  with.    Betty  knows  how. 
She  has  always  known  how.    She  was 
"reared  up  thata  way,"  as  they  say 
in  the  South. 

When  I  first  knew  Betty  Blythe, 
she  had  no  thought  of  going  into 
the    movies.     She    was    a    college 
belle. 

Los  Angeles  is,  in  a  way,  a  col- 
lege   town.       There    are    several 
football    institutions    where    they 
provide  genius,   learning,  and  yell 
leaders  for  a  waiting  world.     Betty 
was   the   shining   queen   of   one  of 
these  colleges. 

She  was  the  greatest  belle  I  have 
ever  known.    When  the  shattered  frag- 
ments of  the  plunging  halfback  were  ten- 
derly carried  off  the  field  on  a  stretcher,  he 
28  ' 


/fvderl 
P28 


considered  that  his  sacrifice  had  not  been  in  vain 
if  the  lovely  Betty's  voice  could  be  heard  shrill- 
ing from  the  grandstand  in  recognition  of 
his  heroism. 
If  Betty  wore  the  colors  of  one  class, 
the  sheiks  of  the  other  classes  sulked 
out  behind  the  gymnasium  and  medi- 
tated the  best  methods  of  suicide^— . 
some  kind  of  a  suicide  that  would 
make   her   spend   the   rest   of   her 
days  mourning  to  think  what  she 
had  done. 

"Blythe"  is  just  a  screen  name. 

Her  real,  home-grown  name  was 

Elizabeth  Slaughter.     From  which 

came  the  prize,  catty  joke  of  the 

lesser  belles  of  the  college.     They 

used  to  call  Betty's  suitors,  "Betty's 

lambs" :  you  see,  the  lambs  that  were 

led  to  the  Slaughter. 

But   Betty   was   so   good  a   sport   that 

she   adopted  the   joke   herself;   and   she 

used  to   say  that   she   couldn't  accept   this 


invitation  or  that  because  one  of  the  lambs  was  coming  to  call. 

At  any  season  Betty  was  a  charming  girl ;  but  to  see  her  really 
in  full  bloom,  you  had  to  see  her  in  summer.  And  sometimes 
you  saw  quite  a  lot  of  her. 

The  summer  life  in  California  is  carried  on  with  a  charming 
freedom.  The  flappers  wear  bathing-suits  just  as  short  as  the 
boys,  and,  between  bathing-suits,  they  wear  white  duck  sailor- 
trousers — also  just  like  the  boys.  It  is  so  matter-of-fact  and 
innocent  that  it  is  disarming. 

And  so  Betty,  of  course,  wore  the  same  bathing-suits  that  the 
other  girls  wore,  entirely 
oblivious  of  the  fact  that 
the  figure  encased  in  her's 
was  one  day  to  become 
famous  around  the  world. 

In  those  days  she  was  the 
best  girl  swimmer  I  ever 
saw ;  also  the  best  dancer. 

Betty  and  her  gang  of 
college  boys  had  evolved  a 
peculiar  jazz  dance  all  their 
own.  We  used  to  have  a 
summer  cottage  at  Balboa, 
where  so  many  movies  are 
made,  and  that  cottage  used 
to  be  the  scene  of  their 
dances. 

The  boys  used  to  come 
arrayed  for  the  occasion 
with  rubber-soled  shoes 
that  would  stick  to  the  floor 
and  workman-like  trousers 
— ready  for  business. 

As  well  as  it  comes  to  my 
startled     recollection,     the 


«°K^URR 


When  Betty  played  baseball,  she 
dressed  up  like  the  boys.  She  eould 
swat  home-runs  like  Babe  Ruth  and 
pick  hot  fouls  off  the  bat  with  a 
catcher's  mask  over  her  face.  Note 
the  Betty  of  today  at  the  right  and 
imagine  her  long,  lithe,  beautiful 
body  shooting  up  in  the  air  to  spear 
a  passing  ball 


dance   was   partly 

Paris    apache    and 

partly      American 

jazz.    They  made 

it    up     as    they 

went  along.   All 

I  can  remember 

about  it  is  the 

way  they  used 

to     fling    Betty 

around    the 

room    from    one 

football  halfback 

to  another.    How 

it    happened    that 

she    was    never 

broken  into  pieces  I 

have     never     figured 

out.     But  somehow  she 

survived. 

Betty  thought  it 
was  great. 

When  they  were 
not  dancing,  they 
played  baseball  on 
the  broad,  firm  sands 
of  the  long  beach. 

Betty   could   hold 
up  her  end  with  any 
of  the  college  base- 
ball stars.     She  could  pitch,  wildly  but  well;  she  could 
"pick"  the  hot  fouls  off  the  bat  with  a  catcher's  mask  over 
her  face ;  she  could  swat  out  home-runs  like  Babe  Ruth. 

To  this  day  a  scene  comes  back  to  me,  of  a  college  boy 
hot- footing  down  to  first  base,  with  the  sand  scattering 
(Continued  on  page  98) 

29 
PAG 


In  all  her  peacock  glory  as  the  vamp 
in  Potash  and  Perlmutter  in  Holly- 
wood (above),  Betty  is  no  more  beau- 
tiful than  she  looked  to  her  football 
heroes  when  she  was  only  a  poor 
minister's  daughter.  At  the  left  is  an 
actual  snap-shot  of  Betty  as  the 
"college  widow,"  the  little  high-school 
girl   adored   by   all   the    college   boys 


i 


Here  Are  trie 

New  Year's 

Resolutions 


\x 


JRiclit 


^jUtdb^ 


r*T 


Hommel 


I 


30 
oe. 


That  the  Stars 

Will  Try  to 

Keep  in  1925 


Eugene 
Robert 
Riehee 


1%I<a2  M€a*,  JUsul.  D  f\<z<j<  taJzAuGuA- 
<44<la,  Co  A*^,1fc^^ 


Kevca 


IQUAX^  iqts  S u^jul ilL^t* „^j^ 


"tux*  XMJbuuULuuJa    \vdbuuL4  uhOlaJl,  uwxJUL. 


3  J\*/3u^Aa9_         Vcr- 


31  P 

pagM 


V^  /ULul  An*  X /us^t 


%u. 


jhJiu-, 


■•a 


And 

Still 

More 

Resolutions 


Henry  Waxman 


Henry  Waxman 


Russell  Ball 


Riche 


1 


ft     ^^W^^c^-^ 


32 


Tke  Laundress  Who  Loved  an  Emperor 

These  are  scenes  from  Glorias  newest  picture,  1NLa.ila.me 
Sans-Gene,  which  she  has  just  completed  in  France 


A  cast  of  distinguished  French  players 
support  Miss  Swanson.  M.  Drian,  one 
of  the  most  famous  Napoleons  of  any 
time  or  stage,  plays  the  Little  Corporal. 
Charles  De  Roche,  well  known  to  fans  in 
this  country,  and  called  the  Valentino 
of  France,  plays  the  role  of  Marshal 
Lefebvre.  Great  masses  of  French  sol- 
diers in  actual  Napoleonic  uniforms, 
march  thru  the  streets  of  Paris  and  under 
the  Arc  de  Triomphe  before  the  eye  of 
an  American  camera.  Gloria  herself  was 
housed,  during  her  entire  stay,  in  one  of 
the  most  palatial  residences  in  Paris, 
the  home  of  the  Marquis  de  Brantes,  a 
general  in  the  French  army  with  a  title 
dating  back   to   the   time   of   Louis  XIV 


What  I  Can  Read  in  trie 


A   Complete  Analysis 


I 


MARY  HAY 


WENT  to  the  Barthelmess  home  to  make  this  analysis 
of  Mary  Hay.  The  home,  like  its  little  mistress,  has  a 
comfortable,  friendly  atmosphere. 

In  reading  her  character  I  noticed  first  that  her  face 
was  nearly  harmonic.  By  this  I  mean  that  no  one  tempera- 
ment is  wholly  dominant,  that  the  three  temperaments — the 
vital,  motive  and  mental — are  all  represented  in  the  disposi- 
tion ;  with  the  vital  or  social  side  of  the  nature  more 
developed  than  the  others.  Yon  will  notice  that  the  vital  or 
social  side  of  Mr.  Barthelmess  is  not  so  well  developed, 
while  the  mental  and  the  motive  sides  are  more  developed. 
He,  at  times,  prefers  solitude,  whereas  his  wife  always 
enjoys  people  and  does  not  like  to  spend  much  time  alone. 
In  the  mouth  (upper  lip)  there  is  found  an  enthusiastic, 
ardent  nature ;  one  that  is  sympathetic  and  kind  and  inter- 
ested in  people.  In  the  lower  lip  is  found  a  well-developed 
maternal  instinct. 

The  nose  shows  good  observation.  Mrs.  Barthelmess 
notices  especially  people's  clothes ;  she  has  a  good  imagina- 
tion, is  easy-going  and  lacking  in  aggression.  She  is  not 
naturally  studious  but  gathers  information  quickly  from 
that  which  she  sees  and  hears.  She  is  very  intuitive,  and 
feels  and  knows  things  instinctively.  Her  judgment  is  quick 
and,  because  of  intuitive  ability,  it  is  usually  accurate. 

In  the  forehead  the  music  signs,  tune  and  rhythm,  are  well 

developed.     Development  of  these  signs  means  the  ability 

to  hear  sounds  accurately,   to  memorize  music  easily,  and 

a  natural  liking  for  dancing.   Such  people  always  dance  well. 

{Continued  on  page  99) 


_| 


I 


HAROLD  LLOYD 


Gene  Kornman 


IF  motion  pictures  had  never  been  invented,  I  am  very 
sure  that  Harold  Lloyd  would  have  been  a  successful 
business  man. 
In  reading  his  character,  I  noticed  first  his  forehead, 
which  has  good  height  and  breadth  and  shows  excellent 
mentality.  The  reflective  faculties  are  well  developed.  He 
has  an  excellent  memory  for  facts  and  things  concerning 
business.  There  are  lines  across  the  forehead  which  denote 
a  serious  nature  and  a  capacity  for  logical  thinking.  There 
are  also  lines  at  the  root  of  the  nose  and  in  between  the 
eyes  which  denote  a  conscientious  nature. 

The  nose  indicates  an  analytical  person,  one  who  looks 
for  the  reason  of  things.  By  the  nose  we  know  him  to  be 
also  an  observing  person,  one  who  has  good  powers  of  con- 
centration and  constructive  ability. 

Above  the  eyes  is  shown  good  power  of  visualization  and 
extreme  individuality.  The  narrowness  across  the  eyes 
shows  that  he  is  not  at  all  mathematical. 

The  mouth  (upper  lip)  shows  a  kind,  sympathetic, 
charitable  nature.  The  lower  lip  shows  affection,  loyalty 
to  friends,  and  clannishness  where  family  is  concerned.  A 
person  of  this  type  makes  a  staunch  friend  but  a  bitter 
enemy.  The  paternal  instinct  is  well  developed ;  the 
parentheses  about  the  mouth  show  dignity  and  pride. 

In  the  chin  and  jaw  are  found  great  endurance,  per- 
sistency, and  ability  to  put  thru  whatever  he  undertakes  to 
accomplish. 

The  hands  show  he  is  a  practical  person,  one  who  is 
impulsive  and  very  sensitive,  a  frank,  outspoken  individual. 

The  cheeks  show  he  is  cautious  but  courageous,  with  the 
courage  of  his  convictions. 

(Continued  on   page  99) 


40 


Whose  Hand? 


In  which  a  mysterious  telephone  message  precipitates  two  amazing  incidents 

By  W.  ADOLPHE  ROBERTS 

PART  II 
(A  Synopsis  of  Part  I  zvill  be  found  on  page  91) 


WHEN  Margot  Anstruther  pressed  the  elec- 
tric switch  that  flooded  the  darkness  of  her 
room  with  light  from  the  reading-lamp,  she 
felt  that  she  had  made  the  first  throw  of  the 
dice  in  a  game  with  death.  The  creature  whose  hand  she 
had  seen  flit  out  from  under  her  bed,  to  extinguish  the 
flaming  match  on  the  rug — would  it  take  this  as  a  chal- 
lenge, or  as  a  natural  move  on  the  part  of  a  girl  who  had 
found  she  could  not  sleep?  Margot  picked  up  the  novel 
she  had  let  fall  on  the  coverlet,  and  rustled  its  pages 
ostentatiously. 

The  dark,  at  all  events,  had  been  a  condition  of  pregnant 
danger.  The  lurker  might  have  crept  forth  at  any  instant. 
Now  he  might  wait,  as  he  had  waited  all  evening,  for  the 
light  to  be  turned  off  again.  If  only  his  suspicions  had  not 
been  aroused!     If  only  he  imagined  her  to  be  reading! 

Brief,  but  leaden-footed,  moments  passed,  and  Margot 
told  herself  that  she  had  won  the  throw.     There  was  no 
sound  from  under  the  bed.     But  what  she  had  gained  was 
no    better    than    a    respite,    a 
chance  to  plan.    If  she  delayed 
too  long,  that  would  invite  ac- 
tion   from    her    enemy.      He 
would  cease  to  think  it  normal 
that  she  should  lie  there  with 
a  book  into  the  small  hours  of 
the  morning. 

Margot    measured    the    dis- 
tances to  the  bathroom  and  to 
the  door  leading  to   the  hall. 
Impossible  to  think  of  making 
a    dash    for    either    of    them. 
The  intruder  was  undoubtedly 
armed,  and  would  shoot.     If 
she   got   out  of   bed 
on  any  pretext,  she 
reasoned,    her   brain 
whirling,    he    would 
strike  no  less  quick- 
ly  than    if    she    had 
called  for  help.    Her 
fear     became     sheer 
anguish,     the     more 
unbearable     because 
she  had  not  seen  the 
face    and     body    of 
her  enemy.    How  to 
cope   with    one   who 
might    be     man     or 
woman,  sane  or  in- 
sane,   violent   or 
craven,    for    all    she 
knew  ? 

It  flashed  into  her 
mind  that  if  she  had 
not     forbidden 
Eugene   Valery   to   telephone 
this  might  have  been  the  time  he  would 
have  chosen  to  call.     The  tinkling  bell 
would  have  given  her  a  priceless  con- 


tact with  the  outside  world.  She  could  have  reached  for 
the  instrument  on  the  little  tabouret  beside  her  bed,  have 
cried  "Hello !"  into  it  so  innocently  that  she  would  have 
been  allowed  to  talk,  unmolested — perhaps.  She  would 
have  found  veiled  words  to  tell  of  her  plight.  But  Eugene 
— no  one — would  telephone  now. 

Telephone !  The  word  carried  her  forward  to  the 
notion  of  a  desperate  expedient.  Why  couldn't  she  call 
up?  Probably,  she'd  not  be  allowed  to  get  beyond  giving 
a  number  to  Central ;  but  if  she  were  successful,  if  she 

once  got  Gene  on  the  wire,  she'd 
make  him  understand.  He  lived 
in  the  same  block.  He  could  be 
over  in  ten  min- 


"Oh,  Gene,  I'm  not  so 
clever,"  she  cried.  "A 
couple  of  hours  ago  I 
was  telling  you  I 
didn't  need  any  man's 
help,  but  I  wouldn't 
know  what  to  do 
without  you  right  now" 


utes.  Yes,  she'd 
try  that.  Any- 
thing was  better 
than  waiting  in 
ghastly  terror  for 
the  u  n  k  n  o  w  n 
Other  One  to  take 
the  initiative. 

Yet,  as  Margot 
afterward  ad- 
mitted, she  might 
not  have  been 
able  to  screw  her- 
self to  the  point 
of  such  perilous 
action,  if  she  had 
not  suddenly  re- 
membered a  detail 
that  filled  her 
hope.  The 
to  her  room 
not  locked, 
the 


in 


eve- 


clear 


with 
door 
was 
Early 
ning,  she  had  put 
the  lock  on  the 
catch  so  that  her 
guests  could  enter 
freely,  and  had 
neglected  to 
change  .it  before 
going  to  bed.  Her 
memory  .  was  al- 
most supernatur- 
on   the    point.      If 


came,    he    could    walk 
straight  in. 

Her     arm     went     out     and 

transferred    the    telephone    to 

her    pillow.       She    was    sure 

now    how    the    vital    message 

must  be  gotten  across.     She  would  say  it  in  French, 

the   language    of    Gene's    ancestors.      There    was   a 

strong  likelihood  that  the  creature  under  her  bed  did 

not  understand  French. 

She  gave  the  number  in  a  casual  voice.     She  heard 
the  call  put  thru,  and  the  bell  ringing — ringing.    Her 

43 
PAG 


f 


f 


"MOTION  PICTURp 
I  I  MAGAZINE     L 


heart  was  choking  in  her  throat  again.  Suppose  Gene  had 
changed  his  mind  about  going  home !  Suppose  he  had 
gone  for  a  walk  in  the  Park!  Perhaps  Central  was  not 
calling  the  right  number.  In  an  agony  of  suspense, 
M argot  signaled  again  for  the  operator,  started  to  repeat 
the  combination  of  figures.  Then — God,  the  relief — 
Eugene  Valery's  drowsy  "Hello !"  reached  her.  Con- 
trolling her  voice  to  a  pitch  of  cool  friendliness,  she  said: 

"That  you,  Gene?    Did  I  get  you  out  of  bed?" 

"Margot!"  His  naive  joy  at  hearing  from  her  verged 
on  the  ludicrous,  seeing  how  sorely  she  needed  him  to  be 
quick-witted  and  strong.  "Wonderful  of  you  to  call  up. 
Wonderful,  you  dear  thing." 

"Awfully  sorry  to  disturb  you,"  she  answered  care- 
lessly, "but  Pve  been  reading  a  French  book,  and  I  came 
to  a  passage  I  cant  understand.  It's  keeping  me  awake, 
thinking  of  it.     I  want  you  to  translate  for  me." 

"Translate — translate  French?"  Eugene's  tone  was 
mystified,  faintly  hurt.     "I  guess  I  can  do  that,  all  right." 

"These  are  the  phrases."  pursued  Margot  calmly:  "II 
y  a  un  Jioinme  cm  dessous  tie  mon  lit.  Venez  tout  de  suite. 
Pas  besoin  de  jrapper."  She  pronounced  each  word 
clearly,  with  the  tingling  realization  that  if  the  lurker 
happened  to  know  French  it  would  be  all  up  with  her  in 
a  few  seconds.  He  might  wait  until  she  hung  up  the 
receiver,  aware  that  any  sudden  cry  would  give  an  alarm 
over  the  wire,  but  no  longer  than  that. 

"You're  just  fooling,  aren't  you,  Margot?  Surely  you 
know  what  that  means,"  replied  Eugene,  laughing. 

"I'll   repeat   it,"    said  the  girl,   trembling.      She   must 

make  Gene  understand.     So  she  uttered  the  foreign  words 

7rv  again,  slowly,  striving  to  pierce  the  distance  and  convev  a 

AM* 


meaning  by  the  color  of  her  voice  and  the  force  of  her  will. 
But  Gene  was  dense.  He  translated  on  a  flippant  note: 
"  'There's  a  man  under  my  bed.  Come  at  once.  No  need 
to  knock/  What  sort  of  a  yellow-back  thriller  are  you 
reading,  Margot?" 

A   third  time,  she  reiterated   the   French,   then  added 
with  a  cautious  urgency :     "Get  it  right,  wont 
you,  Gene?    It's  important  that  you  should." 
At  last  Gene  comprehended.     She  heard  him 
gasp,    and    his    teeth    click.      "Good 
God !"  he  muttered.    "All  right,  dear. 
I'll  be  there  on  the  jump." 

"Thanks  so  much  for  translating," 
she  said,  to  complete  the  pretence, 
tho  the  receiver  on  his  end  had 
already  been  hung  up.  "Awfully 
sorry  to  have  waked  you.  Good 
night." 

She  relaxed  upon  her  pillow  with 
a  little  cough  and  a  sigh  so  profound 
that  it  created  in  her  almost  a  sleepy 
contentment.  Her  body  cooled  from 
fire  to  ice  with  the  transition  of 
thought.  She  expected  to  be  attacked 
now  by  the  intruder,  but  that  no 
longer  appeared  to  matter  greatly. 
Hours  and  days  rolled  over  her, 
while  she  lay  benumbed.  Odd  that 
she  should  still  be  safe,  she  reflected 
vaguely.  Well,  Gene  would  have  to 
ring  the  bell  to  get  in  downstairs,  but 
it  connected  with  the  basement.  No 
one  in  her  room  could  hear  it.  She 
might  still  be  rescued. 

Suddenly  she  caught  a  faint, 
creaking  sound  upon  the  stairs.  Feet 
shuffled  on  the  landing.  A~  hand 
fumbled  at  the  knob  of  her  door. 
Her  muscles  stiffened  again.  She 
was  as  rigid  under  the  coverlet  as  a 
dead  woman  when  the  door  was  thrown  wide  open,  and 
she  saw  Gene.  His  face  was  white  and  haggard,  and  he 
held  a  revolver,  thrust  in  front  of  him.  He  gave  her  only 
the  swiftest  glance,  to  see  she  was  alive,  before  he  called 
hoarsely : 
•    "Out  from  under  there  !     Out !" 

There  was  no  answer.  The  camera  man  was  a  fair 
mark  as  he  stood  in  the  doorway.  "It's  he  who's  goin^ 
to  be  shot,"  thought  Margot  miserably. 

"Get  out  from  under  that  bed,"  ordered  Gene  again, 
and  advanced  a  few  steps.  "If  you  try  any  nonsense, 
I'll  kill  you." 

But  the  enemy  did  not  come.  The  purpose  in  Gene's 
eyes  become  a  concentrated  fire.  He  dropped  to  his  knees 
and  the  palm  of  one  hand,  peered  and  crept  forward,  his 
weapon  aimed  along  the  floor.  As  he  approached  the  foot 
of  the  bed,  Margot  could  see  only  the  curve  of  his  back. 
Thrilled  by  his  courage,  she  was  no  longer  afraid  for  any 
one,  least  of  all  for  herself. 

Then  Gene  rose  abruptly.  A  look  of  blank  wonder  had 
overspread  his  countenance. 

"Margot — why,  Margot,"  he  stuttered.  "There's  not  a 
living  thing  under  that  bed !" 

She  thought  he  had  gone  mad.  "I  saw  a  hand,  I  tell 
you,  a  hand,"  she  cried  shrilly.  "It  put  out  a  match  on 
the  floor." 

He  pushed  the  hanging  coverlet  aside,  placed  the  read- 
ing-lamp onto  the  carpet  and  made  a  thoro  survey.  "Noth- 
ing there,"  he  asserted  briefly. 

Margot  was  out  of  bed  with  a  bound.  No  consciousness 
was  in  either  of  them  that  she  stood  beside  Gene  in  her 
nightgown.     She,  too,  must  look  before  she  could  believe. 


It  was  the  landlady,  Cora 
Bellew,  who  spoke  first. 
"Oh,  my  God,"  she  ex- 
claimed hysterically,  "that 
crook's  roaming  thru  my 
house.      Find   him    officer" 


OTION  PICTURR 

MAGAZINE      p 


A  minute  later,  she  was  forced  to  acknowledge  that  they 
were  the  only  two  persons  in  sight. 

Turning  about  dazedly,  her  forehead  scored  by  three 
perpendicular  lines  between  the  eyebrows,  she  put  her 
hand  on  Gene's  shoulder.  "Something  was  there,"  she 
said,  with  almost  tragic  earnestness.  "When  I  'phoned,  I 
was  in  danger." 

"Of  course,  Margot,  of  course !  But  it's  O.  K.  now," 
he  answered  soothingly. 

She  perceived  that  he  was  treating  her  as  the  victim 
of  an  unaccountable  fit  of  hysterics,  and  her  tone  sharp- 
ened :  "I'm  not  the  kind  who'd  fetch  you  on  a  wild-goose 
chase.  We've  just  begun  to  solve  the  mystery  in  this 
room.    Get  that !" 

If  Gene  had  apologized,  it  would  not  have  helped  him 
so  much  with  Margot  Anstruther  as  the  response  he  made. 
It  was  comprised  half  in  his  glance  of  loyal  admiration, 
half  in  his  words :  "Right,"  he  said  briskly.  "It's  a  job 
for  both  of  us.  You  furnish  the  brains,  and  I'll  do  the 
scrapping  that  may  turn  up.". 

Margot's  eyes  welled  with  swift  tears.  "Oh,  Gene, 
I'm  not  so  clever!"  she  cried.  "A  couple  of  hours  ago, 
I  was  telling  you  I  didn't  need  any  man's  help.  I  wouldn't 
know  what  to  do  without  you  right  now." 

She  had  leaned  closer  to  him.  Her  red  hair  brushed 
his  cheek,  and  as  his  arms  slipped  hungrily  about  her  all 
barriers  between  them  were  broken  down.  Gene's  lips 
found  first  her  temples,  then  her  shut  eyelids,  her  quiver- 
ing mouth.  She  relaxed  against  him  like  a  trusting  child. 
An  immense  tenderness  glowed  in  her  flesh,  and  drove 
the  last  murky  shadow  of  fear  from  a  spirit  that  had  been 
thru  a  somber  ordeal. 

"You  love  me?  You  do  love  me,  after  all?"  mur- 
mured Gene,  pleading  for  the  reassurance  of  words  as  well 
as  caresses. 

"Looks  like  it,   doesn't  it — dear?"   she   conceded,  her 
happiness  a 
marvel  that 
waxed  slowly. 

But  at  the 
short,  inarticu- 
late cry  of  pas- 
sion that  broke 
from  Gene's  lips 
in  reply,  she 
withdrew  defi- 
nitely from  his 
arms.  Her 
frown  was  not 
one  of  anger.  It 
served  simply  to 
recall  him  to  the 
facts  of  a  situa- 
tion that  de- 
m  a  n  d  e  d  a 
prompt  and  en- 
ergetic course. 

"If  I'm  ever 
to  sleep  in  this 
room  again,  I've 
got  to  know  all 
about  that  crea- 
ture who  was 
under  the  bed," 
she  declared. 

"Right,"  an- 
swered Eugene 
steadily.  "Give 
your  orders. 
What  do  we  do 
first?" 

She  stared 


broodingly  at  the  carpet  for  an  instant,  then  stooped  and 
examined  the  spot  where  the  match  had  fallen.  "Look 
at  this,  Gene,"  she  said,  and  pointed  out  that  there  was  a 
distinct  hollow  in  the  nap,  a  hollow  the  size  of  the  tip  of 
a  human  finger,  into  which  the  black  char  from  the  burn- 
ing wood  had  been  pressed  and  smudged. 

"That  settles  it,"  she  snapped.  "I  wasn't  just  seeing 
things.  No  ghost  could  have  made  that  mark.  We'll  call 
in  the  police." 

He  picked  up  the  telephone.     "Shall  I  ring?" 

"Yes." 

He  obeyed  tranquilly,  asking  that  two  officers  be  sent. 

"Thanks,"  said  Margot.  "Now,  I've  got  to  change  this 
nightgown  for  my  gingham  house  frock.  Cant  venture 
into  the  bathroom,  old  dear.  It  might  be  tenanted.  So 
shut  your  eyes  and  ears,  and  hold  your  revolver  ready  in 
case  I  have  to  throw  shame  to  the  winds  and  yell  for  help." 

Margot  dressed  rapidly,  but  she  had  barely  adjusted  the 
last  hook  when  the  banging  of  the  front  door  and  a  heavy 
trampling  downstairs  announced  the  arrival  of  the  police. 
They  came  up  to  her  landing  with  a  rush,  and  close  at  their 
heels  scurried  Mrs.  Cora  Bellew,  the  woman  of  the  house, 
a  retired  actress,  to  whom  an  invasion  by  the  law  was 
a  glorious  sensation. 

Patrolmen  Michael  Quinlan  and  Shane  Boyle  stood  each 
of  them  nearly  six  feet  tall.  Their  pugnacious  Irish  faces, 
their  broad,  blue-coated  chests  and  their  nightsticks  had 
the  psychological  effect  of  making  the  room  seem  about 
the  safest  place  in  New  York.  Safe,  yes,  for  the  moment, 
thought  Margot,  but  none  the  less  mysterious. 

Quinlan  glanced  sharply  from  the  girl  to  Eugene 
Valery.  "Speak  up,"  he  said.  "What's  been  going  on 
here?" 

"I'd  turned  in  for  the  night,"  started  Margot  on  a  crisp 
note.  "I  carelessly  threw  a  lighted  match  onto  the  floor, 
and  as  I  looked  to  see  whether  it  had  gone  out,  a  hand 

reached  from 
t  h  e 


u  n 
bed- 


e  r 


"Your  duty  as  I  see  it  is  to  investigate."     The  blue- 
coats  shrugged  their  shoulders.     "Sure,  we'll  give  the 
over,"  said  Quinlan.     "Never  a   sniff   or  the   sign   of  a 
living  soul  will  escape  us,  Miss" 


"Sneak  thief, 
eh?"  interrupted 
the  officer.  "Is 
he  still  around?" 

"I'm  positive 
he  must  be." 

Quinlan 
lurched  in  the 
direction  of  the 
bed,  but  Margot 
halted  him  with 
a  gesture.  She 
told  the  rest 
of  her  story 
then,  declining 
to  be  shaken  by 
the  expressions 
of  doubt,  the 
faintly  scornful 
amusement,  that 
showed  on  the 
countenances  of 
both  the  police- 
men. When  she 
had  finished, 
Boyle  remarked 
bluntly : 

"Sounds  like 
a  pipe  dream  to 
me." 

"It  isn't  any 
kind  of  dream, 
(Con.  on  page  90) 

45 
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• 


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HOT  WATER 

The  Best  Comedy 

IT  is  just  as  easy  to  call  a  Harold  Lloyd  picture 
the  best  comedy  of  the  month  as  it  is  to  call  it  a 
day  after  you  have  put  in  eight  hours  of  steady 
toil.  This  star  has  never  been  known  to  fail — and 
Hot  Water  will  attract  heavy  patronage  everywhere 
because  the  Lloyd  person  is  a  great  architect  of 
comedy.  Here  he  has  a  scintillating  number — one 
that  furnishes  him  with  a  complete  assortment  of 
brand-new  gags — and  some  old  ones  which  have  been 
refurbished  so  as  to  appear  genuinely  up  to  date. 

Like  most  of  his  other  pieces,  the  action  starts  on 
high  (which  is  Lloyd's  way)  and  offers  no  let-down 
in  its  momentum.  He  believes  in  getting  the  laughs 
early — thus  placing  his  audience  in  a  most  receptive 
mood  for  what  follows  in  his  scheme  of  things.  And 
so  he  comes  on  the  scene  as  a  married  youth  trying 
to  get  home  with  an  armful  of  bundles — the  com- 
plications being  developed  as  he  tries  to  sit  (or 
stand)  in  a  trolley-car.  Perhaps  it  is  the  first  time 
that  Lloyd  has  appeared  in  the  opening  scene  as  a 
victim  of  matrimony.  No  wooing  here  by  a  bashful 
lover.  He's  an  easy-going  benedict — so  easy  that  he 
allows  his  wife  to  burden  him  with  her  exasperating 
relatives — the  teasing  li  tie  brother,  the  shiftless  big 
brother — and  worst  of  all — the  nagging  mother-in- 
law  who  would  rule  the  roost. 

You  call  it  an  old  idea?  Well,  you  are  right.  But 
look  how  serviceable  the  mother-in-law  joke  has 
proved  in  vaudeville.  Harold  surely  makes  rich  ma- 
terial of  the  aging  Amazon.  He  breaks  the  con- 
ventions in  drawing  "mother"  just  a  little  bit 
different.  Still,  it  took  real  character  acting  by 
Josephine  Crowell  to  color  it  and  make  it  real. 

The  laughs?  They  mount  from  the  moment  that 
Harold  takes  his  trolley  ride  and  takes  his  family  in 
his  new  car.     The  machine  becomes  a  total  wreck 

(Continued 

46 

oe. 


The  Winners 

Selected  and   Reviewed 


THE  SNOB 

The   Most   Human   Story 

IN  speaking  of  real  intelligent  pictures — those  executed  with 
adroitness  and  imagination,  it  is  significant  that  Monta  Bell 
has  achieved  a  triumph  in  The  Snob,  the  Metro-Goldwyn 
production.  This  man,  Bell,  has  already  won  his  spurs  with 
Broadway  After  Dark,  and  his  association  with  Chaplin  in 
A  Woman  of  Paris,  brought  him  much  of  the  comedian- 
director's  gift  of  subtle  expression.  It  has  been  treated  most 
intelligently — not  only  from  a  technical  standpoint,  but  also 
from  the  standpoint  of  human  values.  Apparently,  the  schooling 
he  received  from  Chaplin  has  not  been  in  vain,  since  there  is 
complete  evidence  of  subtle  and  suggestive  treatment. 

There  are  no  heavy  thrusts  here.  Bell  credits  his  audience 
with  intelligence — and  makes  them  enjoy  it.  Helen  R.  Martin's 
story,  itself,  is  not  new,  but  under  his  skilful  guidance  it  appears 
refreshingly  novel.  It  affords  one  moment  after  another  of 
subtle  humor,  delicate  pathos — and  heart  appeal  which  doesn't 
drip  with  saccharine  sentimentality.  We  would  call  it  a  true 
study  of  human  nature — a  true  portrayal  of  a  genuine  species 
in  the  life  of  America.  It  paints  truthfully  the  domineering, 
self-satisfied  social  climber,  the  "bootlicker,"  who  worships 
wealth  and  position.  But  more  than  that,  it  paints  the  deepest- 
dyed  snobbery  of  all,  expressed  in  the  snob's  ostracizing  of  his 
humble  relatives — particularly,  his  shame  of  his  own  mother. 

The  ingredients  have  been  admirably  assembled  together — to 
make  a  perfect  dove-tail  of  a  pattern.  The  central  figure 
mellows  and  grows — and  it  is  a  fine  representation  as  portrayed 
by  John  Gilbert.  He  makes  the  character  a  true  snob — who 
constantly  fawns  at  wealth  and  casts  aspersions  upon  his  lowly 
relatives,  who,  true  to  custom,  dress  as  Mennonites  always 
dress.  He  "bootlicks"  anyone  with  money.  So  he  marries, 
but  neglects  his  wife,  ignorant  of  the  fact  that  she  is  wealthy, 
until  too  late  to  do  any  good. 

The  director  in  developing  this   character — and  the  others, 


shows  us  a  sound  knowledge  of  human  nature, 
figure  is  out  of  focus  with  life. 


Not  a  single 


And  the  snob  is  convincing  to 
the  end — not  sacrificed  on  the  altar  of  conventions. 

There  are  several  truly  inspired  touches — particularly  those 

scenes  in  which  the  wife  informs  her  husband  of  impending 

motherhood — and  again  when  she  realizes  the  futility  of  giving 

birth  to  a  dead  child.     There  is  poignant  depth  for  you !     And 

on  page  97) 


of  tke  Month 

by  LAURENCE  REID 


HE  WHO  GETS  SLAPPED 

The   Best   Drama 

THE  selection  of  Andreyev's  sardonic  study  of  life  for 
screen  production  has  proved  an  extraordinarily  happy 
venture  in  motion  picture  enterprise — thanks  to  a  wholly 
fortunate  blending  of  the  art  of  playwriting,  direction  and 
acting.  He  IV  ho  Gets  Slapped  thus  meets  a  far  happier  fate 
in  its  transfer  from  the  stage  to  screen  than  is  the  lot  of  most 
plays.  The  benefits  of  this  rare  circumstance  accrue  as  much  to 
the  screen  patrons  as  to  the  producers — who  will  count  in 
dollars  a  reward  equal  to  the  amount  of  pleasure  this  film  will 
afford  the  devotees  of  photoplay  art. 

The  picture  is  a  clean-cut  score  for  Lon  Chaney — who 
climbed  to  fame  as  a  "master  of  make-up"  and  is  now  justifying 
his  place  in  the  sun  of  popularity  with  a  display  of  an  amazing 
skill  in  the  delineation  of  character.  It  is,  moreover,  a  credit 
to  the  intelligence  and  sound  methods  of  the  director,  Victor 
Seastrom.  Between  these  two,  we  are  given  a  moving  and 
beautiful  rendition  of  the  play. 

The  merit  of  the  play  has  been  demonstrated  and  acknowl- 
edged in  America  thru  the  success  of  its  production  on  the  stage. 
It  is  the  story  of  a  scientist  who  turns  to  clowning  with  a  circus 
after  he  has  been  robbed  of  the  honors  due  him  as  the  for- 
nicator of  important  scientific  theories,  and  also  robbed  of  his 
wife  by  the  man  who  had  posed  as  his  friend.  "He"  determines 
to  amuse  the  populace  with  his  act  of  getting  slapped,  a  per- 
formance which  proved  highly  amusing  when  he  asked  for 
justice  before  the  Academy  of  Scientists  and  at  the  hands  of 
the  wife  on  whom  he  had  lavished  his  love. 

In  the  skilled  hands  of  Lon  Chaney,  "He"  becomes  the  per- 
sonification of  the  Andreyev  character.  As  his  most  sensational 
display  of  emotional  expression,  we  point  to  his  depiction  of  be- 
wilderment and  anxiety  as  his  friend  the  Baron  reads  the  paper 
prepared  for  the  Academy.  As  the  reading  progresses  and  no 
mention  of  the  scientist  is  made,  it  dawns  on  him  that  the  Baron 
will  pose  as  the  discoverer  of  these  new  theories.  But  in  every 
scene  Chaney  lives  the  emotions  of  the  character  and  he  rounds 
out  a  performance  that  ranks  with  the  finest  given  the  screen. 

The  director  has  never  permitted  the  irony  of  the  play  to 
touch  the  mark  of  bitterness  and  the  result  is  a  touching,  warm, 
and,  at  moments,  tender  narrative.  The  atmosphere  of  the  pic- 
ture has  been  created  with  a  fine  regard  for  theatrical  effect  and 


H 


THE  TORNADO 

The   Best  Melodrama 

ERE  is  melodrama  at  its  very  best.  Indeed, 
the  picture  belongs  among  those  photoplays 
that  provide  incontestable  testimony  to  the 
superiority  of  the  screen  over  the  stage  as  a  vehick 
for  this  dramatic  form.  Realism  and  the  spectacular 
scenic  elements — bone  and  sinew  of  melodrama — are 
employed  in  a  scale  never  even  to  be  attempted 
within  the  four  walls  of  a  theater. 

For  the  sweep  of  its  action  and  the  tremendous 
power  of  its  climax  there  is  nothing  more  adequately 
descriptive  of  The  Tornado  than  the  title  itself, 

The  picture  has  been  cast  in  the  same  mold  which 
shaped  such  splendid  examples  of  the  melodramatic 
art  as  The  Storm  and  The  Signal  Tower.  It  is  the 
equal  of  those  remarkable  films  in  every  respect  and 
the  superior  in  many. 

House  Peters  again  proves  his  claim  to  the  leading 
honors  as  an  interpreter  of  these  Homeric  heroics. 
He  is  an  actor  who  can  perform  the  astonishing  acts 
credited  to  these  heroes  without  once  suggesting  the 
consciousness  of  self-superiority.  A  credible  person, 
one  whose  very  motives,  even,  loom  up  in  the  stal- 
warts he  brings  to  the  screen. 

The  Tornado  is  provided  with  a  commendably 
simple  plot.  It  is  the  story  of  a  man  who  seeks 
forgetfulness  as  a  worker  at  a  lumber  camp.  He  is 
a  rough,  hardy  character  in  a  calloused  community, 
but  the  measure  of  his  sturdiness  is  not  even  traced 
until  there  is  a  climax  in  which  he  rescues  the  woman 
he  had  loved  and  who  had  married  another,  from  a 
train  swept  into  swirling  waters  by  a  tornado. 

This  story  Universal  has  depicted  with  a  splendid 
economy  of  action.  It  is  a  concentrated  study  in 
action,  with  the  march  of  events  swinging  along  at 
that  steady,  vigorous  stride  of  the  inevitable.  The 
climax  is  a  marvel  of  camera  work.    The  fire  scenes 


(Continued  on  page  97) 


47 
PAG 


£11 


>>■ 


f 


i  ?*»-- 


Reeling  Witk 
Laughter 


->• 


't?v.. 


• 


Above,  the  Spats,  three 
intrepid  fox-hunters. 
Everyone's  off  but  old 
Dobbin!  The  joke's 
on  the  hunters  in- 
stead of  the  fox. 
Frank  Butler,  Laura 
Roessing  and  Sidney 
D'Allbrook,  in  a  Hal 
Roach   comedy 


"''Yes,  we  have 
no  accident  in> 
surance,"  sings 
Wanda  Wiley 
(right) .  Watch 
your  step- 
ladder,  Wanda! 
It's  a  new  Cen- 
tury   comedy 


sU 


..^- 


Meet  the  Gumps 
in  the  movies  (be- 
low). "Fore,"  yells 
Chester  and  they're 
off  down  the  par- 
lor fairway 


Ralph  Graves  forgot  to  ring  up  fares  when  Alice 
Day  stepped  aboard.  He's  Off  His  Trolley  about 
her  in  his  new  Sennett  comedy 


m 


r.£  ;  -;- 


:^i   -lir    ^ 


■- 


/ 


Ben  Turpin  mixed  his   dates  as  he  mixed  his  costume 

and  he's  not  sure  just  what  happens  next.     But  you  can 

be  certain  he'll  do  what's  expected  of  him,  for  he's  a 

Reel  Virginian 


A   DEPARTMENT  devoted  to 

tne  daily  dozen  for  the  funny- 
bone — getting  it  in  practice  for 
comedies  soon  to  be  released. 
An  advance  showing  of  amusing 
scenes  from  coming  productions 


She's  in  love  with  a  perfect  38,  but  Walter  Hiers  still 
thinks  he  has  A  Fat  Chance,  and  is  tipping  the  scales 
to  prove  it  to  the  lady  in  his  new  Christie  comedy 


The  Story1  of  My  Life 

"I  wonder  if  many  movie  actresses   have   had 

the  fun  I  have  had  making  pictures.      I've  loved 

every  mmute  of  the  last  twelve  years" 


Henry  Waxman 


At  the  left 

you  see  Miss 
Roland  as 
she  looks  at 
the  present 
time.  At  the 
bottom  of 
the  page  you 
see  her  as 
she  looked  in 
her  first  pic- 
ture, called 
The  Chance 
Shot 


ONE  thing  is  certain.  They  will  never  tack  a 
brass  tablet,  Birthplace  of  Ruth  Roland.  Visi- 
tors Admitted  Between  2  and  4  Week  Days,  on 
the  front  of  the  three-story  frame  house  in  San 
Francisco  where  I  entered  the  ranks  of  Native 
Daughters,  for  the  main  and  simple  reason  that  there  is 
a  fifteen-story  office  building  standing  on  the  spot  now. 
All  of  which  goes  to  prove  I  grew  up  with  Hollywood. 
From  the  very  beginning  I  always  felt  as  tho  I  had 
several  mothers.  First  there  was  my  grandmother,  born 
in  Switzerland,  who  would  tell  me  the  mountain  legends 
of  her  girlhood  and  sing  me  to  sleep  with  Tyrolese 
lullabies.  She  could  yodel  beautifully,  too.  Yodeling 
takes  a  certain  throat  formation  which  I  have  inherited. 
I  used  to  love  to  do  it  on  the  open  ranges  in  my  Western 
pictures,    with   the   cowboys,   when   I    was   on   location. 


ft 


<C^ 


My  own  mother  I  remember  was  very  beautiful,  and 
the  one  faded  picture  I  have  of  her  confirms  me.  She 
was  a  protegee  of  Adelina  Patti  and  a  concert  singer 
whom  the  papers  referred  to  as  "The  California  Nightin- 
gale." When  I  was  a  tiny  baby  I  had  a  nursery  behind 
the  scenes  in  the  Columbia  Theater  where  she  was  prima 
donna,  and  my  father  was  manager,  and — so  her  diary 
tells  me,  in  pale  violet  ink — I  never  cried  so  long  as  there 
was    music   and 


bright 


lights 


to 


,  M 


entertain  me. 
My    other 

mothers  are  my 

aunt  Bertha  and 

my  aunt  Edith, 

with     whom     I 

live   now,   the 

"Auntie"  whom 

all    my    friends 

love.     Not   long 

ago      Bebe 

Daniels,    who 

has    known    the 

family  ever 

since  she  was  a 

little  girl,  started 

to     introduce 

her  to  someone, 

and  had  to  con- 
fess   she    had 

never  heard  her 

last  name ! 
My    father 

and    mother 

separated  soon  after  I  was  born,  and  I  did  not 
see  my  father  until  I  was  six  years  old,  and 
then  only  as  I  might  meet  any  stranger.  But 
dont  imagine  that  my  childhood  was  forlorn ;  I 
had  too  much  to  do  to  be  lonely.  I  learned  to 
talk  before  I  was  a  year  old.  and  at  two  I  was 
reciting  that  classic  of  the  Third  Reader,  Papa's 
Letter's  Gone  to  God,  to  all  the  callers  who  came 
to  the  house,  until  I  struck  and  said  flatly  that 
I  wouldn't  post  Papa's  letter  another  time. 

When  I  was  two,  my  mother  decided  to  try 
me  with  a  juvenile  "Cinderella"  Company  open- 
ing at  the  local  theater.  I  was  too  small  to  use 
in  the  show  itself  so  I  was  given  a  specialty  act 
to  do  between  scenes,  a  little  skirt  dance  and 
two  songs,  They  Wont  Have  Any  Babies  Like 
Me,  and  What  Could  the  Poor  Girl  Do,  Boys? 
Naturally,  when  the  time  came  for  my  first 
public  appearance,  my  mother  was  so  nervous 
that  she  stood  in  the  wings  wringing  her  hands, 
but  I  sang  and  danced,  and  when  they  applauded 


Ruth  at  the  age  of  six  months 


I  sang  and  danced  all  over  again.  I 
was  having  such  a  beautiful  time  that 
they  had  to  send  my  mother  out  onto 
the  stage,  finally,  to  carry  me  off  by 
main  force ! 

As  "Baby  Ruth"  I  played  in  stock 
companies  and  vaudeville  for  five  years. 
In  long  golden  curls  and  white  organdie 
ruffles  I  ascended  to  Heaven  as  Little 
Eva;  in  long,  golden  curls,  velvet  pants 
and  lace  collar,  I  was  Little  Lord 
Fauntleroy.  I  reunited  stage  parents, 
softened  the  hearts  of  stage  misers, 
prayed  by  stage  beds  in  calcium  moon- 
light— always  in  long  golden  curls — and 
took  it  all  as  glorified  play. 

When  I  was  eight  my  mother  died 
and  I  came  to  Los  Angeles  to  stay  with 
my  Aunt  Edith  in  a  bungalow  in  an 
orange  grove,  where  Hollywood  stands 
today.  But  after  the  life  of  the  theater 
it  seemed  pretty  dull  to  play  with  dolls 
and  have  tea-parties  with  the  next-door 
children.  When  I  went  back  to  San 
Francisco  to  visit  some  cousins,  I 
slipped  away  from  the 
house  all  by  myself 
one  morning  and  re- 
turned two  hours  later 

to  announce  serenely  that  I  had  signed  a  nine 

weeks'  contract  in  vaudeville ! 

"Bub — but  what  will  you  do?"  gasped  my 

relative,  gazing  respectfully  at  the  legal-look- 
ing contract  I  displayed. 

"Oh,  that's  easy!"  said  I;  "I'll  just  sing 

and  dance  and  things."     And  so  I  did, 

first   in  Indian   costume,  then  in  darky 

make-up.     Already  I  was  qualifying  as 

a    serial    star    in    hairbreadth    escapes 

from  death.     While   I   was  acting  in 

vaudeville  I  fell  off  the  park  merry- 
go-round    (I   must  confess  because  I 

was  looking  around  to  smile  at  a  little 

boy    behind    me!)    and    had    to    have 

fifteen  stitches  taken  in  me.     Indeed,  I 

have   been   sewed   up   so  often   that    I 

would  be  beautifully  embroidered  if  they 

had  only  done  it  with  colored  thread. 
A    few   weeks   later — likewise   while   I 
over  my  shoulder  at  a 
street — a    fat    Dutchman 


flr.MOTION  PICTURJ 

InBI  I    MAGAZINE 


As  she  looked  in  an 
early    Kalem    comedy 


Ruth    when 
she  was  a  de- 
mure child  of 
thirteen 


was  looking  back 


little 


the 


boy  on 
ran  over  me  on 
a  bicycle, 
knocked  out 
several  teeth 
and  fractured 
my  shoulder. 

Again,  while  I 

was  exploring 

an   abandoned 

house.    I    slid 

'own  the  banis- 


Important  mem- 
bers of  the 
Kalem  crowd 
twelve  years 
a  g  o —  Mickey 
Neilan,  Ruth 
Roland,  and  the 
director 


I 


In  one  of  the  roles  that  made  her  famous  as 
the  daredevil  heroine  of  twelve-reel  serials 


ters  and,  being  old  and  rotten,  they  had  splinters 
in  them,  and — well,  I  stood  up  to  eat  for  some 
time  afterward! 

But  my  worst  accident  was  when  I  fell  off  the 
top  of  the  bleachers  at  the  circus  and  landed 
fifteen  feet  below  astride  a  smvhorse.     A 
small  newsy,  recognizing  me,  had  greeted 
me    with    "Hello,    Baby    Ruth!"    and    a 
friendly  slap  on  the  back  which   upset 
my    small    balance    and    over    I    went, 
breaking  five  blood-vessels  and  sending 
so  many  women  into  hysterics  that  it 
broke  up  the  performance. 
After  this  vaudeville  engagement  I  re- 
tired into  private  life,  and  went  back 
to  Hollywood  and  to  school. 
The  movie  houses  of  those  days  were 
characterized    tersely    by    my    aunt    as 
"dumps"  and  I  was  not  allowed  inside 
one.    Mary    Pickford   and    Owen    Moore 
were  the  reigning  favorites  and  I  used  to 
stand    entranced    before    the    posters    and 
imagine  my  own  face  among  Mary's  golden 

curls.  It's  a 
queer  thing,  but 
I  have  never 
.  wanted  any- 
thing in  my  life 
that  I  haven't 
had,  sooner  or 
later.  (Just  a 
moment  please 
while  I  find 
some  wood  to 
rap  on ! )  When 
I  stood  before 
those  posters  I 
used  to  want 
more  than  any- 
thing in  the 
world  to  be   in 

the  pictures 

{Continued      on 


page  96) 


53 
PAG 


I 


M 


Maurice    Costello,    the    famous 

Vitagraph  leading  man,  and  his 

small   daughter 


FEEL  rather 
like  one  of  those 
discoveries  they 
unveil  monu- 
ments to  in  the  news 
reels.  Still,  I  sup- 
pose that  if  Sir  Isaac 
Newton  hadn't  hap- 
pened to  sit  down 
just  under  that  apple, 
eventually  somebody  else  would  have  discovered  gravity, 
and  if  Columbus  hadn't  hocked  Isabella's  jewelry  some 
other  explorer  would  have  happened  across  North 
America  in  the  course  of  time. 

When  Eugene  V.  Brewster  and  I  issued  the  first  copy 
of  the  first  fan  magazine,  fourteen  years  ago  this  month, 
we  had  no  idea  what  we  were  starting.  My  principal  plan 
was  to  have  some  sort  of  medium  in  which  to  answer 
the  questions  people  were  constantly  asking  Vitagraph 
(without  enclosing  a  two-cent  stamp  for  a  reply). 

"How  do  they  make  ghosts  in  the  pictures.?"  "Do  you 
have  to  know  how  to  act  to  be  in  the  movies?"  "Is 
Maurice  Costello's  hair  really  curly  ?" — that  kind  of  thing. 
I  may  as  well  add  right  here  that  the  only  difference 
between  the  questions  the  fans  asked  then  and  the  ones 
they  ask  now  is  the  name  of  the  actor  whose  hair  they 
are  interested  in. 

Dates,  which  are  tiresome  things  when  they  concern 
the  Phenician  wars  or  the  invention  of  printing,  are 
fascinating  to  all  of  us  when  they  are  within  the  range  of 
our  own  experience.  In  1910  then,  just  a  fifth  of  an 
ordinary  lifetime  ago,  the  motion  pictures  were  an  outcast 
profession,  a  poor  relation  of  the  theater. 


Movies  Are  Growing  Up 

A  comparison  between  the  motion  pictures  of  this  day  and 
of  the  early  days  when   screen  acting   was   an  outcast  pro- 
fession   and  the  directors  had  to  kidnap  their  stars 

By  J.  STUART  BLACKTON 


Regular  Broadway  actors  sneered  at  the  "galloping  tin- 
types." You  can  hardly  blame  them.  The  fourteen  thou- 
sand cinema  houses  in  existence  at  that  time  were  practi- 
cally all  of  them  "store  shows,"  empty  shops  or  warerooms 
with  wooden  chairs  and  a  dirty  white  cloth  screen  at  one 
end,  in  which  an  attendant  went  up  and  down  the  aisles 
squirting  some  violent  smelling  perfume  every  hour  or  so 
to  enable  the  audience  to  survive  the  atmosphere.  The 
five-  and  ten-cent  admissions  filled  these  places  with  labor- 
ing people,  foreigners,  toughs  and  hoodlums.  The  better 
class  of  audience  could  see  motion  pictures  only  as  one  of 
the  acts  in  a  vaudeville  program. 

Bill  Shea  was  our  "kidnaper"  at  Vitagraph.  His  duty 
was  to  go  over  to  New  York  when  he  wasn't  needed  as 
a  sheriff  in  a  Western,  or  to  paint  a  "flat"  curtain  of  a 
city  street,  or  sweep  out  the  studio,  and  plead,  coax  and 
bribe  actors  to  come 
over  to  Flatbush  and 
work  in  our  pictures. 
Theatrical  managers 
were  throwing  out 
dark  hints  that  any- 
body  who  ever 
hoped  to  get  a  stage 
contract  again  would 
do  well  to  keep 
away  from  the  up- 
start cinema.  But 
now  and  then — pos- 
sibly by  force — Bill 
was  able  to  bring 
back  a  recruit  dis- 
guised  with  glasses, 


Above,  Earle  Williams  and  Anita 
Stewart,  the  popular  screen  lovers 
of  Vitagraph,  in  a  scene  from  The 
Goddess.  At  the  left,  a  set  from 
His  Conscience,  made  by  Lubin  in 
1912  and  considered  one  of  the 
most  magnificent  interiors  that 
had  been  filmed  up  to  the  time. 
Earl  Metcalfe  and  Ormi  Hawley 
are  seated  in  the  foreground;  Earl 
Metcalfe  is  standing,  in  the  center 


a  fake  beard,  and  a  nom  de  plume.  Charles  Kent  was  the 
first  legitimate  actor  to  enter  the  despised  profession  of 
pictures  openly,  and  it  must  be  admitted  that  his  real  rea- 
son was  not  so  much  faith  in  their  future  but  the  loss  of 
his  speaking  voice. 

In  1910  the  eight  leading  companies,  Selig.  Biograph, 
Yitagraph,  Kalem,  Lubin,  Melies,  Essanay,  and  Edison, 
banded  together,  took  out  patents  on  all  apparatus  used  in 
projecting  pictures,  and  charged  each  "store  show"  two 
dollars  a  week  for  their  use.  Such  ruinous  taxation  soon 
began  to  put  the  cheap  little,  smelly  hole-in-the-wall  places 
out  of  business,  and  theaters  devoted  entirely  to  pictures 
gradually  took  their  place.  Vitagraph,  by  the  way,  is  the 
only  name  left  in  all  that  list,  the  oldest  film  company  in 
existence. 

Cheap  admissions  put  the  pictures  over  in.the  beginning. 
A  workingman  could  take  his  whole  family  and  still  have 
change  left  from  a  dollar  bill.  Now,  when  most  first-run 
houses  charge  eighty-five  cents  to  two  dollars  for  a  seat, 
the  audiences  are  undoubtedly  higher  class,  cleaner,  and 
there  is  no  further  need  of  the  perfume  spray,  but  I  some- 
times wonder  what  is  to  be  the  end  of  this  price-boosting 
both  in  production  and  in  theater  admissions.  There  are 
so  many  more  people  who  have  a  nickel  than  there  are 
those  who  have  a  dollar  ! 

As  a  matter  of  fact,  there  are'  still  nickelodeon  houses 
scattered  thruout  the  small  towns,  where  inexpensive  pic- 
tures are  shown  and  people  know  and  love  humble  screen 
stars  whose  faces  never  appear  in  the  fan  magazines.  The 
other  day  I  saw  a  picture  in  Los  Angeles  for  ten  cents. 

The  dingy,  little 
theater  is  crowd- 
ed in  between  an 
orange-drink  stall 
and  a  place  where 
they  sell  Oriental 
jewelry,  made  in 
Fall  River,  Mas- 
sachusetts. They 
dont  squirt  per- 
fume in  it — tho  it 


t      f 

Clara  Kimball  Young,  as  she 
looked  when  she  played 
ingenue  roles  for  Vita- 
graph.  One  of  the  Costello 
children  is  with  her 


Above,  are  another  famous  pair  of 
screen  Romeo-and-Juliets,  Francis  X. 
Bushman  and  Beverly  Bayne.  At  the 
right  you  can  find  Florence  Lawrence, 
and  the  Moore  boys  (Owen  standing, 
and  Matt  seated)  in  a  scene  from  a 
picture   released    over   ten   years   ago 


wouldn't  hurt  if  they  did. 
It  is  only  a  hundred  feet 
away  from  Grauman's 
Million  Dollar  Picture 
Palace,  with  its  orchestra 
of  forty-seven  pieces  and 
uniformed  doormen.  But 
the  whole  distance  trav- 
eled by  the  pictures  in  the 
last  fifteen  years  is  repre- 
sented by  that  short  block  ! 
In  1910,  when  I  helped 
to  launch  the  Motion- 
Picture  Magazine  on  its 
career,  the  Vitagraph 
studio  was  the  biggest  in 
the  business,  having  three 
stages  covered  with  glass. 
Old  Sol  attended  to  the 
lighting.  When  he  didn't 
shine,  we  didn't  make  any 
pictures.  It  wasn't  until 
three  years  later  that  we 
took  movies  by  artificial 
light  and  they  were  still  shooting  with  natural  illumination 
at  Universal  City  in  1915. 

When  I  step  out  onto  one  of  our  immense  stages  now, 
with  its  sun  arcs,  its  Kleigs,  its  spots  and  mercury  tubes, 
making  all  of  us  who  are  not  an  inch  deep  in  grease-paint 
look  like  corpses,  I  think  of  that  little  old  sun-lighted 
stage  with  regret.  Three-thousand-dollar-a-week  stars 
spend  half  their  time  now  sitting  about  waiting  for 
sixty-dollar-a-week  electricians  to  push  and  shunt  and 
drag  the  various  lights  into  place — at  least,  that's  the 
feeling  of  the  man  who  is  signing  his  name  to  the  salary 
checks ! 

In  that  old  Vitagraph  studio  cleats  of  wood  were  nailed 
to  the  floor  in  the  form  of  a  triangle.  What  went  on 
inside  these  cleats  showed  in  the  picture.  If  a  man  stuck 
an  arm  outside  of  them,  it  was  pictorially  amputated. 
The  actors  used  to  feel  for  the  strips  with  their  feet  to 

make  sure  they  were 
still  in  the  picture. 

In  1910  we  had  a 
stock  company  of 
forty-five  people  at 
the  studio,  among 
them  Norma  and  Con- 
stance Talmadge, 
Anita  Stewart,  Anna 
Q.  Nilsson,  Earle  Wil- 
liams,  Rosemary 
Theby,  John  Bunny, 
Flora  Finch  and — the 
Valentino  of  his  day 
— Maurice  Costello, 
with  his  famous  dim- 
ples and  his  masculine 
beauty  which  won  the 
hearts  of  more 
women  than  even 
Wallie  Reid  did,  five 
years  later. 

Except  for  Cos, 
every  actor,  camera- 
man and  director 
hammered  sets,  ran 
errands,  rummaged 
the  neighborhood  for 
props,  and  generally 
took  the  place  of  the 
(Continued  on  page  108) 

55 

PAG 


t 


h 


Presenting  tke  Queen  of  the 
Motion   Picture  Serial 


Above  and  at 
the  right  are 
new  pictures  of 
Pearl;  at  the 
left,  a  scene 
from  an  old  film 


Photographs 

by 

Abbe 


! 


56 


Pearl  White  was  the  daring,  dashing  darling  of  the  fans  for 
all  the  years  that  she  clung  to  the  profession  of  screen 
actress.  Now  she's  the  hit  of  a  sparkling  revue  on  the 
French  stage.  You  can  see  for  yourself  that  her  youth 
and  spirit  are  eternal 


^M^  Qu7> 


Keen   Comment   by  TAMAR  LANE 

Illustrated  hy  Harry  Taskey 


Read  'Em  and  Laugh 

XE  of  the  most  amusing  ot  recent  event-  was 
the  publication  of  the  income  taxes  paid  by 
various  personages  prominent  in  the  public  eye. 
After  a  perusal  of  the  figures  given  out,  it  be- 
anies apparent  that  Denmark  is  not  the  only  country 
srhething  is  sour.    It  has  always  been  a  common 

slief  in  this  country  that  John  D.  Rockefeller  was  one 
)f  the  richest  men  in  the  world — if  not 

le  richest ;  and  that  J.  Pierpont  Morgan 

/as    running    him    a    close    second    for 

)nors. 
Banish    the    thought !      Rocke- 

;ller  and  Morgan  are  just  moder- 

tely  well-off,  that's  all.     At  least, 

:cording  to  the  tax  reports  they 

irned    in.      For    while    John    D. 

tated   that  it  was   necessary   for 

im  to  pay  a  tax  of  only  $124,- 
266.47,  and  J.  Pierpont  announced 
that  his  income  tax  amounted  to 
only  $98,643.67,  our  screen 
favorite,  Douglas  Fairbanks,  paid 
the  Government  no  less  than 
$225,769.04.  In  other  words, 
almost  twice  as  much  as  the 
famous  oil  magnate  and  almost  three  times  as  much  as 
the  famous  financier ! 

Even  Thomas  Meighan  was  forced  to  pay  $51,239.97 
and  Carl  Laemmle,  president  of  the  Universal  company, 
$50,249.89.  Jack  Dempsey,  with  a  tax  of  $90,831.31, 
paid  almost  as  much  as  Morgan.  It  strikes  us  that  either 
the  reported  wealth  of  some  of  our  noted  millionaires  is 
nothing  but  the  work  of  ex-movie  press-agents,  or  else 
our  screen  celebrities  have  not  yet  learned  the  knack  of 
the  proper  way  in  which  to  make  out  an  income  tax 
report.  


make  the  premier  comedian  lose  all  interest  in  seeing 
his  name  in  print,  and  if  we  are  any  judge  of  Chaplin, 
theatergoers  can  look  forward  to  something  very  fine  in 
the  way  of  celluloid  entertainment  when  the  comedian's 
next  film  is  released. 


Call  It  Anything  But  Good 

Paramount  recently  released  The 
Story  Without  a  Name.    YVe  saw  it, 

and  we  dont  wonder  that  they  were  un- 
able to  discover  a  name  for  this 
strip  of  celluloid.  As  a  matter  of 
fact,  if  they  had  found  a  name  for 
the  thing,  it  would  have  been  The 
Name  Without  a  Story.  This  film 
is  so  bad  it  should  make  a  lot  of 
money. 


Rockefeller   and   Morgan    are   only   moderately 

well    off,    according    to    the    income    tax    which 

each  of  them  paid  as  compared  with  that  paid 

by  some  of  our  screen  celebrities 


Charlie's  Silence  Means  Something 


long  and 


'or  the  past   few  months  there  has  been  a 
heavy    silence    from    the    direction    of    one    Charles 

Spencer 
Chaplin.  To 
those  who 
know  and 
a  p  p  reciate 
Charlie's  love 
of  publicity, 
and  how  he 
delights  to 
bask  in  the 
head-lines  of 
the  daily 
press,  this 
means  much. 
It    is    an   im- 

Something    is   brewing    in    the    brain    of  t    v, 

Charlie  Chaplin.    Theatergoers  may  look  ot    business 

forward  to  his  next  film  that     will 


The  Big  Hollywood  Auction  Sale 

Tt  is    funny   what   strange   ideas 
people  have  concerning  Holly- 
wood   and    the    motion -picture 
colony.    For  some  reason  or  other 
the  opinion   seems  to  prevail  that 
there  is  so  much  money   in  the  film  business  that  every 
studio  member  has  a  large  bank-account  and  two  or  three 
Pierce  Arrows  to  ride  about  in. 

Some  jewelers  came  to  Hollywood  recently,  took  over 
a  store,  and  started  a  big  auction  sale.  I  witnessed  the 
sale  on  the  opening  night.  The  jewelers  put  up  for  sale 
such  little  trifles  as  $5,000  rings,  S4.000  tiaras  and  S8.000 
necklaces.  They  must  have  thought  everyone  in  the 
town  was  a  millionaire. 

There  were  no  bids  received  on  these  articles  and  they 
were  tucked  away  back  in  their  cases.  A  little  later  in 
the  evening  the  auctioneers  got  more  reasonable  and  they 
did  a  very  good  business  in  such  Hollywood  luxuries  as 
thimbles  at  50  cents  and  alarm  clocks  at  $1.25. 


Eleanor  Board- 
man  to  the  Fore 
Again 

Wj,E  N 

Elea- 
nor   Board- 

m  a  n  b  u  r  s  t 
upon  the 
screen  in 
her  first 
i  m  portant 
role,  she 
drew  forth 
many  pre- 
dictions for 
(Continued  on 
page  110) 


We  nominate  Boy  of  Mine  for  the  best 
film  of  1924  and  the  $10,000  prize 

67 

PAfi 


t 


-r-l 


On  the  Camera  Coast 


Even   the   parents   of  the   Angus   twins   cant 

tell    them    apart.      The    thorn    between    the 

roses  is  Charles  Ogle.     They're  watching  a 

scene  from  Code  of  the  West 


Nothing  to  do  in  Berlin  but  play 
Mah  Jong!  Mae  Marsh  and  Carmel 
Myers  were  over  there  together,  but 
not  in  the  same  picture.  Mae  was  the 
star  of  Arabella,  and  Carmel  of 
Garragon 


I 


Lefty  Flynn,  star  of  F.  B.  O.,  is  just 

as  handsome   and   just  as  left-handed 

as  in  his  football  days  at  Yale 

"Make  yourself  at  home,"  said  Owen 
Moore    to    Constance   Bennett,   point- 
ing to  her   forlorn   dressing-room   for 
Code  of  the  West 


POLA  NEGRI'S  heart  is  broken  again.  The  other  day  I  went 
to  call  on  the  lovely  Pola  in  her  dressing-room  on  the  Lasky 
lot.  Her  secretary  came  out  looking  scared  and  white  and 
said  that  Pola  couldn't  be  seen.  .  She  added  lamely  that  the 
reason  was  Pola  had  cold-cream  on  her  face.  But  it  appears  that  the 
cold-cream  was  around  her  aching  heart.  For  at  that  moment,  some- 
one else  whispered  hoarsely  to  me,  "Come  away;  she  has  another 
broken  heart." 

I  dont  know  what  was  the  trouble  or  who  the  swain  this  time. 
Keeping  track  of  Pola's  emotions  is  too  fast  for  me. 

Anyhow,  she  went  to  a  party  the  next  night  at  Noah  Beery's  and 
was  the  belle  of  the  ball ;  so  I  guess  the  broken  member  was  mended. 
Meanwhile,   Pola  gave  a  party  herself   at  the  Ambassador   for 
Kathleen  Williams,  who  is  going  back  to  the  Orient  for  her  third 
visit.    This  time  she  will  spend  five  months  in  India,  after  short  stops 
in  Japan  and  China. 
Pola  is  doing  some  of  the  greatest  acting  of  her  career  in  East  of  Sues, 
which  Raoul  Walsh  is  directing,  with  Edmund  Lowe  as  the  leading  man. 
The  other  day  Pola  did  a  big  emotional  scene,  and  when  it  was  over  she 
couldn't  stop  crying ;  they  had  to  carry  her  to  her  dressing-room. 
Certainly,  life  is  not  monotonous  when  Pola  is  around. 

In  this  same  picture  some  of  the  finest  acting 
I  have  seen  for  a  long  time  is  clone  by 
some  Chinese  from  Chinatown,  most 
of    whom    never    saw    a    studio, 
much  less  a  motion  picture  camera, 
before. 


As  this  is  written,  the  produc- 
-^*-  tion  of  Peter  Pan  is  nearing 
a  close.  Already  they  are  begin- 
ning to  worry  what  is  to  be  done 
with  little  Betty  Bronson.  After 
playing  this  part  of  parts,  they 
cannot  permit  her  to  do  small  ones. 
They  are  considering  A  Girl  of 
France  for  her. 

The  Peter  Pan  production 
nearly  ended  in  a  wholesale 
funeral  the  other  day.  They  had 
a  score  or  more  of  young  children 
out  in  a  pirate  ship  in  the  Santa 
Cruz  Islands  off  the  California 
coast  when  a  storm  blew  up — the 
first  of  the  rainy  season.  The  ship 
snapped  both  anchor  chains  and 
drifted  around  all  night  in  the 
storm-tossed  channel,  to  the 
yowls  of  the  children 
and  their  frightened 
mothers.  The  ship 
was  far  from  sea- 
worthy and  there 
was  nothing  to 
eat  or  drink 
aboard.  When 
the  storm 
finally  abated, 
they  found 
themselves  in  a 
cove  of  one  of 
the  islands,  and  in 
safety.  Betty 
Bronson,  as  it  hap- 
pened, was  not  on  the 
ship  at  the  time. 


Lew    Cody    signals    "welcome    home" 

on    his    return    from    England    and 

France 


68 
Gi. 


r 


Harry  Carrs  department  of  news  and  gossip 
of  the  Hollywood  picture  folk 


[~\ouglas  Fairbanks,  Jr.,  has  started  his  career  again  at  the  Lasky 
*"^  studio,  this  time  playing  small  parts  in  various  pictures  instead  of 
attempting  to  star;  also  this  time  without  chewing-gum.  It  seems 
that  when  Doug,  Jr.,  was  playing  in  the  studio  before,  gum  was  his 
undoing.  They  couldn't  separate  him  from  his  cud.  During  the 
taking  of  one  scene',  the  director  had  to  wrench  the  gum  away  from 
him  seven  times.  And  what  with  the  natural  grief  on  both  sides  and 
the  mental  wear  and  tear  and  the  nerve  strain,  the  scene  had  to  be 
retaken  twenty-four  times — which  didn't  help  Dougie's  career  to  any 
considerable  extent. 


'  I  'he  huge  box-office  success  of  some  of  the  recent  animal  pictures 
•*■  has  brought  back  lions,  tigers  and  other  critters  to  the  world  of  art 
once  more.    No  studio  is  complete  without  a  jungle.    The  other  night 
they  were  using  a  lion  in  Dixie,  which  Reginald  Barker  is  directing 
at  the  Mayer-Goldwyn-Metro  studio.     Being  awakened  suddenly  from  his 
beauty  sleep  and  confronted  by  a  battery  of  blinding  lights,  was  too  much 
for  the  king  of  the  jungle.    With  a  whoop  or  a  yell  or  whatever  it  is  that 
lions  use  by  way  of  sound,  the  creature  went  straight  up  over  a  twenty- 
foot  wire-meshed  fence.    It  was  a  wonderful  leap,  but  tame  compared  with 
the  leaps   that   followed   as  cameramen,  props, 
directors,    etc.,    suddenly   excused   them 
selves.     They  'phoned  to  the  Culver 
City  police  station  for  help.     Two 
cops,  in  a  frenzy  to  arrive  to  the 
rescue,  ran  their  car  into  a  tele- 
graph pole  and  so  got  there  late. 
When  they  arrived,  the  lion  was 
nowhere  to  be  found.    The  police 
hunted    for   him    until    daylight, 
when  he  meekly  climbed  into  his 
cage. 

The  other  day  I  saw  the  lovely 
Madeline  Hurlock  working  in  a 
picture  at  the  Sennett  studio. 
She  was  in  evening  dress  and 
was  standing  as  still  as  a  statue. 
She  bowed  with  frigidity  and 
care.  At  which  point  I  happened 
to  peer  around  the  corner  of  her 
personality  and  saw  an  enormous 
lion  sitting  composedly  on  the 
train  of  her  dress. 

"Aren't  you  scared?"  I  asked 
from  a  discreet  distance.     Miss 
Hurlock   always    speaks    with    a 
slow,   deliberate  voice.     And   so 
she  said  in  her  measured  way, 
"No,     I    am    not    exactly 
scared,    but    I    am    not 
what    you    would    call 
easy  in  my  mind." 

Whenever    you 
see  a  lion  working 
on  a  set,  you  see 
also  great  dignity 
on  the  part  of  the 
actors    and    stage 
hands.     No 
bustling  to  and  fro. 
The  reason  for  this 
is  that  safety  lies  in 
standing    still,    as    it 
were.      The   only   dan- 
gerous thing  you  can  do 

(Continued  on  page  88) 


Charles  Horton,  ninety-three-year-old  mil- 
lionaire, sells  peanuts  to  keep  young.  His 
customers  are  Jack  Pickford  and  Ann  May 


Here's   our   Doug,   side   by   side   with 

Spanish    royalty,    the    Duke    of   Alba, 

who    recently    visited    Hollywood 


Edmund  Lowe 
(below)  often 
takes  the  air  for 
recreation.  He  is 
a  skilled  aviator 
as  well  as  a  star 


Warner  Baxter  didn't  realize  Betty  Compson 

was  a  sculptress  till  she  "did"  him   during 

the  Garden  of  Weeds 


At  the  left  we  have  Maurice  Elvey,  the 
famous  English  director,  advising  Shirley 
Mason  in  her  latest  starring  vehicle,  The 
Scarlet  Honeymoon.  In  Curly-top,  which 
she  has  just  finished,  she  wears  a  blonde 
wig 


69  P 

PAGli 


An  Original   Picture 

and 
An  Original  Director 

The  picture  is  The  Salvation  Hunters,    and    Charlie   Chaplin 

calls  it  "a  marvel  of  composition  and  rhythm.''    The  director 

is  Josef  von  Sternberg,  and  this  is  his  first  picture 


Above  is  Nelly  Bly  Baker  who  plays 
"The  Woman"  in  The  Salvation  Hunters. 
She  first  was  brought  to  the  attention  of 
motion-picturegoers  by  her  interpreta- 
tion of  the  masseuse,  a  role  which  was 
given  her  by  Charlie  Chaplin  in  his 
Woman  of  Paris.  Wjth  Miss  Baker,  in 
this  new  picture,  is  only  one  other  star 
well  known  to  American  fans,  Stuart 
Holmes,  who  plays  "The  Gentleman" 


ywfc. 


Above,  at  the  left  of 
the  group,  is  Josef 
von  Sternberg  himself, 
the  author  and  director 
of  The  Salvation 
Hunters ;  at  the  ex- 
treme right  is  George 
K.  Arthur,  who  plays 
"The  Boy."  Douglas 
Fairbanks,  whom  you 
surely  have  recognized, 
is  in  the  center.  Douglas 
and  Mary  are  so  ex- 
tremely enthusiastic 
over  Mr.  von  Stern- 
berg's work  that  he  has 
been  signed  by  Miss 
Pickford  to  direct  her 
next  picture,  which 
they  hope  will  be  an 
original  story,  some- 
thing different  and  yet 
something   very   human 


At  the  left  is  another  scene 
from  Mr.  von  Sternberg's  pic- 
ture, giving  you  a  glimpse  of 
two  other  characters  in  the 
cast  which  numbers  only  seven. 
"The  Man"  is  Otto  Matieson; 
"The  Girl"  is  Georgia  Hale 


Trailing  the 
Eastern  Stars 

News   and   Gossip   from 

DOROTHY  HERZOG 


LILA  LEE  is  as  happy  as  a  lark  working  opposite 
Tom    Meighan    in    his    new    picture,     Coming 
JThrough,   at    Paramount's    Long    Island    Studio. 
The  last  time  Tom  was  on  the  Coast,  he  induced 
Lila  to  return  to  the  screen  as  his  leading  woman  in  this 
picture  and  Lila  agreed. 

Shortly  after  the  arrival  of  the  new  member  to  the 
James  Kirkwood  family,  the  entire  family  came  East, 
Jim  to  commence  rehearsals  in  David  Belasco's  produc- 
tion of  Ladies  To  Wait. 

There  was  considerable  excitement  in  the  Meighan  unit 
when  negotiations  for  Lila's  services  seemed  headed  for  dis- 
aster. A  matter  of  money  and,  anyway,  Jim  didn't  exactly 
approve  of  Lila's  working  so  soon  after  the  baby's  arrival. 
But  everything  is  O.  K.  now  and  everybody  happy.  In  addi- 
tion to  Lila,  Tom's  supporting  cast  includes  Wallace  Beery. 
Larry  Wheat  and  Frank  Campeau. 

"Dauline  Garon,  friskiest  of  screen  flappers,  is  expected  in 
•*■  New  York.  Having  completed  several  pictures  on  the 
Coast,  Pauline  is  due  in  Paris  soon  to  start  work  on  a  melo- 
dramatic thriller  by  the  author  of  Twenty  Leagues  Beneath 
the  Sea,  which  will  be  directed  by  Leonce  Perrett,  who  put 
Gloria  Swanson  thru  her  dramatic  paces  in  Madame 
Sans-Gcne. 

Pauline  admits  Paris  is  a  nice  "little  town"  and  it  will  be 
nice  to  go  back  for  a  brief  stay.  Last  time  she  was  abroad 
a  German  producing  concern  signed  her  up  at  about  three 
thousand  dollars  a  week  for  a  picture  with  a  name  we  con- 
fess we  cant  spell!  But  Pauline  cant  hand  Germany  much. 
and  she  vows  she'll  never  make  another  picture  in  Teuton- 
land — not  for  all  the  marks  in  the  world. 

C~*)ne  hears  so  much  about  Conway  Tearle.     And  justly  so. 
^^   If  you  love  him  in  pictures  you'll   fall  even  harder  if 
you  meet  him  personally.     But  his  wife  is  a  dear,  too — Adele 
Rowland,     vaudeville    artist    and    head-liner. 
When  we  asked  Mrs.  Rowland  why  she 
never  went  into  pictures,  she  made 
a  droll  face  and  retorted :  "Why, 
in    pictures    you're    not    sup- 
posed   to    be    over    twenty 
two.      I'm    twenty-three, 
you  see." 

f~\  f     course,      Nita 
^^    Naldi  is  now  on 
the     Coast,    but    we 
must  invade  Western 
territory     to     tell     a 
good     diet     story. 
When    Nita    returned 
from  abroad   with   the 
Yalentinos    in    Novem- 
ber,   she    had    the     slim 
figure  of  a  Peter  Pan. 

"My  dear,  how  did  you  do 
it?"  gasped  the  curious  ones,  re- 
membering her  former  avoirdupois 


_  Underwood 

Mrs.  Rudolph  Valentino,  a  gentleman  in  disguise,  and  Nita 
strolling  up  Fifth  Avenue 


A  bit  of  good  old 
Scotch  was  brought 
to  America  for  Doro- 
thy Dalton,  stage  and 
screen  star.  The  item 
in  particular  is  a  new 
French  Voisson  car, 
painted  in  Scotch 
plaid  and  the  only 
model  of  its  kind 
here.  It  was  a  gift 
from  her  husband, 
Arthur  Hammerstein, 
who  is  shown  with 
Miss  Dalton 


Gilda  Grey,  the  famous 
Queen  of  tbe  Shimmy, 
has  just  signed  a  con- 
tract to  do  a  series  of 
pictures  this  spring 
in  Paris 


71 
PAG 


I 


f 


"sMOTlON  PICTURp 
Bl  I  MAGAZINE     *- 


Redskins  from 
the  Onondaga 
R  e  ser  vati  o  n 
arrived  in  New 
York  to  take 
part  with 
Thomas  Mei- 
ghan  in  a  Wild 
West  picture 

At  the  right  you 
find  Marjorie 
Daw  sailing 
Southward  to 
avoid  the  North- 
ern chill.  Be- 
low, you  witness 
Bebe  Daniels 
accepting  the 
chairmanship  of 
the  actresses' 
committee  for 
the  World 
Peace  Christ- 
mas cards 


International  Newsreel 


Nita  smiled  and  valiantly  defeated  a  tendency  to  boredom. 
"Spinach,"  laconically.  "I  breakfast  on  imagination.  Lunch 
on  spinach,  and  sup  on  spinach."  Saying  which,  she  non- 
chalantly stepped  upon  a  conveniently  handy  scale  and  nodded 
at  the  one  hundred  and  twenty-nine  pounds  it  registered. 

"Dobert  Frazer  has  a  hobby.  He  confesses.  Bob  adores 
■"-^"  tinkering  with  radios.  No,  he  isn't  keen  about  radios  as 
radios,  but  he  relishes  rigging  up  an  outfit  in  an  obscure  kind 
of  place — like  a  piano  bench,  or  something  of  the  sort.  In 
Hollywood,  Bob  told  us  when  we  breezed  in  to  see  him  while 
he  was  playing"  opposite  Bebe  Daniels  in  Miss  Bluebeard,  he 
has  a  spacious  workroom,  where  he  keeps  all  sorts  of  para- 
phernalia suitable  to  radio  dickering. 

Anybody  can  get  Dick  Barthelmess'  "goat"  these  days. 
■^*  Honest,  it's  a  fact.  In  New  Toys,  his  new  picture,  there's 
a  shaggy  old  goat  that  plays  a  part  in  the  story  and  a  playful 
electrician,  to  whom  the  goat  took  an  unreasonable  fancy,  got 
Dick's  goat.  But  only  for  a  minute.  Director  John  Robertson 
ordered  the  contrary  actor  back  oh  the  set,  an  order  executed 
with  difficulty — but  executed. 

"p spied  Wallace  Beery  the  other  day  partaking  of  nourishment 
J-'  by  his  lonesome  at  the  Algonquin  Hotel  (the  mecca  of 
movie  celebs  in  N.  Y.  C).  Wallie  had  just  completed  a  day's 
work  as  the  heavy  in  Tom  Meighan's  new  picture,  Coming 
Through,  now  in  production  under  Eddie  Sutherland's  direc- 
tion at  Paramount's  Long  Island  Studio. 

"Did  you  bring  your  wife  with  you?"  we  hailed. 
"No,"  flourishing  a  fork,  "she's  in  Hollywood." 

"Working  in  pictures  ?" 
"Oh,  no,"  corralling  a  slippery 
carrot,  "no,  she  isn't  going  to  work 
in  pictures.  I  lost  one  wife  that  way 
(Gloria  Swanson,  you  know)  and 
I'm  not  taking  any  more  chances." 


B1 


Wide 
World 


en  Lyon  is  a  most  amusing 
youth.  Everybody  likes  Ben. 
He  just  finished  work  with  Anna  Q. 
Nilsson  in  The  One  Way  Street, 
directed  by  John  Francis  Dillon  at 
the  Biograph  Studio.  Trailing  up  to 
the  studio  one  day,  Ben  caught  sight 
of  us  and  insisted  we  pose  with  him 
for  a  photograph.  It  was  terrible. 
We  haven't  the  nerve  to  look  at  it. 

However,   quoth    Ben :    "The   last 
time  I  was  in  Hollywood,  there  was 
a  girl  who  accosted  me  every  time  I 
left  the  studio  to  ask,  with  tears  in 
her  eyes,  for  an  autographed  photo- 
graph of  myself.     Well,"  shrugging, 
"I  couldn't  bear  to  see  her  sad,  so  I  gave  her  the  picture  in  a  hurry. 
But  after  the  fifth  one,  I  stopped  to  question  her:     'See  here.  I 
dont  mind  giving  you  an  autographed  picture,  but  why  the  whole- 
sale order?'     Whereupon,  with  tears  glistening  in  her  eyes,  she 
quavered :  'You  see,  a  girl  friend  in  my  block  agreed  to  give  me 
an  autographed  picture  of  Ben  Turpin  if  I  gave  her  six  of 
you!'" 

"V/Tilton  Sills,  who  has  just  started  work  in  his  new  First 
-*-  ■*■   National  starring  picture,  U.  S.  Flavor,  by  Richard  Kirk, 
is  a  one-hundred-per-cent.  New  York  booster  now.    When  he 
came  on  to  the  Big  Town  to  co-star  with  Doris  Kenyon  in  The 
Interpreter's  House,  he  disliked  the  need  of  making  the  picture 
in  the  East.     Once  here,  however,  with  the  many  new  Broad- 
way plays  and  the  art  and  literary  interests  of  the  metropolis,  he 
capitulated  completely  to  its  charm.     Now,  he  wants  to  make 
all  his  pictures  here. 

(Continued  on  page  100) 


About  New  Productions 


The  Silent  Accuser 


Another  dog-day  has  arrived  for  wintry  weather.  And 
"^^  patrons  attending  a  picture  theater  to  get  out  of  the  cold 
will  become  thoroly  excited  over  a  new  police  dog,  Peter  the 
Great.  The  film  is  nothing  but  a  vehicle  and  any  one  attempt- 
ing to  find  logic  and  reality  would  be  blind  to  its  canine 
appeal.  It  simply  wont  stand  analysis  for  a  plot,  as  events 
transpire  here  which  lack  any  motivation.  So  it  should  be 
accepted  as  a  dog  story.  There  is  found  the  entertainment. 
Peter  can  raise  a  good  and  lusty  bark  over  his  performance. 
He  shows  uncanny  intelligence  and  the  director  has  seen  to 
it  that  the  dog  never  steps  out  of  character  by  assuming  to 
grasp  the  faculties  of  the  human  mind.  Pete's 
life  is  guided  by  instinct. 

It  is  the  dog's  job  to  rescue  his  master  from 
jail  (a  trumped-up  charge)  and  track  down  the 
real  murderer.  And  these  scenes  provide  a 
quota  of  thrills.  It  is  all  dog — is  this  story. 
The  animal  furnishes  all  the  action  and  suspense. 

The  Fast  Set 


Tt  all  depends  upon  whether  you've  seen  the 
A  original,  if  you  like  this  adaptation.  If  you 
have  seen  it  as  Spring  Cleaning,  you  must  admit 
that  it  is  much  more  sparkling  and  bright.  If 
you  haven't  seen  the  play,  the  picture  will  please 
you.  The  dialog  had  much  to  do  toward  mak- 
ing it  successful  in  the  spoken  version,  inasmuch 
as  there  was  little  action.  So  in  order  to  make  it 
adaptable  for  the  screen,  the  sponsors  have  been 
compelled  to  substitute  this  precious  element. 

William  de  Mille,  however,  has  given  the  pro- 
duction some  of  his  artistic  direction — which 
makes  it  skip  and  hop  about  with  a  semblance  of  abandon.  With 
the  aid  of  Clara  Beranger  he  has  substituted  some  peppy  subtitles 
for  the  original  dialog.  The  story  treats  of  the  unusual  frankness 
of  a  husband  in  introducing  a  woman  of  the  streets  into  his  home 
to  save  his  wife  from  a  bounder.  The  picture  is  delightfully  acted 
by  Betty  Compson.  Adolphe  Menjou  (you  couldn't  keep  him  out 
(Continued  on  page  101) 


At  the  left,  is  our  old 
favorite.  Harry  Carey,  in 
a  scene  from  a  good  old- 
fashioned  melodrama 
called  Roaring  Rails 


There's  tense 
drama  and  a  con- 
sistent flow  of  ac- 
tion  in  The 
Border  Legion, 
with  Helene 
Chadwick  and 
Rockclif  fe 
Fellows 


Florence  Vidor's 
work  as  the  neg- 
lected wife  makes 
Christine  of  the 
Hungry  Heart  a 
picture  well  worth 
seeing 


A  quartet  of  good 
players —  Pauline 
Frederick,  Mae 
Busch,  Conrad  Nagel 
and  Huntley  Gordon 
—  make  Married 
Flirts  fine  entertain- 
ment 


There's  old  stuff, 
and  entirely  too 
little  suspense  in 
The  Great  Diamond 
Mystery,  but  you'll 
like  Shirley  Mason 
and  William 
Collier,  Jr. 


75 

PAG 


t 


J^_ 


W+/CJU 


W*A/&yT~<? 


Will  March  Come  In  Like  a  Lion? 

Tt  will !  We  are  weather  prophets!  At  least,  we  are  for 
that  particular  month,  for  Ben  Lyon  will  be  on  the 
cover  of  Motion  Picture  Magazine  for  March.  It 
will  be  a  handsome  head  of  your  hero,  the  lad  who  today 
is  acknowledged  to  be  the  Flappers'  Delight.  At.  the 
request  of  many  of  our  readers  we  have  removed  the 
price-stamp  and  the  date  from  the  body  of  the  cover, 
and  put  them  at  the  top  instead,  so  the  portrait  of  Ben 
is  all  ready  to  frame  and  hang  above  your  pillow  to  bring 
you  happy  dreams. 

New  Year's  Resolutions? 


Like  Our  Anniversary  Number? 

"^"othing  quite  like  it  has  ever  been  put  on  the  market 
■*"^  by  any  screen  magazine.  In  order  to  get  it,  we 
scoured  the  studios  from  coast  to  coast  for  old  pictures 
and  reminiscences  of  the  days  when  the  movies  were  just 
beginning,  a  stepchild  industry.  We  pestered  the  stars 
of  a  decade  ago  till  we  made  them  tell  tales  on  themselves, 
and  dug  up  stories  they  thought  were  safely  buried  for- 
ever. Look  carefully  at  their  pictures — you'll  laugh,  and 
agree  with  us  that  all  of  them  still  alive  look  much 
younger  today  than  they  did  fourteen  years  ago. 

Shaven  or  Whiskered? 


"P\id  you  make  any 
-"-^  yourself  ?  And 
are  you  going  to 
keep  them?  "I  re- 
solve, etc." — broken 
the  next  day  —  per- 
haps the  same  day. 
Read  the  resolutions 
of  the  biggest  stars 
in  screendom, 
given  in  their  own 
handwriting  on 
pages  30-33.  Write 
us  what  you  think 
are  the  chances  they 
will  keep  them  for 
a  month.  Can  you 
suggest  more  help- 
ful resolutions  any 
of  them  might  have 
made?  If  so,  pass 
them  on  to  us. 

Did  You  See  It? 

Aur  brand-new 
^-^  roto  insert,  of 
course,  the  eight 
new  picture  pages 
in  the  middle  of  the 
book. 

This  new  section, 
added  to  the  sixteen 
rotogravure  "pages 
that  we  always  have 
included,  makes 
Motion  Picture 
Magazine  (edi- 
torial matter  prop- 
er) the  biggest  and 
finest  of  all  the 
screen  magazines. 
Henceforward  this 
new  section  will  ap- 
pear regularly. 
Watch  for  it. 
76 

Gi. 


Is  a  Movie  Hero  Really  as  Brave  as  He  Looks  ? 


If  we  are  to  believe  what  the  screen 
tells  us  and  shows  us  about  our  fa- 
vorite daredevil  hero,  Big  Bob  West, 
then  we  know  that  there  never  lived 
a  man  braver  and  nobler  than  he 


He  leaps  from  one 
hazard  to  another 
without  even  muss- 
ing his  hair.  He 
climbs  a  sky- 
scraper or  a  rocky 
cliff  like  a  human 
fly,  and  does  wild 
tricks  in  his  puddle- 
jumper.  He  acts 
as  tho  the  word 
"fear"  just  wasn't 
in    his    vocabulary 

BUT 


He    is    just    scared    to 
death  of  his  wife 


"V\7"hich  way  do 
vv  you  love  him 
more?  Turn  to 
page  22  and  decide. 
Nothing  since  the 
bobbed-hair  craze 
has  created  a  greater 
furor  than  the  news 
that  Rudy  has 
grown  a  beard !  To 
do  it,  he  fled  far 
from  the  maddening 
throng  to  his  villa  in 
Italy.  Now  he  is  in 
California  making 
The  Scarlet  Power, 
in  which  he  is  the 
bearded  hero,  for 
some  of  the  scenes. 
Do  you  prefer  him 
with  or  without? 

Did  You  Read  It? 

"K/Teaning  "Them 
1  L  G  o  o  d  Old 
Days"  ?  In  which 
the  Answer  Man 
reminisces,  on 
page  62.  If  you 
didn't,  you  missed 
one  of  the  most  in- 
teresting features  of 
the  month.  All 
about  the  days  when 
the  movies  w  ere 
young,  even  tho  the 
Answer  Man  was 
already  old  and 
whiskered  ;  when 
stars  worked  for 
thirty-five  dollars 
a  week,  or  less, 
and  didn't  get  their 
pictures  in  the 
papers. 


Advertising  Section 


du  Diana  Manners 


Ml-JDTTiON  PICTU 

101  I   MAGAZINE 


l 


the  mo§t  beautiful  woman  of  English 
Aristocracy  praises  this  care  of  the  skin 


"Seauty  is  the  touchstone  of  life.    So,  for 
her    own,  for    everybody's    sake,    it's    every- 
woman's  duty  to  foster  her  beauty.    She  can 
effectively  accomplish  this   loveliness  by  the 
Pond's  Method,  by  using  Pond's  Two  Creams." 


fy<vu*    h. 


OAAAA-LaJ> 


The  Lady  Diana  Manners  is  the  most  beautiful 
woman  of  her  generation. 

Beauty  is  in  her  blood.  Dorothy  Vernon  of  Haddon 
Hall  was  one  of  her  ancestors.  And  her  mother,  the 
Duchess  of  Rutland,  was  a  creature  of  rare  loveliness 
when  she  was  lady-in-waiting  to  the  Queen. 

Lady  Diana's  beauty  sets  the  pulses  racing,  the  im- 
agination afire. 

The  modeling  of  her  face,  the  lift  of  her  head,  the 
dignity  of  her  figure,  declare  her  "the  daughter  of  a 
hundred  earls."  But  the  glint  of  gold  in  her  hair,  the 
starry  blueness  of  her  eyes,  these  touch  the  heart- 
strings, being  heaven  sent. 

And  the  lily's  own  petals  are  not  more  snowy-white,  more  satin- 
soft,  than  Lady  Diana's  skin.  As  a  great  English  artist  who  painted 
her  said,  "she  has  the  most  beautiful  complexion  in  the  world." 

How  Lady  Diana  Keeps  her  Beauty 

Lady  Diana — whose  creed  is,  "Beauty  is  the  touchstone  of  life" — 
knows  the  need  of  keeping  all  her  own  beauty  untouched  by  wind 
and  cold,  the  harsh  lights  and  make-up  of  the  theater,  and  the  late 
hours  of  her  exacting  social  life.  So  she  bathes  her  face  and  neck  in 
cold  cream  and  protects  them  with  a  delicate  finish  provided  by  a 
second  cream. 

For,  like  so  many  of  the  beautiful  women  of  England,  of  America, 
Lady  Diana  Manners  has  found  the  Two  Creams  that  keep  the  skin 
its  exquisite  best  no  matter  how  it's  taxed. 

Before  retiring  or  after  any  unusual  ex- 
posure apply  Pond's  Cold  Cream  generously 
on  the  face  and  neck.  Wipe  it  off  with  a 
soft  cloth,  taking  away  the  day's  accumu- 
lation of  dust,  dirt  and  powder.  Finish 
with  a  dash  of  cold  water. 

Before  you  powder,  smooth  over  your 
newly  cleansed  face  a  delicate  film  of  Pond's 
Vanishing  Cream.  It  keeps  your  com- 
plexion fresh  and  protected  for  hours 
against  any  weather,  gives  it  a  soft  finish 
and  holds  your  powder  smoothly. 

Like  Lady  Diana  Manners  you  can 
"effectively  accomplish  this  loveliness." 
Begin  to  use  Pond's  Creams.  Soon  you'll 
have  a  beautiful  skin,  tax  it  though  you 
may.  The  Pond's  Extract  Company. 


EVERY  SKIN  NEEDS 
THESE  TWO  CREAMS 


Maurice  Goldberg 


The  .(>dy  Diana  JWanners,  daughter  of  the 
eiglith  Duke  and  Duchess  of  Rutland,  is  not  only 
the  darling  of  the  most  exclusive  society  of  two 
continents — "England's  best  Ambassador  in 
making  friends  of  Americans  for  England" — but 
she  is  an  actress  of  proven  distinction.  The 
small  picture,  from  a  drawing  by  her  mother, 
shows  her  as  The  Madonna  in  "  The  Miracle." 


r»t?T?  r»  CDOn  Mail  this  coupon  and  we  will 
REE  QFrE  R-  send  you  free  tubes  of  these 
two  creams  and  a  little  folder  telling  how  to  use  them  and 
what  many  famous  beauties  think  of  them. 

The  Pond's  Extract  Company,  Dept.  B 
143  Hudson  Street,  New  York 
Please  send  me  free  tubes  of  Pond's  Cold  and  Vanishing  Creams. 

Name 

Street 

City 


.State. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


77 
PAG 


I 


Letters  to  the  Editor 


Were  They  the  Good 
Old   Days? 

Dear  Editor  :  Since  Mon- 
sieur Beaucaire  came  to  town, 
everything  has  changed.  The 
ladies'  skirts  take  up  more 
room  than  a  circus  tent  and 
the  men  are  wearing  silks  and 
laces.  The  cabarets  have 
closed  because  everyone  has 
sore  ankles  from  being 
whacked  by  dangling  swords ; 
two  bus  lines  have  gone  bank- 
rupt, they  can  carry  only  one 
Pompadour  per  seat.  The  ele 
vators  have  a  waiting  list  four 
miles  long ;  yesterday  a  wom- 
an dressed  like  a  queen  ran 
for  a  street-car ;  she  missed  it. 
The  stenographers  have  all  lost 
their  jobs,  they  cant  get  near 
enough  to  their  typewriters 
to  work.  Half  the  city  has  burned  down  while  the  fire  department 
put  out  fires  on  ladies'  wigs ;  the  women  will  smoke,  you  know, 
and  are  used  to  doing  it  in  bobbed  hair.  Potential  Jackie  Coogans 
are  weeping  loudly,  for  rags  are  no  longer  popular ;  no  more 
Soviet  reds  or  Santa  Clauses ;  whiskers  fail  to  intrigue.  Gone 
is  the  glory  of  the  military  uniform,  every  man  looks  like  a 
Christmas  tree ;  married  couples  no  longer  play  bridge,  they  fight 
with   swords   instead. 

The  beautiful  and  elaborate  costumes  of  Beaucaire's  day  are 
mighty  pleasing  to  the  eye  when  looked  at  from  afar  and  the 
slow  grace  necessitated  by  wearing  them  is  quite  all  right  on  the 
stage  or  in  dreams.  But  save  us  from  the  hypersentimentalist 
who  pines  and  sighs  that  the  dress  and  manners  of  today  aren't 
what  they  used  to  be !  In  our  crowded"  world  we  haven't  the 
room  and  in  our  great  hurry  to  live  we  haven't  the  time  to  bother 
with  them.  And,  strange  as  it  may  seem,  in  spite  of  our  drab 
feathers  and  our  bad  manners,  we  manage,  somehow,  to  have  a 
prettv  good  time. 

M.  C.  S., 
Washington,  D.  C. 

From  the  Land  of  the  Midnight  Sun 

Dear  Editor  :  Going  to  the  movies  in  Norway  is  quite  a  differ- 
ent experience  from  going  to  them  in  America. 

Moton  pictures  are  very  popular  all  thru  Norway ;  even  very 
small  towns  have  their  picture  theaters,  but  these  theaters,  instead 
of  being  the  palatial  ones  we  know  over  here,  are  usually  the 
"lokalen,"  or  community  hall  where  meetings  and  dances  are 
held.  It  took  me  several  days  to  discover  the  movie  theaters  in 
Christiania,  for  the  entrance  to  them  is,  as  a  rule,  merely  a  long 
corridor     leading     back 


"\"\  7E  are  giving  our  readers  a  chance  to 
"  '  express  their  opinions  in  print,  ana 
to  be  paid  for  it.  For  the  best  letter  (which 
we  will  illustrate)  we  will  pay  five  dollars. 
Writers  of  other  letters  published  will  re- 
ceive three  dollars ;  extracts  from  letters,  one 
dollar.  Be  brief,  and  to  the  point.  Write 
us  a  snappy,  interesting  letter  of  from  two  to 
four  hundred  words  in  length.  Give  your 
reasons  for  your  likes  or  dislikes.  Do  not 
neglect  to  sign  your  name  and  address,  altho 
we  will  use  your  initials  only,  if  requested. 


from  the  street  to  the 
theater  proper,  which  is 
built  in  the  rear  of  a 
commercial  building. 

American -made  films 
are  shown  almost  ex- 
clusively and  Para- 
mount pictures  more 
than  the  others.  How- 
ever, the  names  of  the 
productions  are  so 
changed  as  not  to  be 
recognized.  For  in- 
stance, W h ere  t h c 
Pavement  Ends  was 
called  Tzvo  Persons,  and 
To  Have  and  To  Hold 
was  shown  as  With' 
Sharp  Weapons. 

During  my  entire  so- 
journ in  Norway  I  saw 
only  one  Swedish  pro- 
duction and  that  was  a 
study  in  unadulterated 
gloom.  On  shipboard 
I  saw  Sumuran,  the 
last  picture  Pola  Negri 
Q\madc    in    Germany.      It 

f78 

JA££ 


The  stenographers 
have  all  lost  their 
jobs;  they  cant  get 
near  enough  to 
their  typewriters 
to  work 


was  interesting  but  badly  cut. 
It  was  saved  by  Ernst  Lu- 
bitsch  as  the  hunchback ;  he  is 
just  as  good  an  actor  as  a 
director.  Jenny  Hasselquist, 
a  very  popular  Swedish  star, 
appears  in  this  picture,  but 
her  bad  make-up  and  the  bad 
lighting  detracted  much  from 
her  charms.  Pola  was  her 
old  self,  but  the  story  is  not 
a  pretty  one  and  would  have 
to  be  purified  a  great  deal 
before  it  is  shown  in  America. 
After  seeing  this  film  I  can 
understand  the  need  for 
censors. 

On  a  train  from  Bergen  I 
met  members  of  a  German 
film  company  on  location  in 
Norway.  None  of  them  are 
known  in  America,  but  the 
height  of  their  desire  is  to 
come  here.  The  director,  who  was  also  leading  man,  and  a  clever 
stunt  actor,  told  me  that  if  he  could  earn  ten  dollars  a  day  acting 
in  American  films,  he  would  sail  at  once  for  the  U.  S.  A.  Such 
salaries  as  even  an  extra  gets  in  this  country  are  unheard  of 
over  there. 

One  member  of  the  company  was  a  clever  little  girl  of  three 
with  all  of  Jackie  Coogan's  sparkle.  Another  was  a  trained  dog 
whose  tricks  were  truly  remarkable.  The  leading  lady  was  a 
beautiful  German  girl  whom  I  thought  quite  on  a  par  with  our 
American  actresses. 

Motion-  Picture  Magazine  is  easily  obtainable  in  Norway  and 
widely  read. 

C.  O.  H., 
Chicago. 

The  Friendly  Growler 

Dear  Editor  :  Dont  take  me  too  seriously,  but  there  are  a  few 
explosives  I  must  get  off  my  chest,  concerning  your  admirable 
magazine. 

First,  why  do  they  call  Novarro  a  "sheik"  ?  The  man  is 
primarily  an  actor  and  a  great  one  at  that.  Minus  his  beauteous 
locks'  and  classic  features,  he  could  play  the  part  of  an  old  man 
as  well  as  a  young  hero.  So  why  desecrate  him  with  the  title 
of  sheik? 

Second,  I'm  weary  of  hearing  that  absurd,  plaintive  cry,  "What's 
wrong  with  Pola  Negri?"  They  say  she  falls  short  of  some- 
thing or  other  in  every  picture,  yet,  given  identical  parts  with 
Mary  Pickford,  Gloria  Swanson  and  other  celebrities,  she  actually 
outshines  them.  I  refer  to  Mary's  Rosita  and  Gloria's  Humming 
Bird  as  versus  Pola's  Spanish  Dancer  and  Shadozcs  of  Paris.     Of 

course,  Pola  may  have 
lost  out  a  bit  because 
she  seemed  to  be  fol- 
lowing right  on  the 
heels  of  the  other  two 
actresses,  which  was 
bad  taste,  to  say  the 
least.  But  that  was  the 
fault  of  the  producers. 
What  is  the  matter 
with  the  m,  anyway  ? 
Have  they  developed  a 
contest  complex  ?  Dont 
they  realize  that  to  ex- 
hibit each  his  particular 
star  in  the  same  sort 
of  picture  can  only 
hurt  each  one  of  them  ? 
As  for  Miss  Negri's 
taste  in  clothes — if  that 
is  indicative  of  all  Po- 
lish women's  idea  of 
good  dressing,  I  think 
we  would  better  go  to 
Poland  instead  of  to 
Paris  for  our  styles.  • 
Next,  why  do  most 
stars  "over-make''  so? 
(Continued  on  page  \22) 


Advertising  Section 


dT.MOTION  PICTURI 

Itl0l  I   MAGAZINE 


How  Famous  Movie  Stars 

Keep  their  Hair  Beautiful 


I 


Try  this  quick, simplemethod 
which  thousands,  WHO  MAKE 
BEAUTY  A  STUDY,  now  use. 

See  the  difference  it  makes  in 
the  appearance  of  YOUR  HAIR. 

Note  how  it  gives  new  life 
and  lustre;  how  it  brings  out 
all  the  wave  and  color. 

See  how  soft  and  silky,  bright 
and  glossy  your  hair  will  look. 


THE  attractiveness  of  even  the  most 
beautiful  women  depends  upon  the 
loveliness  of  their  hair. 

The  hair  is  a  frame  or  setting  upon 
which  the  most  beautiful,  as  well  as  the 
plainest  woman,  must  depend. 

Fortunately,  beautiful  hair  is  no  longer 
a  matter  of  luck. 

You,  too,  can  have  beautiful  hair  if  you 
shampoo  it  properly. 

Proper  shampooing  is  what  makes  it 
soft  and  silky.     It  brings  out  all  the  rea 
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  ordi- 
nary soaps.  The  free  alkali  in  ordinary 
soaps  soon  dries  the  scalp,  makes  the  hair 
brittle  and  ruins  it. 

That  is  why  leading  motion  picture 
stars  and  thousands  of  discriminating 
women,  everywhere,  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. 

If  you  want  to  see  how  really  beautiful 
you  can  make  your  hair  look,  just  follow 
this  simple  method. 

A  Simple,  Easy  Method 


it  in  thoroughly  all  over  the  scalp,  and  all 
through  the  hair. 

Two  or  three  teaspoonfuls  will  make  an 
abundance  of  rich,  creamy  lather.  This 
should  be  rubbed  in  thoroughly  and  brisk- 
ly with  the  finger  tips,  so  as  to  loosen  the 
dandruff  and  small  particles  of  dust  and 
dirt  that  stick  to  the  scalp. 

After  rubbing  in  the  rich,  creamy 
Mulsified  lather,  give  the  hair  a  good 
rinsing.  Then  use  another  application  of 
Mulsified,  again  working  up  a  lather  and 
rubbing  it  in  briskly  as  before.  After  the 
final  washing,  rinse  the  hair  and  scalp  in 
at  least  two  changes  of  clear,  fresh  warm 
water.    This  is  very  important. 

Just  Notice  the  Difference 


THIRST,  wet  the  hair  and  scalp  in  clear, 
*■  warm  water.  Then  apply  a  little 
Mulsified  cocoanut  oil  shampoo,  rubbing 


YOU  will  notice  the  difference  in  your  You  can  get 
hair  even  before  it  is  dry,  for  it  will  Mulsified  cocoanut 
be  delightfully  soft  and  silky.  The  entire  oil  shampoo  at  any 
mass,  even  while  wet,  will  feel  loose,  drug  store  or  toilet 
fluffy  and  light  to  the  touch  and  be  so 
clean  it  will  fairly  squeak  when  you  pull 
it  through  your  fingers. 

After  a  Mulsified  shampoo  you  will  find 
your  hair  will  dry  quickly  and  evenly  and 
have  the  appearance  of  being  much 
thicker  and  heavier  than  it  really  is. 

If  you  want  to  always  be  remembered 
for  your  beautiful,  well-kept  hair,  make 
it  a  rule  to  set  a  certain  day  each  week  for 


Patey 
Ruth 


a  Mulsified  cocoanut  oil  shampoo.  This 
regular  weekly  shampooing  will  keep  the 
scalp  soft  and  the  hair  fine  and  silky, 
bright,  fresh-looking  and  fluffy,  wavy  and 
easy  to  manage.     < 


goods  counter, 
anywhere  in  the 
world. 

A  4-ounce  bottle 
should  last  for 
months. 


Mulsified 

Cocoanut  Oil  Shampoo 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


! 


Carl  A. — Yes,  this  is  the 
anniversary  number,  and  I 
have  been  serving  you  all 
with  answers  for  the  last 
fourteen  years.  Even  tho 
I  am  eighty  years  old,  I 
think  I  can  serve  you  a 
little  longer.  Lionel  Barry- 
more  is  playing  in  The 
Street  Singer  for  Chad- 
wick  Pictures. 

Mary    E.    C. — No,    my 
dear,  you  have  me  wrong.     I  am  really  a  lamb  in  wolf's  clothing. 
Thomas  Meighan  was  born  April  9,  1884.     Ramon  Novarro  was 
born    February    6,    1898,    while    Richard    Barthelmess    was    born 
May  9,  1895.     Miss  Dupont  was  Margaret  Armstrong. 

Gerry. — Yes,    it   is   true   that   Thomas    Ince,   the 
director,    died    November    19,   1924,   of   acute   in- 
digestion.     It   was    a    shock  to   the    industry. 
Rudolph  Valentino  is  anxious  to  play  the 
lead   in   a  screen  version  of    The   Fire- 
brand,   in    which    Joseph    Schildkraut    is 
playing   the   lead   on   the    stage.     Valen- 
tino's next   picture   will   be    The   Scarlet 
Pozver.     Yes,    Buster    Collier    is    some- 
times     called     William,     Jr.       Norman 
Trevor    and    Ben    Lyon    in    Wages    of 
Virtue. 

Sophola.— That's  a  good  one,  but  why 
is  an  author  a  queer  animal?  Because 
his  tale  comes  out  of  his  head.  Whopee ! 
Alice  Taafe  is  Alice  Terry's  right  name. 
Write  me  again  some  time. 

Haul  M. — Jane  Novak  can  be  reached 
at  the  F.  B.  O.  Productions,  and  Norma 
Shearer  at  Metro-Goldwyn. 

Lily  Lee. — Well,  as  they  say  in  Green- 
wich Village,  you  are  not  truly  sophisti- 
cated until  you  wish  you  could  forget 
most  of  the  things  you  know.  Yes,  Ben 
Lyon  is  twenty-three.  Wait  until  you 
see  him  on  the  cover  next  month.  Yes, 
I  think  Richard  Barthelmess  will  send 
you  his  picture.  Why  dont  you  write 
him. 

Fluff. — Sure,  I  was  glad  to  hear  from 
you,  telling  me  all  about  the  kiddies.  Well, 
you  know  that  Pat  O'Malley  has  red 
hair,  so  that  accounts  for  it.  As  some- 
one once  said,  opportunity  seldom  knocks 
in  a  small  town,  but  the  neighbors  make 
up  the  difference. 

Sally  Foote. — Lloyd  Hughes  is  with 
First  National,  and  he  is  twenty-five. 
Robert  Agnew  is  twenty-five  and  he  is 
with  Metro-Goldwyn  in  The  Square  Peg. 
I  should  say  Clara  Bow  is  kept  busy. 
She  is  playing  in  The  Adventurous  Se.v 
and  then  she  is  going  to  play  in  Capital 
Punishment  and  after  that  in  The  Boom- 
erang. 

Homer  W.  K. — That  sure  was  a  gem 
of  a  letter.     Cullen  Landis  has  a  sister, 

80 


This  department  is  for  information  of  general  interest  only.  Those 
who  desire  ansivers  by  mail,  a  list  of  film  manufacturers,  etc., 
must  enclose  a  stamped,  addressed  envelope.  All  letters  should 
contain  the  name  and  address  of  the  writer,  but  a  fictitious  name 
will  be  used  in  answering  inquiries  if  it  is  written  in  the  upper 
left-hand  corner  of  the  letter.  Address:  The  Answer  Man,  17$ 
Duffield  Street,  Brooklyn,  N.   Y. 


Rah  Rah  Boy: — You're  wrong. 
Mary  Hay  doesn't  play  Barrie's  Peter 
Pan.  But  there's  a  Peter  Pan  episode 
in  her  picture,  New  Toys,  and  here 
she  is  in  costume,  with  her  husband, 
Dick   Barthelmess 


Margaret.   Didn't  you  know 
that? 

R.  E.  U.— Well,  in  1890 
it  was  Wine,  Women  and 
Song,  in  1924  it  is  Moon- 
shine, Flappers  and  Static. 
No,  I  haven't  a  radio  yet. 
My     neighbors     all     have 
loud    speakers.      You    can 
address    Valentino    at    the 
Ritz-Carlton   Co.,   6   West 
48th   St.,  New  York  City. 
Chickie. — Glenn  Hunter  in  The  Silent  Watcher.  Gareth  Hughes 
is   in  California.     Yes,   I,  too,  dislike  ranting.     That   player  cer- 
tainly  weeps   too   loudly.     You   know   the    silent   appeal   has   the 
greater  reach.     Try  it  some  time. 

Margie. — We    have    a    new.   dog    actor    about    to 
make   his   bow    to   the   public.     He    is    a   Vita- 
graph    star,   his   name   is   Wolf,   and   he   was 
awarded  the   Croix  de   Guerre  by   Joffre. 
He  is  to  be  starred  in  the  Curwood  novel, 
Baree,  Son  of  Kazan.     Richard   Dix   is 
with  Famous  Players. 

Norolk;  M.  B.  M. ;  Billy;  Monte 
Blue  Admirer;  Vernon  C.  and  Bee. — 
All  of  your  questions  have  been  an- 
swered up  above. 

Tony's  Fan. — Well,  the  strongest  day 
of  the  seven  is  Sunday,  because  the 
others  are  week  days.  And  she  thought 
filet  mignon  was  fish !  $&%  !  So  you 
are  going  to  frame  the  one  dollar  you  got 
from  the  editor.  Good  for  you.  I  would 
like  to  see  the  one  dollar  I  could  frame. 
Maybelle  H. — Frances  Howard  is  to 
play  the  lead  in  The  Szvan  and  she  is 
under  a  long-term  contract  with  Famous 
Players.  Her  next  will  be  A  Kiss  in  the 
Dark,  Why,  Anna  Q.  Nilsson  and  Ben 
Lyon  have  the  leads  in  The  One  Way 
Street,  you  know.  Address  Conrad 
Nagel  at  the  Metro-Goldwyn  Studios. 

Gertrude  S. — You  ask  "Who  was 
Hamlet?"  What,  you  go  to  Sunday 
school  and  dont  know  that?  Rudolph 
Valentino  is  five  feet  eleven.  So  you 
like  my  beard.  I  like  it.  Find  it  very 
comfortable   on  these   cold   days. 

Abie. — Grace  Cunard  played  in  The 
Broken  Coin.  Raymond  Hatton  is.  still 
in  pictures.  He  recently  signed  a  con- 
tract with  Famous  Players.  You  know 
he  played  on  the  stage  since  he  was  ten 
years  old.  George  Mel  ford  was  his  first 
director,  and  now  he  is  directing  him  in 
The   Top  of  the   World. 

U  Tellem.— All  right,  I  will.  Which 
is  the  most  awkward  time  for  a  train  to 
start?  12.50,  as  it's  ten  to  one  if  you 
catch  it.  Richard  Talmadge  can  be 
reached  at  5617  Hollywood  Boulevard, 
Hollywood,  California. 

(Continued  on  page  127) 


Advertising  Section 


Recent  photograph  of 
Ruth  Roland,  one  of 
America's  most  pop- 
ular movie  stars. 


oAileen  Cringle 

says:  "J  love  beautiful  things. 
I  guess  that' s  why  I 'm  so  partial 
to  my  Olson  Rugs.  The  colors 
are  rich  and  restful.  The  deep, 
luxurious  nap  makes  them  ideal 
for  any  room  in  the  home." 


Irene  ^ch 

writes:  "Olson  Rugs  are  a 
splendid  combination  of  the 
artistic  and  the  practical. 
The  soft,  neutral  colors  har- 
monise with  any  decorative 
plan,  and  it  seems  as  though 
there  is  no  'wear  out'  to 
them." 


HJUhat  Makes  My  Home 
so  'Homey'?  I'll  tell  you  the 
Secret"  says  cRuth  cRpland 

In  our  study  of  interior  decorating  we  have  found  one  thing  to  be  true 
(and  all  good  interior  decorators  agree  on  this  point)  that  no  home  can 
be  really  attractive  without  the  right  sort  of  rugs.  Rugs  should  play  the 
leading  role  in  every  scheme  of  interior  decorating.  For  they  make  or 
mar  the  appearance  of  your  home.  Worn  or  unattractive  rugs  and  carpets 
destroy  the  effect  of  good  furniture,  wall  coverings,  drapes.  Beautiful 
rugs  add  to  the  charm  of  your  furnishings— form  a  background  which 
sets  them  off  to  best  advantage.  Your  rugs  should  be  the  keynote— the 
foundation  on  which  to  build.  Everything  depends  on  the  rug. 

"In  selecting  rugs  for  my  home,  my  Interior  Decorator  approved  my 
choice  of  Olson  Rugs.  First,  because  the  soft,  neutral  colors  and  the  new 
one  and  two-tone  effects  set  my  furnishings  off  to  best  advantage ;  second, 
because  these  colors  in  Olson  Rugs  give  to  any  room  the  appearance  of 
being  larger  than  it  really  is.  Personally,  I  love  the  restful  colors  and 
the  soft,  rich,  deep  texture  of  Olson  Rugs."  —  Ruth  Roland. 

One  might  think  that  because  Olson  Rugs  are  found  in  so  many  of  Amer- 
ica's finest  homes,  the  cost  must  be  unusually  high.  But  the  astonishing 
thing  about  these  beautiful  rugs  is  the  low  cost.  Strange  as  it  may  seem,  / 
you  can  buy  them  for  much  less  than  you  pay  for  ordinary  rugs.  / 

Of  course  there  is  a  reason  for  this,  which  is  fully  explained  in  a  beautiful  book  /  j}' 
on  rugs  and  home  decoration  now  being  distributed  to  home  lovers  free  of  /   ,^y 


charge.  This  book  tells  all  about  a  wonderful  patented  weaving  process  by      '      v 
means  of  which  your  old,  faded,  worn  out,  threadbare  carpets,  rugs,  and     /  ^O' 
other  materials,  are  washed,  bleached,  sterilized,  carded,  combed  and       •  t  /§6 
spun  into  the  finest  kind  of  rug  yarn,  and  then  dyed  and  woven      /   Jsc?    cr\ 
into  beautiful  new  rugs.  /   G*  v^o^c?"' 

They  are  woven  to  your  order  in  one  week's  time,  in  any  size,     /  A*  «<?<&  ^ 
shape  or  color  you  desire,  regardless  of  the  color  of  your  old  /    ^  <?'■<?  i& 


material.  Olson  Rugs  have  a  rich,  soft,  deep,  luxurious  nap.    y 
They  are  seamless  and  reversible  to  give  twice  the  wear.         v^ 
You  will  find  them  in  more  than  1,000,000  homes  in     /   „Jy^ 
America  today. 
Learn  all  aboi 
today  for  the  free  Rug  Book,  illustrated  in  actual 


&w 


VyF^A," 


Learn  all  about  Olson  Rugs  for  yourself.  Write     •     'V>P%&   - 


<w 


colors,  that  explains  everything  and  tells  how  / 
you  can  secure  rich,  new  rugs  at  a  saving  of  /  r\ 
one-half.  y     O    j,-.-^ 

The  coupon  is  for  your  convenience.  /     O     ^^e'  -y 
Tear  it  out  and  mail  it— now.  /  \)    <^  6>.«?^ 

OLSON  RUG  CO./„4  *%£# 


w* 


28-38  Laflin  Street       /  <j? 
Chicago  Illinois  /  cy 


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When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


What  the  Stars  Are 

A  department  for   the    fans,    m   which   they   are    in 
of    the    present    picture    activities    of    their    mm    fa 

Conducted  by  Gertrude  Drisi 


Adams,  Claire — playing  in  The  Devil's  Cargo — 
F.  P.  L. 

Adoree,  Ren^e — will  next  be  seen  in  Rupert 
Hughes'  Excuse  Me — M.  G.  M. 

Agnew,  Robert — playing  in  The  Man  Without  a 
Conscience — W.  B. 

Alden,  Mary — recently  completed  work  in  The 
Beloved  Brule — V. 

Alexander,  Ben — plaving  in  Pampered  Youth 
—V. 

Allison,  May — will  have  an  entirely  different  role 
than  she  has  heretofore  enacted,  that  of  a  married 
woman  flirtatiously  inclined,  in  Interpreter's  House 
— F.  N. 

Astor,  Mary — has  been  signed  by  Ince  for  a 
period  of  three  years.  Her  first  picture  under  her 
new  contract  will  be  Playing  with  Souls. 

Ayres,  Agnes — recently  completed  work  in  To- 
morrow's Love — F.  P.  L. 

B 

Baby  Peggy — latesl  release  Helen's  Babies.  Dis- 
engaged at  present. 

Ballin,  Mabel — recently  started  work  in  The 
Riders  of  the  Purple  Sage — W.  F. 

Barnes,  T.  Roy — playing  in  Seven  Chances — 
M.  G.  M. 

Barry,  Wesley — playing  in  Battlin'  Runyon — ■ 
W.  D.  R. 

Barthelmess,  Richard — playing  in  New  Toys, 
a  comedy  of  domestic  life,  with  Mrs.  Barthelmess 
(Mary  Hay)  for  his  leading  lady. 

Baxter,  Warner — playing  an  important  role  in 
Cecil  B.  De  Mille's  production,  The  Golden  Bed— 
F.  P.  L. 

Bayne,  Beverly — will  play  Countess  Olenska  in 
The  Age  of  Innocence,  taken  from  Edith  Wharton's 
prize-winning  novel — \V.  B. 

Bedford,  Barbara — has  signed  a  contract  to  ap- 
pear in  Thomas  H.  I  nee  productions.  Her  first  part 
is  opposite  Charles  Ray  in  The  Desert  Fiddler— 
T.H.I. 

Beery,  Noah — playing  in  East  of  Suez — F.  P.  L. 

Beery,  Wallace — has  just  arrived  in 
town  from  the  Coast  to  play  in  Coming 
Thru—F.  P.  L. 

Bellamy,  Madge — will  portray  her 
first  "heavy"  role,  Una,  in  The  Dancers 
— W.  F. 

Bennett,  Alma — recently  completed 
work  in  The  Lost  World— F.  N. 

Bennett,  Constance  —  has  been 
placed  under  a  long  term  contract  with 
F.  P.  L.,  as  her  reward  for  her  work  in 
Code  of  the  West.  She  is  now  appearing  in 
James  Cruze's  production,  The  Goose 
Hangs  High. 

Bennett,  Enid — latest  release  The 
Red  Lily.  She  is  vacationing  in  Italy, 
where  her  husband,  Fred  Niblo,  is  direct- 
ing Ben  Ilur. 

Blue,  Monte — recently  completed 
work  in  The  Dark  Swati — W.  B. 

Blythe,  Betty — has  the  role  of  a  Span- 
ish "vamp"in  The  Desert  Fiddler — T.H.I. 

Boardman,  Eleanor — playing  in  The 
Summons — M.  C.  M. 

Bonner,     Priscilla — plaving  in  Charley's  Aunt — 

A.  C. 

Bosworth,  Hobart — playing  in  My  Son — F.  N. 
Bow,   Clara — playing    in    Capital    Punishment — 

B.  F.  S. 

Bowers,  John — just  starting  work  in  Kings  in 
Exile— M.  G.  M. 

Breamer,  Sylvia — has  recently  become  Mrs. 
Harry  Martin.  It  is  rumored  she  will  desert  the 
screen  for  a  domestic  career.  Her  latest  picture  is 
Women  and  Gold — G.  P. 

Brent,  Evelyn — has  been  cast  as  the  leader  of  a 
band  of  crooks  in  Silk  Storking  Sal.  It  is  a  thrilling 
crook  play  with  unusual  complications — G.  P. 

Bronson,  Betty — playing  Peter  Pan  for  F.  P.  L. 
(t\  She  had  to  bob  her  hair  to  become  Peter. 

082 
JA0£ 


Brook,  Clive — recently  started  work  in  Playing 
with  Souls— T.  H.I. 

Burns,  Edward — has  returned  to  the  States  from 
his  visit  abroad.  He  will  be  seen  in  The  Redeeming 
Sin  shortly — V. 

Busch,  Mae — will  next  be  seen  as  an  American 
Society  girl  who  seeks  a  thrill  in  the  Paris  underworld. 
She  will  display  a  variety  of  fashionable  gowns  in  this 
production — B.  F.  S. 

Butler,  David — has  been  added  to  the  cast  of 
Code  of  the  West— F.  P.  L. 

c 

.  Calhoun,  Alice — will  be  seen  as  Isabel  Minafar 
in  Pampered  Youth — V. 

Carey,  Harry — playing  in  Soft  Shoes — P.  D.  C. 

Carr,  Mary — is  playing  the  72-year-old  Aunty  Sue 
in  The  Re-creation  of  Brian  Kent — P.  P. 

Chadwick,  Helene — playing  Betty  Jo  in  The  Re- 
creation of  Brian  Kent — P.  P. 

Chaney,  Lon — plays  the  role  of  the  Phantom  in 
the  mystery  melodrama,  The  Phantom  of  the  Opera, 
which  has  as  its  grotesque  setting  the  underground 
tunnels  of  Paris.  There  are  over  three  thousand 
extras  employed  in  this  production — U. 

Chaplin,  Charles — playing  in  Chilkoot  Pass. 

Chaplin,  Sydney — is  busy  selecting  lace  mitts, 
corkscrew  curls,  etc.,  as  part  of  his  wardrobe  in 
Charley  s  Aunt — A.  C. 

Clifford,  Ruth — is  playing  in  Frank  Lloyd's  next 
production,  Judgment — F.  N. 

Cody,  Lew — is  playing  a  different  kind  of  villain 
in  Dixie — M.  G.  M. 

Collier,  William,  Jr. — playing  in  Plaving  with 
Souls— T.  H.  I. 

Colman,  Ronald — appearing  in  A  Thief  of  Para- 
dise, taken  from  Leojiard  Merrick's  novel,  Worldings. 
This  is  his  first  picture  under  his  starring  contract 
with  Samuel  Goldwyn  Productions. 

Compson,  Betty — just  starting  work  in  New 
Lives  for  All—F.  P.  L. 

Coogan,  Jackie — latest  release  is  The  Rag  Man — 
M.  G.  M. 

Corbin,  Virginia  Lee — playing  in  The  Three  Keys 
— B.  P.     Alas,  another  grown-up  part. 


I-TUXDREDS  of  inquiries  reach  this  office  every 
zveek,  from  movie  fans  all  over  the  country,  ask- 
ing for  information  about  the  nczv  pictures  their 
favorite  stars  are  making.  In  consequence,  we  have 
opened  this  department,  which  henceforth  will  be.  one 
of  the  regular  features  of  the  magazine.  We  give 
information  that  is  accurate  ichen  we  go  to  press, 
hut  changes  may  occur  in  the  time  that  elapses  li'hile 
the  magazine  is  being  printed  and  distributed.  A  key 
to  the  abbreviations  will  be  found  on  page  126. 


Cornwall,  Ann — will  have  the  leading  role  oppo- 
site Douglas  MacLean  in  his  forthcoming  comedy 
called  Sky  High— A.  E. 

Cortez,  Ricardo — playing  the  role  of  Tutor  that 
the  Princess  falls  in  love  with,  in  The  Swan — F.  P.  L. 

Crane,  Ward — playing  in  Jazz  Parents — U. 

D 

D'Algy,  Helen — recently  completed  work  in  A 
Sainted  Devil— F.  P.  L. 

Dana,  Viola — playing  in  As  Man  Desires — F.  N. 

Daniels,  Bebe — plaving  in  Miss  Bluebeard — 
F.  P.  L. 

Davies,  Marion — playing  the  part  of  Mamie  in 
Zander  the  Great — C.  P. 


Daw,  Marjork —  "'S  returned  to  California  to 
play  in  One  Year  7\       .e — F.  N  . 

Day,  Shannon — plaving  in  The  Star  Dust  Trail 
— W.  F. 

Dean,  Priscilla — has  just  started  wcrk  in  a  society 
drama.     The  scenes  will  be  laid  in  Austria. 

De  La  Motte,  Marguerite — has  been  engaged 
for  the  leading  r61e  in  Cheaper  to  Marry — M.  G.  M. 

Dempster,  Carol — playing  the  leading  role  in 
D.  W.  Griffith's  production  Isn't  Life  Wonderful,  for- 
merly titled  Dawn — D.  W.  G. 

Denny,  Reginald — playing  in  California  Straight 
A  head—U. 

De  Roche,  Charles — playingin  Madame SansGltie, 
which  is  being  filmed  in  France.  The  entire  cast  with 
the  exception  of  Gloria  Swanson  and  Charles  De 
Roche  is  made  up  of  French  st?rs — F.  P.  L. 

Desmond,  William— plaving  in  The  Burning 
Trail— U. 

De  Vore,  Dorothy— plaving  in  The  Broadway 
Butterfly— W.  B. 

Dexter,  Elliott — has  teen  cast  for  an  important 
role  in  The  Trifters—B.  F.  S. 

Dix,  Richard — will  be  seen  as  a  "bally  English- 
man" in  None  Bu    the  Brave — F.  P.  L. 

Dove,  Billie — playing  in  The  Folly  cf  Vanity — 
W.  F. 

Du  Pont,  Miss — playing  in  Raffles — V. 

Dwyer,  Ruth — has  been  chosen  to  play  the  fem- 
inine lead  opposite  Buster  Keaton  in  Seven  Chances — 
M.  C.  M. 

E 

Earle,  Fdward — playing  in  The  Dangerous  Flirt, 
which  was  formerly  titled  The  Prude — G.  P. 

Edeson,  Robert — playing  in  Blood  and  Stee! — U. 

Ellis,  Robert — playing  in  5(7*  Sleeking  Sal — H.  S. 

Evans,  Madge — recently  completed  the  leading 
feminine  role  in  Classmates — I.  P. 

F 

Fairbanks,  Douglas — disengaged  at  the  present 
time.  His  latest  release  was  The  Thief  of  Bagdad — 
U.A. 

Faire,  Virginia  Erown — playing  in 
Peter  Pan—F.  P.  L. 

Fawcert,  Ceorge — will  1  e  seen  cs  the 
old  King  in  The  Merry  Wide;; — M.  (",.  M. 

Fazenda,  Louise — las  been  cast  as 
Cookie  Dale,  a  vivacious  cl  orus  girl,  in 
The  Broadway  Butterfly — W.  B. 

Fellows,  Rockcliffe — playing  in  East 
of  Suez— F.  P.  L. 

Flynn,  Maurice — playing  in  the  sec- 
ond of  his  outdoor  r reductions,  called 
The  No-Gun  Man  —  F.  B.  O. 

Forrest,  Alan — playing  in  In  Love 
with  Love — \Y.  F. 

Fox,  Lucy — appearing  rrrr-i'e  Buck 
Jones  in  The  Trail  Rider — W.  F. 

Francis,  Alec  B. — playing  in  The 
Bridge  of  Sighs— \V.  B. 

Francisco,  Betty — playing  in  Wife  of 
the  Centaur — M.  G.  M. 

Frazer,  Robert — is  coming  on  from 
the  Coast  to  play  opposite  Bebe  Daniels 
in  Miss  Bluebeard— F.  P.  L. 

Frederick,  Pauline — recently  com- 
pleted work  in  Married  Hypocrites — U. 

G 

Garon,  Pauline — has  recently  returned  from 
Paris  witli  several  trunks  of  new  gowns  which  she 
will  display  in  her  new  picture,  Parisian  Nights — 
F.  B.  O. 

Gendron,  Pierre — plaving  in  The  Dangerous 
Flirt— F.  B.  O. 

Gibson,  Hoot — next  feature  will  be  a  horse  slorv 
titled  Dark  Rosalcen—V. 

Gilbert,  John — has  finally  been  selected  for  the 
role  of  Prince  Danilo  in  The  Merry  Wido'u — M.  G.  M. 

Gillingwater,  Claude — playing  in  .4  Thief  of 
Paradise — F.  NT. 

{Continued  on  page  120) 


Woe  Powder  of 
TTent.     Its  soft  petaled 

Res  as  unobtrusively  as  friendship. 

Itslingering  fragrance  is  as  delicate  as  an  old- 
fashioned  nosegay. 

Lablache  has  been  the  instinctive  choice  of 
gentlewomen  forthree  generations  and  Lablache 
accessories  de  toilette  are  companions  in 
choice  of  gentlewomen  everywhere. 

If  your  drugpist  or  favorite  store  does  not  have 
the  new  Lablache  Requisites,  write  us  direct,  en- 
closing stamps,  money  order  or  check,  and  we 
will  mail  you  hy  next  parcel  post  any  Lablache 
Requisites  you  desire.  Sample  of  Lablache  Face 
Powder — Flesh,  White  or  Creme — sent  free  on 
request. 

BEN  LEVY  COMPANY 

Dept.  56,      125  Kingston  Street, 

Paris  Boston,  U.  S.  A. 


L^ 


L^S 


~\ 


7\ 


^f 


THE    CHOICE    OF    GENTLEWOMEN    FOR    THREE    GENERATIONS 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


83 
PAG 


t 


■ 
H 


if    I   would 

job  in  the  movies, 
should  she  come  to 
New  York. 

"Jokingly  I  replied, 
'Sure!'  and  never  gave 
the  thing  another 
thought. 

"At  that  time  the  old 
Vitagraph  studios  were, 
as  you  remember,  in 
Brooklyn.  I  had  just 
returned  to  my  hotel  in 
New  York  after  a  busy 
day  at  the  studio,  when 
my  'phone  rang  and  the 
hotel  desk  announced 
that  Miss  Ward  from 
Washington  was  down- 
stairs to  see  me. 

"'Miss  Ward?'  I  queried. 


J 


Lillian  Walker 

Vitagraph's 

"dimpled  girl" 

(right) 


been  back  in  my  old 
Broadway  haunts  two 
weeks  when  I  found 
myself  looking  for  a 
screen  offer.  Good  for- 
tune smiled  on  me 
quickly,  and,  while  I 
was  dancing  with  Ger- 
trude Hoffman  in  her 
vaudeville  act,  the  old 
Triangle  company  en- 
gaged me  to  come  to 
Los  Angeles  to  play 
opposite  Constance  Tal- 
madge,  Dorothy  Gish 
and  other  of  their  stars, 
under  the  supervision 
of  D.  W.  Griffith,  at  the  old  Reliance  studio.  What  reminiscences 
are  called  to  the  minds  of  those  who  got  their  real  start  within 
those  hallowed  walls ! — but  that's  another  story." 


I 


I  never  heard  of  her.'  " 

"  'But  she  insists  that  you  know  her  and  she  will  not  leave  until 
you  have  seen  her.  She  has  been  here  already  several  hours,' 
came  the  response. 

"Reluctantly  I  descended.     There  in  the  lobby  stood  Miss  Ward,       \^illiam   S.  Hart  tells  this  story  on  himself: 
a  none-too-attractive  looking  girl,  surrounded  by  many  suit-cases,        vv      "We  used  to  put  on  some  pretty  hard  fights  and 
band-boxes  and  indiscriminate  luggage.    By  her  side  was  a  woman 
looking  like  a  comic  Valentine,  whom  she  presented  to  me  as  her 
mother. 

"  'Well,'  she  said,  gaily  enough,  'Here  I  am !' 

"On  the  strength  of  my  'promise,'  given  her  in  Washington, 
she  explained,  she  and  her  mother  had  sold  the  boarding  house 
which   was    their    home    and   had    arrived,    bag    and    baggage,    to 

84 

0£ 


stunts  in 
making  Western  pictures,  but  there  was  always  something  funny 
happening  to  keep  us  in  good  humor.  Probably  the  funniest  of 
all  was  a  joke  on  me. 

"In  Branding  Broadzvay,  I   was  supposed  to  go  to  New  York 
to  act  as   a  'nurse'   for  a  wild   young   college   man.     He  hired  a 
cafe  bouncer  to  lick  me.     The  cowboys   at  the  studio  brought  a 
(Continued  on  page  95) 


Advertising  Section 


About  the  only  kind  of  bobbed 
hair  that  is  really  unbecoming 
is  the  thin,  straggly,  straight 
kind.  McGowan's  Hair 
Grower  will  make  your  "bob" 
thick  and  fluffy  in  30  days — 
or  money  back! 


Every  woman  envies  curly,  fluffy 
hair  like  this.  No  woman  need 
worry  if  her  "bob"  is  unbecom- 
ing, for  she  can  easily  make  it 
beautiful  with  this  new  discovery 


<^hCarvelous  j\ew 
c£)iscovery 


DEMOTION  PICTURE 

Inell  I   MAGAZINE      j\ 


lj  you  want  to  grow  your  bobbed  hair  "back  to  normal," 
IcGowan's  Hair  Grower  will  cut  the  usual  time  in  half 


will  thicken  your  hair  and  make 
it  stylishly  fluffy  in  30  days — 
or  quickly  grow  it  "back  to  normal" 


If  you  don't  like  your  Sobbed  hair— if  you  are 
beginning  to  tire  of  it — if  you're  sorry  you  ever 
cut  it  off — most  likely  it's  because  your  hair  is 
not  as  thick  and  "fluffy"  as  it  should  be.  With- 
out a  doubt  bobbed  hair  is  becoming  to  most 
girls  and  women — and  it  will  be  to  you  if  you 
make  your  hair  fluff  out,  as  fashion  and  good 
taste  demand. 

You  can  do  it,  too!  A  marvelous  new  discov- 
ery has  now  made  it  possible  to  thicken  and 
curl  bobbed  hair  in  a  remarkably  short  time, 
making  it  much  softer,  richer  and  lovelier  than 
ever  before.  This  good  news  isn't  limited  to 
"bobbed  heads,"  either.  It's  for  all  women 
who  want  gloriously  beautiful  hair,  whether 
long  ot  short.  It's  also  for  those  women  who 
want  to  grow  their  hair  "back  to  normal"  as 
quickly  as  possible. 

After  the  very  first  treatment,  when  you  begin 
to  spray  your  hair  and  massage  your  scalp  with 
McGowan's  Hair  Grower,  you  will  see  and  feel 
new  "life,"  new  vitality  in  your  scalp  and  hair. 
Before  you  have  finished  the  first  bottle  the 
difference  will  become  apparent.  Your  "bob" 
will  soon  become  thick  and  fluffy,  and  much 
more  becoming  than  you  ever  dreamed  it 
could  be.  And  if  you  have  a  "bob"  to  lengthen, 
you  will  find  your  hair  extending  down  your 
back  in  an  unbelievably  short  time. 

These  results  are  guaranteed.  I  want  that  un- 
derstood. For  it  is  only  on  such  a  guarantee 
that  I  can  show  my  unbounded  faith  in  this 
remarkable  discovery. 

Science  Responds  to  Fashion's  Decree 
Now  that  Paris  has  definitely  decreed  that  long 
hair  is  the  thing,  every  woman  must  follow  one 
of  two  courses — she  must  either  grow  her  hair 
back  to  normal  as  quickly  as  possible,  or  she 
must  have  thick,  fluffy  bobbed  hair.  The  new 
millinery  is  now  being  made  in  larger  head 
sizes,  and  the  girl  or  woman  with  thin,  scraggly 


bobbed  hair  is  going  to  find  it  hard  to  get 
properly  fitted. 

Luckily  for  womankind,  Science  has  come  for- 
ward with  this  amazing  new  discovery  that  will 
help  them  out  of  the  dilemma — for  McGowan's 
Hair  Grower  will  promote  rich,  fluffy  growth 
and  either  thicken  and  beautify  your  "bob"  if 
you  want  to  continue  wearing  it  short — or 
quickly  lengthen  it  if  you  want  to  follow  Paris' 
decree. 

McGowan's  Hair  Grower  is  the  most  powerful 
hair  growing  product  Science  has  ever  known. 
It  is  a  fusion  of  Nitrogen  and  Oxygen,  combined 
and  liquefied  by  a  formula  of  my  own,  discov- 
ered after  years  of  experimenting.  As  you 
know,  oxygen  in  the  air  and  nitrogen  in  thesun- 
shine  are  the  two  elements  absolutely  necessary 
to  the  nourishment  of  all  growing  things.  And 
the  average  human  scalp  gets  far  too  little  of 
these  precious  elements  in  these  days  of  tight 
fitting  hats  and  humid  indoor  atmosphere. 

In  addition  to  thickening  the  hair,  McGowan's 
Hair  Grower  rids  the  scalp  promptly  of  all  dan- 
druff; fluffs  out  dead  and  listless  hair,  and  gives 
to  it  wondrous  light  and  sheen.  And  it  is  so 
easy  to  apply — just  5  minutes  a  day  at  bedtime. 
No  matter  how  thin  your  hair  may  be — no  mat- 
ter how  "straggly"  or  hopeless — I  guarantee 
that  McGowan's  Hair  Grower  will  make  it 
grow  twice  as  fast,  rid  the  scalp  of  dandruff  and 
give  new  life  to  your  hair. 

Sent  Fresh  from  Laboratory 

The  vital  elements  in  this  remarkable  fluid 
evaporate  rapidly,  and  to  be  efficient  McGow- 
an's Hair  Grower  should  be  used  when  it  is 
fresh.  That  is  why  I  will  not  sell  it  in  drug  or 
department  stores.  Because  of  the  perishable 
nature  of  its  growth-producing  properties  I  in- 
sist that  you  get  only  the  freshly  compounded 
product — put  up  daily  under  my  personal  su- 
pervision and  mailed  direct  to  you. 


At  first,  we  contemplated  selling  McGowan's 
Hair  Grower  at  $10  a  bottle — for  it  seemed 
easily  worth  that  to  any  woman  to  make  her 
hair  stylishly  thick  and  fluffy,  or  to  save  four  or 
five  months  in  getting  her  hair  growth  back  to 
normal.  But  that  price  would  restrict  my  dis- 
covery to  a  very  limited  market.  As  McGow- 
an's Hair  Grower  is  the  greatest  achievement  of 
my  laboratories,  I  am  anxious  for  it  to  become 
universally  known  and  used.  So  I  have  de- 
cided to  retail  the  first  10,000  bottles  at  only 
enough  to  pay  the  cost  of  production,  handling 
and  advertising — which  I  have  figured  down  to 
just  $2.47  per  bottle,  plus  a  few  cents  postage. 

Sen d  No  Money) — Just  Sign  the  Coupon 

Whether  your  hair  is  bobbed  or  long;  if  you  want  to 
control  its  length  and  add  to  its  splendor;  if  you  want 
to  make  the  most  of  Woman's  Crowning  Glory  by  de- 
veloping your  hair  to  its  most  glorious  possibilities — • 
don't  delay  another  minute.  There  is  no  formality 
for  you  to  go  through.  I  do  not  even  ask  that  you 
send  any  money.  Just  fill  out  and  mail  the  coupon. 
In  a  few  days  the  postman  will  bring  your  bottle — and 
then_simply  pay  him  my  special  laboratory  price  of 
$2A7,  plus  a  few  cents  postage.  Don't  put  it  off. 
Mail  the  coupon  todayl 

M.  J.  McGowan,  Chief  Chemist 


The  McGowan  Laboratories 
710  W.  Jackson  Blvd.,  Dept.  625,  Chicago,  111. 
Dear  Mr.  McGowan:  I  am  willing  to  let  you 
prove  to  me,  at  your  expense,  that  McGowan's 
Hair  Grower  will  make  my  hair  thick  and 
fluffy,  free  my  scalp  from  dandruff  and  give  new 
life  to  my  hair.  Please  send  me  a  bottle  at  once. 
I  will  pay  the  postman  $2.47  (plus  postage) 
when  it  arrives.  It  is  understood  that  the  full 
amount  will  be  refunded  if  I  am  not  delighted 
with  the  results  in  every  way. 


NAME 


ADDRESS. 


NOTE:  If  you  are  likely  to  be  out  when  the 
postman  comes  you  may  remit  32.60  and  your 
bottle  of  McGowan's  Hair  Grower  will  be  sen 
postpaid. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


85 
PAG 


I 


HMOTION  PICTURF 
nt)l  I  MAGAZINE     L 


Advertising  Section 


"  She's  the  best 
girl  in  the  office 


>> 


"She  hasn't  been  here  as  long  as  some  of 
the  other  girls,  but  she  knows  ten  times  as 
much  about  this  business.  I've  watched 
her  work  during  the  last  six  months  espe- 
cially— ever  since  I  heard  she  was  study- 
ing at  home  with  the  International  Corre- 
spondence Schools.  I  know  she's  ready  for 
bigger  work  and  I'm  going  to  give  her 
Miss  Robinson's  position  at  a  raise  in  salary. 
I  wish  we  had  more  girls  like  her." 

Why  don't  you  study  some  special  subject  and 
prepare  to  earn  more  money?  There's  no  surer  way 
to  do  it  than  by  studying  at  home  in  spare  time  with 
the  International  Correspondence  Schools. 

The  I.  C.  S.  has  a  number  of  courses  especially 
arranged  for  women.  Some  I.  C.  S.  women  students 
are  making  as  high  as  $35,  $50,  $75  and  $100  a 
week  as  private  secretaries,  artists,  expert  letter 
writers,  pharmacists,  assistants  in  chemical  labora- 
tories, high-priced  sales  executives,  office  managers, 
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An    off-stage    snap-shot   of    some    old    Vitagraph    favorites,    Marc    Mc- 

Dermott,    Peggy    Hyland,    and    the  director,    William    Brabin,    made 

during  the  filming  of  The  Sixteenth  Wife 

SKots  from  the   First  Fan  Magazine 

(Continued  from  page  51) 

fact    that    the    industry    could    not    grow  tempt  to  stage  "a  come-back  in  pictures." 

bigger  unless  it  grew  steadily  better.  Still   others,   ranking   high   in   the  contest, 

"Let    the   makers    of    pictures    beware !"  are  even  stronger  that  they  were  ten  years 

said  an  editorial  in  an  early  issue.     "There  ago— Mary    Pickford,    Norma    Talmadgc, 

is  a  large,  new  class  of  photoplay  patrons  Charlie  Chaplin  and  Tony  Moreno, 
growing  every  day.     This  class  is  not  the  The  cast  which   was   given   the   leading 

kind  that  will  be   entertained   by   the  old-  place  in  the  contest  is  as  follows : 

fashioned  picture  plays  that  told  of  mur-  _ 

der,  divorce,  burglary  and  crime.     A  high  Leading  man Earle  Williams 

standard  must  be  fixed  and  maintained.    So  Leading  woman Mary  Pickford 

far  as  I  am  concerned,  I  cry,  'Down  with  Character  man Romame  Fielding 

melodrama  in  pictures  !'  unless  it  be  genu-  Character  woman Norma  Talmadge 

ine  melodrama,  which  is  far  different  from  Comedian,  male   Charlie  Chaplin 

vellow  drama"  Comedian,   female.. Mabel  Normand 

One  of  the' most  interesting  features  of  Handsome  young  man.  ..  .Antonio  Moreno 

the  early   issues   was   a  debate   on   censor-  Beautiful  young  woman        Anita  Stewart 

ship,  a  subject  which  even  then  attracted  Villain. .  Br£a?t  ^ashbu,rn 

nation-wide  attention.      The  question  was,  Favorite   Child Bobby   Connelly 

"Shall  the  plays  be  censored?     Does  cen-  ,  ,    .  , 

sorship  assure  better   plays   or   is   it  beset  ,    AItho  the  word     fan,    short  for  fanatic, 

with  dangers?— promise  or  menace?"  had    not    yet    been    incorporated    into    the 

...  ,  ,  ,,  ,.  English   language   at  the   time  this   maga- 

Another  interesting  feature  of  the  earlier  zme  was  started>  already  there  was        ; 

years  was  a  popularity  contest   the  first  of  j  a  far.flung  audience  for  whom  the 

its  kind  ever  held,  staged  by  the  magazine.  tide  «picture  enthusiasts"  was  a  much  too 

It  was  called  the  Great  Cast  Contest,  and,  ciumsy  term 

by  means  of  a  ballot  issued  by  the  maga-  _,  .  '  ,       ,  ,,     .     , 

zine,    readers    chose    the    ideal    cast    for   a  This   crowd   made  clear    in  methods  by 

hypothetical    picture,    presumably    the   best  "°   means    vague,    their    adoration    of    the 

of  its  kind     *  stars  which  the  magazine  featured,  deluged 

The  results  of   the  contest  are  interest-  j*  with  poems  and  compliments  which  they 

ing,    in   view   of    the    light   of    succeeding  begged  to  have  passed  on  to  the  objects  of 

events  and  the  present  status  of  many  of  their    adoration   thru    the    columns    ot    the 

the    players.      Some    of    the    players    sug-  magazine. 

gested  by  the  readers,  tho  raging  favorites  The    "Chats    With    the    Players,      fea- 

of  a  decade  ago,  are  no  longer  even  known  tured  by  the  magazine,  were  probably  the 

to    the    picture    audiences    of    today,    their  first    authentic    interviews    ever    given    out 

faces,  once  beloved  and  watched  for,  have  by    motion    picture   stars.      They    are    dif- 

disappeared     entirely     from     the     screen.  ferent    from   the    interview   of    today,    for 

Others  are  only  dim  memories  whose  fame  stars,    as    well    as    writers,    have    grown 

is  not  revived  by   an  occasional   futile   at-  bolder. 


86 

Gf. 


Every 


TF  an  average  man  was  asked  to  select   the  most  talented  woman  screen 

1    star,   he   would  probably   pick   out   the   prettiest.      If   the  average   woman 

was  asked  for  her  opinion,  she  would  doubtless  select   the   one  ivho  wore 

clothes  with  the  most  style 


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0T10N  PICTURI 


6)1  I    MAGAZINE 


The  Most  Daring  Booh 
Ever  Written  ! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
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WILL  you  marry  the  man 
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Do  you  know  how  to  make  people 
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IF  you  can  answer  the  above  questions — 
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ELINOR  GLYN 
The  Oracle  of  Love 


What  Every  Man  and 
Woman  Should  Know 


-how  to   win   the   man 

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want, 
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-how    to    make    people 

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destroy    the    capacity 

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how  to  keep  it  naming 
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— how  to  cope  with  the 
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men. 

— how  to  attract  people 
you  like. 

— why  some  men  and 
women  are  always  lov- 
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— are  there  any  real 
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■ — how  to  increase  your 
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eye. 

— how  to  tell  if  someone 
really  loves  you. 

—things  that  make  a 
woman  "cheap"  or 
"common." 


ing  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to 
disregard  convention?  Do  you 
know  how  to  curb  a  headstrong 
man,  or  are  you  the  victim  of 
men's  whims? 

Do  you  know  how  to  retain 
a  man's  affection  always?  How 
to  attract  men?  Do  yea  know 
the  things  that  most  irritate  a 
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Can  you  tell  when  a  man  really 
loves  you — or  must  you  take  his 
word  for  it?  Do  you  know  what 
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want  to  be  a  "wall  flower"  or  an 
"old  maid"?  Do  you  know  the  little  things 
that  make  women  like  you?  Why  do  "won- 
derful lovers"  often  become  thoughtless 
husbands  soon  after  marriage — and  how  can 
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make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places 
a  magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty,  deep 
sincerity,  and  resolute  courage.  But  while 
Madame  Glyn  calls  a  spade  a  spade — while 
she  deals  with  strong  emotions  and  passions 
in  her  frank,  fearless  manner — she  neverthe- 
less handles  her  subject  so  tenderly  and 
sacredly  that  the  book  can  safely  be  read  by 
any  man  or  woman.  In  fact,  anyone  over 
eighteen  should  be  compelled  to  read  "The 
Philosophy  of  Love";  for,  while  ignorance 
may  sometimes  be  bliss,  it  is  folly  of  the 
most  dangerous  sort  to  be  ignorant  of  the 
problems  of  love  and  marriage.  As  one 
mother  wrote  us:  "I  wish  I  had  read  this 
book  when  I  was  a  young  girl- — it  would 
have  saved  me  a  lot  of  misery  and  suffering." 
Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted. 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
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your  hands — pay  him  only  $1.98,  plus  a  few 
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Over  75,000,000  people  have  read  Elinor 
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ceedingly difficult  to  keep  the  book  in  print. 
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The  Authors' Press,    Dept.329,    Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  mas- 
terpiece, "The  Philosophy  of  Love."  When 
the  postman  delivers  the  book  to  my  door,  I 
will  pay  him  only  SI. 98,  plus  a  few  pennies  post- 
age. It  is  understood,  however,  that  this  is  not 
to  be  considered  a  purchase.  If  the  book  does 
not  in  every  way  come  up  to  expectations,  I 
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AOTION  DICTVBE 


The  Arch 
Bigamist 

Huntley  Gordon 
has  been  married 
to  thirteen  dif- 
ferent women. 
On  the  screen, 
of  course.  Read 
his  impressions 
of  these  stars  in 
Classic. 


-fir 


Worried  Stars 


The  folks  in  Holly- 
wood are  not  a  little 
depressed  these  days 
about  the  changes  be- 
ing made  by  the 
foreign  directors. 
Harry  Carr  will  have 
an  article  about  it  in 
Classic 


Are  They  Worth  It? 


Good 
or  Bad  ? 

Is  Hollywood 
the  abode  of  the 
devil,  as  some 
people  maintain, 
or  are  the  folks 
just  human,  like 
us?  We  will  tell 
you. 


-That  is  the  question  being  put  by  so  many  people  who  are  believing 
the  absurd  reports  about  the  enormous  salaries  received  by  the  stars. 
At  last  vou  will  have  the  truth. 


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O       ACTION  DICTVDE 
LA«SIC 


90 


That  "Different"  Screen  Magazine 
On  the  News-stands  January  12 

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They  were  unable  to  think  of  sleep  until 
the  bluecoats  had  finished  their  job. 
From  time  to  time  they  heard  the  chatter- 
ing voices  of  lodgers  awakened  by  the 
search 

Whose  Hand 

(Continued  from  page  45) 

Officer,"  she  answered  with  cold  dignity. 
"The  mark  on  the  rug  proves  that.  Your 
duty,  as  I  see  it,  is  to  investigate." 

The  bluecoats  shrugged  their  shoulders. 
"Sure,  we'll  give  the  place  the  once  over," 
said  Quinlan.  "Never  a  sniff  or  sign  of  a 
living  soul  will  escape  us,  Miss." 

While  Boyle  started  for  the  bathroom, 
Quinlan  dragged  the  bed  aside  and  made  a 
search  that  was  punctuated  with  heavy 
raps  of  his  nightstick  on  the  metal  frame, 
the  mattress  and  the  floor.  There  was  no 
cupboard  behind  the  bed,  no  aperture  in 
the  wall  other  than  a  tiny  radiator  pro- 
tected by  a  grill  thru  which  a  mouse  could 
scarcely  have  passed.  From  the  bed  he 
moved  to  the  clothes-closet,  to  every  nook 
and  recess  of  the  room.  He  did  not  omit 
even  to  throw  up  the  lid  of  Margot's  trunk, 
which  stood  unlocked  in  a  corner,  and  to 
prod  with  his  baton  among  her  gauds.  He 
finished  at  the  same  moment  that  Boyle 
returned,  shaking  his  head. 

"Look  here,  Miss ;  may  I  ask  you  what 
business  you're  in?"  asked  Quinlan,  with  a 
touch  of  malice. 

"I  am  a  motion-picture  actress,"  an- 
swered Margot  curtly. 

"It  don't  surprise  me,  at  all,  at  all.  You 
movie  queens  like  to  pull  anything  that  will 
make  a  story  in  the  papers,  dont  you?" 

Swift  anger  blazed  in  her  eyes.  "I've 
told  you  the  plain  truth.  I  saw  a  hand 
put  out  the  match.  You've  no  right  to 
insult  me." 

"Easy  there,  now.  I  meant  no  harm. 
You  say  you  were  scared  stiff  for  several 
minutes.  And  then  you  'phoned  to  this 
young  man — Mr.  Valery,  eh?  Is  that 
straight?" 

"Yes." 

"And  he  was  able  to  walk  in  without 
your  leaving  the  bed,  because  the  door  was 
unlocked?" 

"Yes." 

"Well,  well.  Miss  Anstrooter,"  exclaimed 
Quinlan  triumphantly,  "didn't  it  strike  you 
at  all  that  your  visitor  could  have  crawled 
in  the  dark  to  that  door,  opened  it  with- 
out making  a  sound,  and  got  clear  away 
after  he'd  shut  it  behind  him?" 

For  a  moment,  Margot  was  overwhelmed 
by  the  simplicity  of  the  theory,  sure  tho 
she  felt  deep  down  that  her  fear-keyed 
brain  could  never  have  missed  the  least 
move  on  the  part  of  the  lurker.  It  was 
the  landlady,  Cora  Bellew.  who  spoke  first. 

"Oh.  my  God!"  she  exclaimed  hys- 
terically.    "That  crook's  roaming  thru  my 


Advertising  Section 


n,.-,0T!0N  PICTU 

01  I    MAGAZINE 


an  uproar.  Carlo,  from  the  shadow  of  a 
pillar,  saw  Romola  seize  the  uplifted  hand 
of  a  burly  workman. 

"God  is  speaking  thru  his  lips !"  she 
flamed.     "Will  you  stone  God?" 

The  artist  hurried  to  her  and  tried  to 
draw  her  away  from  the  hideously  yelling 
mob.  But  Romola  only  stamped  her  small 
foot.  "They  will  kill  him !  And  you 
stand  here  and  let  them !  Is  there  no  man 
in  Florence  to  stand  up  there  beside  him?" 
She  was  struggling  thru  the  press  of 
sweaty  bodies.  Carlo  caught  up  with  her 
at  the  foot  of  the  Duomo  steps. 

"Wait !  I  will  speak  to  them."  He  was 
terribly  afraid.  The  noise  of  the  crowd 
was  that  of  wild  beasts ;  there  was  blood- 
rage  in  the  sound.  His  sensitive  imagina- 
tion felt  the  impact  of  their  missiles,  the 
touch  of  hands,  horribly  strong.  But  he 
put  her  aside  and  leaped  up  the  steps, 
standing  before  the  cowled  figure  of  the 
monk,   arms   spread   wide. 

"People  of  Florence !  Free  people  of  a 
free  city — do  you  value  freedom  so  meanly 
that  you  hold  out  your  hands  for  your 
old  chains?"  Amazement  held  them  silent, 
and,  in  the  hush,  Carlo  swept  on.  He 
had  been  always  a  silent  man,  now  he 
spoke  with  golden  tongue,  urging,  cajoling, 
pleading,  conscious  of  Romola's  watching 
eyes.  He  was  carrying  the  mob  with  him 
when  a  laugh  rang  out,  drawing  all  eyes 
to  the  winsome  figure  of  Tito  Melema 
sitting  his  horse  jauntily,  on  the  outskirts 
of  the  crowd. 

Immediately  the  fickle  throng  echoed 
the  laugh.  The  devastating  sound  of  their 
guffaws  drowned  Carlo's  voice,  and,  re- 
sponsive to  a  sign,  two  burly  men-at-arms 
seized  him  by  the  elbows  and  propelled 
him,  ludicrously  hanging  back,  into  the 
Duomo,  but  not  before  he  saw  that  Romola 
had  taken  his  place  at  Savonarola's  side. 
He  struggled  frenziedly  as  they  dragged 
him  across  to  the  prison  and  thrust  him 
behind  bars. 

"Romola!"  he  gasped,  when  Tito  Mele- 
ma appeared  at  last  in  response  to  his 
messages.     "Was   she  hurt?" 

"My  poor,  mistaken  wife,"  Tito  smiled 
suavely,  "is  quite  safe.  But  you  and  she 
should  not  meddle  in  politics,  my  friend. 
You're  too  weak-spirited  for  this  game, 
both  of  you.  Chess  in  a  quiet  room  is 
fitter  sport  for  you  !*'  He  made  the  great 
drum  of  his  chest  boom  with  a  blow,  "I 
am  different!  I  take  what  I  want  from 
life — I  am  the  heir  of  the  ages,  I  wanted 
wealth  and  I  took  it,  I  wanted  power  and — 
I  took  it !     I    wanted  Romola — and  I  took 

her "  his  white  hands  with  their  thick 

fingers  seemed  to  close  on  something  frail 
— helpless. 

Carlo  spoke  in  a  smothered  voice. 
"How  long  am  I  to  be  kept  here?" 

Tito  laughed  lightly,  turning  away. 
"Not  long,"  he  called  back,  "merely  until 
your  unexpected  eloquence  can  do  no 
harm,  until  that  canting  hypocrite  of  a 
monk  is  dead,  and  Tito  Melema,  the  friend 
of  princes,  is  where  destiny  intends  him 
to  be!" 

I  N  the  gray  half-light  of  the  prison,  night 
could  only  be  told  from  day  by  the 
ringing  of  the  cathedral  bells.  Carlo 
made  a  mark  for  each  of  these  periods, 
and  when  the  tally  had  totaled  a  fortnight, 
the  roar  of  another  mob  came  to  his  ears 
and  shadows  like  flickering  flames  danced 
upon  the  wall  of  his  cell.  For  hours,  it 
seemed,  the  human  storm  spent  itself 
above,  while  Carlo  paced  back  and  forth 
in  agony  at  the  thought  of  Romola.  Then 
came  silence,  more  terrifying  in  portent 
than  any  sound. 

The  creak  of  hinges  drew  his  haggard 
{Continued  on  page  106) 


I  ■ 


>    Assimilation  ot  tooa 

Remains  Undernour^bed^. 


Bad  teeth  and  malnutrition 
are  closely  associated.  When 
teeth  decay,  hoth  physical 
and  mental  development 
of  the  child   are  retarded. 


Don't  wait  to  counteract  tooth  trouble 

Prevent  It! 

Colgate's  removes  causes  of  tooth  decay 

Preventive  science  is  the  new  development  in  den- 
tistry. Its  aim  is  to  keep  teeth  healthy— and  teeth 
can  be  kept  healthy  only  when  they  are  kept  clean. 
Healthy  teeth  are  as  necessary  to  beauty  as  pretty 
eyes  and  a  lovely  complexion. 

Causes  of  tooth  decay  must  be  removed — safely. 
Soap  and  chalk,  scientists  say,  are  the  best  agents 
yet  discovered  for  cleaning  teeth  safely — and  these 
are  ingredients  of  Colgate's  Ribbon  Dental  Cream. 

"Washes,"  Polishes  and  Protects 
Colgate's  does  not  scrape  teeth  clean.     It  washes 
them.    Non-gritty  chalk  removes  clinging  particles, 
mild  soap  washes  them  away.    The  mouth  is  left  in 
its  normal  condition — refreshed  and  clean. 
There  is  no  grit  in  Colgate's,  for  grit  scratches  tooth 
enamel,  thus  inviting  decay  instead  of  fighting  it. 
See  your  dentist  at  least  twice  a  year  and  use  Col- 
gate's regularly.   It  is  priced   as   sensibly   as  it  is 
made — 25c  for  the  large  tube. 

COLGATE  &  CO.,  Established  1806 


COLGATE  &  CO., 
Dept.  996, 

199  Fulton  St.,  New  York  City 


Please    send     me    free,     a 
trial  tube  of  Ribbon  Dental 

Cream. 


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1  MAGA2INE     ■ 


Advertising  Section 


"  Mary,  I  Owe  It 
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"TV/TR  WILLIAMS  called  me  into  his  office 
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How  about  you?  Are  you  always  going  to  work  for  a 
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TECHNICAL  AND    INDUSTRIAL  COURSES 


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jj  Architects'  Blue  Prints 

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I 


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You  too  can  have  a  firm 

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Elmer    Clifton    and   Wally    Reid. 

"friendly  juveniles,"   waiting  for 

orders  on  the  old  Griffith  Lot 


Them   Good  Old  Days 

(Continued  from  page  63) 

Norma  used  to  run  in  every  now  and  then. 
Her  last  really  big  picture  with  Vita- 
graph  was  The  Battle  Cry  of  Peace. 
Norma,  Constance  and  their  mother,  Peg, 
as  the  girls  call  her,  used  to  run  in  quite 
regularly.  Norma  was  present  when  a 
committee  from  The  Pansy  Motion  Pic- 
ture Correspondence  Club  presented  me 
with  a  beautiful  silver  loving-cup.  This 
was  a  beautiful  thought  and  I  shall  never 
part  with  it,  even  if  in  hard  times  I  have 
thought  of  taking  it  to  Uncle's. 

You  know,  Harold  Lloyd  and  Mary 
Pickford  never  fail  to  visit  us  when  they 
come  East.  Florence  Turner,  Francis 
Bushman  and  Beverly  Bayne,  J.  Warren 
Kerrigan,  Anita  Stewart,  Dorothy  Phillips, 
Mae  Murray,  Larry  Semon,  William 
Russell  have  all  been  in  to  see  us.  Yes, 
there  are  a  lot  more,  too. 

We  used  to  run  several  popularity  con- 
tests, and  Alary  Pickford  usually  came 
out  on  top.  I  remember  one  contest 
when  Bobby  Connelly  won  as  the  most 
popular  child  player.  I  shall  never  for- 
get Little  Bobby.  Romaine  Fielding  was 
mighty  popular  in  those  days.  You  know 
he  married  one  of  my  readers — we  used 
to  call  her  the  Beautiful  Naomi.  Remem- 
ber poor  Sidney  Drew,  Olive  Thomas, 
Robert  Harron,-  Arthur  Johnson,  Clarine 
Seymour,  Florence  La  Badie,  Wally  Reid, 
Charles  Kent.  Van  Dyke  Brooke  and 
Martha  Mansfield.  Of  course,  they  will 
never  be  forgotten. 

Note  to  the  Editor: 

Well,  here's  your  old  article  com- 
plete. I  have  made  it  as  dignified 
and  scholarly  as  I  knozv  how.  If  you 
dont  like  it,  write  one  yourself — I'm 
too  busy  with  troubles  of  my  own. 
Selah.  Likewise  farewell.  And  here- 
after please  let  the  shoemaker  stick 
to  his  last.  That  will  be  about  all. 
Finis.  (Which  means  finished — the 
end.) 

■ — The    Answer    Man. 


ARTISTS,  ATTENTION ! 

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SEE 
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MAGAZINE 

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94 


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Advertising  Section 


0T10N  P1CTU 

MAGAZINE 


Stories  About  the  Old  Times 

(Continued  from  page  84) 

new  man  on  to  the  set  that  morning. 
When  they  introduced  him — a  man  my 
height  and  a  little  heavier — I  thought  he 
acted  sort  of  funny.  He  barely  shook 
hands  and  then  walked  away.  It  was  ex- 
plained to  him  that  we  would  put  on  a 
terrific  fight,  pulling  our  punches  as  much 
as  possible,  and  when  I  shouted,  'Go !'  he 
would  do  his  fall,  knocked  out.  After  the 
director  got  thru,  I  tried  to  talk  to  the 
man,  but  he  mumbled  in  a  surly  fashion, 
nodded  and  went  on. 

"The  fight  started.  It  was  a  dandy.  We 
went  to  it  pretty  rough  and  when  two  big 
men  begin  swapping  punches  somebody 
is  bound  to  get  hurt.  When  Lambert 
Hillyer  shouted,  'Go!'  this  man  tore  into 
me  and  almost  knocked  me  apart.  I  just 
managed  to  save  myself,  and  during  the 
next  few  minutes  I  was  so  busy  trying 
to  protect  myself  that  I  could  hardly 
figure  out  his  game.  Of  course,  I  thought 
that  I  had  been  framed,  and  that  he  was 
sent  in  to  beat  me  up.  I  tried  "cueing' 
him  a  few  times  but  each  time  I  did  he 
fought  all  the  harder. 

"Of  course,  the  director  and  camera- 
man were  so  excited  with  the  unexpectedly 
great  fight  they  were  getting,  that  they 
didn't  come  to  my  aid.  After  I  collected 
my  wits,  I  discovered  I  had  more  science 
than  my  opponent,  and  the  next  time  he 
came  in  charging  like  a  mad  bull,  he  ran 
into  the  hardest  wallop  I  could  hit.  He 
dropped  like  an  ox. 

"While  he  was  coming  to,  I  set  out  with 
blood  in  my  eye  to  find  out  the  truth. 
Some  of  the  boys  were  convulsed  with 
laughter,  some  acted  a  little  scared.  When 
they  confessed  to  me  that  the  man  was 
deaf,  I  surely  felt  sorry.  The  poor  fellow 
had  been  afraid  to  let  on  he  couldn't  hear 
the  cue  and  thought  my  shouts  and  ges- 
tures meant  to  come  on  and  fight.  Which 
he  surely  did." 

"V/Ty  first  impression  of  motion  pic- 
tures," said  Monte  Blue,  "was 
gained  thru  a  post-hole.  I  was  digging  it. 
My  second  was  a  tall  man  with  an  eagle 
face,  surmounted  and  partially  concealed 
by  a  large,  misshapen  Panama  hat.  He 
was  leaning  against  a  pole  nearby  a  studio 
building  at  my  back,  while  I,  unaware, 
harangued  a  crowd  of  argumentative  stu- 
dio workers.  I  was  agitating  against  agi- 
tators. When  I  discovered  the  silent 
watcher,  my  flight  of  oratory  ceased 
abruptly,  and  unconsciously  I  started  tak- 
ing off  my  overalls.  My  job  was  gone,  I 
thought.  The  man  was  D.  W.  Griffith, 
and  as  I  had  just  escaped  starvation  a 
(Continued  on  page  128) 


Bill  Hart   in  a   scene  from  one   of  his " 
first  Wild  West  pictures 


ouppose  your  eyelids 
Jailed  to  closes 

when  a  cloud  of  dust  blows  toward  you 


Dust  in  the  eyes?  How  rarely  does  this  unwel- 
come experience  occur,  for  the  protecting  eyelids 
"quick  as  a  wink"  snapshutwhen  trouble  looms. 

Unhappily  there  is  no  such  protection  for  the 
skin.  And  often  its  soft,  natural  fineness  is  sacri- 
ficed because  the  tiny,  delicate  pores  are  subject 
to  the  irritating  effects  of  this  same  dust-laden  air. 

Nature  does  her  best.  The  little  pore  ducts  night 
and  day  cast  out  foreign  particles  and  preserve 
the  pliant  fineness  of  the  skin.  We  help  by  using 
our  face  creams  faithfully  to  cleanse  and  nourish. 
But  most  face  creams  leave  the  pores  wide  open, 
unprotected  as  before. 

Tired,  overtaxed,  the  pores  become  weak  in 
functioning.  And  then  we  wonder  why  they  be- 
come enlarged. 

Some  of  us  accept  this  condition  as  "just  natural 
to  my  skin."  But  those  of  us  who  really  car;  find 
ways  to  refine  the  pores. 

Ice  is  one  tested  way.  But  it  is  harsh  to  tender 
skins,  and  always  more  or  less  inconvenient. 


Note  there  is  a  new  and  better  way—r 
with  all  the  pore-contracting  benefits  of  ice,  and 
with  none  of  its  trouble — a  delightful,  refreshing 
cream,  that  feels  and  acts  like  ice  on  the  skin. 

This  new  cream  is  called  Princess  Pat  Ice  Astrin- 
gent. It  does  not  take  the  place  of  your  nourish- 
ing creams.  It  simply  finishes  the  task — closes  to 
normal  fineness  the  open,  unprotected  pores. 

Apply  this  icy  and  refreshing  cream  right  over 
your  nourishing  cream.  The  sensation  is  like  a 
cool  lake  breeze — the  effect,  an  immediate  con- 
traction of  the  pores. 

Princess  Pat  Ice  Astringent  does  not  enter  the 
pores.  Its  smooth  contracting  action  merely  re- 
stores the  refinement  of  texture  to  your  skin; 
and  its  welcome  "freezy"  chill  brings  a  tide  of 
fresh  natural  color. 

You  will  be  entranced  at  the  youthful  beauty 
which  Princess  Pat  Ice  Astringent  brings  to  your 
complexion,  and  amazed  at  how  wonderfully 
your  powder  adheres — without  possibility  of  its 
entering  and  choking  the  pores. 


Beauty  Hints  by  ''The  Princess" 


My  nighttreatment:  Cleanse  the  skin 
thoroughly  with  a  soft,  solven  t  cleans- 
ing cream.  Remove  with  soft  cloth. 
Feed  the  pores  generously  with  nour- 
ishing cream,  gently  manipulating 
with  finger  tips.  Let  sleep  do  therest. 
I  suggest  Princess  Pat  Cleanser  and 
Princess  Pat  Cream  for  this  night 
treatment. 


My  morning  treatment:  Awaken 
the  skin  with  cool,  not  cold,  water. 
Dry  the  face.  Now  just  a  light  coat 
of  nourishing  cream,  again  gently 
manipulating,  always  with  upward 
and  outward  strokes.  Now  your  ice 
astringent  right  on  top  of  the  nour- 
ishing cream.  Then  wipe  off  both 
together. 


My  final  touch:  I  find  dry  tint  most 
natural  —  Princess  Pat  English  Tint. 
Apply  in  the  shape  of  a  V,  the  point 
toward  the  nose,  leaving  a  clear  space 
in  front  of  the  ear.  For  waterproof 
effect,  apply  before  powdering.  I  use 
an  almond  base  powder— both  sooth- 
ing and  beautifying. 


nocess 

PRINCESS  PAT,  Ltd.,  Chicago,  U.  S.  A. 


FREE 


This  free  demonstrationpackage,  containing 
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tringentand  Princess  Pat  Cream.  After  several 
days'  trial  on  your  own  complexion,  entire- 
ly without  cost,  let  your  mirror  be  your  guide. 


PRINCESS  PAT,  Ltd.,  Dept.22 

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Please  send  Demonstration  Package  to 

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Beauty 

A  Gleamy  Mass  of  Hair 

35c  "Danderine"  does  Wonders  for 
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Ruth  Roland   and  her  mother,  who 
was  a  famous   opera  singer 

Tke  Stor?  of  M$  Life 

(Continued  from  page  53) 

After  two  years  of  high  school  I  went 
to  El  PasO,  Texas,  to  visit  another  aunt, 
and  the  first  week  I  was  there  I  ran  away 
and  joined  a  road  company!  We  got 
stranded  on  our  maiden  trip  and  I  caught 
the  whooping-cough  from  a  baby  I  held 
at  a  railroad  station.  (I  was  always  bor- 
rowing babies.)  I  got  back  to  my  aunt's 
town  with  fifty  cents,  whooping  merrily, 
but  I  was  too  proud  to  confess  failure,  so  I 
didn't  let  her  know  I  was  back  but  went  to 
a  theatrical  boarding-house  with  the  rest 
of  the  troupe.  Something  had  to  be  done, 
so  we  decided  to  put  on  a  play  at  the  local 
opera-house.  But  we  had  no  money  to  pay 
a  royalty  fee,  and  at  this  crisis  I  per- 
formed a  feat  of  which  I  am  prouder  than 
any  flame-riding,  chasm-leaping  or  trestle- 
walking  I  ever  did  in  a  movie  serial.  I 
repeated  Paid  in  Full,  by  heart,  to  one  of 
the  actresses  who  was  a  stenographer,  and 
the  next  week  we  opened  in  it !  Before  I 
went  on  every  night  I  uttered  a  prayer 
that   I   might  get   thru   without  a   whoop. 

The  next  time  I  went  out  with  a  road 
company  we  got  as  far  as  a  little  tank-town 
in  Oklahoma,  named  Muskeegee,  before 
the  manager  and  the  leading  lady  decamped 
with  the  funds.  The  landlord  of  the  little 
one-horse  hotel  in  Muskeegee  held  my 
trunk  for  my  board  bill,  and  when  I  got 
a  chance  to  make  a  little  money  by  doing 
a  turn  at  an  Elks'  benefit  performance  in 
town  I  had  to  beg  him,  practically  on  my 
knees,  for  one  dress  out  of  the  trunk  to 
wear  in  my  act.  When  I  came  down  from 
the  room  with  the  dress  in  my  suit-case,  he 
made  me  open  it  before  a  whole  lobby  full 
of  grinning  small-town  loafers,  because  he 
suspected  me  of  trying  to  carry  away  more 
than  I  had  promised ! 

"Just  now,"  I  said,  looking  him  straight 
in  the  eye,  "I'm  nobody ;  but  you  wait ! 
Some  day  I'm  going  to  be  very  successful, 
and  then  I  hope  I  meet  you  and  can  tell 
you  what  I  think  of  you!" 

I  haven't  ever  seen  him  again — but  I 
may  yet.     And  I  shall  certainly  tell  him! 

Another  vaudeville  engagement  soon  had 
me  in  funds  again  and  this  time  I  went 
home  to.  California  with  a  trunk  filled  with 
presents  for  my  friends.  After  two  years 
of  Texas  flatness,  the  foothills  and  roses 
of  Los  Angeles  looked  pretty  good  to  me, 
and  I  made  up  my  mind  that,  whatever  my 
future  was,  it  was  going  to  be  here. 

By  this  time  there  were  several  picture 
companies  working  in  the  West,  and  one 
day  I  borrowed  a  hat  with  a  forty-dollar 
(Continued  on  page  112) 


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The  Winners  of  the  Month 

(Continued  from  pages  46  and  47) 
Hot  Water 

thru  the  young  benedict's  inability  to  con- 
trol the  gas  and  the  brakes.  His  facial  ex- 
pressions here  are  cause  for  spontaneous 
laughter.  The  concluding  scenes  in  which 
"mother"  is  routed  are  put  over  with  quick- 
ness and  despatch — with  every  incident 
timed  to  the  second.  The  titles  are  gems 
of  pointed  wit.  For  instance :  When  the 
little  brother  is  introduced  it  reads — "A 
skin  you  love  to  touch — with  a  strap." 

The  picture  develops  a  lively  climax 
with  the  house  turned  into  a  bedlam  of 
excitement  as  Harold,  fortified  with  strong 
"likker,"  develops  courage.  By  playing 
ghost,  he  scares  the  household  out  of  its 
collective  wits.  He  even  chloroforms  the 
mother-in-law — and  his  wraithlike  figure 
sends  her  out  into  the  night  air — for  good. 

It  may  not  be  so  strong  in  plot  interest 
as  some  previous  efforts,  but  there  is  no 
denying  its  mirthful  gags  and  high  jinks. 
Lloyd  certainly  has  a  staff  that  scores  as 
many  comedy  touchdowns  as  Notre  Dame 
scores  legitimate  touchdowns  against  any 
of  its  opponents.  The  Lloyd  steam-roller 
surely  crashes  thru  here. 

The  Snob 

these  moments  are  not  new  in  film  situa- 
tion and  climax ;  they  have  only  been 
treated  more  deftly,  more  suggestively — 
and  with   considerable  more  humanity. 

A  thoroly  absorbing  drama — this,  one 
that  offers  no  stressing  of  emotions  or  sen- 
timental flourishes.  It  carries  charm  all 
the  way.  It's  not  a  study  in  gray  over- 
tones. Indeed,  there  are  many  bright 
shafts  of  humor  which  temper  it  and  aid 
in  making  it  human. 

The  picture  is  marked  by  fine  interpre- 
tation. Norma  Shearer  gives  a  perform- 
ance which  hasn't  been  excelled  this  sea- 
son. It's  an  intelligent  portrayal  of  a  role 
marked  by  fine  restraint  and  yet  she  satu- 
rates it  with  feeling.  There  is  also  an 
unnamed  child  actress  who  is  a  wonder. 

See  The  Snob,  and  you'll  admit  that  the 
screen  occasionally  scales  the  high  places. 

He  Who  Gets  Slapped 

at  all  times  He  Who  Gets  Slapped  main- 
tains the  illusion. 

Norma  Shearer  is  charming  and  effective 
as  Consuelo,  and  the  other  sympathetic 
role  is  finely  handled  by  John  Gilbert. 
Marc  MacDermott  and  Tully  Marshall 
account  for  two  more  of  the  several  splen- 
did performances. 

The  Tornado 

in  The  Storm  meet  their  equal  in  these 
views  of  the  torrent  which  is  let  loose 
when  the  gate  of  a  huge  dam  is  lifted. 
The  flash-and-cut  system  of  film  editing  is 
used  to  work  up  a  fever  of  suspense  which 
film   spectators   will   remember    long. 

The  picture  may  well  be  expected  to 
record  a  notable  success  as  a  box-office  at- 
traction and  it  will  add  to  the  already  illus- 
trious name  of  Lincoln  J.  Carter  as  a 
writer  of  melodramatic  stories.  The  adap- 
tation was  made  by  Grant  Carpenter  and 
King  Baggot  directed  it  in  a  manner  to 
reflect  new  brilliance  to  his  record. 

Ruth  Clifford,  Richard  Tucker,  Snitz 
Edwards,  Dick  Sutherland  and  Jackie 
Morgan  are  prominent  in  a  cast  which  is 
something  more  than  adequate.  The  Tor- 
nado provides  a  tremendously  thrilling 
hour  or  so  of  screen  entertainment. 


err  motion  picTURrr 

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Xo  woman  should  let  her  hair  turn  gray  when  I  can 
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I  invented  this  scientific  preparation  to  use  on  my  own 
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OTION  PICTURE 
MAGAZINE     L 


Advertising  Section 


Wfiy 

Aw  America*  Choice 


MADE  FROM  THE  WORLD'S  BEST 
NOVELS  AND  STAGE  PLAYS 


"Three   Women" 

By  Ernst  Lubitsch  andMaxKraely. 

"Find   Your   Man" 

"The  Lover  of  Camille" 

From  David  Belasco's  Stage 

Production    of    Sacha    Guitry's 

"Deburau." 

"This   Woman" 
From  the  Novel  by  Howard  Rockey. 

"The  Narrow  Street" 

From   the  Novel  by  Edwin  Bateman 

Morris. 

"The  Dark  Swan" 

From    the   Novel    by   Ernest   Pascal. 

"The    Age    of    Innocence" 

From     the     Prize     Novel     by     Edith 
Wharton. 

"The  Lighthouse  By  the  Sea" 

From     the     Play     by     Owen     Davis. 

"A  Lost  Lady" 
From    the    Novel    by    Willa    Cather. 


"A   Broadway    Butterfly" 

"The   Bridge   of   Sighs" 

From    a     Song    Theme    by     Charles 

K.  Harris. 

"How    Baxter   Butted    In" 

From  the  Play  by  Owen  Davis. 

"Eve's   Lover" 

From     the     Novel    by    Mrs.     W.     K. 
Clifford. 

"The    Man    Without    a    Conscience" 

From    the    Novel    by    Max    Kretzer. 

"My    Wife   and   I" 

"Recompense" 

From   the  Novel  by   Robert   Keable, 
Sequel     to     "Simon     Called     Peter. 

"The   Dear   Pretender" 

From     the     Novel     by     Alice     Ross 
Colver. 

"The  Eleventh  Virgin" 

From    the    Novel    by    Dorothy    Day. 


Now  Ready  for  the  Season  1924-25 

DISPLAYING  THE  GENIUS  OF  LEADING 
STARS  AND  DIRECTORS 


Irene  Rich 
Dorothy   Devore 
Monte    Blue 
Beverly   Bayne 
Marie   Prevost 


Louise    Fazenda 
Willard    Louis 
John   Roche 
June   Marlowe 
Ernst    Lubitsch 


Harry   Beaumont 
William    Beaudine 
Phil  Rosen 
Millard    Webb 
James  Flood 


At  Leading 
'Theatres  Everywhere 

WARNER  bros 

Classics  of  the  Screen  ^% 


«c 


I 


WHERE  CLASS/CSOE\ 
THE  SCREEN  ARE  MADE?! 


Betty     in     another     scene     from     Chu 
Chin  Chow 


Betty  Was  a  College  Widow 

(Continued  from  page  29) 

from  his  flying  feet  with  what  looked  like 
a  safe  hit  to  his  credit.  Then  out  in  the 
"field"  Betty's  long,  lithe,  beautiful  body 
shot  into  the  air  and  one  long,  white  arm 
shot  up  to  its   full  stretch. 

A  yell  of  triumph  went  up  from  her 
side  as  Betty  "speared"  the  ball  and  put 
the  runner  out. 

I  remember  the  first  night  of  her  ap- 
pearance as  a  vaudeville  star. 

Her  mother  was  the  widow  of  a  minister 
of  the  gospel  and  the  family  was  very 
poor — the  worst  possible  kind  of  poor — 
the  poor  of  well-bred,  cultured  people. 
The  kind  of  poor  that  hurts.  So,  to  be 
frank  about  it,  Betty  had  to  go  to  work. 
The  family  had  raked  and  scraped  to 
educate  her  voice.  The  time  had  come 
for  Betty  to  deliver. 

As  I  remember  it,  most  of  the  football 
stars  then  out  of  the  hospital  attended 
Betty's  vaudeville  debut.  Betty  came  out 
with  some  kind  of  a  peacock  gown  and  a 
bad  case  of  stage-fright.  She  says  it  was 
a  rotten  vaudeville  act ;  but.  anyhow,  the 
football  boys  nearly  raised  the  roof. 

It  was  the  beginning  of  a  long,  hard 
struggle. 

There  were  times  when  it  looked  as  tho 
Betty  was  due  for  a  big  success ;  there 
were  other  times,  in  New  York,  when  it 
looked  as  tho  she  had  a  fine  chance  liter- 
ally to  starve  to  death ;  when  she  had  to 
do  sewing  for  chorus-girls  to  get  enough 
to  eat ;  when  she  found  her  adornment  in 
taking  the  ribbons  off  the  flowers  that 
were  sent  her ;  when  it  seemed,  as  she  says, 
as  tho  there  was  just  one  too  many  people 
in  the  world: — and  she  was  the  extra  one. 

But  in  those  bitter  days,  Betty  took  her 
medicine  without  a  whimper,  as  becomes  a 
girl  whose  little-girl  pals  were  football 
heroes,  without  one  unbroken  carcass  be- 
tween them. 

She  took  her  licking  from  Fate  stand- 
ing up  and  smiling. 

And  now  that  she  is  successful,  famous, 
and  in  a  fair  way  to  be  rich,  she  is  just 
the  same  good  sport  as  the  tall,  willowy 
girl  who  speared  the  hot-liner  that  nearly 
broke  her  fingers  off  on  the  beach  that  day 
at   Balboa. 


98 

Gi. 


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„,.v|0T10N  PICTU 

101  I   MAGAZINE 


What  I  Can  Read  in  tke  Faces 
of  tke  Film  Stars 

MARY   HAY 

{Continued  from  page  40) 

In  the  side  of  the  head  the  appetite  sign 
is  full,  showing  a  liking  for  food  and  a 
good  judgment  of  foodstuffs. 

The  cheeks  show  caution  and  good  re- 
cuperative powers. 

In  the  chin  and  jaw  we  find  persistency, 
affection  and  ability  to  call  affection  forth. 

The  hands  show  an  inspirational  nature 
and  independence  of  thinking. 

In  summarizing  her  character,  let  me  say 
that  Mary  Hay  is  very  versatile,  finding  it 
difficult,. at  times,  to  concentrate  her  efforts 
upon  one  thing ;  that  she  is  affectionate 
and  swayed  more  by  her  heart  than  her 
head.  She  is  a  kindly  person,  with  well- 
developed  social  instincts. 


HAROLD  LLOYD 

(Continued  from  page  40) 

Making  a  general  summary  of  his  char- 
acter, I  would  say  that  Harold  Lloyd  is 
very  enterprising,  with  good  mentality  and 
the  business  faculties  well  developed.  He 
is  serious,  persistent  and  has  a  keen  sense 
of  humor.  He  is  not  forward,  but  will 
always  look  out  for  his  own  interests.  He 
is  a  restless  nature  who  likes  plenty  of 
activity,  both  mental  and  physical. 


RICHARD   BARTHELMESS 

(Continued  from  page  41) 

The  cheeks  show  a  cautious,  reserved 
nature,  one  able  to  keep  a  secret ;  an  honest, 
industrious,  intense  person  with  a  great 
sense  of  fairness  and  justice. 

The  mouth  (upper  lip)  proves  he  is 
kind,  charitable,  sympathetic,  that  he  can 
be  firm,  that  he  is  not  easily  swayed,  and 
that  he  has  poise  and  self-control.  The 
lower  lip  shows  patriotism,  a  well-developed 
paternal  instinct,  clannishness,  great  love 
and  interest  in  his  home. 

The  chin  and  jaw  show  a  strong  will, 
great  determination,  plenty  of  endurance 
and  enjoyment  of  out-of-door  life  and 
sports.  He  must  be  active.  Here,  too,  is 
shown  a  love  of  beauty.  He  is  strong  in 
his  likes  and  dislikes,  thoroly  staple,  and 
has   well-developed  business  buffers. 

The  hands  show  he  is  a  frank,  honest, 
outspoken  nature,  that  he  thinks  inde- 
pendently and  is  not  easily  swayed.  Here, 
too,  we  find  dramatic  ability  and  inspira- 
tional qualities. 

In  summarizing  his  character,  we  find 
that  Richard  Barthelmess  has  a  good  men- 
tality, and  is  a  person  of  quality  and  re- 
finement ;  that  his  is  an  honest,  intense,  in- 
dustrious nature ;  that  he  is  bound  to 
succeed.  

BEBE  DANIELS 

(Continued  from  page  41) 

She  is  very  sensitive.  In  fact,  this,  I 
would  say,  is  her  weakness,  for  she  is  over- 
sensitive and  feels  too  deeply. 

Making  a  general  summary  of  her  char- 
acter, I  find  that  Bebe  Daniels  is  highly 
emotional,  active  and  restless ;  that  she  is 
intense,  industrious  and  ambitious,  with 
great  nervous  force  and  energy.  She  is 
broad-minded  and  highly  independent  in 
her  actions  and  thoughts,  with  a  good  sense 
of  fairness.  Hers  is  a  very  affectionate 
nature,  with  great  loyalty  in  friendship. 
She  is  a  good  sportswoman  with  a  sense 
of  humor,  dramatic  ability  and  plenty  of 
fire  and  vim. 


And  they  didn't  dream 

they  could  sell 

their  stories 

Many  new  writers  are  winning  outstanding  success 
by  writing  for  the  screen  and  the  magazines 


'? 


Harold  Shumate 
Author  of  "The 
White  Sin"  and 
"The  Last  Kose 
of  Summer."  Mr. 
Shumate  was  for- 
merly a  salesman. 


MAGAZINE  editors  and  motion  picture 
producers  are  searching  as  never 
before  for  stories  that  are  gripping  and  new, 
and  they  ar;  offering  large  prizes  in  addition 
to  the  usual  ci.sh  payments  for  acceptable 
material. 

This  is  indeed  the  day  of  opportunity 
for  new  authors,  and  scores  of  men  and 
women  who  never  dreamed  that  they  could 
enter  the  ranks  of  the  professional  writers 
are  actually  selling  stories  to  the  magazines 
and  to  motion  picture  producers. 

The  photographs  of  just  five  of  these 
new  authors  are  shown  on  this  page,  and 
the  story  of  their  success  should  be  an 
inspiration  and  a  guide  to  every  man  and 
woman  who  has  the  priceless 
urge  to  write. 

Scores  of  other  students 
of  the  Palmer  Institute  of 
Authorship  are  also  selling 
short  stories,  novels,  plays, 
special  articles  and  photo- 
plays. 

The  list  includes  Phyllis 
Cumberland,  who  sold 
"Tangled  Lives"  to  Thomas 
H.  Ince;  Theodore  Harper, 
who  wrote  "The  Mushroom 
Boy";  Miss  Bernadine  King, 
who  wrote  "What  Did  the 
Bishop  Say?";  John  M.  Byers,  who  sold  his 
first  play  to  a  New  York  producer;  Charles 
Shepherd,  who  wrote  "The  Ways  of  Ah  Sin"; 
Tadema  Bussiere,  whose  play,  "The  Open 
Gate,"  was  given  its  premiere  at  the  Morosco 
Theatre,  Los  Angeles,  in  October,  1924; 
C.  G.  Raht,  who  sold  "The  Night  Hawk" 
to  Harry  Carey,  and  Earle  Kauffman,  who 
won  a  31500  prize  with  his 
scenario,  "The  Leopard  Lily." 
Another  Palmer  student  has 
just  sold  a  novel  to  Double- 
day,  Page  &  Co. 

Few  of  these  writers  had 
ever  written  a  line  for  publi- 
cation before  they  enrolled 
with  the  Palmer  Institute  of 
Authorship.  E<hel  Middleton 

Author  of  "Judg- 
_  -  -.  -     ment      of     the 

Learn  the  technique  of    storm,-  one  of 

the     big     screen 
WfltinP  successes    of    re- 

*  cent  years.      Also 

m ,  i         i         t  •  »        published     as     a 

i  hrough  the  Institute  s  novel  by  Double- 
course  in  Short  Story  Waiting  da>"-  Paee  &  c°- 
and  Photoplay  Writing  they  learned  the 
technique  of  story  building  and  plot  develop- 
ment— they  learned  right  at  home  in  spare 
time  to  write  stories  and 
photoplays  acceptable  to  edi- 
tors and  motion  picture  pro- 
ducers— they  learned  how  to 
write  stories  that  sell. 

The  Palmer  Institute  will 
not  only  teach  you  the  pro- 
fessional technique  of  writing, 
but  through  its  contact  with 
editors  and  producers  can  be 
of  very  great  help  in  en- 
abling you  to  sell  your 
stories.   The  Institute's  Story 


auffman,  who 


Winifred  Kimball 
Winner  of  tna 
$10,000  prize  in 
the  contest  con- 
ducted     by      the 


Chicago  Daily  Sales  Department  has  head- 
nu'eu-as"eoduced  quarters  in  Hollywood,  with 
by  Goldwyn.  representatives  in  New  York 

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Jane  Hurrle 

We  sold  one  of  her 
stories,     "Robes 


and  Chicago — the  leading  literary  centers 
of  the  country. 

Well-known  writers 
help  you 

The  success  of  Palmer  stu- 
dents is  due  simply  and  solely 
to  the  fact  that  you  study 
under  the  personal  direction 
of  men  and  women  who  are 
themselves  well-known  au- 
thors, dramatists  and  motion 
picture  writers. 

Fifty  Free  Scholarships  and    °f   Redemption.- 

a-nr\        ■  1     1     to  Allen  Hulubar. 

two  ^jUU  prizes  are  awarded  Miss  Hunie  also 
annually    to  deserving    £rot*  o The.  »  eft 

,  '  °     Hand  Brand. 

students. 

Aiding  in  the  work  of  discovering  and 
training  new  writers  are  such  distinguished 
men  as  Frederick  Palmer, 
author  and  educator;  Clay- 
ton Hamilton,  well-known 
playwright  and  author- 
educator;  Brian  Hooker,  for- 
merly of  the  faculty  of  Yale 
and  Columbia  Universities; 
Frederic  Taber  Cooper,  au- 
thor-educator; C.  Gardner 
Sullivan,  screen  writer  and 
director;  James  R.  Quirk, 
editor  and  publisher  of  Photo- 
play Magazine,  and  Rob 
Wagner,  author  and  motion 
picture  director. 

Write  for  this  book  and 
Free  Creative  Test 

The  Pal  mer  Institute  is  unique  among 
educational  institutions  because  it  seeks 
for  training  only  those  with  natural  creative 
ability  who  can  profit  by  its  instruction. 
Therefore,  no  one  is  invited  to  enroll  for  its 
home-study  courses  until  he  or  she  has 
passed  the  Palmer  Creative  Test. 

This  test  is  the  most  novel  means  ever 
devised  for  enabling  you  to  obtain  an 
accurate  analysis  of  your  writing  ability. 
The  filling  out  of  this  Creative  Test  and  our 
analysis  and  subsequent  training  have  en- 
abled scores  of  Palmer 
students  to  sell  stories  and 
photoplays.  Our  Board 
of  Examiners  grades  your 
reply  without  cost. 

Just  mail  the  coupon 
and  we  shall,  send  the 
Creative  Test  to  you  free 
— together  with  our  96- 
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Winsor  Josselyn 
We  sold  two 
stories  for  him 
in  less  than  two 
months --"Ribbon 
Counter  Jumpers" 
and  "Light  Fin- 
gers   and   Toes." 


Palmer  Institute  of  Authorship 
Affiliated  with  Palmer  Photoplay  Corporation 
Dept.  9-P,  Palmer  BIdg.  Hollywood,  Calif. 

Please  serd  me,  without  cost  or  obligation,  a  copy 
of  your  Creative  Test,  the  96-page  book,  'The  New 
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Advertising  Section 
Trailing  tke  Eastern  Stars 

{Continued  from  page  72) 

Mr.  Sills'  daughter  joined  him  around 
the  Christmas  holidays,  his  wife  having 
left  on  a  trip  to  India. 

Did  You  Know  That 

\li  aey  MacLaren,  sister  of  Katherine 
MacDonald,  married  a  British  army 
officer  and  is  now  living  with  her  husband 
in  India? 

Betty  Bronson,  the  screen's  own  Peter 
Pan,  played  one  of  the  ghosts  in  Dick 
Barthelmess'  picture,  The  Enchanted  Cot- 
tage ? 

Rudolph  Valentino  speaks  with  an  Ital- 
ian accent? 

Bebe  Daniels  has  been  seen  frequently 
with  Maurice,  the  dancer,  but  nothing  more 
romantic  to  report? 

C  idney  Olcott,  who  has  just  completed 
work  on  his  latest  Paramount  special, 
Salome  of  the  Tenements,  featuring  Jetta 
Goudal,  vows  he  made  the  first  screen  ver- 
sion of  Ben  Hur,  and  it  was  only  a  two- 
reeler. 

"A  pyrotechnic  display  was  given  at 
Sheepshead  Bay,  about  fifteen  years  ago, 
along  with  a  much  advertised  chariot  race. 
'Here's  a  beautiful  opportunity  to  make 
Ben  Hur  cheap,'  we  all  figured.  So  I  took 
a  cameraman  and  a  couple  of  actors  down 
to  the  track  and  'shot'  the  race.  A  reel  of 
interiors  added  to  this  and,  presto,  Ben  Hur 
was  screened !" 

Crances  Howard  has  made  good.  Hav- 
ing been  hustled  into  the  role  of  the 
Princess  in  Paramount's  version  of  The 
Swan,  Miss  Howard  made  good.  This  de- 
spite the  fact  that  it  was  her  first  experi- 
ence in  the  movies  and  she  Continued  her 
work  as  leading  woman  in  The  Best  Peo- 
ple, one  of  the  season's  stage  hits.  Frances 
has  been  cast  by  Paramount  to  play  the 
featured  feminine  role  in  A  Kiss  in  the 
Dark,  adapted  from  the  Cyril  Maude  stage 
success,  Aren't  We  All?  Adolphe  Menjou 
and  Ricardo  Cortez  are  also  featured. 

Ponway  Tearle's  wife,  known  in  vaude- 

ville  as  Adele  Rowland,   a  star  song- 

and-dance  attraction,  took  an  unusual  step 

for  her,  upon  returning  recently  for  a  brief 

{Continued  on  page  105) 


100 

GE 


Keystone 

Albert    E.    Smith,    President    of    the 

Vitagraph    Company,    and    his    wife, 

Jean  Paige,  returning  from  a  vacation 

in  Europe 


MAH  JONG 

Learn  This 
Fascinating  Game 
in  a  Few  Minutes 

Do  you  know  how  and  when 
to  "pong"  —  and  when  to"1 
"chow,"  and  what  the  "winds" 
stand  for,  and  how  to  go  "Mah 
Jong"?  Do  you  know  what 
"characters"  are?  and  "tiles"? 
and  "Dragons"  and  "Bamboos" 
and  "Circles"? 

Sounds  mysterious  and  compli- 
cated— but  it  is  not.  Mah  Jong 
is  a  wonderfully  interesting 
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and  friends  should  enjoy.  It 
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games." 

Mr.  Eugene  V.  Brewster, 
publisher  of  Motion  Picture 
Magazine,  Motion  Picture  Clas- 
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to  you.  Go  to  your  news-stand 
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and  gives  you  "One  Hundred 
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OTtON  PICTURl 


01  I    MAGAZ 


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Tom  Mix  is  again  the  dashing 
hero  in  Teeth 


Critical  Paragraphs   About 
Mew  Productions 

(Continued  from  page  75) 

of  such  a  story),  Elliott  Dexter  and  Zazu 
Pitts — particularly  Adolphe  and  Zazu.  A 
good  number — and  enjoyable. 

The  Ridin'  Kid  from  Powder  River 

The  old  familiar  cattle  baron-nestor  feud 
is  on  display  in  this  Hoot  Gibson  cow- 
country  melodrama.  Which,  of  course, 
places  the  time  around  1870.  A  prolog 
reveals  a  flash  of  Forty-niners  being  at- 
tacked by  the  redskins — and  the  plot  fol- 
lows with  an  introduction  of  a  youthful 
orphan  who  vows  vengeance  against  the 
ringleader  of  a  gang  of  bad  men  for  kill- 
ing his  aged  benefactor.  Which  is  the 
moment  for  the  irrepressible  Hoot  to  ride 
into  the  story.  A  time  lapse  of  fifteen 
years  passes — with  Hoot  getting  his  man 
in  a  honky-tonk.  What  follows  is  his 
effort  to  elude  capture.  The  picture  is 
interesting  thru  its  characterization. 

The  Border  Legion 

Another  picture  of  the  great  open  spaces 
where   cactus   is   cactus   is   on  view  in 
The  Border  Legion,  adapted  from  one  of 
Zane  Grey's  stories  of  the  Old  West. 

The  characters  are  clearly  defined  and 
move  against  picturesque  backgrounds.  The 
hero  is  a  killer — which  naturally  makes 
him  a  villain.  But  he  wins  the  respect  of 
the  audience  because  he  is  honest  in  his 
villainy.  Rockcliffe  Fellowes,  coming 
along  fast  these  days,  makes  the  character 
unusually  vivid.  There  is  a  fine  human 
quality  about  his  work.  A  first-rate 
Western — far  above  the  average. 

Christine  of  the  Hungry  Heart 

'The  eternal  triangle  comes  bidding  for 
favors  here  in  a  story  revolving  around 
the  neglected  wife  theme.  As  triangles  go, 
this  particular  one  fairly  cries  out  for  ro- 
mantic expression  as  the  "central  character 
has  no  less  than  three  distinct  amours.  Of 
course,  it  would  have  been  easy  to  have 
made  this  a  sophisticated  farce  with  Chris- 
tine a  sort  of  feminine  vainfix.  But  the 
title  precludes  any  such  possibility.  She 
is  starving  for  affection — and  after  marry- 
ing a  young  scapegrace  she  turns  to  a 
brilliant  man  of  medicine  and  discovers 
that  his  profession  takes  him  away  from 
the  fireside — she  promptly  elopes  with  a 
visionary  playwright.  And  her  last  amour 
robs  her  of  any  sympathy. 

The  picture  is  well  produced  and  acted 
with  sincerity  and  feeling  by  Florence 
Vidor.  And  Clive  Brook  makes  a  manly 
study  of  the  surgeon — a  very  natural  per- 
formance indeed. 

(Continued  on  page  103) 


Popularity 

Tins! 


'icTURrr 


When  you  write  to  advertisers  please  mention  MOTION  PICTTJEE 


yours-m^L  this  mo£  winning 
of  all  musical  Instruments 

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■^   The  scale  can  be  mastered  in 
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fji'^  Practice  is  pleasure,  because 

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I  Gentlemen: 

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I  Saxophone . . .  Cornet . .  .Trombone. . .  Trumpet. . .   | 
(Mention  any  other  instrument  interested  in) 

|  Name | 

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LTown State I 
1  r\ 

MAGAZINE.  101  f 

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AMOTION  PICTURF 
CI  I  MAGAZINE     l- 


Advertising  Section 


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"I  Can  Teach  You 
to  Dance  Like  This 

— Sergei  Marinoff 
You  can  study  classic  dancing  in  all  its  forms. 
Greek,  aesthetic,  intrepretive,  Russian,  ballet  — 
underthe  direction  of  thefamousSergeiMarinoff, 
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1924  Sunnyside  Ave..    Studio  12-63,  Chicago 


Pat    O'Malley    in    his    first    feature 
picture,   which  was   a   circus   story 


Irish —  and  in  Love 

(Continued  from  page  27) 

look  at  me  reproachful — like  I  had  mur- 
dered his  mother — and  say,  'Dont  you  ap- 
preciate this'  chance  I  am  giving  you  to 
become  an  actor  ?' 

"I  told  him  it  was  the  first  time  I  ever 
knew  an  actor  had  to  use  a  hammer ;  since 
then  I  have   found  out  different. 

"One  day  D.  W.  Griffith  offered  me  a 
job  at  ten  dollars  a  day.  Then  Alcott 
came  and  offered  to  raise  me  to  thirty 
dollars  a  week,  to  play  leads,  if  I'd  stay. 

"  'Is  this  one  of  those  leading  parts  I 
play  with  a  hammer  and  nails  ?'  I  asked. 
Alcott  swore  this  was  a  regular  part  with 
nothing  but  honor  and  glory. 

"The  company  was  about  to  go  to  Ire- 
land to  put  on  a  picture  there ;  but  when 
we  got  there  I  found  that  part  of  my  job 
was  to  square  the  police  and  borrow  all 
the  old  furniture. 

"One  day  they  asked  me  to  get  a  bed 
that  belonged  to  a  queer  old  codger.  I 
think  it  was  the  County  Donegal  we  were 
in.  They  wanted  to  borrow  the  old  fel- 
low's bed,  but  he  wouldn't  listen  to  it  at  all. 
Finally  Alcott  appealed  to  me  to  go  down 
and  wheedle  the  old  man   into  it. 

"And  so  I  did.  I  told  him  that  all  his 
relatives  in  America  would  be  fancying 
that  they,  with  all  their  riches,  had  it 
over  him  and  here  was  the  chance  for  him 
to  show  them  such  a  bed  as  no  one  of  them 
ever  saw  in  their  whole  lives.  And  so  we 
got  the  bed.  And  of  course  the  prop  men 
forgot  to  return  it  and  a  rain  came  on 
and  here  was  the  old  fellow  sitting  up  all 
night  in  the  rain,  without  his  bed  to  sleep 
in,  and  getting  no  better  in  temper  as  he 
got  wetter.  The  next  morning  we  heard 
that  he  was  out  with  his  gun  to  shoot  the 
first  motion  picture  man  he  saw. 

"And  here  comes  Alcott  and  says  :  'P?t, 
just  go  down  and  explain  it  to  the  old 
man,  will  you?' 

"And  me  being  that  good  natured  I 
never  could  refuse,  I  went  down  to  be 
murdered. 

"I  escaped  with  my  life  by  joining  the 
old  man  in  his  man  hunt.  I  got  a  gun 
too  and  we  went  around  together  hunting 
for  motion  picture  prop  men  with  bor- 
rowed beds.  And  so  we  went  from  one 
saloon  to  another  until  the  old  fellow  was 
so  drunk  he  couldn't  see  a  bed ;  and  so  I 
didn't  get  killed." 

Pat  says  after  all  these  adventures  it 
was  falling  in  love  that  turned  his  luck. 
He  sot  married  and  now  he  has  the  happi- 
est home  in  Hollywood,  with  a  charming 
wife  and  three  beautiful  little  daughters. 
And  Pat  says  he  cant  understand  how 
it  is  at  all:  but  as  he  has  stopped  falling 
in  love,  he  has  become  in  great  demand 
as  a  screen  lover. 


PIN-MONEY 

For 

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We  know  there  are  many 
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Our  proposition  will  not 
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Hundreds  of  spare-time 
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Motion  Picture  Classic, 
and  Beauty.  If  you  are 
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CUT     HERE 


Subscription  Department 

BREWSTER    PUBLICATIONS.  Ice. 

17J   Duffield   St.,  Brooklyn.  X.  Y. 

I    am    interested    in    your    money-making 
plan.      Please  send   full   information  at  once. 

Name 

St.  and  No 

City State 


102 


Every  advertisement  in  MOTION'  PICTURE   MAGAZINE   is  guaranteed. 


I  WAS  FAT 

NOW  I  ONLY  WEIGH 
130  POUNDS 

Took  Off  50  Pounds  in  8 
Weeks — No  Diet,  Exercises, 
Creams,  Dangerous  Drugs 
or    Worthless     Reducing 

Girdles. 

Latest     French    Way    to 

Take    Off    FAT— It's    Safe 

and  Lasting 


"Dear  Fat  Folks:  Let  me  tell  you  the  truth  about 
fat.  Do  not  be  fooled  by  believing  you  can  check  a 
fatty  condition  in  your  system  by  going  through 
weakening  diets,  strenuous  exercises,  rubbing  your 
body  with  creams  or  lotions  or  by  using  any  of  the  old  _ 
ways  of  reducing.  If  these  were  effective,  THERE 
WOULDN'T  BE  A  FAT  MAN  OR  WOMAN  IN 
THE  COUNTRY  today,  as  diets,  exercises,  creams 
and  old  remedies  have  been  tried  for  years.  Do  not 
think  for  a  minute  that  you  can  take  off  fat  by  wear- 
ing so-called  reducing  girdles — it  cannot  be  done.  I 
personally  know  the  horror  of  being  fat — I  went 
through  it.  Not  only  did  I  feel  ashamed  of  my  figure, 
but,  worse  still,  I  never  was  well  or  happy  like  the  rest 
of  the  girls — -I  always  had  pains  in  my  back  or  limbs, 
my  feet  ached,  mv  head  was  dizzy — ALL  THAT  BE- 
CAUSE I  WAS  OVERTAXING  MY  FRAME  WITH 
50  POUNDS  OF  EXCESS  FAT  WHICH  NATURE 
DID  NOT  INTEND  FOR  ME  TO  CARRY.  I  had 
spent  a  small  fortune  trying  everything  known  to  re- 
duce, but  never  succeeded  until  one  day  I  met  a 
French  Scientist  who  had  devoted  his  life  to  the  study 
of'fat  forming  cells'  in  the  human  body;  he  found  out 
how  to  check  these  and  how  to  turn  any  fat  man  or 
woman  into  a  normal  regular  size  person.  Thanks  to 
his  advice,  I  easily  and  safely  lost  50  pounds  in  eight 
weeks,  and  I  improved  my  looks  and  health  100%.  I 
want  every  one  of  you  fat  people  to  do  the  same. 
Since  I  have  explained  my  discovery  in  this  country  I 
have  literally  been  swamped  with  letters  of  thanks 
from  men  and  women  who  have  taken  off  from  10  to 
80  pounds  of  excess  fat.  What  I  did  for  them  I  can  do 
for  you.  Simply  use  the  coupon  below,  mail  it  to  me 
with  your  name  and  address  plainlv  written,  and  I  will 
send  you  ABSOLUTELY  FREE  OF  CHARGE  per- 
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duce your  weight  and  get  a  normal,  perfect  figure." 

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Dpi  fX\\J     MADAME  ELAINE,  Dept.  39, 
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Authorizing 

Na  me 


Town 

State 

To  receive  free  of  charge  full  information  on  how 
to  safely  and  easily  reduce. 

If  you  care  to,  enclose  5  cents  in  stamps  to  help 
cover  expenses. 


Wonderful,  new  device,  guides  your  hand;  corrects 
your  writing  in  few  days.  Big  improvement  in  three 
hours.  No  failures.  (;om"lete  outline  FKEE. 
Write  C.  J.  Ozment,  Dept.  18,      St.  Louis,  Mo. 


Advertising  Section 

Critical  Paragraphs  About 
New  Productions 

(Continued  from  page  101) 

Married  Flirts 

A  lesson  in  morality  is  served  up  in 
this  picture.  For  it  tells  of  badly 
balanced  marriages — of  women  who  flirt 
with  other  women's  husbands — of  women 
who  make  careers  and  break  their  hearts. 
The  film  is  adapted  from  Louis  Joseph 
Vance's  novel,  Mrs.  Paramor,  and  features 
a  vamp  who  wins  another  woman's  hus- 
band. She  casts  him  aside  and  marries 
another  man.  And  the  outraged  wife  pro- 
ceeds to  adopt  the  same  tactics.  She  vamps 
the  vamp's  husband.  A  quartet  of  players, 
Mae  Busch,  Pauline  Frederick,  Huntley 
Gordon  and  Conrad  Nagel,  succeed  pretty 
well  in  making  it  entertaining. 

The  Great  Diamond  Mystery 

C^reat  effort  is  made  to  build  up  a  line 
of  mystery  in  this  picture,  the  plot  of 
which  doesn't  warrant  it.  One  looks  for 
a  story  within  a  story  when  the  heroine 
has  a  murder  mystery  tale  accepted  by  a 
publisher.  But  it  soon  loses  contact  with 
this  thread  and  develops  around  this  very 
heroine  attempting  to  prove  the  accepted 
theory  that  a  murderer  returns  to  the  scene 
of  his  crime. 

Several  convenient  devices  and  loose 
ends  are  uncovered  which  tend  to  destroy 
the  unity  of  the  plot.  One  surprise  is 
offered.  The  director  does  not  show  a  last 
minute  chase  with  the  governor  saving  the 
youth  with  a  "nick  o'  time"  pardon.  Shirley 
Mason  is  the  star — and  William  Collier, 
Jr.,  the  innocent  boy  she  saves. 


I 


Roaring  Rails 

t's  good,  old-fashioned,  primitive  melo- 
drama that  is  with  us  in  this  Harry 
Carey  number.  The  star  instead  of  driv- 
ing a  horse  of  flesh  and  blood  drives  an 
iron  horse  in  a  picture  which  calls  upon 
every  conceivable  element  to  bring  forth 
unadulterated  action,  suspense,  thrills,  heart 
interest  and  sentiment.  Villainy  is  painted 
in  the  deepest-dyed  colors — and  virtue 
wears  a  halo. 

The  action  comes  right  out  in  the  open  and 
tells  of  a  locomotive  engineer  who  permits 
his  train  to  plunge  over  a  bridge  while 
rescuing  a  youngster  from  falling  out  of 
the  cab.  Discharged,  the  engineer  becomes 
a  hobo — and  takes  the  kid  along  with  him. 
And  the  tramp  wins  back  a  job,  saves  the 
(Continued  on   page  124) 


«°kiiurr 


Yes,  We  Will  Positively 

Ship  You 

this  splendid  Underwood  upon  receipt  of  only  $3.00. 
This  is  by  far  the  most  liberal  typewriter  offer  that  has 
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million  Underwoods  have  been  made  and  sold,  prov- 
ing conclusively  that  it  is  superior  to  all  others  in  ap- 
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10  Days'  Free  Trial 

We  want  yon  to  see  for  yourself  that  this  ia  the  type*  1 
writer  you  ought  to  have,  and,  therefore,  we  make  onr  j 

great  free  trial  offer.    You  merely  send  us  the  three  ; 
ollars  deposit  and  we  ship  the  machine  for  you  to  try  j 
for  ten  full  days  before  you  decide  to  keep  it.  If  not 
satisfied,  every  penny  of  your  money  will  be  returned 
to  you. 

Rebuilt  Like  New 

Every  Underwood  we  sell  is  rebuilt  just  like  new.  It  Is  dls- 
mantled  right  to  the  very  bottom,  and  romanufactured  to  maka  I 
it  just  like  a  new  typewriter,  with  new  enamel,  new  nickel,  new  j 
platen,  new  key  rings,  new  type;  a  complete,  perfect  typewriter,  | 
with  two-color  ribbon,  back  spacer,  stencil  device,  automatic  j 
ribbon  reverse,  tabulator,  key  shift  lock,  etc.  Impossible  to  i 
tell  It  from  a  brand  new  Underwood*  either  in  appearance, 
durability  or  qualify  of  work. 

Easy  Monthly  Payments 

Onr  easy  monthly  payment  plan  makea  It  possible   for  YOU  to  ] 
own  this  splendid  machine  without  having  to  payout  any  biff  sum  j 
of  money.  Ywu  will  hardly  know  you  are  payinff  for  it.  REMEM-  j 
BER,  you  have  the  full  use  of  the  machine,  just  the  same  aa 
though  it  was  fully  paid  for. 

5-Year  Written  Guarantee 

With  every  typewriter  we  give  a  written  guarantee.  These 
machin.-a  are  rebuilt  like  new  by  the  famous  SH1PMAN-WARD 
PROCESS.  Equipped  with  late  improvements.  You  can't  tell  ! 
them  from  a  new  machine.  The  world's  standard  typewriter, 
the  same  models  as  sold  by  the  Underwood  Typewriter  Com- 
pany today,  at  a  biff  saving  to  you.  Act  Nowl  Get  this  splendid 
offer  and  save  money. 

Your  Money  Back 

Tea  yoo  can  have  your  money  back  if  you  want  it.    After  yoo  \ 
have  examined  the  typewriter  carefully,  used  it  to  write  letters,  i 
if  you  decide  for  any  reason  whatever  that  you  do  not  care  for 
It    you  may  return  it  to  us  at  our  expense  and  every  penny  yoo 
have  paid  will  be  cheerfully  and  promptly  refunded. 

No  Obligation  on  Your  Part 

When  you  send  in  the  coupon  for  either  further  information 
about  our  great  typewriter  offer  or  for  the  typewriter  Itself  on 
our  free  trial  plan,  you  are  under  no  obligation  whatever  until 
after  you  have  tried  it  and  have  decided  for  yourself  that  you 
want  to  keep  it. 

Free  Book  of  Facts 

telling  all  about  our  great  big  typewriter  factory.  In  this  booB 
we  illustrate  and  describe  all  of  the  various  processes  of  re- 
enameling,  renickeling  and  assembling  this  splendid  Under- 
wood. It  tells  in  an  interesting  way  how  each  part  is  examined 
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chine being  one  you  will  be  proud  to  own. 

Free  with  Every  Typewriter 

A  complete  course  in  touch  typewriting.  You  don't 
have  to  know  how  to  operate  a  typewriter.  You  can 
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free  a  waterproof  cover  and  all  tools  that  come  with  a 
typewriter. 


ACT  NOW!     Mail  his  coupon  today. 


SHIPM AN-WARD  MFG.  CO. 

2022  Shipman  BIdg.,  Chicago 

Send  me  your  big  bargain  catalog  and  i 
complete  details  of  your  surprising! 
offer,  without  obligation  on  my  part,  j 


Bebe    Daniels    and    Tom    Moore 

do  excellent  work  in  Dangerous 

Money 

When  you  write  to  advertisers  please  mention  MOTION  PICTf RE  MAGAZINE. 


NAME 

STREET.. 

CITY STATE . 


HMOTION  PICTURE 
1)81  I  MAGAZINE     *~ 


Advertising  Section 


%eWbrld 

JWeasuresMen 

"^eadjirst" 


i\\ 


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GLO-CO 

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(M) 


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to  Normany  Products  Co.,  6511  McKinley 
Avenue,  Los  Angeles,  California, 

Name 

A  ddress 


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sophistication.  I  was  the  wife  and  while 
I  sat  at  my  window,  I  noticed  out  in 
the  street  that  everybody  was  wearing 
a  new  hat.  I  wanted  one  and  Bunny 
and  I  went  out  to  shop.  I  tried  on  hat  after 
hat  and  nothing  pleased  me.  Finally,  just 
as  I  saw  the  hat  I  wanted,  another  woman 
bought  it,  and  walked  out  of  the  shop 
with  it.  In  my  frantic  dash  after  her,  I 
broke  my  leg.  But  I  pursued  her  in  a 
wheel  chair  and  at  last  persuaded  her,  by 
offering  twice  the  original  price  of  the 
hat,  to  sell  it  to  me.  The  last  scene 
showed  me  wearing  my  new  hat  and  a 
blissful  smile,  even  tho  Bunny  had  lost 
control  of  the  wheel  chair  and  I  was 
coasting  down  hill. 

John  Bunny  was  one  of  the  most  dearly 
beloved  of  the  film  stars,  both  in  the 
studio  and  out,  tho  he  was  funny  only 
when  he  worked.  On  the  streets,  people 
would  follow  him  for  blocks  and  call  out, 
"Oh,    Bunny !" 

Whenever  he  passed  thru  towns,  he 
was  spotted  immediately.  His  extraordi- 
nary girth  and  his  kindly  face  never 
escaped  recognition.  At  baseball  games 
he  was  received  as  the  Prince  of  Wales 
is  now.  He  was  very  good-natured  about 
the  insistence  of  his  numerous  admirers, 
even  tho  some  of  them  sorely  tried 
his  patience.  Around  the  studios,  Bunny 
loved  to  sleep  and  he  fell  asleep  almost 
as  soon  as  he  sat  down,  with  no  work 
to  do.  Many  was  the  tug  at  his  sleeves 
required  to  bring  him  back  to  conscious- 
ness. 

Bunny  was  the  soul  of  kindness.  When 
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what  is  every  actor's  dream  of  Paradise, 
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and  never  got  over  enthusing  about  the 
wonder  of  new-laid  eggs.  Every  chance 
he  had  he  brought  the  fresh  eggs  with 
him  and  distributed  them  to  the  company 
as  if  they  were  jewels.  Mrs.  Bunny  was 
just  as  good-natured.  She  used  to  make 
English  puddings  for  us,  and  cakes. 

Everyone  outside  the  studio  insisted  on 
calling  me  Mrs.  Bunny,  and  Mr.  Bunny 
and  I  once  agreed  to  have  a  picture  taken 
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after  he  died,  thai:  rumor  persisted,  and 
people  used  to  eye  me  first  with  pity  for 
my  bereavement  and  contempt  afterward, 
if  I  laughed  or  jested. 

I    was    often    recognized,    but    not    so 


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often  as  Bunny.  And  that  reminds  me 
about  the  "personal  appearances"  that 
were  so  popular.  We  were  paid  ten 
dollars  every  time  we  appeared  in  person 
in  movie  theaters,  in  conjunction  with  our 
pictures,  and  some  of  the  best  known 
stars  today,  who  are  careful  never  or 
hardly  ever  to  let  themselves  be  seen  by 
movie  fans  on  the  street,  were  pleased 
beyond  measure  at  this  chance  for  making 
extra  money.  And  quite  a  bit  we  made, 
too.  Sometimes  we  visited  several  theaters 
in  an  evening,  sometimes  a  few  a  week, 
but  every  little  bit  helped.  We  usually 
spoke  about  the  picture,  any  difficulty  in 
its  making  or  kindred  subjects. 

Movies  were  not  so  popular  then  as 
they  are  now,  to  be  sure,  but  we  each  got 
our  share  of  fan  mail  and  how  we 
cherished  those  letters.  Every  one  of  them 
was  answered  by  hand  and  often  accom- 
panied by  a  photograph.  It  was  a  great 
expense  but  worth  it,  for  the  realization 
that  one  pleases  is  always  gratifying. 

Many  of  the  old  stars  are  now  no 
longer  heard  from.  Some  have  died  but 
more  have  simply  dropped  out.  Those 
who  have  remained  are  among  the  leading 
actresses  and  actors  in  the  world  and  their 
success  is,  I  feel,  due  in  no  small  degree 
to  the  talent  of  Mr.  Griffith.  He  discovered 
so  many  hidden  talents.  It  took  his  un- 
erring eye  to  perceive  Constance  Tal- 
madge's  gift  for  comedy,  and  her  wild 
charm.  He  emphasized  these  qualities  in 
Intolerance,  where  she  played  the  mountain 
girl.  He  recognized  Lillian  Gish's  wist- 
fulness.   And  Mary  Pickford's  winsomeness. 

My  own  talents  lay  in  comedy,  for 
which  no  doubt  my  physical  appearance 
has  fitted  me.  Altho  I  am  about  five 
and  a  half  feet  tall,  I  weigh  only  one 
hundred  pounds,  and  from  the  start  I 
have  been  in  comedy.  Some  have  said 
that  I  played  in  custard-pie  comedies, 
but  that  is  not  true.  I  have  never  in 
all  my  days  had  a  pie  thrown  at  me,  and 
that  in  itself  is  a  distinction  few  actors 
in  old  comedies  can  claim. 


«ra!F 


Trailing  trie  Eastern  Stars 

(Continued  from  page  100) 

stay  in  the  two-a-day.  Mrs.  Tearle  was 
advertised  as  Mrs.  Conway  Tearle.  This 
marked  the  first  time  in  her  sparkling 
vaudeville  career  that  she  has  abandoned 
the  name,  Adele  Rowland. 

"Phe  night  Jack  Pickford's  charming  and 
talented  young  wife,  Marilyn  Miller, 
appeared  as  the  star  of  the  musical-dancing 
version  of  Barrie's  Peter  Pan,  the  attentive 
Jack  sent  her  an  enormous  floral  gift. 
Enclosed  in  a  miniature  cabin,  eight  feet 
high  and  five  feet  wide,  were  flowers.  The 
next  day  she  sent  her  husband's  offering  and 
all  flowers  received  to  the  children's  hospital. 

D'essie  Love  is  another  Hollywoodite  who 
has  decided  to  make  her  home  in  New 
York.  When  Bessie  came  on  to  play  with 
Tom  Meighan  in  his  last  picture,  Tongues 
of  Flame,  she  liked  our  fit'  town  so  much 
that  after  a  serious  confab,  her  mother  re- 
turned to  the  Coast  to  dispose  of  their 
home.  Bessie  has  her  ukulele  with  her  and 
is  in  the  midst  of  assembling  a  Bessie  Love 
jazz  orchestra  like  she  had  on  the  Coast. 
Bessie  sure  strums  a  mean  uke ! 

Darbara  La  Marr  is  one  movie  star  who 
must  work  steadily  in  stories  she  likes 
or  she  becomes  moody  and  unhappy.  She 
is  completing  work  in  Hail  and  Farezvell, 
and  when  she  talks  about  the  picture,  her 
eyes  sparkle  and  she  fairly  radiates  en- 
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Romol 


omola 

(Continued  front  page  93) 

eyes  toward  the  door  where  his  jailer 
stood  beckoning.  The  man  answered  the 
question  of  his  look.  "Savonarola  was 
burned  at  the  stake  at  high  noon,"  said 
he  with  unction,  "but  his  heart  was  found 
whole  in  the  ashes  and  would  not  burn. 
People  say  it  is  a  sign  they  have  killed  a 
holy  man  and  they  are  hunting  for  Tito 
Melema  to  take  the  blame  of  the  deed!-' 
Tito  Melema's  destiny,  which  had  led 
him  to  become  the  idol  of  Florence,  led 
him  to  the  end  which  he  had  chosen  for 
himself  three  years  before  when  he  first 
set  foot  in  the  city  with  his  pockets  full 
of  jewels  worth  a  man's  ransom.  It  was 
not  until  several  days  later  that  they  found 
him,  no  longer  handsome,  no  longer  tri- 
umphant, in  the  ooze  far  down  the  river 
into  which  he  had  plunged  to  escape  the 
fickle  mob.  Beside  his  body  was  another 
body,  that  of  a  wrinkled  beggar  with  the 
scars  of  serfdom  on  his  back  and  one 
clawlike  hand  gripped  so  tightly  about 
Tito's  throat  that  it  could  not  be  pried 
loose.     The  ransom  had  been  paid  in  full. 

Qn  a  fair  spring  day,  when  the  hillsides 
above  Florence  were  starred  with  peach 
blossoms  and  the  dome  of  the  Duomo  was 
set  in  a  sky  of  blinding  blue,  Carlo  Bu- 
cellini  stepped  once  more  thru  the  bronze 
gates  of  the  Palace  Bardi.  But  now  his 
feet  did  not  turn  toward  the  dim  library 
with  its  scent  of  antiquity.  A  scream  of 
childish  laughter  drew  him  to  the  loggia 
with  its  outlook  over  the  roofs  of  Florence 
and  the  hills  beyond  the  Arno. 

A  tiny  boy  with  bold,  beautiful,  dark 
eyes  dashed  by  him  and  a  woman's  tones 
rose  in  delighted  protest,  "Oh,  Tito !  What 
a  wicked  one — whatever  shall  I  do  with 
you?" 

"Dont  scold  him,  Tessa!"  Romola's 
voice  answered ;  and  then,  in  a  rich  throaty 
croon,  "see !  she  is  asleep.  I  am  almost 
afraid  to  breathe." 

Thru  the  doorway  he  saw  her  in  a 
gown  of  some  blue  stuff  bending  above 
the  baby  in  her  arms  and  he  looked  away. 
What  man,  he  thought,  was  worthy  to 
gaze  on  such  a  sight?  Then  her  eyes 
lifted  to  him,  and  she  laid  the  child  in  the 
arms  of  the  pretty  peasant  woman,  who 
hurried  by  him  with  a  stare  of  curiosity 
from  wide  childish  eyes. 

"Some  day,"  said  Carlo,  standing  before 
her,  "I  shall  paint  you  as  a  Madonna." 

"Tessa's  baby,"  Romola  said  gravely, 
"will  soon  be  too  big  to  hold." 

A  silence  fell  between  them,  full  of  un- 
spoken things.  And  then  far  in  the  dis- 
tance the  bells  of  the  Duomo  began  to 
ring.  Romola  turned.  "They  are  the  first 
sounds  I  can  remember.  They  will  be 
ringing  centuries  after  we  are  gone." 

The  sun  was  warm  upon  Carlo's  head. 
Life  ran  thru  his  veins.  He  leaned  toward 
her  with  a  quivering  laugh.  "But  now —  . 
we  are  here,  Romola!  The  world  belongs 
to  us  for  a  little  while.  Some  day  I  shall 
tell  you  a  story  of  a  man  who  lived  among 
dreams  because  he  was  afraid  of  reality, 
until  his  eyes  were  opened  and  he  saw  that 
Life  was  more  beautiful  than  any  dream 
could  be " 

He  stopped,  trembling  at  his  daring. 
Perhaps  he  had  frightened  her — perhaps 
she  would  draw  away  in  anger.  But  the 
little  hand  lying  close  to  his  did  not  stir 
and  he  dared  to  raise  his  eyes  to  her  face. 

No  martyr  this,  with  the  tender  little 
smile  upon  her  lips,  but  a  girl  with  sweet 
color  in  her  cheeks. 

"Why  wait  for  some  day?"  said  Ro- 
mola.    "Tell  me  now " 


106 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


OTION  PICTUR] 

MAGAZINE 


On  tke  Camera  Coast 

(Continued  from   page  88) 

have  been  filming  Peter  B.  Kyne's  Never 
the  Twain  Shall  Meet,  under  the  direction 
of    Maurice   Tourneur. 

T-Tenry  Lehrman  has  had  another  un- 
A  fortunate  love  affair.  He  is  suing 
Mary  Alice  Lehrman  for  divorce.  They 
were  married  in  1922,  and  he  says  she 
offended  him  by  throwing  the  household 
furniture  at  him. 

At  this  writing,  Hollywood  is  in  a  state 
of  bewildered  excitement  as  to  whether 
or  not  D.  W.  Griffith  is  coming  back  to 
California.  Joseph  Schenck,  the  new  boss 
of  the  United  Artists,  says  in  great  con- 
fidence that  he  is,  and  from  the  Griffith 
office  in  New  York  comes  the  equally  con- 
fidential whisper  that  it's  all  bunk;  he 
isn't.  As  every  one  knows,  Mr.  Griffith 
dislikes  California,  but  he  has  found  pro- 
duction in  the  East  to  be  impractical. 

Another  social  explosion !  Jacqueline 
Logan's  mother  comes  to  the  front 
and  announces  that  it  is  absurd  to  sup- 
pose that  she  would  allow  her  angel  child 
to  become  engaged  to  George  Melford,  her 
director.  "Why,"  she  said,  "do  you  sup- 
pose I  would  allow  Jackie  to  be  engaged  to 
a  man  who  already  has  a  wife?  Anyhow, 
he  is  too  old  for  my  baby  girl.  She  is 
not  yet  twenty-two." 

Jacqueline,  for  her  part,  corroborates 
the  fact  that  Hollywood's  most  sensational 
romance  is  at  an  end.  "There  never  was 
an  engagement,"  she  explains.  "As  he 
was  my  director,  there  was  bound  to  be 
a  little  attachment." 

'M'azimova's  worries  are  over.  She 
started  the  making  of  Madonna  of  tin- 
Streets  with  the  very  frank  statement  that 
she  didn't  know  whether  or  not  the  public 
would  continue  to  accept  her.  The  result 
of  that  picture  was  a  triumph,  at  least,  for 
her  personally.  As  a  result,  she  is  making 
another  picture;  it  is  The  Pearls  of  tin- 
Madonna,  with  J.  Stuart  Blackton,  for 
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Edwin  Carewe.  She  appears  to  be  just 
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Ann  Cornwall,  after  a  long  absence 
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George  Fawcett  is  to  play  the  part  of 
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Margaret  Edwards,  the  young  girl  who 
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Hal  Roach  has  sent  a  company  out  to 
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Mary  Fuller  and  Maurice  Costello,  great  favorites  of  the  early  days, 
in  a  scene  from  Dr.  Le  Fleur's  Theory,  produced  in  1907 

The  Movies  Are  Growing  Up 

(Continued  from  page  55) 


machinists,  carpenters,  architects,  design- 
ers, interior  decorators,  animal  trainers 
and  efficiency  experts  we  have  today. 
Anybody  who  wasn't  needed  as  a  lead  in 
a  picture  cheerfully  played  as  extra.  Per- 
haps, on  the  whole,  this  is  the  greatest 
difference  between  then  and  now !  I  have 
stills  in  my  desk  showing  Earle  Williams, 
Norma,  Constance  and  Anita  as  a  part 
of  the  mob.  There  was  one  silent,  foreign 
chap  who  often  worked  in  mob  scenes  for 
two  dollars  a  day,  who  is  now  the  ruler 
over  fifty-million  people.  His  name  was 
Leon  Trotzky. 

Most  of  the  men  had  been  connected 
with  the  theater  in  some  way,  but  when- 
ever we  needed  a  pretty  new  girl  we 
went  over  to  Erasmus  Hall  High  School 
and  picked  her  out.  A  dark-haired  little 
freshman  who  gabbled  her  Latin  grammar 
in  the  corners  of  the  studio  between  scenes 
was  named  Norma  Talmadge.  Then  she 
got  two  dollars  a  day  for  her  services. 
Her  pictures  bring  in  nearer  two  thousand 
dollars  a  day  now. 

The  atmosphere  of  the  studios  in  those 
days  was  that  of  a  big  family  circle ;  the 
women  sat  around,  making  over  the  gowns 
in  the  wardrobe  for  their  parts  and  ex-' 
changing  recipes ;  the  men  talking  about 
their  cars  and  chickens  and  homes. 
Temperament  as  an  alibi  for  tantrums 
hadn't  been  discovered  yet,  and  the  direc- 
tors didn't  wear  short  pants ! 

Costello  was  the  highest-paid  player 
in  the  movies ;  there  were  no  such  things 
as  "stars,"  by  the  way,  with  a  weekly 
wage  of  three  hundred  dollars.  John 
Bunny  came  next  and  then  the  rest  of 
the  leads,  men  and  women  getting  about 
a  hundred  and  twenty-five.  If  a  director 
got  seventy-five  a  week  he  privately  con- 
sidered himself  overpaid.  In  those  days 
picture  people  congratulated  themselves 
on  having  a  steady  job,  fifty-two  weeks  in 
the  year,  instead  of  the  heartbreaking  lay- 
offs of  the  theater.  I  think  we  all  got 
an  artistic  thrill,  a  satisfaction  in  our 
work  which  didn't  show  in  the  salary 
check,  but  which  many  fabulously  paid 
movie  stars  dont  get  nowadays. 

When  you  compare  figures  like  this 
with  the  twenty-five  hundred  and  three- 
thousand-dollars-a-week  salaries  of  the 
present  day  they  sound  like  pocket  money, 
but,   after   all,   fifteen  years   ago   a   screen 


actor  didn't  have  the  expenses  he  has 
now :  managers  and  agents ;  publicity  men, 
to  tell  a  breathless  world  what  kind  of 
soap  he  uses  in  his  bath ;  divorces,  in- 
come taxes,  twelve-thousand-dollar  cars, 
bobbed  hair,  fan  photographs  by  the  bale, 
lawyers'  fees  for  examining  contracts, 
bootleggers   and  borzois. 

And  then,  too,  you  must  remember  that, 
tho  a  few  stars  of  great  box-office 
value  get  a  huge  salary  now,  many  fine 
players  —  indeed  the  majority  —  receive 
under  a  thousand  a  week,  and  there  are 
featured  actors,  and  even  stars,  whose 
fan  mail  helps  support  the  government, 
getting  no  more  than  a  hundred  and  fifty 
in  their  Saturday  pay  envelopes. 

Moving  pictures  in  1910  meant,  quite 
literally,  pictures  that  moved,  horses 
galloping,  men  fighting,  Indians  creeping, 
"knock-downs"  and  drag-'em-outs"  in 
studio  slang.  The  first  two-reel  picture 
ever  made,  Job's  Picnic,  had  already  ap- 
peared at  that  time,  but  the  average  length 
of  a  film  was  one  thousand  feet  or  one 
reel.  Naturally,  in  that  length  there  was 
no  time  for  the  depicting  of  subtle  emo- 
tions or  intricate  plot.  A  picture  took  a 
week  to  make,  and  we  cut  and  titled  an 
average  of  a  picture  a  day  at  the  studio. 
The  first  three-reel  picture,  Vitagraph's 
Love's  Sunset,  was  also  the  first  quiet- 
action  picture  ever  made.  The  Little 
Minister,  released  in  1912  in  three  reels, 
was  referred  to  in  the  newspapers  as  a 
"Gigantic  Production"  and  a  "Super 
Feature." 

In  those  days  the  usual  program  at  a 
movie  house  consisted  of  five  one-reel 
pictures,  a  scenic,  and  an  illustrated  song 
with  garden  gates,  violently  pink  rose- 
arbors,  vividly  green  woodland  glades, 
young  ladies  with  pompadours  being 
wooed  by  young  men  in  checkered  suits 
under  a  bright  yellow  moon.  The  motion 
pictures  had  a  trade-mark  pinned  onto 
the  walls  of  the  interior  sets  and  onto  a 
a  tree  trunk  in  the  exteriors  to  prevent 
piracy ;  they  fluttered  and  flickered  and 
the  legend  "One  Minute  Please  to  Change 
the  Film"  interrupted  at  exasperatingly 
tense  moments  when  the  heroine's  hair 
was  coming  down  as  she  struggled  with 
the  villain  in  the  deserted  cabin  while  the 
hero  rode  "tlot-tlot"  to  the  rescue  over 
(Continued  on  page  113) 


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{Continued  from  page  67) 

a  bright  future.  Then  suddenly  something 
happened.  Eleanor  seemed  to  slide  back- 
ward instead  of  forward.  In  the  past  year 
she  has  been  eclipsed  by  several  other 
young  actresses  who  have  come  rapidly  to 
the  fore.  The  writer  has  always  felt  con- 
fident that  Miss  Boardman  would  one  day 
fight  her  way  to  the  top  by  dint  of  per- 
sonality and  clever  performances,  and  it 
is  comforting  to  note  that  this  capable 
young  actress  is  once  again  coming  into 
the  limelight. 

In  Sinners  in  Silk  Eleanor  gives  a  per- 
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of  a  doubt  that,  if  given  the  proper  roles, 
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The  Prize  Film  of  1924 

A  dolph  Zukor  has  offered  an  award  of 
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Our  choice  for  the  prize  is  the  J.  K. 
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judges  who  are  going  to  decide  what  kind 
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of  Mine  had  neither  mammoth  sets,  huge 
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The  Big-Hearted  Banker 

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{Continued  on  page  117) 


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Confidences  Off- Screen 

{Continued  from  page  25) 

darndest  to  wish  trivial  parts  upon  him. 
But  he  has  maintained  his  standing  as  a 
free-lance  without  long-term  contracts,  and 
so  has  been  able  to  fight  for  his  own  way 
and  sometimes  to  get  it.  In  The  Great 
Divide  you  will  see  him  in  a  role  he  con- 
siders ideal  for  his  talents. 

Xow,  as  to  the  critics,  Mr.  Tearle  feels 
that  their  opinions  are  of  almost  no  value 
to  an  actor.  He  declares  they  are  a 
jaded  lot  who  sit  thru  so  many  pic- 
tures every  week  that  only  the  bizarre, 
the  unexpected  twist,  can  stir  them  to 
enthusiasm.  They  overlook  the  simple 
human  values  that  appeal  to  the  masses, 
especially  to  the  public  of  the  small  towns 
on  which  the  prosperity  of  the  cinema 
depends.  Newspaper  critics  write  their 
stuff  too  speedily  to  be  just,  and  the  maga- 
zine reviewers  are  little  better.  But  the 
fans  are  on  to  them,  and  their  judgments 
have  no  great  weight  in  helping  or  hurt- 
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by  the  critics,  yet  he  has  built  up  a 
following. 

Specifically  answering  a  question  in  your 
letter,  he  wears  indifference  like  a  suit  of 
armor  against  the  lack  of  appreciation  he 
has  encountered  among  writers.  I  fear  he 
is  somewhat  disillusioned  regarding  the 
sweets  of  fame.  He  says  he  would  rather 
play  the  piano  than  read  any  comments, 
favorable  or  unfavorable,  on  his  work. 

Chit-Chatting  with  Corinne 

T   called    on    sweet    Corinne    Griffith    at 

the  St.  Regis  not  long  ago,  with  the 
idea  of  interviewing  her  about  her  new 
contract  with  First  National,  the  pictures 
she  planned  to  do,  and  such  like  portentous 
matters.  It  didn't  take  five  minutes  to 
discover  that  the  contract  had  been  signed, 
and  that  she  was  to  commence  work  im- 
mediately upon  Declassce.  Then  came  the 
best  part  of  the  visit — an  hour's  chat  on 
things  in  general,  an  hour  in  which  I  was 
able  to  study  the  versatile  appeal  that  has 
made  her  the  favorite  she  is. 

Miss  Griffith,  in  the  first  place,  has  a 
nice  sense  of  humor.  She  told  me  about 
an  odd  individual,  who  had  telephoned  one 
morning  at  nine  o'clock  and  had  started 
in  as  follows : 

"I  detest  motion  pictures.  It  bores  me 
horribly  to  have  anything  to  do  with  one. 
I  have  no  use  for  movie  actresses " 

At  this  point  her  husband,  Walter 
(Continued  on  page  116) 


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"The  Story  of  My   Life 

(Continued  from  page  96) 

willow  plume,  a  lace  coat  and  a  silk  um- 
brella to  complete  the  elegance  of  my  cos- 
tume, and  went  out  to  the  101  Bison  Co. 
Studio,  the  company  that  later  became  the 
Triangle.  Cowboys,  Indians  and  other  in- 
habitants of  the  great  open  spaces  were 
hanging  about  the  outside  of  the  frame 
building.  A  lady  studio  manager  took  my 
name.  She  was  Bebe  Daniels'  mother. 
While  I  waited  to  see  the  director  I 
glanced  about  at  the  other  women  who 
were  also  waiting,  and  my  heart  sank. 
One  of  them  was  smoking  a  cigaret.  The 
girl  beside  me  wore  a  shirtwaist  with  a 
V-neck,  too  low  to  suit  my  ideas  of  pro- 
priety. I  began  to  wonder  whether  I  were 
not  in  a  sink  of  iniquity,  such  as  I  had  read 
about,  and  when  I  was  ushered  into  the 
director's  office  I  was  sure  of  it.  He  sat 
and  stared  at  me,  his  eyes  never  leaving 
my  face  as  I  told  him  of  my  ambition  to 
become  a  picture  star.  By  the  time  he 
spoke  I  had  made  up  my  mind  that  if  I  got 
safely  away  I  would  never  come  back. 

He  offered  me  a  part  in  a  picture  which 
they  were  going  to  begin  making  the  next 
morning.  With  trembling  knees  I  got  up 
and,  murmuring  something,  fled  for  the 
door,  as  later  I  was  to  flee  from  dark- 
browed  villains.  Afterward  I  learned  that 
the  poor  man  was  quite  deaf  and,  being 
too  proud  to  confess  it,  had  formed  the 
habit  of  watching  people's  lips  and  read- 
ing them.  But  I  did  not  return  the  next 
morning,  and  that  ended  my  first  expe- 
rience with  the  movies. 

My  funds  were  very  low,  so  I  accepted 
the  best  thing  I  could  find,  a  part  of  a 
"sister  act"  in  a  Los  Angeles  vaudeville 
house,  and  at  the  same  time  went  out  to 
the  Biograph  Studio,  where  the  Lloyd 
Hamilton  comedies  are  made  now,  and  reg- 
istered, without  much  hope,  for  the  Bio- 
graph was  the  aristocrat  of  filmdom.  Mr. 
Griffith  saw  me  as  I  came  out  and  had  a 
man  follow  me  to  find  out  where  I  lived. 
When  I  came  home  from  the  first  night  of 
the  "sister  act,"  there  was  a  'phone  call 
telling  me  to  report  at  the  Biograph  Studio 
the  next  morning! 

Mary  Pickford  had  just  left  the  com- 
pany. Mr.  Griffith  asked  me  a  few  ques- 
tions and  then  abruptly  offered  me  a  small 
part.  "Take  off  your  hat  now,"  he  said; 
"you  can  begin  work  right  away." 

I  could  hardly  keep  from  crying  as  I 
explained  miserably  that  it  wouldn't  be 
honorable  for  me  to  leave  my  act  without 
notice.  He  shrugged  his  shoulders  and 
glanced  away — and  my  second  chance  was 
gone!  Unfairly  enough,  I  connected  my 
disappointment  with  that  wretched  "sister 
act"  and  hated  it  religiously,  tho  I  stuck 
it  out.  The  stage  manager,  who  tried  to 
cover  a  soft  heart  with  a  gruff  exterior, 
told  me  I  ought  to  be  in  pictures  and  he 
was  going  to  get  me  in,  but  I  did  not  take 
him  seriously.  By  this  time  I  had  met 
most  of  the  movie  people,  and  Mack  Sen- 
nett  used  to  call  me  up  and  tell  me  he  had 
a  part  for  me  in  one  of  his  comedies. 

"Is  it  the  lead?"  I  would  ask.  The  nerve 
of  me!  "I'll  succeed  or  fail  as  a  lead,  but 
I  wont  do  bits  or  atmosphere  or  extra." 

"You  certainly  are  independent,  young 
lady  !"  Mack  would  grumble. 

I  was  doing  a  "single"  in  vaudeville  at 
San  Diego  when  I  got  an  offer  to  sing 
soubrette  in  a  musical  comedy.  They 
wanted  to  sign  me  up  for  ten  weeks,  but 
I  would  only  promise  to  try  it  out  for  two. 
I  traveled  all  night  to  attend  the  first  re- 
hearsal, and  found  a  message  waiting  me 
at  home,  "Mr.  Chandler  of  Kalem  wants 
you  to  call  him  up." 

(Continued  on  page  114) 


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YOUR 

MONEY 

PROBLEM 

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forts or  little  luxuries  that 
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probably  are  permitting 
your  financial  difficulties  to 
give  you  a  great  deal  of 
worry,  and  you  know  worry 
is  likely  to  make  you  very 
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The  Movies  Are  Growing  Up 

{Continued  from  page  108) 

the  hills,  and  the  theater  owners  rattled 
a  couple  of  dried  cocoanut  shells. 

It  wasn't  until  1914  when  the  Vitagraph 
feature,  The  Million  Bid,  opened  the  Vita- 
graph,  the  first  picture  palace  on  Broad- 
way to  have  an  orchestra,  a  pipe  organ 
and  regular  theatrical  prices,  that  any 
movie  ever  ran  continuously  without  a 
break  between  reels. 

A  one-reel  picture  cost  at  the  most 
one  thousand  dollars,  or  a  dollar  a  foot. 
Now  we  try  to  keep  the  cost  down  to 
twenty  thousand  a  reel  or  twenty  dollars 
a  foot.  Most  of  the  expense  of  a  picture 
fifteen  years  ago  was  the  actors'  salaries. 

A  set  was  considered  ruinously  extrava- 
gant if  it  cost  more  than  seventy-five 
dollars.  It  consisted  of  two  walls  coming 
together  at  right  angles  and  much  of  the 
furniture  was  painted  on  the  wall.  If 
a  character  slammed  the  door,  the  whole 
room  visibly  swayed.  Stone  walls  did  not 
a  prison  make  in  those  days — they  rippled 
in  the  breeze  if  anyone  passed.  When  we 
needed  furniture  we  sent  out  some  of  our 
actors  to  borrow  a  parlor  set  from  some 
of  our  neighbors  close  to  the  studio  lot. 
And  if  any  piece  of  borrowed  furniture 
showed  great  dramatic  talent,  it  was  likely 
to  stay  borrowed  for  a  long  time ! 

Naturally,  as  a  result  of  the  various 
tastes  of  the  householders  around  Flat- 
bush,  our  sets  displayed  Chippendale  and 
mission,  chummily  side  by  side  with  soap 
premium  plush  chairs  and  bead  portieres. 
Nowadays  it  takes  artists,  interior  decora- 
tors, antiquarians,  architects,  sculptors, 
cabinetmakers,  drapers  and  set  dressers, 
to  turn  out  a  drawing-room  scene  costing 
sometimes  as  high  as  thirty  thousand 
dollars,  and  then  perhaps  the  whole 
sequence  in  which  it  is  used  may  be  cut 
out  of  the  picture! 

The  price  paid  for  a  scenario  in  1910 
was  fifteen  dollars,  and  every  morning 
brought  several  bushels  of  them  in  the 
studio  mail.  We  used  only  originals, 
naturally,  on  a  thousand-dollar  budget. 
So  the  actors  often  wrote  their  own 
scripts.  (If  they  were  allowed  to  write 
them  nowadays,  there  would  be  only  one 
character  in  the  cast ! )  And  if  a  scenario 
was  needed  for  Monday  morning,  the 
director,  or  one  of  the  producers  or  per- 
haps the  janitor,  would  stay  at  home  from 
the  Saturday  ball  game  and  turn  one  out 
on  a  couple  of  sheets  of  foolscap.  There 
was  plenty  of  room  on  the  two  sheets  for 
(Continued  on  page  118) 

Whpn  you  write  to  advertisers  please  mention  MOTION  PICTURE 


EARI.E  E.  I/TEDERMAN 

The  Muscle  Builder 

A  Wart  On  Your  Nose 

would  not  be  noticed  nearly  as  much  as  a  frail,  weak 
body.  Yet,  if  you  had  a  wart  on  your  nose,  you 
would  worry  yourself  sick — you  would  pay  most 
any  price  to  get  rid  of  it.  But  what  about  that  body 
of  yours?  What  are  you  doing  to  make  people  ad- 
mire and  respect  you?  Wake  up  I  Come  to  your 
senses!  Don't  you  realize  what  a  strong,  robust 
body  means  to  you?  It  makes  no  difference  whether 
it  be  in  the  business  or  social  world — everybody  ad- 
mires the  strong,  robust  fellow — everyone  despises 
the  weakling. 

Will  Transform  You 

I  make  weak  men  strong.  That's  my  job.  That's 
why  they  call  me  "The  Muscle  Builder."  I  never 
fail.  A  bold  statement,  but  true.  I  don't  care  how 
weak  you  are,  I  can  do  the  trick.  The  weaker  you 
are,  the  more  noticeable  the  results.  I've  been  doing 
this  for  so  many  years,  it's  easy  now.    I  know  how. 

In  just  thirty  days  I'm  going  to  put  one  full  inch  on  those 
arms  of  yours.  Yes,  and  two  inches  on  your  chest.  But 
that's  nothing.  I've  only  started.  Now  comes  the  real 
work.  I'm  going  to  broaden  your  shoulders  and 
strengthen  your  back.  I'm  going  to  deepen  your  chest 
ao  that  every  breath  will  literally  penetrate  every  cell  of 
your  lungs,  feeding  them  with  rich  life-giving  oxygen. 
You  will  feel  the  thrill  of  life  glowing  throughout  your 
entire  system.  I'm  going  to  tighten  up  those  musclea 
In  and  around  your  heart,  kidneys  and  stomach.  I'm 
going  to  shoot  a  quiver  up  your  spine  so  that  you  will 
stretch  out  your  big  brawny  arms  and  shout  for  bigger 
and  harder  tasks  to  do.     Nothing  will  seem  impossible. 

Sounds  good,  doesn't  it  ?  You  can  bet  your  Sunday 
socks  it's  good.  It's  wonderful.  And  the  best  of  it  is,  I 
don't  just  promise  you  these  things — I  guarantee  them. 
Do  you  doubt  me?  Come  on  then  and  make  me  prove 
it.     That's  what  I  like. 

Are  you  ready?     Atta  boy!    Let's  go. 

Send  for  my  new  64-page  book 

"MUSCULAR  DEVELOPMENT" 

It  Is  FREE 

It  contains  forty-three  full  page  photographs  of  myself 
and  some  of  the  many  prize-winning  pupilfl  I  have  trained. 
Many  of  these  are  leaders  in  their  business  professions 
today.  I  have  not  only  given  them  a  body  to  be  proud  of, 
but  made  them  better  doctors,  lawyers,  merchants,  etc. 
Some  of  these  came  to  me  as  pitiful  weaklings,  imploring 
me  to  help  them.  Look  them  over  now  and  you  will  mar- 
vel at  their  present  physiques.  This  book  will  prove  an 
impetus  and  a  real  inspiration  to  you.  It  will  thrill  you 
through  and  through.  All  I  ask  is  ten  cents  to  cover  the 
cost  of  wrapping  and  mailing  and  it  is  yours  to  keep. 
This  will  not  obligate  you  at  all,  but  for  the  sake  of  your 
future  health  and  happiness,  do  not  put  it  off.  Send  to- 
day— right  now,  before  you  turn  this  page. 

EARLE  E.  LIEDERMAN 

Dept.  302,       305  Broadway,      New  York  City 


iARLE   E.  LIEDERMAN 

Dept.  302,   305   Broadway.   New  York  City 
Dear  Sir: — I  enclose  herewith  10  cents,  for  which  you 
are   to    send    me,    without    any    obligation    on    my    part 
whatever,  a  copy  of  your  latest  book.  "Muscular  Develop- 
ment."  (Please  write  or  print  plainly.) 


Name 

Street 

City State. 

MAGAZINE. 


113 
PAfi 


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AMOTION  PICTURF 
01  I  MAGA2INE     L 


%/  ' 


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All  Owi  Drug 
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Advertising  Section 
The  Story  of  My   Life 

{Continued  from  page  112) 

Mr.  Chandler  was  the  gruff,  kind- 
hearted  stage  manager !  I  telephoned  him 
and  he  told  me  to  go  to  Long  Beach  that 
evening  and  see  Mr.  Hardigan,  the  direc- 
tor, because  he  needed  a  leading  woman 
for  Westerns  and  he  had  made  him  promise 
not  to  engage  anyone  until  he  had  seen  me. 

All  day  I  rehearsed  the  songs  and  steps 
for  that  musical  comedy,  and  at  seven, 
after  twenty-four  hours  without  a  chance 
to  so  much  as  comb  my  hair  or  powder  my 
nose,  I  appeared  at  Mr.  Hardigan's  house. 
It  was  a  new  house  and  the  lights  hadn*t 
been  turned  on  yet.  We  talked  in  the 
dark  front-parlor  with  only  the  faint  ra- 
diance from  the  street  lamps. 

"What  do  you  want  for  a  salary?"  he 
shot  at  me  suddenly.  I  did  some  quick 
thinking.  I  was  getting  a  hundred  a  week 
in  the  musical  comedy  company,  but  I 
knew  that  was  beyond  the  reach  of  a  movie 
company.  I  have  always  had  hunches,  and 
when  I  follow  them  I  never  go  wrong.  '  I 
had  a  hunch  now  that  it  would  be  worth 
my  while  to  make  a  sacrifice  to  get  into 
the  pictures. 

'Would— would  thirty-five  a  week  be 
too  much?"  I  asked. 

"N-no,  it  wouldn't  be  too  much,"  came, 
non-committally,  from  the  darkness.  Then 
he  got  up.  "Wait,  I'll  bring  a  lamp  and 
take  a  look  at  you !"  He  brought  in  an 
old-fashioned  oil-lamp  and,  holding  it  close 
to  my  face,  examined  me  for  a  moment 
while  I  wondered  miserably  if  I  had  a 
smootch  across  my  nose.  Then  he  set  the 
lamp  on  the  table.  "Very  good !  You  will 
start  Monday!" 

And  there  I  was,  saddled  with  a  two- 
weeks'  promise  to  play  in  that  wretched 
musical  comedy!  "Mr.  Hardigan,"  I  said, 
swallowing  hard,  "I'd  do  almost  anything 
to  get  into  the  pictures — except  break  a 
promise,"  and  I  told  him  the  whole  situa- 
tion. 

"I'll  hold  the  position  open  for  you  for 
a  week,"  he  offered,  "and  that  will  give 
them  time  to  fill  your  place." 

I  went  to  the  musical  comedy  manager, 
Mr.  Leroy,  and  threw  myself  on  his  mercy. 
Would  he  let  me  off  from  my  second 
week's  contract  now  that  he  knew  how 
much  it  meant  to  me  ?  Hurrah !  He 
would !  And  a  week  later  I  did  my  first 
day's  work  in  the  films. 

The     studio     "lot"     at     Santa     Monica 


114 

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boasted  a  single  wooden  set,  bought  from 
Broncho  Billy  Anderson,  painted  on  one 
side  to  represent  the  interior  of  a  house, 
on  the  other  to  represent  the  inside  of  an 
office.  A  tumble-down  barn  served  for  a 
studio ;  the  stalls  were  our  dressing-rooms, 
with  a  shelf  across  one  end  at  which  we 
stood  to  make  up. 

The  picture  was  called  The  Chance  Shot, 
and  in  it  I  had  to  be  tied  to  a  tree  by 
Indians.  The  rope  burned  the  skin  off 
my  wrists,  but  I  insisted  I  was  quite  com- 
fortable, thank  you.  It  was  Decoration 
Day,  I  remember,  and  some  three  hun- 
dred picnickers  stood  about  munching 
bananas  and  chicken  sandwiches  and 
staring  at  me  with  audible  comments ;  but 
I  didn't  care.  I  was  in  the  movies  at  last 
and  I  was  happy. 

I  stayed  in  Westerns  for  a  few  months 
and  then  switched  over  into  comedies,  while 
my  salary  gradually  rose  to  fifty  a  week. 
When  it  reached  that  figure  I  began  my 
real  estate  career  by  paying  ten  dollars 
down  on  a  lot  and  agreeing  to  pay  ten 
dollars  a  month.  It  was'nt  very  much  of 
a  lot — in  fact,  I  have  it  on  my  hands  to- 
day— but  it  taught  me  the  fun  of  saving. 

When  Mack  Sennett  made  me  a  munifi- 
cent offer  to  go  into  his  comedies,  Kalem 
countered  by  raising  my  salary  to  ninety- 
five  a  week,  and  so  a  year  after  I  entered 
the  pictures  I  was  making  almost  as  much 
as  I  had  given  up  on  the  stage. 

They  called  me  "The  Kalem  Girl."  A 
number  of  future  stars  were  in  my  com- 
pany :  Marshall  Neilan,  Mildred  Harris 
(then  a  little  girl  with  long,  corkscrew 
curls),  Bebe  Daniels,  Lloyd  Hamilton, 
Seena  Owen,  Jane  Novak  and  Wes  Barry. 
When  the  comedies  began  to  get  rough 
and  I  saw  custard  pies  coming,  I  asked 
to  be  moved  to  the  Kalem  dramatic  lot  and 
my  lurid  career  as  the  most  persecuted 
girl  in  pictures  began.  In  my  long  serial 
career  I  have  been  on  the  point  of  scenario 
decease  from  dynamite,  poison,  cobra  bite, 
hanging,  suffocation,  wild  beasts,  fire, 
falling  from  a  cliff,  being  sawed  in  two  in 
a  mill,  and  a  hundred  other  terrors,  at 
the  end  of  each  instalment  of  a  twelve- 
part  serial,  only  to  be  saved  the  next  week 
by  a  brave,  handsome  hero  who  never  got 
his  beautiful  white  silk  sport  shirt  mussed 
or  his  hair  ruffled,  no  matter  what  he  went 
thru. 

I  wonder  if  many  movie  actresses  have 
had  the  fun  I  have  had  making  pictures ! 
I've  loved  every  minute  of  the  last  twelve 
years,  even  the  times  when  there  was  real 
danger  in  the  action — and  there  were  many 
times  like  that — in  lurid  thrillers  like  The 
Red  Circle,  The  Tiger's  Clazv,  Who  Pays? 
Hunted  Valley,  and  The  Avenging  Arrow, 

And  the  best  part  of  my  story  is,  that, 
like  my  serial  pictures,  it  ends  with  a  sub- 
title, What  Happens  to  Ruth  Now?.  Con- 
tinued Next   Week! 


NEXT  MONTH : 
Where  the  Atmosphere  Is>  At 

By  HARRY  CARR 

Inside  Secrets  About  "Location" 

Egypt  and  the  Pyramids  and  the 
River  Nile  are  all  just  a  stone's 
throw  from  Hollywood.  So  are  the 
South  Sea  Islands  and  Scotland  and 
the  Canadian  Northwest — at  least, 
the  way  they  ought  to  look,  even 
if  they  dont. 


Gabriel  Andre  Pelit 
Art  Director 


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City State. 


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Confidences  Off-Screen 

(Continued  from  page  111) 

Morosco,  who  had  tumbled  out  of  bed  to 
answer  the  call,  hung  up,  with  an  un- 
quotable remark. 

"The  fellow  at  the  other  end  of  the 
wire  was  no  fool,  all  the  same,"  smiled 
Corinne.  "It  turned  out  he  was  a  writer 
■ — I  met  him  later — who  had  a  story  to 
submit  to  me.  His  greeting  was  for  the 
purpose  of  arousing  my  interest,  and  was 
to  have  concluded  with  the  statement  that 
the  sole  person  in  the  business  who  had 
earned  his  homage  was  Corinne  Griffith. 
A  regular  go-getter's  line,  that  might  have 
worked,  but  for  one  miscalculation — he 
shouldn't  have  'phoned  as  early  as  nine 
o'clock." 

She  spoke  of  the  old  days,  when  she 
was  working  for  Biograph,  and  when  de- 
ciding on  a  new  picture  was  a  matter  of 
running  to  the  corner,  buying  the  latest 
magazine  and  seeing  what  plots  they  had 
to  offer.  Movie  rights  could  be  had  from 
the  author  for  a  few  dollars,  and  Miss 
Griffith  isn't  so  sure  that  the  present 
costly,  much-advertised  productions  haven't 
lost  some  of  the  esprit  of  their  fore- 
runners. She  regrets  the  funny  stuff 
that  has  been  refined  away.  Pie-throw- 
ing was  all  right,  in  its  place.  It  was 
naive,  but  it  moved  one  to  an  honest, 
pungent  mirth,  she  said. 

Nevertheless,  she  was  very  happy  about 
Declassce  as  her  next  vehicle,  and  assured 
me  that  the  picture  would  keep  closely 
to  the  drama  as  played  by  Ethel  Barry- 
more  on  the  speaking  stage.  Miss  Griffith 
does  not  believe  in  revamping  plots  that 
have  proved  their  worth.  She  is  also 
opposed  to  changing  titles,  and  in  this 
case  she  has  won  a  long  fight  to  keep 
the  name.  Certain  objectors  on  the  pro- 
duction end  urged  that  a  French  word  like 
Declassee  would  not  be  understood  in  "the 
sticks,"  that  it  would  seem  pretentious  and 
scare  away  patrons  who  didn't  know  even 
how  to  pronounce  it.  But  Miss  Griffith 
held  that  if  it  was  good  enough  to  accom- 
pany the  play  to  success,  it  was  good 
enough  for  her.  The  meaning  will  be 
explained  in  the  advance  publicity,  and 
she  thinks  the  public  will  approve. 

To  Correspondents 

[  have  had  many  letters  asking  me  to 
interview  this  or  that  star,  and  sug- 
gesting subjects.  Please  keep  on  writing. 
I  am  delighted  to  hear  from  you.  Your 
most  interesting  questions  will  be  answered 
in  the  department  —  by  the  stars,  thru 
me.  But  dont  expect  action  earlier  than 
the  number  dated  three  months  after  you 
write  in.  We  go  to  press  'way  ahead  of 
time,  you  know. 

Addressing  myself  particularly  to 
"Dixie,"  I  wish  to  say  that  under  no  cir- 
cumstances can  I  grant  requests  made  in 
anonymous  letters.  Names  and  addresses 
should  always  be  given;  they  wont  be 
published  if  you  so  specify. 


Tony  Moreno  in  a  scene  from  one  of 
his  early  serial  pictures 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


(^.MOTION  PICTURI 

inel   I    MAGAZINE 


That's  Out 

(Continued  from  page  110) 

motion  pictures  are  now  a  stable  business 
and  that  the  film  industry  is  no  longer  to 
be  considered  in  the  speculative  class. 

This  should  hand  the  film  producers  a 
good  laugh.  So  far  as  the  bankers  are 
concerned,  the  picture  industry  has  never 
been  a  speculation.  Every  time  the  bank- 
ers invested  in  a  production  it  has  been 
secured  by  a  pound  of  flesh  and  double- 
checked  by  something  like  twenty-five-per- 
cent, profit  on  their  money.  The  specula- 
tion is  all  on  the  part  of  the  producer  won- 
dering what  will  be  left  for  him  after  the 
bankers  get  thru  deducting  their  share  of 
the  spoils. 

It  Cant  Be  Done 

piRST  National  announces  that  it  will 
make  a  film  version  of  Papini's  Life  of 
Christ.  That's  splendid!  We  need  films 
like  that  on  the  screen.  But  if  the  pro- 
ducers intend  to  give  a  sincere  picturiza- 
tion  of  the  life  of  Christ  as  written  both 
in  the  Bible  and  in  Papini's  book,  how  on 
earth  do  they  hope  to  get  by  those  superior 
critics,  the  censors,  who,  judging  by  every- 
thing we  have  ever  observed,  do  not  by  any 
means  approve  of  many  of  the  acts  and 
teachings  of  the  Messiah  except  in  con- 
versation. 

Heaven  vs.  Hell  on  the  Screen 

Tn  Feet  of  Clay  C.  B.  De  Mille  gave  us 
„  his  impression  of  what  Heaven  is  like, 
and  in  the  Fox  production,  Dante's  Inferno, 
Director  Henry  Otto  presents  his  idea  of 
Hell.  Personally,  we  are  not  acquainted 
with  either  place  and  there  is  no  way  of 
our  knowing  for  certain  that  Messrs.  De 
Mille  and  Otto  are  correct  in  their  presen- 
tations. But  we  will  say,  after  viewing 
Dante's  Inferno,  that  there  are  a  devilish 
lot  of  very  attractive  women  running  about 
in  the  lower  regions  with  very  little  clothes 
on,  and  if  Director  Otto  has  any  authorita- 
tive basis  for  many  of  the  scenes  he  has 
injected  into  the  picture,  it  certainly  is  very 
encouraging  information  to  many  persons 
up  and  above  here  in  a  world  full  of  temp- 
tations. 

Those  Geographical  Movies 

piRST  they  gave  us  South  of  Suva,  next 
came  West  of  the  Water  Tower,  and 
then  followed  East  of  Suez  and  North  of 
36.  Having  been  served  all  the  main  points 
of  the  compass  in  silent  drama,  we  may 
now  look  forward  to  such  variations  as 
Northeast  of  the  Pumping  Station  and 
Southwest  of  the  Sanitarium. 

It's  a  gift — this  thinking  up  new  titles 
for  the  films. 


to  L< 


learning  to  Love 

As  taught  by 
Constance   Talmadge 

And  Connie  Ought  to  Know 
How 

Read  the  story  of  her  funniest 
picture  told  in 

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Advertising  Section 
The  Movies  Are  Growing  Up 

(C out  tinted  from  page  113) 

the     continuity     of     fifteen     or     eighteen 
scene.-. 

A  thousand  dollars  would  have  been 
considered  an  enormous  stun  to  pay  for 
the  photoplay  rights  of  a  book  or  stage 
play  then.  And  in  1913,  when  we  gave 
ten  thousand  for  Mr.  Barnes  of  New 
York,  for  Maurice  Costello,  people  went 
about  asking  each  other  what  the  movies 
were  coming  to,  anyway !  This  was  the 
first  motion  picture  to  have  a  star.  Be- 
fore that  no  company  exploited  its  players' 
names  and  Biograph  even  refused  to  let 
them  become  known.  But  a  trip  around 
the  country  and  among  the  exhibitors  con- 
duced us  that  the  audience?  were  princi- 
pally interested  in  personalities.  Some- 
times, I  think  we  created  a  Frankenstein 
when  we  inaugurated  the  star   system. 

Nowadays  it  is  a  common  thing  to  pay 
from  twenty  to  fifty  and  even  a  hundred 
thousand  dollars  for  the  movie  rights  to 
a  story,  and  then  change  name  and  plot 
so  that  it  is  entirely  unrecognizable.  It's 
a  wise  father  who  recognizes  his  own 
brain  child  on  the  screen !  I  understand 
the  owners  of  a  very  sensational  stage 
play  are  holding  photoplay  rights  at  a 
quarter  of  a  million.  Papini's  Life  of 
Christ  brought  an  immense  sum.  and  it  is 
said  that  Ben  Httr  had  cost  Goldwyn  a 
million  before  the  ink  was  dry  on  the 
contract. 

One  producer  is  forced  to  follow 
another  in  this  dance  of  the  dollars,  for 
fear  of  getting  out  of  step  if  he  stops. 
And  yet— does  the  public  really  want  such 
extravagant  pictures?  Over  the  Hill  cost 
very  little  and  it  has  been  a  huge  money- 
maker. Inconspicuous,  out-of-the-way  stu- 
dios right  here  in  Hollywood  are  mak- 
ing pictures  for  the  states  right  trade 
today  for  five  thousand  dollars,  finishing 
them  in  a  month  and  selling  them  for  ten 
thousand.  Few  big  companies  can  hope 
to  net  a  hundred  per  cent,  on  their  invest- 
ment and  many  a  can  of  film  worth 
literally  its  weight  in  gold  lies  gathering- 
dust  on  the  storehouse  shelves,  proving 
that  lavish  expenditure  alone  cant  save 
a  picture. 

The  curls  of  film  on  the  cutting-room 
floor,  swept  into  the  trash  bin  by  a  ten- 
dollar-a-week  office  boy  is  one  reason  why 
you  have  to  dig  so  deeply  into  your  pockets 
to  see  a  film  now.  We  were  taking  pic- 
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ing   a    thousand- foot     picture    never    shot 


Marie  Prevost  as  she  looked  in  1918 
when  she  first  enrolled  on  the  srreen 
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Advertising  Section 


Gloria    Swanson    and    Phyllis 

Haver   when    they    were    Sennett 

bathing  beauties 

more  than  twelve  hundred  and  fifty  feet 
of  film.  Now  it  is  the  rule  rather  than 
the  exception  to  take  from  three  to  ten 
times  as  much  film  as  can  be  used,  and 
then  hire  cutters  to  snip  it  out  and  throw 
it  away.  Greed  is  said  to  have  filled  one 
hundred  and  fifty  reels  of  celluloid. 

The  theatrical  profession  has  been  very 
slow  to  recognize  its  poor  relation — until 
it  became  a  rich  relation.  As  late  as  1917 
Doug  Fairbanks,  Creighton  Hale,  and 
Tommy  Meighan,  old  stage  troupers  all, 
were  classed  as  "non-professional"  mem- 
bers of  the  Lambs  Club!  Today  Tommy 
Meighan  is  the  President  of  the  Lambs. 
Any  actor,  think  what  he  privately  may  of 
the  films,  is  glad  to  sign  on  the  dotted  line 
to  make  a  picture  at  a  salary  five  times 
what  he  could  earn  on  the  stage. 

Theatrical  managers  who  threatened 
blacklist  for  any  actor  who  entered  the 
films  in  1910,  now  look  upon  the  pictures 
as  they  formerly  looked  on  the  gallery — 
as  a  life-saver  for  their  plays.  In  the  last 
five  years  stage  producers  have  made  far 
more  money  from  selling  the  picture  rights 
of  their  plays  to  the  outcast  movie  pro- 
fession than  they  have  made  out  of  the 
plays  themselves. 

Fifteen  years — not  a  very  long  time, 
when  you  remember  that  it  took  genera- 
tions of  slaves  to  build  the  pyramids,  that 
the  great  Cologne  Cathedral  was  centuries 
in  the  building,  that  an  Oriental  workman 
weaves  his  whole  life  into  one  small  rug! 

And  yet  in  fifteen  years  the  motion  pic- 
tures have  advanced  from  the  status  of 
a  cheap  amusement  device,  like  the  dime 
museum,  to  a  profession  which  famous 
actors,  such  as  Barrymore  and  Maude 
Adams,  and  famous  authors,  like  Sir 
James  Barrie,  are  proud  to  be  identified 
with ;  from  an  outcast  to  a  place  of  honor 
where  the  cousins  of  kings,  as  are  the 
Duke  and  Duchess  of  Alba,  come  to  Cali- 
fornia to  visit — not  society  folk,  but  Mary 
and  Doug  and  Charles  Chaplin,  who  was 
born  and  raised  in  a  London  slum !  It 
has  grown  from  an  experiment,  to  be  the 
fourth  industry  of  the  United  States, 
occupying  miles  of  glass-covered  studios, 
spending  and  making  fortunes  on  one 
picture,  delighting  ten  million  fans  a  day. 

Those  of  us  who  have  stood  by  from 
the  beginning  have  seen  too  many  incredi- 
ble things  come  to  pass  to  venture  rash 
prophecies  for  the  future.  Indeed,  we  can 
not  afford  the  time  to  think  of  it,  with 
the  Kleigs  rattling,  the  cameras  whirring 
and  the  salaries  of  our  casts  mounting 
into  several  ciphers  with  every  revolution 
of  the  hands  on  the  studio  clock! 


CTT.M0TI0K'  PICTUm 

InBI  I    MAGAZINE      l\ 


Mist  Crawford  weighed  23S  lbs.    She  gives  Wallace  credit  for  her  reduction  to  ISO  lbs. 

"Can  I  Reduce?" 

Ask  Miss  Crawford! 


Imagine  taking  off  eighty-five  pounds  in  four 
months! 

Miss  Crawford  used  Wallace  reducing  records 
to  play  off  this  huge  excess  of  weight,  and  this 
is  what  she  has  to  say  of  Wallace's  method: 
"The  day  my  weight  reached  235  lbs.  was  the 
date  of  my  awakening.  I  sent  for  the  free  trial 
record  and  put  in  one  earnest  week  of  daily 
use,  and  that  week  I  lost  eight  pounds.  I  kept 
on,  of  course.  I  used  the  movements  faithfully, 
and  nothing  else.  I  didn't  take  any  medicine, 
I  didn't  starve  myself,  and  lost  at  least  five 
pounds  each  week.  My  present  weight  is  150. 
Whenever  I  find  that  superfluous  flesh  is  creep- 
ing back  I  take  out  my  Wallace  records,  use 
them  a  few  days,  and  I'm  soon  back  to  the  150 
mark.  It  took  me  only  four  months  to  lose 
85  lbs.  and  I  spent  about  a  quarter  of  an  hour 
each  day  with  the  reducing  movements.  I 
never  felt  better  than  since  getting  rid  of  all 
that  fat,  and  what  it  has  done  for  my  appear- 
ance you  can  guess  from  my  pictures." 

Anybody  Can   Reduce   By  This 
Remarkable  Method 

Thousands  of  women — men,  too — have  re- 
stored normal  proportions  in  this  way.  Reduc- 
ing 85  lbs.  is  unusual,  but  any  number  of 
women  have  played  off  thirty  and  forty  pounds 
with  Wallace  Reducing  records,  and  in  about 
two  months'  time.  Many  more  have  used 
them  for  lesser  reductions — those  who  were  but 
fifteen  or  twenty  pounds  overweight.  Such 
cases  are  ridiculously  easy  for  Wallace;  they 
Ordinarily  take  less  than  a  month.     Many 


letters  testify  to  a  pound  a  day,  and  five 
pounds  a  week  is  easy  indeed. 
If  you  weigh  too  much,  you  owe  yourself  this 
relief .  The  method  is  too  well  known  for  sensi- 
ble people  to  doubt.  Miss  Crawford  only 
regrets  that  she  did  not  heed  Wallace's  offer 
two  years  ago.  She  is  a  Chicago  lady,  her 
address  is  6710  Merrill  Ave.,  where  anyone 
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Advertising  Section 
Wkat  the  Stars  Are  Doing 

{Continued  from  page  82) 

Glsh,  Lillian  and  Dorothy — back  from  Rome, 
having  completed  playing  little  peasant  girls  in 
Romola. 

Glass,    Gaston — playing   in   The   Three    Keys — 

B.  P. 

Godowsky,  Dagmar — just  started  work  in  Play- 
things of  Desire. 

Gordon,  Huntley — playing  in  Ne'er  the  Twain 
Shall  Meet—C. 

Goudal,  Jetta — will  have  an  important  role  in 
Salome  of  the  Tenements,  a  story  of  life  in  New  York's 
Ghetto  by  Anzia  Yezierska — F.  P.  L. 

Grey,  Gloria — playing  opposite  Maurice  B. 
Flynn  in  The  Millionaire  Cowboy — F.  B.  O. 

Griffith,  Corinne — will  be  starred  in  Declassee, 
the  famous  Broadway  success — F.  N. 

Griffith,  Raymond — will  have  an  important  role 
in  Miss  Bluebeard — F.  P.  L. 

H 

Hackathorne,  George— playing  in  Capital  Pun- 
ishment— B.  F.  S. 

Haines,  William — playing  in  A  Fool  and  His 
Money— C.  B.  C. 

Hale,  Alan — upon  completing  his  work  in  Dick 
Turpin,  he  is  going  to  try  his  hand  at  the  megaphone. 
He  will  direct  Shirley  Mason  in  her  next  picture  for 
W.  F. 

Hale,  Creighton — will  enact  the  role  of  a  man 
who  is  falsely  accused  of  crime  and  deserted  by  all 
his  friends,  except  his  faithful  and  courageous  wife, 
in  The  Bridge  of  Sighs— W.  B. 

Hamilton,  Mahlon — has  signed  a  contract  with 
Pathe  to  appear  in  their  next  serial. 

Hamilton,  Neil — has  the  leading  male  role  in 
Isn't  Life  Wonderful — D.  W.  G. 

Hammerstein,  Elaine — playing  in  Parisian 
Nights— G.  P. 

Harlan,  Kenneth — has  been  chosen  to  play  Brian 
Kent  in  The  Re-creation  of  Brian  Kent — P.  P. 

Harris,  Mildred — playing  in  Wife  No.  2 — F.  N. 

Hatton,  Raymond — his  first  picture  under  his 
new  contract  with  Famous  Players-Lasky  will  be 
Contraband. 

Haver,  Phyllis — playing  in  Interpreter's  House — 
F.N. 

Hawley,  Wanda — playing  in  The  Wizard  of  Oz — 

C.  P.  L. 

Hay,  Mary — Richard  Barthelmess  has  chosen  his 
wife  for  the  feminine  lead  in  New  Toys.  This  is  her 
first  appearance  on  the  screen  since  she  played  in 
Griffith's  Way  Down  East. 

Hearn,  Edward — playing  in  Winner  Take  All — 
W.  F. 

Herbert,  Holmes  E. — playing  in   Up  the  Ladder 

Hiers,  Walter — will  give  us  some  rare  bits  of  com- 
edy in  The  Triflers—M.  G.  M. 

Hines,  Johnny — engaged  in  making  the  comedy 
in  The  Early  Bird—C.  C.  B. 

Holmes,  Stuart — playing  in  The  Three  Keys — 
B.  P. 

Holm'quist,  Sigrid — appearing  opposite  Johnny 
Hines  in  The  Early  Bird. 

Holt,  Jack — -playing  in  Emerson  Hough's  North 
of  36— M.  P.  L. 

Howard,  Frances — a  stage  favorite;  has  been 
chosen  to  play  the  Princess  in  The  Swan,  her  first 
screen  appearance. 

Hughes,  Lloyd — playing  the  dancing  kid,  a 
trainer  of  horses,  in  Dixie — M.  G.  M. 

Hunter,  Glenn — has  been  disengaged  since  com- 
pleting The  Silent  Watcher— F.  N. 


Johnston,  Julanne — is  playing  [in  Sir  Phillip 
Gibbs'  City  of  Temptation.  It  is  being  filmed  in  Con- 
stantinople by  an  English  producing  company. 

Jones,  Buck — playing  in  The  Trail  Rider — W.  F. 

Joyce,  Alice — is  appearing  in  the  screen  version 
of  Daddy-Goes-A-Hunting,  to  be  released  under  the 
title  of  A  Man's  World — M.  G.  M. 

K 

Keaton,  Buster — is  cast  as  a  young  man  who  will 
inherit  seven  million  dollars  if  he  will  marry  within 
twenty-four  hours  in  Seven  Chances — M.  G.  M. 

Keenan,  Frank — is  making  Dixie,  his  first  picture 
since  his  return  from  his  honeymoon — M.  G.  M. 

Keith,  Ian — playing  in  My  Son — F.  N. 

Kennedy,  Madge — alternates  between  the  stage 
and  the  screen.  Her  screen  fans  will  be  glad  to  wel- 
come her  back  in  The  Ultimate  Good,  in  which  she  ap- 
pears opposite  Conway  Tearle  for  A.  E. 

Kenyon,  Doris — will  next  appear  in  Interpreter's 
House— F.  N. 

Kerry,  Norman — has  the  juvenile  lead  in  Phan- 
tom of  the  Opera — U. 

Keye,  Kathleen — is  playing  Ben  Hur's  sister 
Tirzah  in  Ben  Hur — M.  G.  M. 

Kirkwood,  James — now  the  proud  father  of  a 
son.  is  playing  a  dual  role  in  Top  of  the  World — 
F.  P.  L. 

Kosloff,  Theodore — will  next  be  seen  in  Cecil 
De  Mille's  production  The  Golden  Bed. 


Lake,  Alice — recently  completed  her  work  in  The 
Lost  Chord— -W.  B. 

La  Marr,  Barbara — will  next  appear  in  Hail  and 
Farewell  instead  of  The  Second  Chance,  as  previously 
announced — F.  N. 

Landis,  Cullen — is  cast  as  George  Minafar  in 
Pampered  Youth — V. 


Manufacturers,    Distributors 

and  Studios  of  Motion 

Pictures 

NEW  YORK  CITY 

Advanced   Motion   Picture   Corp.,  1493 

Broadway 
American  Releasing  Corp.,  15  W.  44th 

Street 
Arrow  Film  Corp.,  220  W.  42nd  Street 
Associated     Exhibitors,     Inc.,     35     W. 

45th  Street 
Ballin,    Hugo,    Productions,   366   Fifth 

Avenue 
C.  C.  Burr  Prod.,  135  W.  44th  Street 
Community  Motion  Picture  Bureau,  46 

W.  24th   Street 
Consolidated  Film  Corp.,  80  Fifth  Ave. 
Cosmopolitan  Productions,  2478  Second 

Avenue 
Distinctive  Prod.,  366  Madison  Avenue 

(Biograph     Studios,     807    E.     175th 

Street) 
Educational     Film    Co.,    729     Seventh 

Avenue 
Export  &  Import  Film  Co.,  729  Seventh 

Avenue 
Famous    Players-Lasky,    485    Fifth 

Avenue     (Studio,     6th     and     Pierce 

Streets,  Astoria,  L.  I.) 
Film     Booking     Offices,     723     Seventh 

Avenue 
Film  Guild,  8  W.  40th  Street 
Film  Market,  Inc.,  563  Fifth  Avenue 
First    National    Exhibitors,    Inc.,    383 

Madison  Avenue 
Fox   Studios,   Tenth  Avenue  and  55th 

Street 
Gaumont  Co.,  Congress  Avenue,  Flush- 
ing, L.  I. 
Goldwyn     Pictures     Corp.,     469     Fifth 

Avenue 
Graphic     Film     Corp.,     729     Seventh 

Avenue 
Griffith,  D.  W.,  Films,  1476  Broadway 

(Studio,    Oriental    Pt.    Mamaroneck, 

N.  Y.) 
Hodkinson,   W.   W.,    Film   Corp.,    469 

Fifth  Avenue 
Inspiration  Pictures,  565  Fifth  Avenue 
International      Studios,     2478      Second 

Avenue 
Jans  Pictures,  729  Seventh  Avenue 
Jester  Comedy  Co.,  220  W.  42nd  Street 
Kenna  Film  Corp.,  1639  Broadway 
Mastoden  Films,  135  West  44th  Street 
Metro    Pictures,    Loew    Building,    1540 

Broadway 
Moss,  B.  S.,  1564  Broadway 
Outing   Chester   Pictures,   120   W.   41st 

Street 
Pathe  Exchange,  35  West  45th   Street 
Preferred   Pictures,  1650  Broadway 
Prizma,  Inc.,  110  West  40th  Street 
Pyramid    Picture    Corp.,   150   W.   34th 

Street 
Ritz-Carlton   Prod.,  6  W.   48th   Street 
Selznick  Pictures,  729  Seventh  Avenue 
Sunshine    Films,    Inc.,    140    West   44th 

Street 
Talmadge  Film   Corp.,   1540   Broadway 
Topics    of    the    Day    Film    Co.,    1562 

Broadway 
Triangle      Distributing      Corp.,      1459 

Broadway 
Tully,    Richard    Walton,    Prod.,    1482 

Broadway 
United  Artists,   729  Seventh  Avenue 
Universal   Film   Corp.,   1600   Broadway 
Vitagraph    Films,    E.    16th    Street   and 

Locust  Avenue,   Brooklyn 
Warner  Bros.,  1600  Broadway 
West,  Roland,  Prod.  Co.,  236  W.  55th 

Street 
Whitman,    Bennett,    Prod.,   537   River- 
dale  Avenue. 


20 
Gt 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


-,-JOTION  PICTURE 

101  I    MAGAZINE      j\ 


La  Plan te,  Laura — has  just  returned  from  Hono- 
lulu where  the  exteriors  were  filmed  for  Dangerous 
Innocence — U. 

La  Rocque,  Rod — will  have  the  role  of  Admah 
Holtz  in  Cecil  De  Mille's  next  production,  The  Golden 
Bed—F.  P.  L. 

Lee,  Lila^ — has  just  arrived  in  New  York  to  play 
the  feminine  lead  opposite  Thomas  Meighan  in  Com- 
ing Thru.  This  is  her  first  picture  since  the  birth  of 
James  Kirkwood,  Jr. 

Lewis,  Mitchell — playing  in  Wife  No.  2 — F.  N. 

Lewis,  Ralph — playing  in  The  Bridge  of  Sighs — 
W.  B. 

Livingstone,  Margaret — playing  in  Capital  Pun- 
ishment— B.  F.  S 

Lloyd,  Harold — is  just  starting  work  on  his  new 
comedy,  which  deals  with  college  life. 

Logan,  Jacqueline — recently  started  work  on  her 
second  Regal  Productions,   Off  the  Highway. 

Long,  Walter— playing  the  villain  in  the  White 
Man—B.  P.  S. 

Louis,  Wlllard — playing  Baxter  in  How  Baxter 
Butted  In—W.  B. 

Love,  Bessie — will  be  seen  as  a  half-breed  Indian 
girl  in  Tongues  of  Flame — F.  P.  L. 

Lowe,  Edmund — Fox  have  loaned  him  to  F.  P.  L. 
to  appear  opposite  Pola  Negri  in  East  of  Suez. 

Lyon,  Ben — will  next  be  seen  in  The  One  Way 
Street  for  F.  N.  He  has  a  new  leading  lady  for  every 
picture — this  time  it's  Anna  Q.  Nilsson. 

Lytell,  Bert — will  play  opposite  Anita  Stewart  in 
Ne'er  the  Twain  Shall  Meet—C. 

M 

Mackaill,  Dorothy — will  have  the  leading  femi- 
nine role  in  The  Bridge  of  Sighs — W.  B. 

MacLean,  Douglas — is  just  starting  work  on  his 
next  comedy  which  is  tentatively  titled  Sky  High — 

A.  E. 

Marmont,  Percy — -playing  in  A  Man's  World — 
M.  G.  M. 

Marshall,  Tully — playing  Sandoja  in  The  Merry 
Widow— M.  G.  M. 

Mason,  Shirley — playing  in  The  Scarlet  Honey- 
moon— W.  F. 

Mayo,  Frank — playing  in  The  Triflers — B.  F.  S. 

McAvoy,  May — will  next  be  seen  as  the  heroine, 
Esther,  in  Ben  Hur—M.  G.  M. 

McDonald,  Wallace — playing  opposite  Shirley 
Mason  in  Curly-top — W.  F. 

McGrail,  Walter — has  been  cast  for  an  important 
r61e  in  The  Dancers— W.  F. 

McGuire,  Kathryn — playing  in  Find  the  Man — U. 

McKee,  Raymond — playing  in  Contraband — 
F.  P.  L. 

Meighan,  Thomas— just  started  work  on  Coming 
Thru—F.  P.  L. 

Menjou,  Adolphe — will  appear  as  the  Prince  in 
The  Swan—F.  P.  L. 

Meredith,  Charles — playing  opposite  Florence 
Vidor  in  The  Girl  of  Gold— R.  P. 

Merrlam,  Charlotte — playing  in  Pampered 
Youth— V. 

Miller,  Carl — playing  in  The  Redeeming  Sin — V. 

Miller,  Patsy  Ruth —  has  just  returned  to  Cali- 
fornia after  her  first  visit  to  New  York,  where  she 
played  in  His  Woman,  a  W.  B.  production.  To  be 
featured  in  Frank  Lloyd's  next  production  for  F.  N. 
called  Judgment. 

Mills,  Alyce — has  been  chosen  as  Benny  Leonard's 
leading  lady  in  The  Fighting  Fist  series. 

Mix,  Tom — and  of  course,  his  horse — just  started 
work  in  Dick  Turpin  for  W.  F. 

Moore,  Colleen — will  appear  in  Sally,  an  adap- 
tion of  Ziegfeld's  successful  musical  comedy  for  F.  N. 

Moore,  Matt  —  playing  in  The  Summons  — 
M.  G.  M. 

Moore,  Owen — has  the  role  of  an  awkward  coun- 
try boy  in  Code  of  the  West—F.  P.  L. 

Moore,  Tom — has  just  signed  a  contract  to  play 
the  leading  role  in  Thin  Ice — W.  B. 

Moreno,  Antonio — has  the  leading  male  role  in 
Judgment — F.  N. 

Mulhall,   Jack — playing    in    The    Three    Keys — 

B.  P. 

Murphy,  Edna — cast  for  an  important  part  in 
Richard  Dix's  next  picture,  A  Man  Must  Live — 
F.  P.  L. 

Murray,  Mae — will  dance  her  way  as  Sonia  in 
The  Merry  Widow— M.  G.  M. 

Myers,  Carmel — playing  Iras  in  Ben  Hur— 
M.  G.  M. 

{Continued  on  page  123) 


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6)1  I  MAGAZINE     I- 


Advertising.  Section 


Why  Does  She  Wear 
a  Badge? 

SOON  you  will  see  many  of  the  salesgirls  at 
the  perfume  and  toilet  articles  counters  of 
the  department  stores  wearing  conspicuous 
badges.  These  badges  are  to  indicate  that  the 
girls  are  not  regular  store  employees,  but  are 
paid  by  manufacturers  to  push  certain  lines  of 
goods.  In  the  past  these  girls  have  been  called 
"hidden  demonstrators,"  because  the  fact  that 
they  were  being  paid  to  push  certain  lines  was 
hidden  from  the  public. 

The  Federal  Trade  Commission  has  main- 
tained that  the  "hidden  demonstrator"  system 
has  resulted  in  deception  of  the  public.  Retail 
merchants  are  regarded  as  the  purchasing 
agents  of  the  community,  and  customers  rely 
upon  the  advice  of  retail  salespersons,  thinking 
that  such  advice  in  the  selection  of  goods  is  un- 
biased. This  is  especially  true  in  the  case  of 
toilet  articles.  Women  freely  ask  the  opinion 
of  a  salesperson  on  perfume,  powder  or  cream. 
Never  would  such  women  dream  that  many 
salespersons  have  been  paid  to  switch  cus- 
tomers to  certain  articles. 

The  Federal  Trade  Commission  has  recom- 
mended that  all  hidden  demonstrators  be  iden- 
tified for  the  protection  of  the  public,  and  the 
American  Manufacturers  of  Toilet  Articles 
have  agreed  to  do  this.  It  is  estimated  that 
there  are  close  to  10,000  "hidden  demonstra- 
tors" in  the  United  States,  all  of  whom  will 
soon  wear  badges.  The  accompanying  photo- 
graph is  of  Huston  Thompson,  Chairman  of  the 
Federal  Trade  Commission,  pinning  the  first 
badge  on  a  "hidden  demonstrator."  It  is 
expected  that  the  work  of  preparing  and  dis- 
tributing the  badges  will  be  completed  by  the 
first  of  1925. 

This  identification  of  "hidden  demonstra- 
tors" will  protect  the  women  of  this  country 
against  the  abuses  which  have  crept  into  the 
system  in  the  past.  A  customer  will  know 
exactly  with  whom  she  is  dealing,  for  the  badge 
will  state  the  name  of  the  firm  employing  the 
girl.  And  the  demonstrator,  no  longer  being 
hidden,  will  refrain  from  using  subterfuges  to 
switch  the  customer  to  the  product  on  which  a 
commission  is  paid.  From  now  on  all  the 
cards  will  be  laid  upon  the  table  and  the  sale  of 
toilet  articles  will  be  entirely  aboveboard. 


Letters  to  the  Editor 

(Continued  from  page  78) 

Even    He-men    of    the    great    out-of-doors 

are  falling  victims  to  this  awful  practice. 

As  a   result,   some   of   them  look  ghastly, 

others  a  trifle  clownish.     I  can  name  only 

three   who   use   restraint   in   this   matter — 

George  Arliss,  Tom  Moore  and  Novarro. 

Am     I     scheduled     for    the    hangman's 

noose  after  speaking  my  mind  so   freelv? 

P.  J-, 

Jersey  City,  N.  J. 


A  Slam  for  the  Fans  from  Eton 
College 

Dear  Editor  :  For  many  months  I  have 
been  alternately  amused  and  annoyed  by 
the  fan  letters.  Very  few  seem  to  have 
anything  worth  while  to  write  or  write  it 
sensibly.  Most  of  them  either  run  down, 
in  very  superlative  language,  some  star, 
play  or  director,  or  else  praise  something 
or  someone  in  equally  positiye  manner.  It 
seems  to  me  to  be  rather  futile  considering 
that  they  probably  know  nothing  about  it 
at  all  and  are  merely  working  off  excess 
emotion,  be  it  anger  or  pleasure. 

I  feel  sure  that  their  opinion  would  be 
far  more  valuable  if  they  waited  until  they 
had  cooled  off  somewhat  and  then  thought 
a  bit  before  sending  it. 

Having  started  off  quite  as  hotly  as 
anyone  else : 

I  was  very  glad  to  see  Earl  Hudson's 
A  Brief  for  the  Butcher,  as  there  have 
been  so  many  people  rampaging  around 
because  some  utter  fool  of  a  director  has 
twisted  their  favorite  book  into  all  sorts 
of  horrible,  unrecognizable  forms.  Now 
they  know  why  it  is  and  I  hope  they're 
satisfied. 

One  fan  said  in  his  letter  that  he  did  not 
like  sad  endings  as  in  Blood  and  Sand.  I 
should  like  to  say  that  I  quite  agree.  I 
think  stories  should  be  written  about 
people  who  find  happiness  at  the  end,  so 
that  the  reader  can  feel  he  has  a  chance 
and  is  thus  made  happier. 

E.  W.  H., 
Eton  College,  Windsor,  England. 


Muriel's  Resolution  for  1925 


So  \ot\N    V\UP  THE   foop, 

.  o 

:Cr\(LDRtA/„  ftND-1  V\oPE  "^ 
V\JWE    GooD     ^EET     PftB^     ON 

THE  ^G^tH,  1)0  tVERftoOY 
\Wl  LL    uve  IYIE. 

^  /WR-iel  FRANCE* "Dam 


'122 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


Play  It 
on  a. 

Holmer 


Everybody  likes  good  music.  Nearly 
everybody  would  like  to  play  a  musi- 
cal instrument.  And  very  soon  every- 
body will  be  playing  one,  for  anybody 
can  play  a  Hohner  Harmonica. 

Twelve  -nillion  music  lovers,  young 
and  old,  have  learned  to  call  the 
Hohner  Harmonica  "That  Musical 
Pal  of  Mine."  They  know  that  there' s 
nothing  like  good  music  for  happi- 
ness,  and  nothing  like  a  Hohner  for 
good  music. 

Don't  hum— play  it  on  a  Hohner. 
Get  one  today— 50^  up — and  ask  for 
the  Free  Instruction  Book.  If  your 
dealer  is  out  of  copies,  write  M. 
Hohner,  Inc.,  Dept.  175,  New  York 
City. 

If  you  want  a  musical  treat  ask  to  hear  Vic- 
tor Record  19421,  by  Borrah  Minevitch. 


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Advertising  Section 
What  tke  Stars  Are  Doing 

(.Continued  from  page  121) 

Myers,  Harry — is  cast  as  Texas  in  Zander  the 
Great— C.  P. 

Myers,  Kathleen — one  of  the  principal  players 
of  Christie  Comedies,  now  playing,  lead  in  Dick 
Turpin  opposite  Tom  Mix — W.  F. 

N 

Nagel,  Conrad — playing  in  Cheaper  to  Marry — 
M.  G.  M. 

Naldi,  Nita — has  left  for  the  Coast  where  she  will 
be  Rudolph  Valentino's  leading  lady  in  The  Scarlet 
Power — R.  C. 

Nazimova — will  play  Joan,  Queen  of  the  apaches, 
in  The  Redeeming  Sin — V. 

Negri,  Pola — her  next  picture  will  be  an  adapta- 
tion of  Somerset  Maugham's  East  of  Suez — F  P.  L. 

Nilsson,  Anna  Q. — has  just  arrived  from  the  Coast 
to  play  opposite  Ben  Lyon  in  The  One  Way  Street — 
F.N. 

Nixon,  Marion — playing  opposite  Tom  Mix  in 
Riders  of  the  Purple  Sage — W.  F. 

Novak,  Jane — will  have  an  important  part  in 
Cheap  Kisses — F.  B.  O. 

Novarro,  Ramon — is  in  Italy  where  he  is  playing 
Ben  Hur—M.  G.  M. 

o 

O'Brien,  Eugene — has  the  leading  male  r61e  op- 
posite Laura  La  Plante  in  Dangerous  Innocence — U. 

O'Brien,  George — playing  Tony  in  The  Dancers 
— W.  F. 

O'Hara,  George — playing  opposite  Alberta 
Vaughn  in  The  Go-Getters  Series  for  F.  B.  O. 

Olmstead,  Gertrude — cast  opposite  Reginald 
Denny  in  California  Straight  Ahead — U. 

O'Malley,  Pat— playing  in  On  the  Shelf— P.  D.  C. 

Owen,  Seena — is  playing  in  The  Hunted  Woman 
— W.  F.  Her  first  picture  to  be  filmed  in  Hollywood 
for  over  two  years. 


Percy,  Eileen — has  an  important  part  in  Tongues 
of  Flame— F.  P.  L. 

Peters,  House — lias  the  role  of  a  daring,  gentle- 
manly desperado  who  always  keeps  just  inside  the 
law  in  Raffles — U. 

Philbin,  Mary — will  play  Marguerite  in  The 
Phantom  of  the  Opera.  This  is  to  be  an  elaborate  pro- 
duction to  be  directed  by  Wallace  Worsley,  who  also 
directed  The  Hunchback  of  Notre  Dame. 

Phillips,  Eddie — has  just  started  work  in  Capital 
Punishment — B.  F.  S. 

Pickford,  Mary — disengaged  at  present.  Latest 
release  Dorothy  Vernon  of  Haddon  Hall. 

Pitts,  Zazu — will  create  an  entirely  different  part 
in  The  Re-creation  of  Brian  Kent — P.  P.  She  will  ap- 
pear as  Judy,  an  uneducated  mountain  girl,  who  is 
crippled  in  childhood. 

Powell,  David — plaving  in  Kings  in  Exile — 
M.  G.  M. 

Prevost,  Marie — at  the  present  time  she  is  honey- 
mooning with  Kenneth  Harlan,  having  completed 
her  work  in  The  Dark  Swan — W.  B. 

Pringle,  Aileen — playing  in  A  Thief  of  Paradise 
n  which  she  wears  a  costume  made  of  18,000  Oriental 
pearls — F.  N. 

R 

Ralston,  Esther — added  to  the  cast  of  The  Goose 
Hangs  High—F.  P.  L. 

Rawlinson,  Herbert — playing  in  The  Adventurous 
Sex— A.  E. 

Ray,  Charles— recently  completed  work  in  The 
Desert  Fiddler— T.  H.  I. 

Reid,  Mrs.  Wallace — playing  in  Broken  Laws, 
written  for  her  especially  bv  Adela  Rogers  St.  John — ■ 
F.  B. O. 

Rennie,  James — finds  time  to  appear  in  a  picture 
every  now  and  then.  He  is  playing  in  Argentine  Love 
— F.  P.  L.  in  the  daytime,  and  delighting  theater- 
goers  evenings   in    The  Best   People. 

Reynolds,  Vera — Cecil  De  Mille  liked  her  per- 
formance in  Feet  of  Clay  so  much  that  he  immediately 
signed  her  up  for  an  important  part  in  his  forthcom- 
ing production.  The  Golden  Bed — F.  P.  L. 

Rich,  Irene — playing  in  The  Man  Without  a  Con- 
science— W.  B. 

Rich,  Lillian — is  Cecil  DeMille's  latest  choice  for 
an  important  role  in  The  Golden  Bed — F.  P.  L. 

Ricksen,  Lucille — playing  in  The  Square  Peg — 
M.  G.  M. 

Rin-Tin-Tin — just  started  work  in  Tracked  in 
The  North— W.  B. 

Roberts,  Edith — playing   in   The  Three    Keys— 

B.  P. 

Roberts,  Theodore — recently  completed  work  in 
Locked  Doors — F.  P.  L. 

Roscoe,   Alan — playing  in  One  Glorious   Night — 

C.  B.  C. 

Rubens,  Alma — has  been  cast  as  the  leading  role 
in  The  Dancers — W.  F. 

Russell,  William — has  been  assigned  the  role  of 
the  "heavy"  in  The  Summons — M.  G.  M. 


/ 


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PICTURE   MAGAZINE. 


123 
PAfi 


t 


T ^MOTION  PICTllRf 
&  I  MAGAZINE     L. 


in 


Advertising  Section 

I  i'Ttto 


•••  Startling  in  its 
Frankness 

•  ••  Intimate  Inside 

Secrets  of  Movie- 
dom  exposed 

•  •  •  Signed  by  the  Stars 

•  •  •  "Vbull  find  every- 

thing you  want 
to  know  about 
o7  filmdom  iti^^> 

TRUTH 

ABOUT  THE 

MOVIES 

WHAT  becomes  of  the  movie-mad 
girls  who  throng  to  Hollywood? 
What  price  must  they  pay  for 
success  ?  If  you  are  not  afraid  to  face  the 
facts — read  "The  Truth  About  the  Mov- 
ies." The  most  sensational,  amazing  rev- 
elations— intimate  stories — and  all  told  by 
the  stars  themselves/  Learn  what  goes  on 
behind  the  scenes  in  Movie-land.  Nothing 
is  hidden — no  one  spared.  This  remark- 
able book  bares  all. 

Your  Favorite  Star  Has  a 
Message  Here  for  You 

No  longer  shall  lurid  lies  and  exaggerated  rumors 


<Oiii 


Who  Dared  Write   this   Book? 

Over  240  leading  stars  contributed  signed  ar- 
ticles! There  are  250  intimate  photos — some 
startling  poses  never  before  published.  Over  500 
pages  of  daring  truths — more  thrilling  than  the 
wildest  fiction.  A  beautifully  bound  book  that 
should  be  read  by  everyone  who  wants  to  know 
"The  Truth  About  the  Movies." 


fool  the  public.  Now  comes  the 
truth — written  by  the  biggest 
people  in  the  films — Rudolph 
Valentino,  Mary  Pickford,  Cecil 
B.  De  Mille,  Gloria  Swanson, 
Charles  Chaplin,  Mae  Murray 
and  240  other  stars,  directors, 
writers   and   producers. 

Secrets  Revealed 
at  Last! 

They  will  tell  you  anything 
you  want  to  know  about  the 
movies.  Ask  a  thousand  ques- 
tions— this  book  will  answer 
them  all  Fearlessly,  these  stars 
tell  you  of  their  experiences — 
the  experiences  of  others — and 
warn  you  against  the  pitfalls, 
mistakes  and  heartaches  they 
have   suffered. 


WRITTEN     BY 

Mary  Pickford 

William  S.  Hart 

Colleen  Moore 

Douglas  Fairbanks 

Annette  Kellerman 

Norma  Talmadge 

and  240  other  leaders  of  the 
moving  picture  world 


Can  a  Good  Girl  Succeed  in  Pictures? 

Is  Hollywood  immoral?  What  are  the  true  facts 
about  movie  scandals?  Are  the  "wild  parties"  as 
bad  as  rumor  says?  This  book  will  tell  you.  If 
you  want  to  know  how  film  stars  entertain — how 
they  live — how  much  money  they  make — read  "The 
Truth  About  the  Movies." 

How  to  Act  for  Movies 

All  the  secrets  of  make-up, 
the  technicalities  of  screen  act- 
ing and  the  professional  "tricks'* 
used  in  writing  scenarios  are  re- 
vealed in  500  fascinating  pages. 
Every  person  of  importance  in 
the  motion  picture  industry  has 
helped  to  make  this  book  the 
most  complete  and  authentic 
collection  of  information  in 
screen    history. 


How  to  Get  Into  the  Movies 

Crooks  and  swindlers  are  constantly  victimizing 
thousands  who  seek  entrance  to  the  studios.  This 
book  exposes  fake  directors,  casting  agencies,  cor- 
respondence and  make-up  schools  and  needless,  em- 
barassing  screen  tests.  Through  "The  Truth  About 
the  Movies,"  Filmdom's  greatest  directors  and  the 
jtars  themselves  tell  you,  in  their  own  words,  what 
types  are  wanted  and  how  to  get  your  start.  Read 
I  heir  advice — it   will   save   you   from  costly  mistakes. 


WARNING! 

Only  a  limited  number  of 
these  books  have  been  printed. 
Millions  of  movie  fans  will  want 
copies.  Many  will  be  disap- 
pointed and  have  to  wait  for 
the  second  edition.  Don't  be 
too  late!  Mail  the  coupon  now, 
to  Hollywood  Publishers  Co., 
Suite  301,  6411  Hollywood 
Blvd.,  Hollywood,  Calif. 

Send  No  Money 

It  costs  nothing  to  reserve  your  copy.  Just  sign 
and  mail  coupon  at  once.  If  edition  is  not  ex- 
hausted, your  book  will  be  mailed  C  O.  D.  Just 
pay  postman  $2.50,  plus  few  pennies  postage.  Then 
read  the  fascinating  facts  about  the  most  alluring 
profession    in    the    world. 


I 


Why  Some  People 
Condemn  This  Book 

Because  it  prints  the  whole  truth,  this  daring 
book  has  made  enemies.  But  defying  wealth  and 
power— regardless  of  consequences  and  of  repu- 
tation—-"The  Truth  About  the  Movies'*  tells 
everything! 


Critical   Paragraphs  About 
New  Productions 

(Continued  from  page  103) 

train  from  being  dynamited,  wins  the  girl, 
and  beats  his  enemies — accomplishing  these 
tricks  against  overwhelming  odds.  You 
are  apt  to  be  thrilled  even  when  you  con- 
sider  it  as   so  much  hokum. 

Teeth 

T'om  Mix's  "toot  ensemble"  has  been 
augmented  by  Duke,  a  dog.  With  Tony, 
the  cowboy  star's  horse,  the  animals  carry 
the  burden  of  this  Western  melodrama, 
built  around  the  hero  unjustly  accused  of 
murder  and  his  faithful  hound  getting  the 
goods  on  the  real  culprit. 

Every  situation  features  the  dog.  Still 
i.t  seems  as  if  he  knew  a  little  too  much 
even  for  a  dog.  He  can  spot  a  hub  cap 
on  an  automobile  and  lift  keys  from  a 
jailer's  pockets.  Eventually,  he  helps  the 
hero  to  rescue  the  girl  from  a  forest 
fire — a  scene  effectively  thrilling.  Not 
much  hard  ridin'  here.  Mix  does  away 
with  his  usual  exploits  to  give  the  dog  a 
chance.  And  Duke  can  make  a  big  bark 
over  his  performance. 

Dangerous  Money 

TThe  difficult  task  of  making  a  trite  story 
passably  interesting  has  fallen  to  Frank 
Tuttle— and  this  director,  appreciating  that 
lifelike  situations  can  overcome  dramatic 
pyrotechnics  that  have  little  meaning,  has 
done  a  first-rate  job.  There  isn't  much  to 
the  plot — which  is  of  the  Cinderella  pat- 
tern dressed  up  with  the  moral.  And  this 
moral  is  that  money  is  dangerous  when  its 
possessor  loses  his  or  her  sense  of  pro- 
portion. Bebe  Daniels  is  the  star,  but  we 
think  her  performance  is  overshadowed  by 
Tom  Moore's. 

Worldly  Goods 

A  ny  picture  that  can  take  a  crack  at  the 
large  and  ever-growing  army  of  "show- 
offs" — who  "bull"  their  way  into  every- 
thing —  deserves  commendation.  Which 
makes  this  an  especially  fine  treat  for 
America's  matrons,  young  and  old.  And 
it  will  doubtless  hit  home  with  many — oh, 
so  many  married  couples.  Paul  Bern  has 
filled  the  picture  with  many  human  touches, 
flashes  of  comedy — and  appropriate  at- 
mosphere. And  Pat  O'Malley  in  the  un- 
pleasant role  of  the  husband  gives  an 
adroit  study.  Agnes  Ayres  is  more  adapt- 
able for  the  role  of  the  wife  than  anything 
we  have  seen  her  in  of  late. 

Darwin  Was  Right 

("•harles  the  Darwin  said  it  some  time 

ago — that  we  were  descendants  of  apes. 

And  the  author  and  director  of  this  pic- 


124 


Buck  Jones  does  good  work  in  a  new  type 
of  Western  called,   Winner  Take   All 


Every  advertlsemen 


aranteed. 


Manufacturers,    Distributors 

and  Studios  of  Motion 

Pictures 

OUTSIDE  NEW  YORK 

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Road,  Los  Angeles,  Calif. 
Century   Comedies,  6100   Sunset   Blvd., 

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Christie  Film  Corp.,  6101  Sunset  Blvd., 

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Coogan,    Jackie,    Prod.,    5341    Melrose 

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Schulberg,   B.  F.,   Prod.,  3800   Mission 

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Sol   Lesser   Prod.,    7250   Santa   Monica 

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Stahl,    John    M.,    Prod.,    3800    Mission 

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Universal      Studios,     Universal     City, 

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Wharton,  Inc.,  Ithaca,  New  York. 


Advertising  Section 

ture  try  to  prove  it.  Monkey  comedies 
usually  take  up  no  more  than  three  reels, 
but  in  .trying  to  work  out  the  Darwinian 
theory  they  have  added  more  than  humor. 
It  tells  of  a  scientist  who  in  experiment- 
ing with  an  elixir  of  youth  tosses  off  a 
goodly  potion  and  reverts  to  type— that  is, 
his  immediate  household  thinks  he  has  re- 
verted to  type.  What  does  occur  is  a  kid- 
naping of  the  scientist,  his  secretary  and 
his  valet  by  a  scoundrel  who  is  after  the 
fatal  secret.  And  the  monks  descend  upon 
his  home.  It  is  rather  novel,  but  too  slight 
for  five  reels. 

The  Garden  of  Weeds 

This  may  not  have  been  so  much  on  the 
stage,  but  trust  James  Cruze  to  make 
something  out  of  it.  He  has  dressed  up 
the  timeworn  plot— that  of  the  innocent 
girl  being  compromised  by  a  wealthy 
bounder  and  trying  to  keep  her  past  from 
her  husband — with  sophisticated  trimmings. 
That's  the  kind  of  a  picture  it  is — one  that 
paints  the  lily  in  rather  broad  fashion.  A 
daring  story  which  has  been  treated  with  a 
share  of  subtle  shadings. 

The  title  gets  its  meaning  from  the 
bounder  maintaining  a  lavish  love  nest  for 
the  pretty  ladies.  They,  naturally,  are  so 
many  weeds.  Betty  Compson  is  one  of 
these  weeds  who  transfers  herself  to 
cleaner  soil.  And  a  smart  performance 
she  gives.  The  same  may  be  said  for 
Rockcliffe  Fellowes  as  the  bounder. 
Fairly  true  to  life. 

Romance  and  Rustlers 

Tt's  seldom  that  a  Western  comes  bound- 
ing along  that  is  treated  with  such  hu- 
man touches  as  this  "horse  opera"  starring 
Yakima  Canutt.  Not  only  does  its  central 
figure  appear  genuine,  but  the  incident  is 
treated  with  a  whimsical  note  of  humor — 
which  makes  for  rattling  good  entertain- 
ment of  its  kind.  The  director  has  evi- 
dently appreciated  that  a  cowpuncher  can 
have  a  sense  of  humor — and  the  scenes 
which  might  have  presented  the  character 
as  one  of  those  grim  fighting  Westerners, 
release  a  happy  comedy  relief  in  the  hero's 
taking  life  and  love  philosophically. 

It  goes  over  old  ground,  but  has  been 
freshened  with  bright  and  human  inci- 
dent. This  Canutt  fellow  won  his  spurs 
and  free  publicity  and  plenty  of  fame  as 
the  champion  rodeo  artist  of  the  world. 
That  was  last  summer  when  he  was  with 
the  Tex  Austin  show.  He  is  a  big  rangy 
fellow— a  skilful  rider  and  quick  with  the 
lariat  and  the  trigger  finger.  And  he  acts 
with  creditable  simplicity  a  role  which 
calls  for  the  rescue  of  the  girl  and  saving 
himself  from  being  framed  by  the  ever- 
villainous  foreman.     A  neat  little  number. 


.61  I    MAGAZINE      ft 


Winner  Take  All 


B 


uck  Jones  has  hung  up  his  saddle  and 
spurs  for  the  time  being — to  take  a 
holiday  as  a  disciple  of  the  manly  art  in 
a  prize-fight  story  by  Larry  Evans.  And 
with  his  horse  in  pasture  Buck  is  allowed 
to  display  some  versatility  as  a  different 
type  of  Westerner.  A  group  of  shady 
promoters  have  seen  him  "rough-housing" 
some  of  the  ranch  boys — and  talk  him  into 
putting  on  the  gloves.    You  know  the  rest. 

A  single-track  story  this,  but  made  in- 
teresting with  its  incident  and  characteriza- 
tion. No  hokum  here — no  gray-haired 
mother  with  failing  eyesight  wishing  for 
a  little  gray  home  in  the  West.  Buck  just 
wants  to  settle  down  and  build  a  bungalow 
of  his  own.  And  there  is  no  mortgage 
involved.  He  is  plumb  set  on  getting  mar- 
ried some  day.  The  fight  gives  him  his 
chance.     And  the  girl's  faith  is  restored. 


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What  the  Stars  Are  Doing 

{Continued  from  page  123) 

Starke,  Pauline — will  have  the  feminine  lead  in 
The  Devil's  Cargo — E.  P.  L. 

Stedman,  Myrtle — recently  completed  work  in 
//  I  Ever  Marry  Again — F.  N. 

Stewart,  Anita — and  company  have  just  returned 
from  Tahiti  where  they  have  filmed  some  of  the 
scenes  of  Ne'er  the  Twain  Shall  Meet — C. 

Stone,  Lewis — playing  in  Cheaper  to  Marry — 
M.  G.  M. 

Swanson,  Gloria — has  almost  completed  her 
work  in  Madame  Sans  Gene — F.  P.  L.  Her  next  pic- 
ure  will  be  The  Coast  of  Folly.  Allan  Dwan,  who  will 
direct  the  picture,  has  already  sailed  for  France 
where  the  exteriors  will  be  filmed. 

Sweet,  Blanche — playing  in  The  Sporting  Venus 
— M.  G.  M. 


Talmadge,  Constance — playing  in  Learning  to 
Lovc—F.  N. 

Talmadge,  Norma — recently  completed  work  in 
The  Lady— F.  N. 

Talmadge,  Richard — playing  in  Laughing  at 
Danger— F.  B.  O. 

Taylor,  Estelle — playing  in  Playthings  of  Desire. 

Tearle,  Conway — has  been  engaged  to  play  op- 
posite Madge  Kennedy  in  The  Ultimate  Good — A.  E. 

Tellegen,  Lou — cast  as  Lupine,  leader  of  the 
apaches,  in  The  Redeeming  Sin — V. 

Terry,  Alice — playing  in  Kings  in  Exile — 
M.  G.  M. 

Theby,  Rosemary — added  to  the  cast  of  The  Re- 
creation of  Brian  Kent — P.  P. 

Thurman,  Mary — playing  in  His  Woman — W.  B. 

Torrence,  David — playing  in  Judgment — F.  X. 

Torrence,  Ernest — playing  Captain  Hook  in 
Peter  Pan— F.F.L.     . 

V 

Vale,  Vola — playing  Betty  Bond  in  The  Mirage — 
R.  P. 

Valentino,  Rudolph— has  just  left  for  California 
to  start  work  on  his  first  R.  C.  production,  The 
Scarlet  Power.  It  was  necessary  for  him  to  wear  a 
beard  thru  part  of  this  picture. 

Valli,  Virginia — playing  in  a  screen  version  of 
Owen  Davis's  play.  Up  the  Ladder — U. 

Varconi,  Victor — playing  in  The  Golden  Bed — 
F    P.  L. 

Vaughn,  Alberta — appears  opposite  George 
O'Hara  in  The  Go-Getters— F.  B.  O. 

Vidor,  Florence — portraying  a  spoiled  daughter 
of  a  rich  broker  in  The  Girl  of  Gold — R.  P. 

Von  Eltz,  Theodore — playing  in  Thin  Ice — YV.  B. 

w 

Walker,  Johnny — has  been  engaged  to  play  op- 
posite   Allene    Ray    in   Galloping    Hoofs. 

Walthall,  Henry — playing  the  gay  young  blade 
in  The  Golden  Bed—F.  P.  L. 

Washburn,  Bryant — has  been  added  to  the  cast 
of  The  Wizard  of  Oz—C.  P. 

Welch,  Niles — playing  the  leading  male  r&le  in 
Fear-bound — V. 

Williams,  Earle — playing  in  The  Adventurous  Sex 
—A.  E. 

Williams,  Kathlyn — upon  completing  work  in 
William  de  Mille's  Locked  Doors — F.  P.  £.,  she  will 
leave  for  a  four  months'  trip  to  the  Orient. 

Wilson,  Lois — is  cast  as  a  young  woman  who  owns 
and  manages  a  newspaper  in  a  small  town.  She  has 
the  only  female  part  in  Contraband — F.  P.  L. 

Windsor,  Claire — playing  in  Dixie — M.  G.  M. 

Wong,  Anna  May — playing  in  Peter  Pan— 
F.  P.  L. 

Worthing,  Helen  Lee — playing  Wanda  von 
Gluck  in  The  Swan — F.  P.  L. 


Key  to  Abbreviations 

A.  A. — Associated  Arts. 

A.  C. — Al  Christie  Productions. 

A.  E. — Associated  Exhibitors. 

A.  P. — Allied  Productions. 
B. — Banner  Productions. 

B.  F.  S.- — B.  F.  Schulberg  Productions. 

C.  C.  B—  C.  C.  Burr. 

C.  P. — Cosmopolitan  Productions. 

D.  VV.  G—  D.  W.  Griffith. 

E.  S. — Ernest  Shipman. 

F.  P.  L. — Famous  Players-Laskv. 
F.  B.  O— Film  Booking  Offices. 
F.  N. — First  National. 

H.  P. — Halperin  Productions. 
H.  S. — Hunt  Stromberg. 
I.  P. — Inspiration  Pictures. 
M.  G.  M. — Metro-Goldwyn-Mayer. 
P.  P. — Principal  Pictures. 
P.  D.  C. — Producers    Distributing   Cor- 
poration. 
R.  P. — Regal  Productions. 
T.  H.  I.— Thomas  H.  Ince. 
U. — Universal. 
V. — Yitagraph. 
W.  B. — Warner  Brothers. 
W.  B—  Whitman  Bennett. 
W.  F—  William  Fox. 


126 


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0T1ON  PICTURR 

MAGAZINE       f\ 


Now  a  Powder 

Such  as  stage  stars  use 
By   Edna  Wallace    Hopper 


We  on  the  stage  and  in  movies 
are  careful  of  our  looks.  And  we 
are  extravagant.  I  have  always  had 
my  powders  made  to  order  by  the 
greatest  experts  I  know.  They  cost 
me  $5  per  box.  They  were  so  ex- 
quisite that  all  my  friends  asked  me 
to  order  for  them. 

When  I  offered  my  beauty  helps  to 
women  I  did  not  include  this  powder. 
It  was  too  expensive.  But  thousands 
asked  me  for  it.  So  I  went  to  the 
makers.  I  said,  "I  can  use  a  million 
boxes  if  put  up  to  sell  at  50  cents 
and  $1.00."  They  have  finally  agreed 
to  do  that. 

So  now  you  will  find  my  powders 
— -Edna  Wallace  Hopper's  Fare 
Powders — at  every  drug  and  toilet 
counter.  There  are  two  types.  One 
is  my  favorite  —  a  heavy,  cling- 
ing, cold  cream  powder.  I  use  it  al- 
ways, because  it  stays.  But  the  same 
powder  is  made  light  and  fluffy,  for 
those  who  prefer  that  type.  The 
heavy  powder  in  square  box  costs 
$1.00,  the  light  in  round  box  only 
50  cents.    Both  come  in  three  shades. 

You  will  find  these  exquisite 
powders — the  powders  which  bear 
my  name.  In  all  my  40-year  search 
I  have  found  nothing  to  compare. 
Mail  this  coupon  for  samples.  They 
will  give  you  new  conceptions  of 
fine  powder.  I  am  delighted  to  now 
place  it  at  your  call. 


Sample 

Free 

Edna   Wallace   Hopper, 

861  M.P. 

536  Lake   Shore  Drive, 

Chicago. 

I   want  to  try 

3  Youth      Cream      Powder      □  Face 

Powder 

White— Flesh- 

-Brunette 

Tony    Moreno    and    Vera    Reynolds 
snapped   out    of   working   hours 

The  Answer  Man 

(Continued  from  page  80) 

Robert  B. — No,  I  haven't  any  record  of 
Helen  Greene's  returning  to  the  screen.  Is 
that  her  right  name?  Tell  me  more  about 
her.  It's  Laura  LaPlante  and  Eugene 
O'Brien  who  are  playing  in  Dangerous 
Innocence.  It  was  taken  in  Honolulu ; 
down  where  the  ukeleles  grow. 

Dixie  of  Memphis. — Just  address  Ben 
Lyon  at  the  old  Biograph  Studios,  807 
East  175th  St ,  New  York  City.  He  is 
twenty-three.  Colleen  Moore  is  playing 
in  Sally  for  the  screen.  Robert  Frazer 
and  Bebe  Daniels  in  Miss  Bluebeard. 

Sweet  Sixteen. — What  do  I  do  for 
excitement.  Well,  if  you  read  all  of  these 
letters  that  are  scattered  on  my  desk,  you 
would  get  enough  excitement.  I  go  to 
picture  shows,  the  theater,  then  I  ice  skate, 
dance,  then  occasionally  play  a  game  of 
mah  jong.  May  McAvoy  at  Metro- 
Goldwyn,  Culver  City,  California.  Run 
in  again  some  time,  you  will  always  find 
me  here. 

Jean  M.,  N.  J. — So  you  are  from  New 
Jersey.  A  nice  place.  Kenneth  Harlan  at 
Principal  Pictures,  7250  Santa  Monica 
Boulevard,  Los  Angeles,  California.  Eve- 
lyn Brent  is  starring  in  Silk  Stocking  Sal. 
Sounds  interesting. 

Peter  Pax. — So  you  think  I  ought  to 
bob  my  beard.  I  suppose  the  boyish  bob. 
I'll  consider  it,  Peter.  Gloria  Swanson 
played  opposite  Wallace  Reid  in  Affairs 
of  Anatol.  There  were  many  other  stars 
in  the  picture.  They  also  played  in 
Something    to    Think   About. 

Schatz.— Yes,  I  saw  Richard  Barthel- 
mess'  Classmates.  Richard  does  some 
splendid  acting,  and  it  is  well  done,  but 
Inspiration  also  showed  the  Classmates 
which  Biograph  took  some  ten  years  ago 
with  Blanche  Sweet  and  Henry  Walthall, 
and  I  want  to  tell  you  it  was  the  funniest 
thing  I  have  seen  for  some  time.  No, 
Clara  K.  Young  is  not  playing  now. 

E.  L. — Ronald  Colman  is  English,  and 
he  is  playing  opposite  Blanche  Sweet  and 
Lew  Cody  in  The  Sporting  Venus.  Why, 
Louis   Czolgosz   shot   President  McKinley. 

Jane  B. — You're  a  bit  twisted.  Her 
Love  Story  was  released  first  and  then 
Wages  of  Virtue.  They  are  two  different 
pictures.  Ian  Keith  is  with  Ince.  Ramon 
Novarro   is  twenty-five.     So   long. 

Chil. — If  you  lose  your  temper  dont 
look  for  it.  If  you  would  distinguish 
yourself,  learn  to  distinguish  between 
quick  action  and  hasty  judgment.  Cyril 
Maude  is  not  playing  in  pictures  right 
now.  Neither  is  Elsie  Janis.  1889  for 
her.  Forrest  Stanley  has  the  lead  oppo- 
site Virginia  Valli  in  Up  the  Ladder.  Yes, 
there  is  a  Charlotte  Merriam  and  she  is 
playing  in  Pampered  Youth  with  Cullen 
Landis  for  Vitagraph. 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE 


Become  An  Artist 
This  Easy  Way 

Thousands  who  never 
dreamed  they  could  draw  can 
now  easily  become  artists.  You, 
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— can  now  easily  learn  Illus- 
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tooning through  this  amazingly 
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You  learn  at  home,  yet  your 
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times  over. 
Big  Money  in  Commercial  Art 
Millions  of  dollars  are  being  spent  this 
year  on  advertising  and  story  illustrations, 
commercial  designs,  and  cartoons.  And  even 
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art  is  a  tremendous  field — and  a  field 
where  very  big  money  is  gladly  paid  anyone 
who  can  produce  good  art  work.  Adver- 
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for  it.     Mail  coupon  now. 

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City 

MAGAZINE. 


.State. 


127 
PAG 


i 


f 


AMOTION  PICTURF 
CI  I  MAGAZINE     l- 


Advertising  Sectioh 


'  'Brushing  with  the  Wavex  Is  All  I  Do  for  Waviness' ' 

The  Brush- Waved  Bob! 

Wonderful  New  Brush  Is  a  Boon  to  Bobbed  Heads 

Helps  Hair  Curl  Instead  of  Straightening  It 

An  Amazing  Aid  to  the  Natural  Wave 


Now,  the  bob  is  a  blessing.  Bobbed  hair 
need  NOT  be  a  constant  care.  The  inventor 
of  Wavex — the  new,  curling  hairbrush — must 
have  had  bobbed  heads  in  mind!. 

No  more  bother  and  expense  of  almost  daily 
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locks  that  are  stub- 
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All  you  have  to  do  is 
use  the  righthair  brush. 
Simply  brush-wave 
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— the  brush  thatbrushes 
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the  pictures  tells  why 
this  new  type  of  brush 
coaxes  to  a  curl.  The 
brush  itself  will  dem- 
onstrate its  effective- 
ness in  short  order. 
You  can  have  one  to 
try.  An  actual  test  on 
your  own  hair  is  free. 
No  sale  if  you  don't 
see  real  results,  and 
you  can't  count  its 
purchase  an  expense — 
the  Wavex  brush  soon 
saves  many  times  its  cost  in  fees  paid  for  fre- 
quent wavings ! 

While  the  idea  is  still  new,  the  makers  will 
forward  one  Wavex  curling  hair  brush  at  the 
special  price  of  three  dollars.  It  is  a  bargain  at 
that  price !  For  Wavex  is  genuine  Ebony  from 
India,  with  the  rich,  colorful  markings  of  the 
imported  ebony,  unstained  and  highly  polished. 
Real,  penetrating  China  hog  bristles  hand- 
draiun.     Will  stand  wetting  and  washing. 

For  hair  that  always  looks  its  best — that  just 
naturally  falls  into  soft  curl  after  every  brush- 
ing— get  a  Wavex  brush  and  begin  using  it. 
You'll  be  glad  you  did — your  satisfaction  will 
know  no  limit — for  a  Wavex  is  a  joy.  Short 
hair,  long  hair,  ,any  human  hair  responds  to 
the  gentle  undulation  of  the  bristles  in  wave- 
fs\  formation.     A  deluge  of  letters  is  proof  of 


what  it  does  for  the  appearance  and  health  of 
the  hair.  It  aids  and  abets  curliness  with 
every  stroke.  It  brings  a  buoyancy  and  billow 
to  the  hair.  It  does  away  with  that  severe 
look  which  bobbed  hair  has  when  flattened  by 
the  old,  straight-type  of  brush.  The  friction 
in  brush-waving  polishes  the  hair  to  a  brilliancy 
no  dressings  can  ever  equal  in  effect. 

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send  a  penny.  Pay  the  postman  who 
brings  it  $3  and  the  postage.  This  will  be 
returned  if  you  aren't  enthusiastic  after 
even  one  week  of  brush-waving.  Those 
who  prefer  paying  now  may  do  so  and 
save  the  postage;  if  you  enclose  the  $3 
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and  please  use  the  coupon: 

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456  So.   State   St.,  Chicago 

Please  send  me  one  Wavex  curlintr  hair  brush 
for  a  week's  free  demonstration  which  must  sell 
me,  or  my  money  is  to  be  returned.  1  will  pay 
postman  $3  and  postage.  (Or  enclose  $3  now 
and  get  bruBk  prepaid.) 

Name 

Address 

P.O 


■„ 

Pl*sj 

a^ 

MbL 

3 

h 

I  >^ 

|)l28 
LAOt 


George  Hackathorne  wore  a   mus- 
tache   in    the    early    days     of    his 
screen  career 

Stories  About  the  Old  Times 

(Continued  from  page  95) 

week  before  by  landing  this  humble  job, 
I  wanted  it  badly.  But  D.  W.  just  raised 
his  hand,  and  said :  'rCeep  it  up,  young 
man,  keep  it  up.  I  like  to  hear  you.'  But 
I  must  have  been  a  disappointment  to  him 
from  then  on.  My  thoughts  had  flown  and 
I  had  to  stumble  along. 

"Two  weeks  later,  I  was  still  digging 
post-holes  when  D.  W.  sent  for  me.  'Can 
you  act?' he  asked.  'No!' I  replied.  'Well, 
you  can  talk,'  retorted  D.  W.  and  added, 
'I  want  you,  just  as  you  are,  in  your  over- 
alls, to  climb  up  on  that  soap  box  and 
talk  to  this  mob.  Pick  your  own  subject.' 
A  little  voice  inside  of  me  kept  saying: 
'Here  is  your  opportunity.     Dont  lose  it.' 

"I  never  talked  in  my  life  as  I  talked 
that  day.  Just  as  I  got  going  good,  I 
heard  D.  W.'s  voice.  Between  laughs,  he 
had  been  trying  to  stop  me  for  several 
minutes.  He  had  his  scenes.  And  I  had 
a  new  job.    That  made  me  an  actor." 

X/Tarie  Prevost  likes  to  reminisce,  too. 
"One  of  my  earliest  and  most 
poignant  recollections  of  the  screen,"  said 
Marie,  "concerns  a  colored  maid.  I  was 
it!  Yes,  it  was  a  Mack  Sennett  comedy 
and  Mae  Busch  was  the  featured  player. 
I  was  her  maid — my  first  part — and  I 
rfiade  the  most  of  it.  In  fact,  I  applied  my 
make-up  so  thoroly  that  I  looked  the  part 
for  a  week. 

"Like  the  rest  of  the  original  Mack 
Sennett  bathing  girls,  I  had  started  a 
motion  picture  career  at  three  dollars  a 
day,  six  days  a  week  guarantee.  Out  of 
that  we  trolleyed  to  and  from  the  studio, 
bought  our  lunches  and  made  our  clothes 
(dont  laugh)  and  those  were  happy  days! 
We  were  really  school  girls,  all  burning 
with  the  desire  to  learn  to  act.  Gloria 
Swanson  and  Mae  Busch  were  our  ideals 
on  the  lot.  They  were  getting  somewhere 
as  actresses. 

"My  ability  to  swim,  dive  and  ride  a 
surf-board  eventually  led  to  the  golden 
opportunity.  I  was  called  upon  to  double 
for  another  girl  in  the  long  shots  in  the 
water.  No  doubt  I  was  a  much  better 
bathing  girl  than  an  actress,  but  at  any 
rate  my  skill  as  a  mermaid  finally  led  to 
the  hanging  of  the  bathing  suit  on  the  line 
for  good." 


NEXT    MONTH 
CHARACTER  ANALYSES 

OP 

MILTON  SILLS,  BESSIE  LOVE, 
ANNA  Q.  NILSSON,  ADOLPHE  MENJOU 

By  MADAME  VANCE  de  REVERE 


Every  advertisement  in   MOTION   PICTURE  MAGAZINE  is  guaranteed. 


Advertising  Section 


„,.-J0TI0N  PICTUI 

m  I   MAGAZINE 


Too  Fat?    Too  Thin? 


One  condition  is  just  about  as  undesirable  as  the  other — and  as 

unnecessary.    Estelle  Taylor,  movie  star,  will  tell  from  her  own 

experience,   in   February   BEAUTY,   "How   I   Lost  a   Pound   a 

Day — How  I  Gained  a  Pound  a  Day" 


"How  Not  to  Get  Tired"  is  an  article 
for  the  woman  who  stands  all  day,  by  Lydia 
de  Vilbiss,  M.  D.,  well-known  lecturer  and 
writer,  who  has  been  associated  with  health 
work  in  many  states. 


Dancing  helps  to  create  charm,  accord- 
ing to  Catherine  Crandell,  lovely  dancer  in 
the  Greenwich  Village  Follies.  She  writes 
about  it  in  "How  I  Acquired  Charm,"  to 
appear  in  February  Beauty. 


Cold  weather  brings  its  own  problems  to 

the  beauty  seeker.  You  will  find  many 
valuable  suggestions  in  "How  to  Protect 
Your  Beauty  from  Winter  Blasts." 


"What  Hockey  Can  Do  for  You"  will  be 
the  second  in  a  series  of  illustrative  articles 
on  sports  for  women  written  by  Mildred 
Smelker  for  lovers  of  sport. 


/f^Gcavt 


For 

FEBRUARY 


■» 


Pin   a   Dollar   Bill    to   this   coupon   and   receive   the   next    five   big   numbers   of 
"Beauty"  Magazine.  Mail  at  once  to  BEAUTY,  175  Duffield  St.,  Brooklyn,  N.  Y. 


On  the  news-stands  January  15th 

When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


129 
PAG 


I 


HMOTION  PICTURE 
RBI  |  MAGAZINE     1- 


Advertising  Section 


Wooden  Shoes 


"^TpHE  peasants  in  America  do  not  wear  wooden  shoes 
-*■  at  all,  even  in  the  fields!"  writes  Abbe  Pierre,  of  Gas- 
cony.  "No,  the  peasants  there  wear  shoes  of  leather,  altho 
I  should  think  that  sabots  would  be  much  more  serviceable, 
not  only  on  the  roads,  but  plowing.  .  .  .  And  wooden  shoes 
are  far  less  expensive.  Ah,  that  America  is  an  extravagant 
country!" 

Advertisements  haven't  yet  taken  the  heavy  wooden 
shoes  from  Gascon  feet — nor  yet  the  heavy  wooden  shoes 
from  Gascon  minds.  Gascony  thinks  in  the  past.  America 
in  the  future. 

Advertisements  make  the  difference.  They  crisscross 
improvements  in  countless  directions  across  the  miles.  They 
distribute  Fords,  furnaces  and  electric  lights  so  widely  that 
foreigners  think  you  extravagant  to  enjoy  them.  They  put 
you  in  touch  with  the  latest  conveniences.  They  help  so 
many  people  enjoy  those  conveniences  that  their  cost  to 
you  is  small. 

You  read  advertisements  to  link  yourself  with  the  best 
— to  substitute  speed  for  the  shambling  progress  you  other- 
wise would  have  to  make  in  the  lonely  wooden  shoes  of 
isolation. 

Do  you  read  them  regularly?     Good  habits  pay. 


*$ 


Advertisements  are  a  reliable  buying  guide  obtainable  in 

no  other  way 


'130 


Every  advertisement  in  MOTION  PICTURE  MAGAZINE  is  guaranteed. 


GDWABD    I.ANUEIt    ritlNTINrt    CO.,    INC., 
JAMAICA,  NEW  YOBK  CITI. 


-^ 


Wr~ 


New  123  Method  for 


•  • 


UBLECHIN 


OR 

SAGGING 
FACIAL 

MUSCLES 


B 


Double     chin,     sagging 
facial     muscles,     drooping 

mouth   lines  mar  what  otherwise  would   be   a  pretty 

face. 
It  is  no  longer  necessary  to  labor  under  the  handicap  of 

such  facial  faults.     Use  the  Cora  M.  Davis  1-2-3  method, 

consisting  of  an  effective  reducing  facial  cream,  patented 

chin  and  face  strap,  and  astringent. 

Worn  While  You  Sleep 

How  simple— how  convenient — how  effective.  Merely 
apply  the  cream  before  going  to  bed.  Then  put  on  the 
chin  strap.  The  cream  has  so  softened  the  skin  muscles 
that  the  strap  is  easily  capable  of  starting  its  work  of  re- 
ducing the  double  chin,  raising  the  mouth  lines  and  re- 
turning to  their  proper  places  the  sagging  face  muscles. 
Then  in  the  morning  apply  the  astringent  which  tightens 
up  the  skin  and  makes  permanent  the  work  done  by  the 
cream  and  strap.  Continue  this  for  a  few  nights  and  see 
the  wonderful  improvement  in  your  facial  contour. 
Special  combination  price  for  all  three  articles,  only  $4.00. 
Anyone  desiring  either  of  these  three  articles  alone  can 
obtain  them  at  the  stipulated  prices. 


CORA  M.  DAVIS 

Dept.  XIO  507  Fifth  Ave. 

New  York  City 


EAUTY  cannot  be 
attained  by  a  free  use 
of  cosmetics  alone. 
Complexion  is  not  every- 
thing— the  contour  of  the 
face  must  also  be  correct. 


These  Stores  Sell  The 

Davis  Chin  Straps. 


ANGOLA.    IND. 

The    Kratz    Drut:    Sh.rc 
ASBURY  PARK.  N.  J. 

steinback   Co. 
ATLANTIC    CITY,    N.    J. 
M.     De'Hart,     care    Black- 
Hotel 
BOSTON.    MASS. 
Shepard  stores 

M     O'Heam,    Tre- 
nuMit    St.  ' 

BROOKLYN.    N.   Y. 
A.   I.  .\anim  &  Son 
Abraham    it    Strauss 
Liggett  s   Drug   Stores 
BUFFALO.    N.    Y. 

William   Hengerer 
CANTON.    OHIO 

Creami  r,  1221  St..  Elms  Ave. 
CHICAGO.    ILL. 
Carson,    l'lrie   &    Scott 
Maridtl    Bros. 
Store 
Rothschild 
CLEVELAND,   0. 
Kathryn   Ann.   Euclid  Bldg, 
The    May    Dept.    Stores 
COLUMBUS,     OHIO 

Charles  \V.  Lane,   90  North 
High    St. 
DANVILLE.    ILL. 

Woodbury    Drug  Co. 
DENVER.   COLO. 

Lewis  &   Son 
DES    MOINES.    IOWA 

Llggett's.    S21    Sixth   Ave. 
DETROIT.     MICH. 

J.  L.  Hudson 
GRAND    RAPIDS,   MICH. 
Friedman    Spring    Dry 
Goods  Co. 
HARTFORD,    CONN. 

G.    Fox   &   Co. 
MINNEAPOLIS.    MINN. 

L.    S.    Donaldson    Company 
NEWARK.   N.  J. 
L.    Bamberger 
Petty's,   771   Broad  St. 
L.  S.    l'laut  &  Co. 
NEW   ORLEANS,    LA. 

MaJson    Blanche 
NEW    YORK,    N.    Y. 
.Tames  MrCreery  &  Co. 
Saks   &   Co. 
Stern  Bros. 
Glmhel    Brothers 
Heam,    14th    St.    near    5th 


Ave. 


K.    H.    Macy 
Bloomingdale'a 

Barnett    Bros., 
C  ol  nni  bus 
Ave.      and 
74th  St.  and 
at   all   other 
dept.     stores 
Drug   Merchants  of 'Amer- 
ica.   Inc..    Fulton   St. 
Liggetfs   Drug  Stores 
Harlow  &  Luther,  46th  and 
Broadway,   and   others 
NORWALK.   CONN. 

L.   A.   Isklgan.  S.  Main  St. 
PATERSON.    N.   J. 
Licgetrs.  165  Market  St. 
Pellett's  Drug  Store 
PHILADELPHIA,    PA. 
Straw-bridge.    Clothier 
Lit  Bros. 

Geo.  <;.  Evans'  Drug  Stores 
Rita  A.   Kraus.    1615  Wal- 
nut St. 
Pauline    Campbell.     13th 
and  Sansom  St. 
PITTSBURGH.    PA. 
McCrcery   Co. 
Kaufman  Bair 
McGinnis    Vanity    Shop 
Joseph    Home    Co. 
May  Drug   Co. 
POUGHKEEPSIE.    N.    Y. 

E.    Moody,    Main    St. 
PROVIDENCE,    R.    I. 

The  Sheppard  Company 
RICHMOND,    VA. 
Hughes    Hair   Shop.    North 
3rd  St. 
SAN    DIEGO,    CALIF. 

Dr.    C.    C.    Benden 
SAN    FRANCISCO,   CALIF. 

The  Emporium 
SOUTH    NORWALK.   CONN. 
Liggetfs,    70    East    Wash- 
ington  St. 
TERRE     HAUTE.     IND. 

Kintz,   Hat    Shop 
UTICA.  N.   Y. 

England    &    MeCaffry 
WASHINGTON,   D.  C. 
Llggett's.     1006     F    Street. 

N.W. 
Mrs.    B.    Gaddis,    67    Ran- 
dolph   Place.    N.W. 
WILLIAMSPORT,    PA. 
The     Charlotte     Shop. 
Pine  St. 


243 


This  astringent  is  a 
mild  lotion  but  con- 
tains the  correct 
essentials  to  produce 
firmness  without 
harshness,  tightening 
the  skin  smoothly 
wherever  applied. 
Price   51.25 


While  prepared  primari- 
ly for  reducing  double 
chin  and  fleshy  facial 
parts.  many  have 
spoken  highly  of  Cora  M. 
Davis  reducing  cream 
for  effective  reduction 
on  any  part  of  the  body 
Price  $1.00 


Use  this 
Coupon 

If  your   dealer 

cannot 

supply  you 


For  sale   at  Owl   Drug  Stores   from 
Chicago     to    the    Pacific    Coast 


Sfc. 


CORA  M.  DAVIS, 

Dept.  X60,  507   Fifth  Ave..  New  York  City. 

„i,f=enf»  me  th,e  articles  decked.  I  will  pay  the  postman  price 
hid  if  „r  ,I«St1aSre  °"  delivery.  I  am  to  get  my  money 
hack   if  not    satisfied. 

□  Davis     Chin     Strap $2.00 

□  Davis    Chin    Reducing    Cream 1.00 

□  Davis    Special     Astringent 1,25 

$4.25 

□  Combination       Special       Offer       of       all       three 
above     $4.00 


Some  day 

a  debutante 


The  same  mild  daily  cleansing  that  has  retained 
mother's  schoolgirl  complexion  will  give  baby, 
when  she  grows  up,  an  attractive,  wholesome 
skin  for  which  she  will  always   thank  you. 


Palm  and  olive  oils 
—  nothing  else — give 
nature's  green  color 
to  Palmolive  Soap 


Volume  and 

efficiency  produce  25c 

quality  for  only 


10' 


•-•^. 


A  debutante!  That  little  bundle  of  fluff- 
ed J-  baby.  Mother  remembers  her  own  debut, 
not  so  many  years  ago.  The  thrill  of  parties,  atten- 
tions, popularity.  Some  day  baby,  too,  will  make 
her  bow.  Will  she  be  lovely,  attractive — popular  ? 
Or  will  she  be  handicapped  by  a  poor  complexion 
— a  wallflower? 

Mother's  duty  to  baby  is  obvious.  The  tender 
rose-petal  skin  needs  the  same  simple  care  that 
mother's  does.  Constant  attention,  the  thorough 
cleansing  that  dermatologists  recommend,  will  give 
baby,  when  she  grows  up,  the  complexion  that 
-  others  envy — men  admire. 

For  by  this  simple  method,  superior  to  costly 
beauty  treatments,  the  complexion  is  built,  whole- 
somely protected,  with  a  result  which  renders  cos- 
metics, powders  unnecessary  or  of  secondary  im- 
portance. For  if  the  skin  itself  is  right,  artificial 
aids  are  little  needed. 

A  simple,  wholesome  "beauty  treatment" 
—do  this  just  one  week— then  note  results 

Use  powder  and  rouge  if  you  wish.  But  never  leave 
them  on  over  night.  If  you  do,  they  clog  the  pores, 
often  enlarge  them.  Blackheads  and  disfigurements 
often  follow.  They  must  be  washed  away. 


Wash  your  face  with  soothing  Palmolive.  Then 
massage  it  gently  into  the  skin.  Rinse  thoroughly. 
Then  repeat  both  the  washing  and  rinsing.  If  your 
skin  is  inclined  to  dryness,  apply  a  touch  of  good 
cold  cream — that  is  all. 

Do  this  regularly,  and  particularly  before  retiring. 

Sallow,  unattractive  skin 
no  longer  excusable 

Thus  in  a  simple  manner,  millions  since  the  days 
of  Cleopatra  have  found  beauty  and  charm. 

No  medicaments  are  necessary.  Just  remove  the 
day's  accumulations  of  dirt,  oil  and  perspiration, 
cleanse  the  pores,  and  nature  will  be  kind  to  you. 
Your  skin  will  be  of  fine  texture.  Your  color  will 
be  good.  Wrinkles  will  not  be  the  problem  as  the 
years  advance. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treatment  given 
above.  Do  not  think  any  green  soap,  or  represented  as 
of  palm  and  olive  oils,  is  the  same  as  Palmolive.  The 
Palmolive  habit  will  keep  that  schoolgirl  complexion. 

And  it  costs  but  10c  the  cake!  So  little  that  mil- 
lions let  it  do  for  their  bodies  what  it  does  for  their 
faces.  Obtain  a  cake  today.  Note  the  difference  just 
one  week  makes. 


The  Palmolive  Company  (Del.  Corp.).    Chicago 


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nj] 

Tn 

K 

ly 

KTH 

M 

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MARCH -25  cil 

» 

/ 

A   BREWSTER    PUBLICATION 

* 

■■ 

£? 


ir 


0/7  pages  28-29  II 

READ   HOW  PARIS  COPIES  STYLES  SET  BY  HOLLYWOOD 


== 


"You  would  never  guess  they  are  married" 


It  is  only  of  a  clever  wife  that  this  is  ever  said.  Why  let 
youth  slip  away,  youthful  radiance  fade,  when  to  keep  them 
you  need  but  practice  a  few  simple  rules  of  daily  care? 


Volume  and  efficiency 

produce  25c  quality 

for  only 


10 


TEOPLE  have  changed,  and  ideals  have  changed. 
The  "middle-aged"  woman  is  conspicuously  ab' 
sent  in  the  modern  scheme  of  things. 
In  her  place,  we  have  the  woman  who  values  the 
social  importance  of  youth — and  \eeps  it.    Glowing 
youth  well  into  the  thirties,  even  the  forbidden  forties, 
we  see  it  today  wherever  our  eyes  turn ! 

Yet  the  secret  is  simple ;  and  the  means  within  the 
reach  of  everyone — first,  last  and  foremost,  correct 
s\m  care.  The  common -sense  care  that  starts  with 
keeping  the  pores  open  and  healthy ;  just  the  regular 
use  of  palm  and  olive  oils  as  scientifically  saponified 
in  Palmolive. 

See  the  difference  one  week  will  bring 

Use  powder  and  rouge  if  you  wish.  But  never  leave 
them  on  overnight.  They  clog  the  pores,  often  enlarge 
them.  Blackheads  and  disfigurements  often  follow. 
They  must  be  washed  away. 

Wash  your  face  gently  with  soothing  Palmolive. 


Then  massage  it  softly  into  the  skin.  Rinse  thor- 
oughly. Then  repeat  both  washing  and  rinsing.  If  your 
skin  is  inclined  to  dryness,  apply  a  touch  of  good  cold 
cream — that  is  all.  Do  this  regularly,  and  particularly 
in  the  evening. 

The  world's  most  simple  beauty  treatment 

Thus,  in  a  simple  manner,  millions  since  the  days 
of  Cleopatra  have  found  beauty,  charm  and  Youth 
Prolonged. 

No  medicaments  are  necessary.  Just  remove  the 
day's  accumulations  of  dirt  and  oil  and  perspiration, 
cleanse  the  pores,  and  Nature  will  be  kind  to  you. 
Your  skin  will  be  of  fine  texture.  Your  color  will  be 
good.  Wrinkles  will  not  be  your  problem  as  the 
yeare  advance. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treatment  given 
above.  Do  not  think  any  green  soap,  or  represented 
as  of  palm  and  olive  oils,  is  the  same  as  Palmolive.  The 
Palmolive  habit  will  keep  that  schoolgirl  complexion. 


THE  PALMOLIVE  COMPANY  (Del.  Corp.),  Chicago,  III 


Palm  and  olive  oils —  nothing 
else  —  give  nature's  green 
color    to    Palmolive   Soap. 


Advertising  Section 


a 


Why  experiment  if  your  skin  is  beginning  to 
age — if  there  are  tired  hues  and  wrinkles — if  the 
complexion  is  sallow,  blemished?  You  ran  be 
sure!  You  can  start  your  complexion  on  the 
road  to  new  youth  and  beauty  at  once. 


„„..QTI0N  PICTURR 

101  I    MAGAZINE        ') 
? 


See  what  happens  when  yon  follow  the  famous 
Susanna  Cocroft  home  treatment  Sleep  in  the 
astonishing  silken  mask — and  wake  up  with  a 
new  complexion!  You  will  be  delighted  when 
you  see  the  remarkable  change  ajter  just  one  night. 


New  Rejuvenating  Silk  Mask 

Worn  While  You  Sleep- — 

Brings  New  Beauty  Overnight 


Amazing!  A  simple,  inexpensive  treatment — yet  you 
wake  up  with  practically  a  new  complexion.  Just 
wear  this  sheer,  specially- treated  mask  one  night  and 
see  what  happens.  See  how  the  tired  lines  and 
wrinkles  begin  to  vanish,  the  blemishes  clear  away, 
the   complexion   becomes    smooth,    fresh,   radiant. 


NO  matter  what  methods  you  may 
have  tried  before,  no  matter  how 
badly  blemished,  how  sallow,  how 
wrinkled  your  complexion  may  be — this 
astonishing  new  method  will  achieve  a 
transformation  overnight. 

Here  is  a  scientifically  correct  silken 
■  mask,  so  treated  that  it  actually  rejuve- 
nates the  complexion  while  you  sleep — a 
mask  that  is  at  work  every  instant  during 
the  night,  purifying  the  pores,  reviving  the 
starved  skin  cells,  lifting  and  toning  the 
sagging  muscles,  making  the  skin  soft, 
clear,  smooth.  A  simple,  silken  mask  that 
you  scarcely  know  you  have  on,  yet  in  one 
night  it  acts  to  give  you  a  new  complexion 
for  the  old ! 

Nothing  quite  like  this  marvelous  mask 
has  ever  been  known  before.  It  is  based  on 
an  entirely  new  principle  of  beauty  culture. 
Anatomically  designed  and  perfected  by 
Susanna  Cocroft,  famous  health  specialist — 
based  upon  her  years  of  experience,  and  upon 
her  unusual 
knowledge  of 
anatomy  of  the 
structure  of 
the  skin  and 
the  face. 

Now  you 
can  quickly 
acquire  a 
lovely,  flaw- 
less complex- 
ion at  little 
cost  and  with 
little  trouble — 
acquire  it  — 
and  keep  it  so. 


The  Skintone  Mask 
Treatment  for 

— clearing  the  complexion 
— giving  color  to  the  cheeks 
— firming  sagging  muscles 
—filling  out  scrawny  hollows 
—lifting  double  chin 
— building  graceful  neck 
— removing  tired  lines  and 

wrinkles 
— closing  enlarged  pores 
— resting  tired  eyes 
■ — correcting  excessive  dryness 
— correcting  excessive  oiliness 
— whitening  the  skin 
—AND— 
The  dainty  mask  is  washable 
and  can  always  be  kept  fresh 
and  effective. 


What  It  Is 

and  How  It 

Works 

The  Susanna 
Cocroft    Re- 


juvenating Skintone  Face 
Mask  does  for  your 
complexion  what  gloves 
worn  over  cold-cream  do 
for  your  hands  overnight. 
You  know  how  soft  and 
white  your  hands  are  in  the 
morning  after  you  have 
creamed  them  and  slept 
with  the  gloves  on.  The 
new  mask  works  on  the 
same  principle,  except  that 
the  stimulating  tonic  cleans 
the  face  pores,  and  the 
special  nourishing  cream 
tones  the  skin  and  tissues. 
The  silk  of  the  mask  is  so 
sheer  and  porous  that  the 
tiny  cells  breathe  through  it. 

Combined  with  this  re- 
markable mask  is  the  Su- 
sanna Cocroft  treatment 
for  beauty  and  youth.  The 
secret  complete  is  yours. 
You  just  follow  the  simple  directions,  slip 
on  the  mask — and  fall  asleep.  Let  your 
mirror  tell  the  story  in  the  morning ! 

Here's  what  happens :  The  soft,  sheer 
silken  mask,  which  has  unusual  medicated 
properties,  not  only  stimulates  natural  cir- 
culation, but  acts  to  smooth  away  tired 
lines  and  to  make  the  skin  soft,  glowing, 
elastic.  The  nourishing  cream  and  tonic 
with  which  the  mask  is  treated  stimulates 
the  natural  functioning  of  the  skin,  helping 
to.  throw  off  all  waste,  all  poisons  and  im- 
purities in  a  natural  way. 

All  night,  as  you  sleep,  the  tiny  cells 
breathe  through  the  porous  mask,  and  are 
nursed  back  to  blooming  health.  Muscles 
are  rejuvenated.  The  face  is  restored  to 
youthful  contour.  The  tiny  eye  muscles 
and  with  them  the  eyes  are  rested  and 
thereby  strengthened.  Minute  by  minute 
through  the  night  the  skin  is  cleansed, 
purified,    stimulated — and    in    the   morning 


your  skin  is  velvet-like  in  its 
smoothness,  clear,  fresh,  ra- 
diant ! 


SUSANNA  COCROFT 

Famous  Health   Authority 

For  years  Susanna  Cocroft 
has  been  in  the  forefront  of  the 
great  movement  for  the  physical 
and  mental  betterment  of 
women.  She  has  been  recog- 
nized by  the  U.  S.  Government 
as  an  authority  on  women's 
health  problems.  She  has  writ- 
ten two  bulletins  for  the  U.  S. 
Bureau  of  Education,  and  her 
helpful  writings  have  many 
times  appeared  in  magazines. 
Through  her  books,  courses  and 
treatments  she  has  personally 
helped  over  110,000  women. 
Often  asked  by  her  health  pu- 
pils for  advice  on  improving 
their  appearance,  she  made  a 
thorough  study  of  this  subject, 
and  has  brought  out  many  suc- 
cessful scientific  treatments  for 
the  skin.  Her  crowning  achieve- 
ment is  this  wonderful  new  home 
method — as  effective  as  a  S100 
course  of  beauty  treatments — 
which  you  give  yourself  at  home 
at  a  cost  of  only  a  few  cents  a 
treatment. 


Send    for    Interesting 
Book  and  Special  Offer 

Discover  what  you  really 
can  do  with  your  complex- 
ion !  Find  out  about  this 
new  method  that  gives 
youth  and  beauty  to  the 
skin  quickly,  inexpensively, 
overnight.  Learn  all  about 
the  extraordinary  Susanna 
Cocroft  Face  Mask.  Let 
us  send  you  today,  entirely 
without  obligation  to  you, 
our  interesting  illustrated 
booklet  that  tells  you 
everything  about  the  mask 
— how  it  works  with  the 
special  tonic  and  nourish- 
ing cream,  how  it  acts  to 
cleanse  the  pores,  lift  sag- 
ging muscles,  smooth  away 
tired  lines,  restore  youth- 
ful contour  to  cheeks,  chin, 
throat. 
This  information  is  yours  for  the  ask- 
ing. May  we  send  it?  Mail  the  coupon 
NOW,  before  you  forget.  Remember, 
there's  no  obligation  of  any  sort.  We'll 
be  glad  to  send  it. 

THOMPSON-BARLOW  CO.,  Inc. 

Dept.  F-153 

136  W.  31st  Street  New  York  City 


THOMPSON-BARLOW  CO.,  Inc.,  Dept.  F-153. 
136  W.  31st  Street,  New  York  City. 

I  am  interested.  You  may  send  me  your  interesting 
illustrated  booklet  concerning  the  Susanna  Cocroft 
Skintone  Face  Mask  and  how  it  works,  and  also  details 
of  your  special  Package  Offer.  It  is  thoroughly  under- 
stood that  this  is  a  request  for  free  information  only, 
and  that  it  does  not  obligate  me  in  any  way  whatever. 


City. 


.State. 


When  you  write  to  advertisers  please  mention  MOTION  PICTUKE  MAGAZINE. 


3 


E 


WKSTe: 


Advertising  Section 


'Personalities  of  "Paramount 


f    Cecil  B. 
!  DeMille^ 

Director  General  of  Paramount  Pictures 

The  name  of  Cecil  B.  De  Mille  is  written  in 
letters  of  fire  and  gold  across  the  entire  his- 
«     tory  of  motion  pictures. 

In  the  uncharted  land  of  Filming  Life  he 
has  pioneered  from  picture  to  picture,  devis- 
ing and  improvising  point  after  point  of 
technique  that  has  since  become  axiomatic 
with  the  industry. 

In  the  wake  of  his  progress  he  has  left  more 
than  a  score  of  world-encircling  productions, 
all  Paramount  Pictures,  and  all  so  successful 
that  nothing  short  of  his  own  "Ten  Com- 
mandments" could  out-shine  them. 

The  glory  of  his  example  set  such  a  torcr 
to  the  ambition  of  others  that  he  may  be 
truthfully  called  director-maker  and  star 
maker. 

His  philosophy  is  that  the  motion  picture 
can  be  made  the  greatest  instrument  of  human 
entertainment  and  stimulus  to  perfection  e  vet- 
dreamt  of,  and  every  Paramount  Picture  he 
makes  is  practical  precept  and  proof  of  it. 

If  you  saw  "Male  and  Female",  "Man 
slaughter",  "Feet  of  Clay",  "The  Golder 
Bed",  or  "The  Ten  Commandments",  you 
know  the  art  of  this  super-director. 

Cecil  De  Mille  is  now  making 
"Sorrows  of  Satan" 

Jeame  Macpherson's 

screen  play  of 
Marie  Corelli's  story 


am 


•'■•' 


Setting  the  Genius  of  the  Screen 

MANY  kinds  of  talent  go  to  the  making  Today,   Business   Organization   is   the 

of  great  photoplays.  Patron,  holding  the  sacred  trust  in  fee  for 

Like  a  precious  stone,  motion  picture  genius      all  the  millions  of  people  who  seek  the 
requires  setting,  and  to  do  this,  guarantees      spirit  of  that  intenser  life  called  Art  at  the 
and  money  and  organization  must  be  forth-      motion  picture  theatre, 
coming  from  somewhere   in   advance  of  the  And  Famous   Players-Lasky  Corporation 

is    proud    to    realize    that    there    are 

millions    who    demand    to   know 

nothing  more  about  a  picture  before 

.<T    7*    they  go  than  that  its  name  is  Para- 


creation  of  any  real  values  whatsoever. 
In  the  past  the  Great  Aristocrat 
was  the  patron  of  art  and  within 
the  portals  of  his  palace  a  place  was 
made  for  the  Artist. 


mount. 


PRODUCED    BT 

|  Famous  Players -LaskyCorp  I 

ADOLPH   ZUKOR-PRCSIOEMT 


Every  advertisement  in  MOTION  PICTUBE  MAGAZINE  is  guaranteed. 


A  BREWSTER  PUBLICATION 


Motion  Picture  Magazine 

Founded  by   J.   Stuart  Blackton   in   1910 — Trademark  Registered 

MARCH,  1925 

Vol,   XXIX      ^  Number  2 

(A  Complete  Table  of  Contents  will  be  found  on  page  9) 


HOKUM?    WELL,  WHY  NOT? 

A  WELL-KNOWN  motion-picture  producer  has  lifted  up  his  voice  in  anguish.  He  says  he 
has  tried  to  give  the  public  good  pictures;  but  they  will  have  none  of  them.  Therefore,  he  is 
prepared  ruthlessly  to  forsake  quality  and  wallow  in  hokum  forever  more. 

It  would  seem  to  be  time  that  someone  rushed  to  the  rescue  of  the  much-belabored  public. 

There  is  something  to  be  said  in  defense  of  the  abused  hokum.  There  are,  in  fact,  certain 
sound  and  fundamental  facts  upon  which  the  public's  supposed  appetite  for  hokum  is  based. 

In  the  first  place,  hokum,  when  analyzed,  discloses  some  surprising  ingredients  which  go  into 
the  mixture. 

What,  indeed,  is  hokum  but  dramatic  situations  so  sound  in  their  basic  elements  that  they 
have  become  trite  and  overf amiliar  ? 

When  the  chemically  pure  young  lady  snaps  her  fingers  in  the  face  of  the  cruel  villains  and 
says:  "Rags  are  royal  raiment  when  worn  for  Virtue's  sake."  she  is  not  depending  upon  bad 
drama.  On  the  other  hand,  it  is  exceedingly  good  drama.  It  is  drama  so  tried  and  so  funda- 
mentally correct  that  it  is  flourished  with  the  deadly  assurance  of  the  family  revolver.  It  is 
literally  sure  fire.     So  sure  that  the  crudest  hand  can — and  does — use  it  with  success. 

There  can  be  no  just  criticism  of  hokum  because  of  the  nature  of  the  beast.  The  criticism 
rests  upon  the  producers  for  employing  these  fine  old  weapons  with  such  crudity  and  such  a  lack 
of  finesse  that  you  can  hear  them  creak  before  they  strike. 

The  real  reason  that  the  public  seems  to  prefer  hokum  to  "good  pictures"  is  due  to  the  character 
of  the  good  pictures.     Too   frequently  they   fall  overboard  into  the  morasses  of  "literature." 

The  truth  is,  very  few  producers  or  directors  fully  realize  that  they  are  dealing  with  a  new 
medium.  In  their  appealing  and  earnest  effort  to  give  the  public  better  pictures  they  frequently 
stray  off  into  fields  that  more  properly  belong  to  the  spoken  drama  or  written  books. 

So,  in  chagrin  and  with  chastened  spirit,  they  hurry  back  to  the  good  old  hokum  which  is 
"picture  stuff." 

The  real  remedy  would  seem  to  lie  in  doing  hokum  better,  with  more  subtlety,  and  more 
beautifully. 

F.  M.  Osborne,  Editor 
Harry  Carr,   Western  Editorial  Representative  A.   M.  Hopfmullcr,  Art  Director 

Published  Monthly  by  the  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y. 

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Copyright,  1925,  in   United  States  and  Great  Britain   by  Brewster   Publications,   Inc. 

5 
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"^MOTION  PICTURr 
01  I  MAGAZINE    L 


Advertising  Section 


The  Most  DarintfBook, 
Ever  Written! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
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intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk — without  advancing  a  penny. 


WILL  you  marry  the  man 
you    love,    or   will   you 
take  the  one  you  can  get? 

If  a  husband  stops  loving 
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ELINOR  GLYN 
"The  Oracle  of  Love 


Will  you  be  able  to  hold  the  love  of 
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1 


What   Every   Man   and 
Woman  Should  Know 


-how  to   win    the    man 

you  love, 
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want, 
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against  you. 
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a    perpetual    honey- 
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— how  to  cope  with  the 
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— how  to  attract  people 
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women  are  always  lov- 
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eye. 

— how  to  tell  if  someone 
really  loves  you. 

- — things  that  make  a 
woman  "cheap"  or 
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ing  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to 
disregard  convention?  Do  you 
know  how  to  curb  a  headstrong 
man,  or  are  you  the  victim  of 
men's  whims? 

Do  you  know  how  to  retain 
a  man's  affection  always?  How 
to  attract  men?  Do  you  know 
the  things  that  most  irritate  a 
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Can  you  tell  when  a  man  really 
loves  you — or  must  you  take  his 
word  for  it?  Do  you  know  what 
you  MUST  NOT  DO  unless  you 
want  to  be  a  "wall  flower"  or  an 
"old  maid"?  Do  you  know  the  little  things 
that  make  women  like  you?  Why  do  "won- 
derful lovers"  often  become  thoughtless 
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make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places 
a  magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty,  deep 
sincerity,  and  resolute  courage.  But  while 
Madame  Glyn  calls  a  spade  a  spade — while 
she  deals  with  strong  emotions  and  passions 
in  her  frank,  fearless  manner — she  neverthe- 
less handles  her  subject  so  tenderly  and 
sacredly  that  the  book  can  safely  be  read  by 
any  man  or  woman.  In  fact,  anyone  over 
eighteen  should  be  compelled  to  read  "The 
Philosophy  of  Love";  for,  while  ignorance 
may  sometimes  be  bliss,  it  is  folly  of  the 
most  dangerous  sort  to  be  ignorant  of  the 
problems  of  love  and  marriage.  As  one 
mother  wrote  us:  "I  wish  I  had  read  this 
book  when  I  was  a  young  girl — it  would 
have  saved  me  a  lot  of  misery  and  suffering." 
Certain  shallow-minded  persons  may 
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thing of  such  unusual  character  generally 
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world  wide  reputation  on  this  book — the 
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The  Author*'  Press,    Dept.  258,    Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  mas- 
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New  York's  famous  Hester  Street,  as  duplicated  in  the  Famous  Players-Lasky  studio   for  Salome  of  the  Tenements 


THIS    NUMBER    CONTAINS: 

Our  Portrait  Gallery Studies  of  Alia  Nazimova,  James  Kirkwood,  Lila  Lee,  Dorothy  Mackaill,  Jack  Mulhall,  Willard  Louis, 

Corinne  Griffith,  Laura  La  Plante  and  'Viola  Dana 11-19 

Where  the  Atmosphere  Is  At Recounting  the  problems  of  the  location  director by  Harry  Can  20-21 

Just  a  Little  Family  Affair Portraits  of  stars  with  their  mothers  and  fathers 22-23 

What  the  Fans  Write  to  the  Stars All  about  the  letters  the  stars  really  get  and  those  they'd  like  to  get 24-25 

The  Doctor Reproduction  of  a  screen  painting  made  from  a  famous  painting 26 

The  Boy  on  the  Cover An  interview  with  the  popular  Ben  Lyon by  Dorothy  Day  27 

Styles  Are  Dictated  in  Hollywood,  and  Paris  Designers  Follow  Them by  Dorothy  Donnell  Calhoun  28-29 

Snap  Judgments Pictures  of  well-known  stars  photographing  other  stars 30-31 

The  Story  of  My  Life The  autobiography  of  a  "different"  screen  hero by  Ronald  Colman  32-1A- 

For  the  Picture  Fans  of  2025 Lillian  Gish  and  Colleen  Moore  preserved  in  marble  and  bronze 35 

Confidences  Off-Screen Chats  with  Norma  Shearer,  Wallace  Beery,  the  Talmadges,  and  others by  W.  Adolphe  Roberts  36-37 

How  Our  Readers  See  the  Stars A  second  page  of  cartoons  in  our  Artists'  Contest 38 

Learning  to  Love Constance  Talmadge 's  new  picture  told  in  short-story  form by  Gordon  Malherbe  Hillman  39-41 

"This  Business  of  Being  a  Vampire" Two  well-known  vamps  debate  the  matter by  Nita  Naldi  and  Barbara  La  Man  42-43 

Pieces  of  Hate Circulated  against  the  Handsome  Men  and  the  Beautiful  Women  of  Hollywood by  Saxon  Cone  44-45 

The  Winners  of  the  Month Constructive  reviews  of  Isn't  Life  Wonderful,  Greed,  Romola,  and  The  Tornado.  .  by  Laurence  Reid  46-47 

Have  You  a  Pet  Superstition? Pictures  of  five  stars  who  believe  in  Lady  Luck 48 

Whose  Hand? The  third  instalment  of  our  serial  of  romance,  mystery,  and  intrigue by  W.  Adolphe  Roberts  49-51 

Reeling  With  Laughter — ■ — A  number  of  scenes  from  comedies  that  will  soon  be  released 52-53 

What  I  Can  Read  in  the  Faces  of  the  Film  Stars \ 

Analyses  of  Bessie  Love,  Anna  Q.  Nilsson,  Adolphe  Menjou,  Milton  Sills by  F.  Vance  de  Revere  54-55 

Critical  Paragraphs  About  New  Pictures Recent  releases  reviewed  in  brief by  the  Editorial  Staff  56-57 

That's  Out Keen  comment  about  the  people  and  the  affairs  of  Movieland by  Tamar  Lane  58 

Question:     Can  a  Bishop  Cheat  at  Chess? Claude  Gillingwater  and  Alec  B.  Francis  answer  this  question  pictorially 59 

Clara  Bow  and  Dagmar  Godowsky In  poses  specially  made  for  the  readers  of  this  magazine 60-61 

Picking  Actors  for  Parts Revelations  as  to  the  importance  of  certain  types by  Harry  Can  62-63 

Turning  the  Tables Scenes  on  and  off  stage  with  Conway  Tearle  and  Madge  Kennedy 64 

"In  Days  of  Old  When  Knights  Were  Bold"— — Introducing  Marc  Gonzales,  a  new  screen  hero 65 

Aileen  Pringle A  study  of  this  popular  star  made  for  you  in  her  own  home 66 

Along  the  Atlantic  Way News  and  gossips  of  stars  and  studios  in  the  East by  Hal  Howe  67-68 

They're  Getting  Each  Other's  Number An  amusing  snapshot  of  Richard  Dix  and  his  Director 69 

On  the  Camera  Coast News  and  gossip  of  stars  and  studios  in  the  West by  Harry  Carr  70-71 

A  Page  of  Promising  Newcomers Five  new  players  which  our  readers  recommend  for  Stardom 72 

We're  Asking  You A  Question-Box  conducted  by  the  Editorial  Staff  for  the  benefit  of  the  readers 73 

The  Answer  Man Brief  replies  to  the  fans  who  have  asked  for  information  about  stars  and  pictures 74—75 

Letters  to  the  Editor A  department  containing  prize- winning  letters  from  readers,  and  excerpts  from  letters 16 

Fables  in  Celluloid Written  and  sketched  with  apologies  to  Msop  and  his  illustrator.  .  .by  Margaret  N orris  and  Helen  Hokinson  78 

What  the  Stars  Are  Doing Brief  information  about  screen  players Conducted  by  Gertrude  Driscoll  80 

9 
PAfil 


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^MOTION  PICTURF 
W  I  MAGAZINE     L- 


Advertising  Section 


yyiTH  a  rough  washcloth,  work  up  a 
heavy  lather  of  Woodbury' s  Facial  Soap 
and  rub  it  into  the  pores  thoroughly, 
always  with  an  upward  and  outward 
motion" — The  rest  of  this  treatment  is 
given  in  the  second  column  below 


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IWO  BOYS,  just  out  of  college,  ivere  the  right  treatment,  you  can  gain  This  is  only  one  of  the  famous 

riding  down  Fifth  Avenue  on  a  bus  a  complexion  so  fresh,  clear,  skin  treatments  given  in  the  book- 

top.    They  were  watching  the  stream  radiant,  that  there  will  be  nothing  let,  "A  Skin  You  Love  to  Touch, " 

of  women — women   of  every  age,  you  need  to  conceal.  which  is  wrapped  around  every 

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has  a  good  complexion.     With  the         ■*-'  apply  hot  cloths  to  your  face 

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fully  dlSgUlSing   a   pOOr   COm-              Rinse  With   Clear  hot  water,  then  Facial    Soap,    samples    of    Woodbury's     Facial 

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Copyright,  1924,  by  The  Andrtw  Jergtns  Co. 


'10 


Every  advertisement  in  MOTION  PICTUEE  MAGAZINE  is  guaranteed. 


OUDPOQTQPilTGPiLLCQy 


Maurice  Goldberg 


ALLA  NAZIMOVA 


Not  since  she  played  Salome  have  we  seen  Nazimova  on  the  screen.     Now  she  is  staging  her  come- 
back  in   The  Redeeming  Sin.     Her   next   picture   will  be  My  Son,  from  the  stage  play  of  that  name 


JAMES  KIRKWOOD 

Such  a  versatile  star  is  James  Kirkwood  that  he  is  in 
demand  both  on  stage  and  on  screen,  so  he  vacillates 
between  the  two,  playing  stage  roles  fall  and  winter, 
making  pictures  spring  and  summer.  Now  he's  speaking 
for  himself  on  Broadway  in  Ladies  of  the  Evening.  In 
the  left-hand  corner  you  see  him  in  Top  of  the  World- 
with  young*  Philip  de  Lacey.  If  Mr.  Kirkwood  looks 
unusually  proud,  you'll  find  the  answer  on  the  opposite 
page 


JACK 
MULHALL 

Once  Jack  Mul- 
hall  was  merely 
"that  good-looking 
young  man"  who 
played  opposite 
Behe  Daniels.  Now 
he  is  a  star  with 
a  following  all  his 
own.  You'll  see 
him  soon  in  The 
Three  Keys 


Henry  Waxnian 


W1LLARD 
LOUIS 


Henry  YVaxman 


You  will  remember  Willartl  Louis  first  for  his  remark- 
able impersonation  of  the  Prince  of  Wales  in  Beau 
Brum  me  I,  the  picture  John  Barrymore"  made  famous. 
From  this  he  leaped  to  fame  in  one  jump  as  the 
imperturbable  Babbitt.  Now  Warner  Brothers  are 
featuring  him  as  The  Man  Without  a  Conscience.  But 
you  need  only  glance  at  the  right,  where  you  see  him 
with  bis  little  daughter,  to  know  that  he  could  never 
be   given   such   a    title    in    real    life 


VIOLA 
DANA 


4 


JH|    Edwin  Bower  Hesser 


Altho  V.ola  Dana  is  in  demand  everywhere 
she  refuses  to  sign  a  contract,  but  chooses 
her  pictures  and  whom  she  will  work  for 
with  enviable  independence.  Because  she 
will  not  be  pigeon-holed  as  Viola  Dana 
comedienne,    she    has    gone    in    for    Sj 

for  First  National  with  Milton  Sills.     These 

two    have    played    together    before,    as    you 

will   see   by  the   picture   at   left 


I 


A  corner   of  Inyo   County   which,  tho   it  really   isn't  at   all   wild,   seems  to  be   the   only    part 
of  California  that  still  looks  like  the  Wild  West 

Where  trie  Atmosphere  Is  At 

Harry  Carr  tells  you  about  the  troubles  of  tbe  much-maligned  location  director,  who  has  to 

make   things   look  like   what  they  ain't 


I 


GOTTA  find  Egypt  and  the  River  Nile  and  a  lot 

of  pyramids,"  said  the  director  looking  in  at  the 

front  door,  "and  it's  got  to  be  somewhere  around 

Hollywood  because  I'm  behind  the  schedule." 

And  the  next  director  who  pokes  his  head  in  at  the  door 

wants    Scotland ;    another    one    demands    the    Canadian 

Northwest ;  and  still  another  one  insists  that  they've  got 

to  find  for  him  a  Massachusetts  country  town,  and  it's  got 

to  look  exactly  like  New  England  and  it's  got  to  be  in 

California. 

These  are  among  the  reasons  why  the  location  director 
acquires  gray  hair  and  nervous  dyspepsia. 

Nevertheless  he  finds  them.  He  finds  a  Scotland  that 
looks  more  like  Scotland — than  Scotland,  and  a  place  that 
looks  the  way  the  South  Seas  ought  to  look,  even  if 
they  dont. 

Tn  all  probability,  when  you  see  the  Canadian  Northwest 
A  in  the  movies,  you  are  in  reality  looking  at  Big  Bear 
Lake  in  the  San  Bernardino  Mountains,  about  sixty  miles 
from  Los  Angeles. 

One  of  the  champion  locations  of  California  is  another 
lake  resort  very  near  Big  Bear.  On  its  shores  is  a  sum- 
mer hotel,  built  in  the  manner  of  a  French  Norman  vil- 
lage. Often  you  will  see  two  companies  working  there 
at  the  same  time.  Probably  the  cameras  will  be  standing 
near  together.  One  will  be  pointed  north  by  north-north- 
east at  a  village  in  France,  where  the  actors  are  talking 
with  their  shrugging  shoulders  and  saying  La-la-la,  and 
the  other  camera  is  pointed  two  points  off  to  starboard 
at  a  Maine  lake  where  the  gallant,  sad-eyed  hero,  with  an 
honest  heart  and  an  empty  pocketbook,  is  getting  ready 
to  rescue  the  millionaire's  daughter  from  a  canoe  accident. 
When  you  see  a  picture  laid  in  rural  New  England,  the 

(T\  chances  are  ten  to  one  it  was  made  in  Pleasanton,  Cali- 

P20 

1A0S 


fornia.  When  the  director  tells  the  location  man  to  find 
him  that  Massachusetts  town — oh,  that's  almost  too  easy. 
Pleasanton  was  made  to  order  for  him. 

This  is  a  curious  old  town  near  San  Francisco.  It  was 
settled  by  Massachusetts  and  Connecticut  folks  back  in 
the  fifties.  They  brought  their  familiar  architecture  with 
them — even  to  the  old  country  hotel  with  the  piazza  and 
the  country  church  with  the  belfry.  It  looks  more  like 
the  traditional  New  England  towns  than  the  real  ones  do 
now. 

P"or  the  New  England  farm  country,  they  often  use  a 
town  in  Northern  California,  called  Jamestown.  There  is 
one  solitary  strip  of  road  about  twenty  miles  out  from 
Los  Angeles,  near  Glendora,  that  looks  exactly  like  Rhode 
Island— stone  walls  and  all.  No  doubt  it  happened  to  be 
settled  by  someone  from  that  section. 

"Derhaps  the  champion  location  town  in  the  whole  world, 
■*■  however,  is  Sonora,  in  central  California.  It  is  the 
scene  of  most  of  the  pictures  supposed  to  be  laid  in  the 
days  of  '49 — the  Bret  Harte  stuff.  Griffith's  Scarlet  Days 
and  dozens  of  other  big  pictures  were  made  there.  It  is 
a  curious  old  place,  hoary  with  tradition.  Mark  Twain 
used  to  live  there  in  his  younger  newspaper  days.  The 
old-timers  snort  with  scorn,  however,  when  you  try  to  get 
Mark  Twain  stories  out  of  them.  They  cant  see  why  any- 
body would  bother  to  read  any  of  the  writings  of  that 
lazy  Sam  Clemens.  He  just  wrote  a  lot  of  foolishness. 
Now  there  was  a  feller  who  lived  there  oncst  and  edited 
the  local  paper  who  could  write  grand  pieces.  Now  he 
was  a  real  writer  !     Sam  Clemens  !     Huh  ! 

There's  an  old  graveyard  in  Sonora  which  stands  as  a 
monument  to  piety  and  idealism.  In  the  days  of  the  gold 
excitement,  they  discovered  that  the  bodies  of  the  dead 
were  laid  in  gold  ore ;  that  the  whole  graveyard  was  a 


onoN  picturi 

MAGAZINE 


mine.  The  pioneers  had  a  meeting  and  talked  it  over. 
They  decided  that  they  would  let  "God's  Acre"  alone.  If 
it  was  gold — well,  it  was  gold.  To  this  day  they  have 
never  allowed  anyone  to  dig  into  it. 

The  last  location  director  who  went  to  Sonora  came 
home  with  a  bleeding  heart.  He  found  that  someone  had 
put  up  a  garage.  Spoiled  the  whole  thing.  Took  away 
the  flavor.  They  will  still  continue  to  use  Sonora;  but 
they  will  have  to  disguise  that  garage  with  a  false  front 
which  they  will  have  to  build  for  every  picture. 

The  fact  is,  a  "hick  town"  is  the  most  difficult  thing  in 
the  world  to  find — especially  in  a  new.  progressive  country 
like  California.  Garages  and  paved  roads  are  the  two 
flies  in  the  ointment  of  the  location  director's  happiness. 
They  take  all  the  hickness  out  of  the  hick  towns. 

'T'wo  of  the  best  Western  frontier  towns  are  Tehachepi, 
■*■  which  is  quite  close  to  Los  Angeles,  and  Independence, 
in  Inyo  County — in  the  Owens  River  country,  which  is 
the  distant  source  of  the  Los  Angeles  city  water.  Owing 
to  the  fact  that  Los  Angeles  has  bought  up  huge  tracts  of 
land  in  that  country  in  order  to  control  the  water  rights, 
the  towns  thereabout  have  not  gone  ahead  so  rapidly  as  in 
other  parts  of  the  State.  Independence  also  has  the 
motion  picture  advantage  of  being  the  most  American 
town  on  the  map.  As  a  matter  of  actual  census  fact,  it 
probably  has  fewer  foreign-born  residents  than  any  other 
town  in  America.  It  was  settled  in  the  fifties  during  the 
gold  excitement.  It  was  the  early  home  of  Mary  Austin, 
the  novelist.    It  looks  very  much  as  it  did  in  the  old  days. 

There  are  several 
other  old  gold  towns 
in  that  part  of  the 
country  —  like  Bodie 
— which  remain  very 
much  as  they  were. 
Victorville,  on  the 
edge  of  the  desert,  is 
also  much  used  in  pic- 
tures. Not  very  far 
from  Victorville  is  an 
old  town  called 
Ehrenberg  which  was 
a  big,  prosperous 
town  once  ;  but  is  now 
deserted.  This  is 
simply  duck  soup  for 
the  movies.  They  can 
do  with  it  what  they 
will. 

For  cattle  pictures, 
the  location  directors 
have  several  "outs." 
One  of  the  best  cattle 
locations  is  Prescott, 
Arizona,  where  When 
a  Man's  a  Man  and 
most  of  the  Tom  Mix 
pictures  were  made. 
The  location  men  also 
find  good  "cattle 
stuff"  at  Bishop,  Cali- 
fornia, in  the  high 
Sierras,  and  on  the 
famous  old  O'Neill 
Ranch  between  Los 
Angeles  and  San 
Diego. 


Tn  1915,  San  Diego 
■*•  gave  a  World's 
Fair — a  sort  of  twin 


This  church  has  appeared  in  hundreds  of  motion  pictures  with  a 

rural  New   England   background.     It  was   erected   in   Pleasonton, 

California,  years  ago  by  Massachusetts  and  Connecticut  folks  who 

brought  their  architecture  with  them 


of  the  Panama-Pacific  Exposition  in  San  Francisco.  It 
wasn't  such  a  very  large  fair ;  but  it  had  the  most  marvel- 
ously  beautiful  buildings  ever  constructed.  They  were  all 
old  Spanish,  the  pre-Mission  style  of  architecture.  As 
these  buildings  are  still  standing,  you  can  well  imagine 
what  the  casting  directors  do  to  them.  They  figure  in 
nearly  all  the  South  American  pictures  and  the  Spanish 
pictures  and  the  Portuguese  pictures  and  goodness  knOws 
what  else.  The  Dictator  was  made  almost  entirely  on  the 
Exposition  grounds. 

"VT^7"hen  you  think  you  are  looking  at  the  Mississippi, 
v  they've  got  you  fooled;  it's  the  Sacramento  River  in 
California.  Luckily,  it  looks  just  like  the  Mississippi  in 
the  old  Mark  Twain  days.  The  river  steamers  pull  up  to 
the  grassy  banks  and  load  and  unload  just  any  old  place — 
as  on  the  Mississippi. 

It  has  the  additional  advantage  of  being  far  more  beau- 
tiful than  the  real  Mississippi.  Huck  Finn  and  hundreds 
of  other  pictures  have  been  made  there.  Oddly  enough, 
for  one  of  the  first  times  in  the  history  of  pictures,  it  is 
just  now  being  used  by  the  Lasky  company  as  its  own 
self.  They  are  taking  a  picture  of  the  rough  river  days 
of  '49,  and  for  once  the  Sacramento  River  is  the  Sacra- 
mento River  in  a  picture. 

The  Russian  River  and  several  other  rapid  streams  in 
Northern  California  are  used  in  various  pictures  for 
Canada  and  the  Rocky  Mountains. 

"Snow  stuff"  is  usually  made  in  Truckee,  California, 
near  Lake  Tahoe  in  the  high  Sierras.     Of  late  years,  the 

companies  have  got  in 
the  way  of  going  to 
Banff,  in  Canada,  but 
the  best  snow  stuff 
ever  made  has  been  in 
Truckee. 


rTTHAT  director  who 
■*-  was  looking  for 
the  River  Nile  found 
it  at  Balboa  Beach, 
fifty  miles  south  of 
Los  Angeles.  This 
was  one  of  the  funny 
tricks  of  the  movies. 
Balboa  is  a  gay  sum- 
mer resort,  populated 
in  July  and  August 
largely  by  flappers 
from  boarding- 
schools.  They  have 
canoe  parties  and 
launch  parties  and  so 
on.  But  down  the 
middle  of  the  bay  is  a 
long  sandy  island. 
Most  of  this  island  is 
settled  with  summer 
cottages,  but  one  end 
is  forlorn  and  de- 
serted. This  is  where 
they  found  the  Nile. 
They  faked  in  some 
pyramids  and  it 
looked  so  much  like 
the  Nile  that  you  ex- 
pected to  see  Cleo- 
patra bob  out  at  any 
moment.  If  the 
camera  had  as  much 
as  looked  out  of  the 
(Continued  on  page  108) 


I 


108)  A 

21  r 

PA  fill 


n 


Here's  a  jolly  tea-party  for 
three,  served  by  Patsy  Ruth 
Miller,  who  is  rightly  boastful 
about  her  beautiful,  aristocratic 
mother  and  her  jolly  father, 
who  wants  three  lumps  of  sugar 
in   his    tea — and    gets   four! 


Just 

a 

Little 
Family 
Affair 


Even  if  Charles  Ray  didn't 
appear  in  this  picture,  we'd 
know  to  whom  this  mother 
and  father  belong.  And 
isn't  Charlie  exactly  "a  chip 
off  the  old  block,"  as  they 
say  in  rural  New  England, 
when  they  mean  "isn't  he 
the  exact  image  of  his  dad"? 


MR.  AND  MRS.  MILLER 

AND 

PATSY  RUTH 


ARE  the  fathers  and 
■^*  mothers  of  screen 
stars  proud  of  their  .chil- 
dren? But, of  course,that's 
a  foolish  question  to  ask, 
and  deserves  some  such 
foolish  answer  as  "Does 
the  sun  rise  in  the  East?" 
or  "Does  a  cat  love 
cream?"  And  if  you  dont 
believe  that  screen  stars 
are  proud  of  their  mothers 
and  fathers,  study  these 
pages  and  watch  for  others 
that  will  appear  in 
subsequent  numbers 


MARIE  PREVOST 

AND 

HER  MOTHER 


Below,  is  a  triangle  situation  that  always  has  a 
happy  ending.  There  are  no  finer  family  pals 
in  Screendom  than  Lois  and  her  mother  and 
her  dad.  Daughter  has  just  finished  Contra- 
band, in  which  she  has  the  only  feminine  role, 
and  now  she's  starting   The   Thundering  Herd 


Kenneth  Harlan,  to 
whom  Marie  Prevost 
was  married  recently, 
says  he  has  the  grand- 
est mother-in-law  in 
the  world.  As  she 
stands  by  her  daugh- 
ter in  the  picture 
above,  she  could  easily 
be  mistaken  for 
Marie's  big  sister 


LOIS  WILSON 

WITH 
HER  MOTHER 

AND 
HER  DADDY 


23 
PAG 


i 


Sketches 

by 
Eld  on 
Kelley 


Pity    the    poor    movie    man    whose    wife    goes    thru    his 

pockets  and   discovers  friendly  little  notes   signed  in   a 

girlish  hand 


THIS  is  an  article  about  You. 
You,  who  cover  millions  of  sheets  of  note-paper 
a  month  with  incendiary  words  of  adoration  for 
the  picture  stars ;  you  who  spend  a  fortune  in 
stamps  yearly  to  tell  Corinne  Griffith,  Valentino  and  Ben 
Turpin  how  beautiful  they  are ;  you  who  write  from  Main 
Street,  from  battleships,  from  Brazilian  heat  and  Alaskan 
snows,  from  lonely  ranches  and  just  as  lonely  city  offices, 
from  Europe,  Asia,  Africa,  Australia  and  points  west,  to 
pour  out  your  hearts  before  these  glorious  beings  of  the 
screen — you  will  all  find  yourselves  here. 

You  search  the  dictionaries  and  synonym  books  more 
ardently  than  the  crossest  cross-word  puzzle  addict,  for 
adjectives  with  which  to  tell  what  you  think  of  the  stars. 
But  did  you  ever  wonder  what  they  think  of  you — their 
unseen  admirers,  their  unknown  friends,  their  unintro- 
duced  lovers? 

I  have  just  finished  reading  hundreds  of  fan  letters — 
which  leave  me,  an  outsider,  with  sensations  similar  to 
those  experienced  in  crossing  the  English  Channel  in  a 
heavy  sea  and  I  am  convinced  that  Harold  Hayseed,  who 
sits  down  in  the  Kansas  farmhouse  after  supper  to  tell 
Gloria  Swanson  (or  Mae  Murray  or  Lois  Wilson)  all 
about  himself  and  his  emotions,  winding  up  a  seven-page 
epistle  with  the  words  "Now,  do  write  me  a  nice  long 
letter.  I  will  be  expecting  it,  remember,"  actually  believes 
that  Gloria. (of  Mae  or  Lois)  is  going  to  take  her  pen  in 
hand,  when  she  gets  home  from 
the  studio  and  has  the  supper 
dishes  done,  and  write  him. 


Harold  Hayseed 
sits  down  in  the 
Kansas  farm- 
house after 
supper  and  tells 
Gloria  Swanson 
or  Mae  Murray 
or  Lois  Wilson 
all  about  him- 
self  and  his 
emotions 


What  the  Fans 


r  I  'HIS  article  holds  a  profitable  lesson 
-*■  for  the  fans  who  scrawl  off  hasty  notes 
to  the  movie  stars,  gushing  over  them; 
wheedling  them  for  something,  or  offer- 
ing something;  asking  their  advice,  or 
insulting  them.  Such  letters  are  not  read 
by   the   stars 


And  Hilda  Highschool,  who  fills  six  sheets  of  tinted 
note-paper  with  exclamations,  capital  letters  and  underlined 
words  to  Richard  Dix  (or  Jack  Gilbert  or  Milton  Sills), 
and  concludes  by  begging  him  not  to  disappoint  her — 
usually  with  two  s's  and  one  p — as  she  has  told  all  the 
other  girls  she  has  written,  and  wont  they  be  mad  when 
she  gets  a  real  letter  from  a  live  movie  star  to  show  them 
— honestly  thinks  that  Richard  or  Jack  or  Milt  is  going  to 
break  all  engagements  to  sit  clown  and  write  her ! 

Such  naivete  is  incredible,  but  no  more  incredible  than 
the  other  things  one  finds  in  fan  letters.  A  woman  of 
thirty-four  writes  Cecil  De  Mille,  offering  herself  for 
adoption,  as  she  has  heard  he  has  several  other  adopted 
children.  A  university  professor  begs  Estelle  Taylor  to 
allow  him  to  be  her  handmaid,  and  promises  to  bring  a 
whip  for  her  to  beat  him  if  he  does  not  obey  her  lightest 
wish.  A  spiritualist  mails  in  a  claim  to  all  the  picture 
plots  of  a  certain  director  "because  her  Astral  Self  whis- 
pered'them  in  his  ear."  A  lady  signing  herself  "grand- 
mother," encloses  a  stamp  asking  Novarro  to  state  his 
preference  in  color,  size  and  weight  for  the  bed  socks  she 
is  going  to  knit  him.  And  a  ranchman  begs  Pola  Negri 
to  marry  him  and  promises  he  will  hire  a  woman  to 
do   the   heavy   work   if    she   will ! 

Then,  too,  every  fan  considers 
himself    or  herself    an   exception. 
The    star,    will   tell   you   that   the 
most  familiar  beginning  to  a  letter 
is :      "I   dont   want  you  to 
think    I    am    one    of    those 
movie-struck    people, 
but " 

And  then  they  go  on  to 
prove  that  they  arc  "one  of 
those  movie-struck  people." 


"Please  send 
me  a  big  pic- 
ture of  yourself, 
not  one  of  the 
little  ones  like 
you  sent  Sadie 
Greenbaum  last 
week" 


! 


T)ola    Negri    receives   an 

■*•   average    of    a    thousand 

fan  letters  a  week.     If  she 

gave   up  her   screen  work, 

went  without  meals  and  an- 
swered them  all,  she  would  have  to  write  about  a  hun- 
dred and  fifty  a  day.  Yet  every  other  fan  note  pleads 
the  sender's  right  to  personal  consideration.  "I  am  a 
soldier  in  an  army  hospital.  My  lungs  are  gone  with 
gas  and  they  say  I  wont  live  a  year.  Please,  Miss 
Negri,  wont  you  write  a  nice,  long,  sweet  letter,  and 
cheer  me  up?"  Or:  "I  love  you  better  than  anybody 
else  could,  so  I  want  a  dear,  little  letter  from  you,  tell- 
ing me  if  there's  any  hope  for  me." 

An  Italian  soldier  has  been  writing  to  Pola  for  a 
year,  ardent  missives  until  the  Italian  office-boy.  who  is 
called  in  to  translate  them,  blushes  and  quite  evidently 
censors  them.  He  sent  her  his  war  medals,  and. 
recently,  a  bundle  of  clippings  from  Neapolitan  news- 
papers, describing  how  he  had  fought  a  duel  with  some 
base  wretch  who  had  dared  not  to  admire  her  as  Bella 


24 


Write  to  tke  Stars 


THE  letters  the  motion  picture  players  are  really  in- 
terested in  are  those  which  contain  honest  criticism, 
or  offer  suggestions,  or  praise  some  special  bit  of  work 
in  a  picture.  These  notes  are  the  only  ones  read  per- 
sonally by  the  stars.  It  was  the  volume  of  letters  of 
this  sort  from  the  fans  that  decided  Mary  Pickford 
not   to   make    Cinderella 


Donna !  An  old  man  of  eighty-five  has  been  writing 
charming,  whimsical  notes  to  "The  Dear  Little  Madame" 
for  two  years. 

Pola's  fan  mail  varies  from  the  little  girl  "named 
Martha,  aged  ten,"  who  writes 
in  painful,  childish  letters  that. 
"When  my  chum,  Jennie  and 
me  play  movie  star,  Jennie  is 
Norma  Talmadge  but  I  am  al- 
ways Pola  Negri" — to  love  let- 
ters that  come  under  the  fire 
law  and  are  hot  to  the  touch, 
proposals,  mostly  from  men  in 
the  lonely  spots  of  the  earth, 
South  American  diamond  mer- 
chants, trappers,  millionaire 
ranchmen  (enclosing  snap-shots 
of  lean,  bronzed  men  with  wist- 
ful eyes),  sailors  and,  above 
all,  foreigners,  exiles  in  a 
strange  land,  couched  in  quaint 
terms. 

"You  send  me  your  picture ! 
You  do  me  that  honor !  Think 
of  it,  Madame  Negri — me  so 
maigre,  you  so  great!" 

The  Japanese  are  ardent 
movie  fans,  but  few  of  them 
can  express  their  honorable  sen- 
timents of  sincerest  devotion  in 
English.  So  in  Japanese  city 
squares  there  are  booths  where  a  professional  fan  letter- 
writer  sits  all  day  and  covers  rice  paper  with  polite  com- 
pliments for  Sun-Hair  Mary  Pickford  and  Hon.  Chaplin, 
who  walks  in  different  directions.  In  India  they  go  still 
further  and  sell  printed  fan  letter-forms  with  the  name 
to  be  filled  in  according  to  the  writer's  preferences.  Even 
our  own  country  seems  to  have  professional  letter-writers. 
A  man  advertised  lately  in  a  New  York  paper  that  he 
would  guarantee  to  write  a  note  to  any  movie  star,  put 
in  such  terms  that  he  or  she  would  send  a  personal 
reply ! 

Tho  there  are  still  many  fans  who  believe  that  Santa 
Claus  brings  presents,  the  stork  brings  babies,  and  a 
two-cent  stamp  invested  in  a  letter  to  a  screen  hero  or 
heroine  will  bring  a   reply   from   one   whose   time   is 
worth  two  hundred  dollars  a  day,  some  of  the  more 
sophisticated   movie    fans    invent    all    sorts    of    artful 
schemes  to  acquire  their  idol's  actual  autograph.     They 
send    presents    of    jewelry,    candy,    home-made    cake, 
fancy-work  and  money,  which  are  returned  if  valuable, 
and  given  to  charity  if  not.     They  send  their  letters 
marked  Personal  or  Important  or  Serious  Matter, 
by  air  mail,  registered  mail  or  special  delivery,  and 
some  of  them  enclose  checks  made  out  to  the  stars 
and  needing  their  own  signature  before  they  can  be 
cashed. 


Benny  Alexander  and 
others  of  the  younger 
generation  of  actors 
are  not  exempt  from 
love  letters 


Hilda  Highschool  fills  six 
sheets  of  tinted  note-paper  with 
exclamations,  capital  letters, 
and  underlined  words  to 
Richard  Dix  or  Jack  Gilbert 
or  Milton  Sills 


"Can  letters  are  of 
A  several  very  definite 
classes :  First  in  num- 
bers are  the  letters 
from  those,  mostly  chil- 
dren, who  want  some- 
thing for  nothing.  They 

usually  enclose  (or  mclose  or  even  awclose)  a  two-cent 
stamp  and  "Will  you  please  send  me  a  big  picture  of  your- 
self, not  one  of  the  little  ones  like  you  sent  Sadie  Green- 
haum  in  the  next  block,  last  week."  Sometimes  they  for- 
get to  en,  in  or  (inclose  the  stamp. 

When  a  child  who  collects  movie  stars'  pictures  grows 
up,  he  becomes  an  autograph  fiend.  One  of  the  greatest 
nuisances  of  the  fan-mail  reader  is  the  writer  who 
sends  in  an  autograph  book  to  be  signed,  or  a  sofa-pillow 
top  with  Roosevelt's  signature  embroidered  in  green  silk 
and  Jack  Johnson's  in  red.  It  is  not  betraying  any  state 
secrets  to  say  that  very  few  autographs  of  movie  stars 
which  find  their  way  on  pictures  or  paper  into  the  homes 
of  strangers,  were  written  by  the  stars  themselves.  There 
is  one  man  at  the  biggest  studio  in  Hollywood  who  can 
imitate  the  handwriting  of  every  player  on  the  lot.  A 
rubber-stamp  signs  the  photographs,  and  a  secretary  or 
publicity  man  signs  the  letters. 

When  Wanda  Hawley  was  a  new  Lasky  star,  some 
enterprising  person  conceived  the  notion  of  having  mono- 
grammed  note-paper  made  with  W  and  H  entwined  in 
gilt,  and  of  hiring  fifty  girls  to  write  personal  letters  to  all 
the  exhibitors  purporting  to  be  from  Wanda,  urging  them, 
in  the  friendliest  terms,  to  come  to  see  her.  The  idea 
was  to  stress  the  intimate,  human  side  of 
the  business,  and  interest  the  exhibitors 
in  viewing  her  first  picture.  But  the 
writer  of  the  form  letter  over- 
did the  thing.  The  wives  of 
the  exhibitors,  on  their  noc- 
g^  turnal  forays  thru  their  hus- 

band's pockets,  discovered  the 
friendly  little  notes  all  signed 
Wanda  Hawley  in  a  girlish 
hand  —  fifty  different  girlish 
hands  and,  never  having  heard 
{Continued  on  page  84) 


A  woman  of 
thirty-four 
wrote  to  Cecil 
B.  De  Mille 
of  f  erin  g  her- 
self for  adop- 
tion, as  she 
had  heard 
that  he  has 
several  other 
adopted, 
children 


25 
PAG 


t 


THE   DOCTOR 

Here  is  the  second  in  the  series  of  famous  paintings  which  Arthur 
Maude  is  transferring  to  the  screen  for  Universal  Pictures.  There 
will  be  twelve  pictures  in  all  and  Margaret  Morris  will  be  featured 
in  every  one  of  them.  The  first  in  the  series  was  a  story  woven 
about  Millet's  famous  canvas,  The  Angelus.  The  painting  repro- 
duced here,  The  Doctor,  doubtless  is  familiar  to  all  of  you,  and  it 
will  be  interesting  to  compare  this  motion  picture  study  with  a 
print  of  the  original  picture,  and  observe  how  faithfully  it  has 
been  copied  for  the  screen 


1 


26 


M_ 


And   Paris   Designers   Follow  Them 


By 

DOROTHY  DONNELL 
CALHOUN 


seen  in  a  raffia  petticoat,  she  discovers  a 
trunk  of  evening  gowns  and  negligees 
washed  up  on  the  beach,  dresses  in  them, 
wins  the  heart  of  the  young  aviator  whose 
aeroplane  has  been  wrecked  and  turns  out 
to  be  white  and  the  daughter  of  a  mis- 
sionary. 

Beautiful  gowns  are  as  essential  to  the 
success  of  a  motion  picture  as  a  beautiful 
heroine. 

American  women  never  had  the  oppor- 
tunity of  seeing  the  creations  of  the  great 
French  modistes  with  their  own  eyes.  In 
the  old  days  before  the  movies,  their  nearest 
contact  with  the  fashions  was  the  spring 
opening  of  the  Bon  Ton,  or  the  Bee  Hive. 
Now  at  their  neighborhood  movie  house  they 
can  sit  and  watch  incredible  gowns,  improb- 
able hats,  and  even  the  latest  thing  in 
■  negligees  and  lingerie  displayed  upon  the 
screen. 

Listen  in  at  the  conversation  of  the  out- 
going matinee  audience  after  a  Norma  Tal- 
madge  picture.     Eleven  women  out  of  every 
dozen  are  discussing  the  clothes,  not  the  acting  or  the  story. 
The  other  woman  is  so  busy  mentally  ripping  up  her  old 
brown  satin  and  combining  it  with  a  yard  and  a  half  of  me- 
tallic lace  and  some  gold  buttons,  that  she  isn't  talking  at  all. 

"Did  you  like  that  dress  she  wore  in  the  scene  where 
the   villain   was   attacking   her — the    white    with   the   lace 


Designed 

and     - 

Sketched 

by 
Howard 
.Greer 


A  six-months- 
old  evening 
gown  for 
Anna  May 
Wong,  made 
of  white  vel- 
vet with  gold 
applique,  ma- 
terials that 
are  now 
highly  popular 


"X 


panniers  r 

"What  I  wonder  is, 
why  couldn't  I  have  a 
black  velvet  like  the  one 
she  wore  when  she  was 
eloping  to  escape  from 
her  cruel 
husband?" 

" gold 

net  over 
black.  Of 
course  I'm 
a  little 
stouter    than 

Norma " 

Still,    you 
argue     skepti- 
cally,    women 
after    all    dont 
have    much    to 
say  about  what 
they    w  ear. 
The  styles  are 
dictated     to 
the m    by    the 
commercial     market. 
"Well  then,  what  about 
this?     Twenty-two  of 
the  Paris  dressmakers 
who     are     quoted    as 


/ 


Betty  Compson  wore 
this  gown  in  Locked 
Doors.  It  was  de- 
signed months  be- 
fore the  Pari? 
modistes  began  their 
campaign  for  Direc- 
toire  styles 


Perhaps  they  are  blonde 
and     statuesque     like 
Claire     Windsor, 
v  i  v  a  c  i  o  u  s     like 
Y  i  o  1  a     Dan  a, 
wistful    like 
Corinne      Grif- 
fith, plump  like 
Betty     Comp- 
son, thin  like 
Eleanor 
Boardman. 
It    takes    an 
artiste,     not 
a      dress-       . 
maker  or 
mail-order 
catalog,    to 
discover     a 
woman's  type 
and  bring  out 
her     possibili- 
ties by  the  right 
clothes. 

Gloria    Swan- 
son,      when      she 
first     came     to 
Lasky's    from    bath- 
ing comedies,  protested 
against       evening 
gowns.      "I    cant 
wear   them !"    she 
wailed,      "they're 
not    becoming    to 
me!"   (Continued 

on  page  110) 


style  authorities,  send  a  staff 
of  designers  regularly  to  the 
picture  houses  where  Ameri- 
can photoplays  are  being 
shown,  to  get  nczv  ideas  for 
gowns!  And  the  Garment 
Capitol  Center  in  New  York, 
where  for  five  years  manu- 
facturers have  been  design- 
ing styles  for  American 
women  without  consulting 
Paris,  has  a  board  of  sk etch- 
ers who  attend  the  movies 
and  copy  the  creations  of 
Hollywood ! 

The  movies  may  be  in  their 
infancy,  but  out  of  the 
mouths  of  babes  and  suck- 
lings cometh  dress  wisdom ! 

American  women  have 
been  dictated  to  in  the  past, 
but  the  films  are  teaching 
them  to  study  types  and  to 
discover  their  own  type,  in 
size,  coloring  and  age.  Per- 
haps they  are  tall  and  dark 
like  Betty  Blythe,  or  tiny  and 
dark     like     Marion     Nixon. 


Here  is  a  prophecy  for  1926,  made 
by  Howard  Greer.  This  costume 
will  be  worn  by  Pola  Negri  in  a 
picture  she  will  make  during  the 
summer  months,  and  which  will 
be   released  early  next  winter 


29 

PAG 


t 


Snap  Judgments 

We    give   you   an   opportunity   to   observe   trie    stars 
snapping   at  one    another 


When  Rudy's  best  pal  and 
severest  critic  snaps  him, 
she  doesn't  have  to  say, 
"Look  pleasant,  please!" 
For  Rudy  just  cant  help 
smiling  from  ear  to  ear 
when    Mrs.   Rudv   is   around 


Rosemary  Theby  Heft), 
known  to  the  world  as  a 
vamp,  chooses  for  her  sub- 
ject Mary  Philbin,  the  in- 
genue. But  caught  off 
screen,  they  both  look  very 
disarming  and  altogether 
charming,    dont    you    think? 


I 


30 

GE 


"One  more  look  like 
that  and  you'll  break 
the  lens,"  Glenn 
Hunter  warns  Tommy 
Meighan.  Glenn 
wants  the  world  to 
know  his  camera  set 
him  back  one  full 
day's   pay 


Max,  the  versatile 
monkey  from  Fox 
Comedies,  can  play 
any  part  from  actor 
to  cameraman.  And 
even  the  baby  doesn't 
seem  to  realize  he 
isn't    a    human    being 


No  one  will  believe 
this  stalwart  lad  on 
her  arm  can  be 
Myrtle  Stedman's  own 
son.  But  then,  Sonny 
was  raised  in  a  healthy 
country.  "May  your 
shadow  never  grow 
more!"  cries  George 
Hackat borne  in  de- 
spair from  behind  his 
camera,  as  he  tries  to 
get  them  both  on  one 
plate  and  sees  Mother 
being  crowded  right 
out  of  the  picture 


WHO   ever   heard   of   making  ones   work 
also   ones    hobby?       But   that's    exactly 
what  many  of  the  movie  stars  do.      Not  only 
do  they  work  daily  with  a  camera,    but   they 
play   with   one   in   their  leisure    hours 


Lon  Chaney  and  Ford 
Sterling  were  clowns  to- 
gether in  He  Who  Gets 
Slapped.  Above,  they're 
posing  in  costume  in  a 
little  comedy  all  their 
own  called  He  Who  Gets 
Snapped 


The  picture  at  the  left 
might  be  titled  Who 
Shoots  First?  It  is  a 
friendly  duel,  in  which 
cameras  have  been 
chosen  instead  of  pistols, 
and  John  Gilbert  and 
Aileen  Pringle  are  the 
amicable    enemies 


The  back's  the  best 
part  of  the  goose — 
even  on  the  plate  of 
a  camera !  Especi- 
ally when  the  goose 
is  Arthur  Stone,  the 
Hal  Roach  come- 
dian who  can  set  the 
whole  world  laugh- 
ing. Marie  Mos- 
quini  is  the  snappy 
flapper 


Here's  a  problem 
for  you:  Will  Peter 
the  Great  exercise 
his  dog's  prerogative 
and  snap  at  young 
Edwin  Hubbell 
when  the  little 
cameraman  snaps 
him? 


The  picture  above, 
in  which  May 
McAvoy  is  posing 
for  Ronald  Colman, 
is  number  one  of  a 
pair  labeled  "Before 
and  After  Taking"— 
meaning  taking  a 
trip  to  Italy  to  play 
Esther  to  Ramon 
Novarro's  Ben  Hur. 
Ronald  bet  that  May 
would  come  back  at 
least  ten  pounds 
heavier;  May  swears 
she  wont  add  one 
ounce  to  her  ninety- 
six  pounds.  George 
Fitzmaurice,  the  di- 
rector, has  agreed  to 
hold  the  stakes  for 
the  winner 


31  P 

PAGli 


_  ,, 


in       i     ■<  i=sas 


I 


Henry  Waxman 

THERE  are  so  many  cross-roads  in  the  average 
person's  existence  without  any  sign-posts  to  point 
the  right  direction,  it's  a  wonder  we  dont  lose  our 
way  oftener.  If  I  had  taken  a  different  turning 
at  half  a  dozen  points,  I  might  now  be  a  London  cabby 
(probably  with  a  red  nose;  cabbies  always  have  red 
noses!)  ;  an  office  man  in  Cheapside  (in  a  pepper-and-salt 
suit)  ;  an  army  officer  billeted  in  a  flea-bitten  mud  town  in 
the  Sudan,  or  a  civil  service  employee  in  China,  wearing 
an  embroidered  satin  robe  and  sitting  at  a  teakwood  desk 
(if  I  hadn't  already  been  killed  in  a  revolution). 
32 

as. 


Trie  Ston? 

of 
My1  Life 

We  give  you  herewith  the  true  story  of  an 
Englishman  and  a  scholar,  a  veteran  of  the 
World  War,  and  a  man  of  a  thousand  adven- 
tures, who  hopes  for  another  thousand  of  them 

By 


My  cabby  complex  dates  back  to  the  age  of  five,  when 
my  mother  used  to  take  me  up  to  London  and  would 
allow  me  to  crook  a  finger  at  one  of  those  proud  beings 
perched  up  so  gloriously  high  above  the  common  run  of 
mankind  behind  his  cab.  They  were  usually  stout,  and 
looked  so  top-heavy  that  I  always  expected  to  see  the 
horse  leave  the  ground  at  any  moment  and  dangle  in  the 
air.  Once  inside  the  cab,  my  mother  would  allow  me 
to  poke  up  the  trap-door  in  the  top  (with  the  umbrella 
that  all  Britishers  carry)  and  discuss  our  destination 
with  a  beery  voice  rumbling  out  of  sight  above  our 
heads.  And  it  seemed  to  me  then  that  no  career  could 
possibly  equal  that  of  driver  of  a  hansom. 

Here  is  a  queer  thing.  From  the  first  I  can  remem- 
ber I  seem  to  have  been  traveling  toward  California. 
Even  in  those  days  it  was  the  best  advertised  spot  in 
the  world  and,  from  the  glowing  adjectives  describing 
it  in  articles  and  travel-folders,  the  word  "golden" 
stuck  in  my  childish  mind.  Then  "the  Pacific" !  •  How 
different  that  would  look  from  the  cold,  gray  Atlantic 
I  knew!  In  imagination  I  saw  California  as  a  fabled 
land  with  towers  shining  in  some  strange  sun  by  the 
shores  of  a  fairy-tale  sea.  I  made  up  my  mind  then 
that  some  day  I  would  come  to  golden  California.  And 
here  I  am ! 

"K/Tv  childhood  home  was  a  big,  brick,  suburban  villa 
■**  A  on  the  banks  of  the  river,  at  Richmond-on- 
Thames  (printer,  dont  omit  the  hyphens  !).  Father  was 
an  importer  in  the  city  and  comfortably  well-to-do — we 
had  dogs,  riding  horses  and  a  trap. 

My    recollections    of    the    house    are    very   vague.— 
houses  to  a  child  are  simply  places  to  eat  and  sleep  in — - 
tho  I  have  a  scar  just  above  one  eyebrow  to  prove  that 
this  particular  house  had  a  long,  steep  flight  of  stairs 
to  fall  down.     The  thing  I  associate  with  being  a  child 
is  the  river — the  deep,  slow-moving  Thames.     English 
people  enjoy  their  rivers  more  than  Americans,  or  per- 
haps American  rivers  are  not  leisurely  and  deep  and  placid 
like  ours,  but  in  a  hurry  to  get  somewhere  in  the  world. 
On  Sundays  and  bank  holidays  the  Thames  is  always  cov- 
ered all  the  way  from  London  to  Oxford  with  canoes, 
sculls,    flat-bottomed    boats    of    excursionists,    gay    with 
striped  blazers  and  parasols. 

I  used  to  punt  fourteen  miles  up  the  river  and  never 
found  a  spot  where  the  water  was  not  deeper  than  my 
twelve-feet  pole. 

Tho  I  was  born  in  England,  my  people  are   Scottish 


Those  of  us  who  have  seen  Lillian  Gish  as  the  exquisite  Romola  will  never  forget  her.     And  we  count  the  fans 

of  2025  fortunate  to   glimpse  her  in  marble 


For  trie  Picture  Fans 
of  2025 


Colleen  Moore, 
as  Selina  Peake, 
t  Ii  e  young 
school-teacher, 
in  So  Big 


Colleen,  as 
Selina  De  Jong, 
the  bright-eyed, 
wonderful  old 
mother 


The  marble  study 
of  Lillian  Gish  at 
the  top  of  the 
page  was  made  by 
the  well-known 
sculptor,  Elob 
Dereyinsky,  in  his 
New  York  Studio, 
and  was  on  exhibi- 
tion in  a  metro- 
politan gallery 
during    the    winter 


At  the  left  you  see 
Douglas  Tilde  11 
immortalizing,  in 
bronze,  Colleen 
Moore  as  the 
heroine-g  r  o  w  n  -  old 
i-i  So  Big.  This 
young  star's  por- 
trayal of  youth 
and  old  age  has 
not  been  surpassed 
on    the    screen 

35 

PAG 


t 


ences 


Off-S 


creen 


Tea   for  Two,    and   Tea   for   a   Crowd 


! 


THERE  is  a  special  charm  in  meeting  a  star,  like 
lovely  Norma  Shearer,  shortly  after  she  has 
arrived  in  a  big  way.  The  first  glamour  of  suc- 
cess has  not  worn  off,  for  her.  She  glitters  with 
enthusiasm  for  everything  connected  with  stardom — 
even  for  being  interviewed.  I  dont  mean  to  • 
imply   that   publicity   is   scorned   by   older 

luminaries.  But  the  latter- Oh,  well, 

theyVe  done  it.  so  often  before,  you 
know !      I    dont    blame    them    for 
finding  it  hard  sometimes  to  think 
up  something  new  to  say. 

Miss  Shearer  is  fresh  from 
her  triumphs  in  He  Who  Gets 
Slapped,  The  Snob,  and  one 
or  two  other  corking  pic- 
tures.     I've    been    teaing 
with  her  in  quest  of  con- 
fidences   for    this    page, 
and  she's  given  me  the 
nice,   flattering   feeling 
that  she  had  as  good  a 
time  talking  to  me  as  I 
did  in  the  role  of  in- 
terviewer. 

In  writing  about 
Miss  Shearer,  I  dis- 
cover that  I  simply 
must  begin  by  telling 
what  she  looks  like. 
The  black-and-white  of 
the  screen  does  justice 
to  her  features  and  her 
fine  aristocratic  presence. 
But  in  the  flesh  she  makes 
one  long  for  the  perfecting 
of  color  photography.  Her  . 
golden  hair  is  burnished  with 
tints  of  red,  and  her  skin  has 
that  brilliancy  of  pink  and  white 
which  can  only  be  acquired  by  a 
childhood  spent  in  the  far  North. 
She  is  a  Montreal  snowbird  of  British 
descent,  which  is  explanation  enough. 
"I  can  never  forget  how  I  broke  into 
pictures  in  the  first  place,"  she  told  me, 
her  eyes  dancing.  "I'd  come  to  New 
York  with  my  sister,  and  both  of  us  were 
vowed  to  the  program  of  the  movies  or  nothing.  We 
lived  thru  some  black  days,  for  there  was  jolly  little 
money  in  the  war  chest.  We  had  no  pull.  We  were 
green.  No  aspirants  on  record  knew  less  about  what  to 
do,  or  how  to  do  it.  Then,  in  a  cheap  agency,  I  was 
chosen  as  a  type,  and  my  sister  was  engaged,  too,  be- 
cause I  wouldn't  go  without  her. 

"We  were  to  report  at  a  studio  in  Mount  Vernon, 
N.  Y.,  a  town  I  haven't  been  able  to  think  of  since 
without  extremely  mixed  feelings.  Up  till  then,  we  had 
never  been  in  a  studio  and  had  only  the  vaguest  notion 
of  what  one  looked  like.  The  uncivilized  hour  of  seven 
A.  M.  had  been  mentioned  as  the  time  when  work  would 
36 
GE 


Fame  is  smilin 

aristocratic   Norma   Shearer 


start  the  next  day.  so  we  planned  to  take  a  six-thirty 
train,  and  in  our  anxiety  we  made  Grand  Central  Station 
with  half  an  hour  to  spare. 

"The  'studio'  turned  out  to  be  some  sort  of  barn,  thru 
the  chinks  in  which  the  wind  and  snow  careered  at 
will.     Nothing   was    ready,    and    for   twelve 
mortal    hours    we    sat    in    a    corner,    two 
shivering  creatures   who  were  beneath 
the  attention  of  the  director.     Our 
spirits  sank  to  the  point  where  we 
confessed  to   each  other  that   if 
we  were  being  treated  to  a  fair 
sample    of    movie    life,    we'd 
rather    die    quickly    and    be 
done  with  it.    However,  we 
returned  the  next  day,  and 
the     picture     was     really 
started,    and    we    really 
had  parts  in  it." 
"What    was   the   name 
of  it  ?"    I  asked. 
"Hush  !"     wh  i  s>pe  red 
Miss  Shearer.    "That's 
a    secret    I've    always 
kept.     I've    been    told 
the  picture  was  never 
shown,    but     it    may 
have  been  somewhere, 
and    I    know    I    was 
terrible  iti  it." 
Our  chat  brought  out. 
so     many     fascinating 
things      about      Norma 
Shearer  that   I  could 
easily    fill    the    whole 
Department  with  her.     She 
is   musical,    plays   and    sings 
well,  yet  thanks  her  good  fairy 
that  she  failed  to  study  danc- 
ing.   This  last  because  a  famous 
Broadway  producer  once  tempted 
her  when  she  was  broke  to  abandon 
pictures  and  join  his  Follies,  and  had 
her    dancing   been    adequate    she    would 
have  lacked. the  courage  to  say  No.     As 

now  for  lovely,  ;t   was_   she  knew   she  cou\c\  not  get  very 

far  in  revue  work,  so  stuck  it  out  at  the 
art  she  loved  best.     Her  sister,  however, 
let    marriage    and    babies    lure    her    from    the    screen. 

What  Does  a  Villain  Like  ? 

"V/fv  friend.  Walter  Haviland,  calls  Wallace  Beery  "the 
*~  •*•  king  of  villains"  on  the  screen.  Well,  he's  that,  all 
right.  There  is  no  heavy  who  seriously  rivals  him.  But 
I  want  to  give  you  a  glimpse  at  his  personality  off-screen. 
I  had  a  chat  with  him  not  long  ago  at  Famous  Players' 
studio,  and  we  rode  back  to  New  York  in  a  taxi  just  as 
the  winter  evening  was  setting  in  and  the  sky-scrapers 
from  across  the  river  were  like  the  massed  towers  of  a 
stupendous  castle,  a  light  in  every  window. 

Y\ "hat  do  you  suppose  a  "villain"  burly  enough  to  fill 


CR-MmON  PICTURl 

ItiBl  I    MAGAZINE 


two-thirds   of   the   taxi    would   be.  moved   to    say? 

Beery  told  me  about  the  people  and  the  things  he 
liked.  He  revealed  an  unexpected  streak  of  poetry, 
and  an  attitude  toward  motion  pictures  and  his 
place  in  them  that  was  altogether  modest. 

"I'm  a  real  Westerner,"  he  said,  '"and  I've  been 
sightseeing  in  my  spare  time  here.  I  got  a  big  kick 
out  of  the  Woolworth  Building.  It's  beautiful,  and 
what  a  view  of  the  city  you  get  from  the  top  floor 
— my  Lord,  what  a  view!  It  struck  me  all  of  a 
heap  that  I  didn't  know  the  name  of  the  architect 
who'd  done  such  a  wonderful  thing.  So  I  asked 
other  people,  and  I  couldn't  find  a  soul  who  knew. 
It  seemed  that  my  own  name  was  better  known  than 
that  of  the  man  who  built  the  Woolworth,  and  let 
me  tell  you  that's  a  shame !" 

He  went  on  to  speak  of  his  love  for  mountains 
and  forests.  He  is  stirred  by  Nature  in  her  larger 
aspects,  and  nothing  delights  him  so  much  as  to 
break  away  for  a  holiday  in  the  Sierras  of  Cali- 
fornia after  a  picture  has  been  completed.  He  is 
gone  weeks  at  a  time,  hunting  and  fishing,  and 
sleeping  under  the  stars. 

He  carries  this  passion  with  him  into  the  theater. 
His  favorite  numbers  on  a  program  are  the  travelog 
and  the  "news  of  the  day."    He  has  voyaged  a  good 
bit  himself,  but  never  tires  of  the  panorama  of  strange 
lands — those  he  has  seen  as  well  as  those  he  has  not — 
unfolded  in  the  shadowland  of  films. 

Discussing  his  dramatic  colleagues,  however,  he  paid 
a  most  glowing  tribute  to  Charlie  Chaplin,  whom  he 
called  the  supreme  genius  of  the  cinema — perhaps  the 
greatest  comedian  that  either  the  speaking  or  the  silent 
stage  has  ever  known:  He  insisted  generously,  also,  that 
his  brother,  Noah,  was  a  better  actor  than  he  was.  With 
this  last  judgment  I  do  not  agree.  But  if  Wallace  Beery 
says  so,  it's  only  fair  to  quote  him. 

The  Denaturing  of  Greed 

"pRic  von  Stroheim,  one  of  the  few  really  gifted 
*~*  directors,  spent  years  on  his  film  version  of  Frank 
Norris's  McTcaguc.  The  novel  was  a  rare  masterpiece 
of  realism  in  American  literature.  It  might  have  been 
written  to  order  for  von  Stroheim.  and  from  the  start 
it  was  known  that  he  intended  to  make  a  grim,  a  brutal. 


There's  a  streak  of  poetry  in  Beery.     He  likes 
and  the  Woolworth  Building 


rild  flowers — 


and    their 


picture.  The  country  was  effectively  flooded  with  pub- 
licity to  this  effect.  The  fans  were  prepared  to  see  "some- 
thing different,"  to  have  cold  shivers  run  down  their 
spines. 

Under  the  title  of  Greed,  the  picture  has  at  last  reached 
the  screen.  It  proves  to  be  excellent  melodrama — what 
there  is  left  of  it.  To  reduce  it  to  program  length,  it  had 
to  be  cut,  you  know,  from  forty-four  reels  to  eleven  reels. 
The  province  of  this  department  is  not  to  review  new 
productions.  But  writing  as  a  spectator,  I  want  to  go 
on  record  as  being  disappointed  at  finding  that  so  much 
that  was  original  and  strong  has  been  left  out.  in  favor 
of  milder  stuff.  I  have  looked  over  hundreds  of  von 
Stroheim's  stills.  One  of  the  latter,  from  an  episode  no 
longer  in  Creed.  I  offer  mv  readers  as  an  exhibit.  It 
shows  the  Russian  junk  dealer,  and  Maria  Macapa,  the 
strange,  half-crazy  woman,  who  did  odd  jobs  for 
McTeague.  These  two  shared  some  of  the  best  scenes, 
fate  marched  relentlessly  to  a  climax  that 
would  have  ranked  high  among  the  artistic 
performances  of  the  screen.  Why  should 
the  cutters  have  butchered  it? 

On  the  other  hand,  the  long,  sentimental 
prolog  is  retained.  Many  feet  of  film  are 
given  to  the  grief  of  McTeague's  mother  at 
parting. from  him  when  he  was  a  youngster. 
Hundreds  more  are  taken  up  by  symbolistic 
interludes,  in  which  ghostly  arms  toy  with 
treasure  under  the  sea  and  burrow  into  piles 
of  bills  and  coin. 

The  business  men  who  owned  the  picture 
were  probably  scared  at  the  length  to  which 
von  Stroheim  had  gone,  and  decided  to  have 
it  denatured — volsteaded — what  you  will.  I 
think  they  made  a  mistake.  For  the  public 
expected  a  gruesome  show,  and  Greed  is  no 
longer  that.  That  it  remains  a  splendid 
thriller  in  spite  of  all  is  due  to  the  talents  of 
its  director,  who  is  incapable  of  shooting  a 
single  reel  that  is  not  interesting. 

When  Constance  Gives  a  Tea 


The   Russian   and   Maria   Macapa    plan    their   hunt    for   treasure, 
suppressed  scene  from  Greed 


As  readers  must  have  gathered,   many  of 

■*■■*-  my  most  illuminating  chats   take  place 

over  the  tea-cups.     From  four  to  six  P,  M. 

{Continued  on  page  98) 

37 
PAfi 


t 


How  Our  Readers 
See  the   Stars 

Here  is  another  page  of  the  best  sketches 

received  from  readers  in  response  to  our 

Artists     Contest 


LILLIAN 

GISH 


Sketched    by 

Katharine    Huston.    Berkeley,     California 


Sketched  by 
Roger    11.     IVesicnnan 

Fan's,    France 


RUDOLPH 
VALENTINO 


Sketched    by 

Howard  Kakudo 

South    Seattle,     JVash. 


GLORIA 
SWANSON 

Sketched    by 
Donald   McCnrdy 

Halifax,    Nova    Scotia 


MAE 
MURRAY 


Sketched  by 

Marjorie  Zander 

Los  Angeles,   California 


- — S^^Kf^ 


I 


BERT  LYTELL 

Sketched  by 

M.    Fried/under 

San    Francisco,    California 


38 


JACK 
UEMPSEY 

Sketched   by 

Funis    Jepeuiay 

Dublin,   Co. 


MMBH 


Here  is  Lillian  Gish 
as  Flora  Smith,  of  Los 
Angeles,  sees  her. 
This  sketch  was 
awarded  the  ten-dollar 
prize 


RICHARD  BARTHELMESS 

Sketched    by 

Richard   A.    Larson 

New   York  City 


. 


Aren't  you  going  to  give  me  something  el>e  before  I  jio,  Professor?     A  kiss,  for  instance? 

Learning  To  Love 

This  picture  was  made  from  an   original  story   hy  John    Emerson    and  .-Inita   Loos,   and  was   directed   by  Sidney  A.  Franklin.      It   is 
copyrighted    by    First    National    Pictures,    Inc.,    who    also   authorized   this  short    novelisation 

BS  GORDON  MALHERBE  HILLMAKf 


THE  young  history  teacher  was  embarrassed.  This 
was  strange,  for  he  usually  regarded  the  bobbed 
hair  and  rolled  stockings  of  his  pupils  in  Miss 
Benchley's  School  for  Girls  with  a  cold  and 
clammy  eye.  Somehow,  when  he  looked  at  Pat  Stanhope's 
long  lashes  and  mischievous  mouth,  all  his  coldness 
vanished. 

"I — er — er,  Miss  Stanhope,  as  it  is  the  last  day  of 
school,  allow  me  to  present  you  with  this  little  token  of 
my  er — er  regard." 

Pat  dimpled  and  put  the  bulky  volume  of  Plutarch's 
Lives  under  her 'arm.  "But,  Professor,  aren't  you  going 
to  give  me  anything  else  before  I  go  away?" 

Professor  Bonnard  started  back  in  surprise.  "Why — 
er— I " 

"A  kiss,  for  instance,"  whispered  Pat  saucily,  her  eyes 
shining,  her  lips  deliciously  close.  -"Just  for  good-by,  you 
know." 

The  Professor's  technique  left  something  to  be  desired. 
By  mistake,  he  kissed  her  nose. 


"Pat !  Pat !"  called  her  chum,  Sylvia,  from  the  hall 
"Aren't  you  ever  coming?" 

Pat  came  running.  She  knew  by  the  tone  of  her  chum's 
voice  that  something  special  was  in  the  wind. 

"Pat,"  said  Sylvia,  "this  is  Billy  Carmichael.  He's 
come  up  for  the  prom  and  he's  wild  to  meet  you." 

Pat  turned  approving  eyes  on  the  dark  boy  with  re- 
bellious hair.  "Oh,  Mr.  Carmichael,  isn't  it  splendid?" 
she  cooed.    "I've  heard  so  much  about  you," 

Billy  was  lost  in  an  instant.  In  ten  minutes  he  was 
telling  Pat  that  altho  he  usually  hated  prep-school  girls, 
she  was  different.  That  night  an  accommodating,  roly- 
poly  moon  looked  down  to  see  Billy  putting  the  finishing 
touches  on  what  the  Professor  had  begun.  By  long 
experience  Billy  was  something  of  an  expert. 

But  in  some  things  he  was  still  an  amateur.  As,  for 
instance,  his  sending  Pat's  aunts,  Penelope  and  Virginia, 
a  note  announcing  that,  as  he  was  now  engaged  to  their 
niece,  he  would  save  them  the  trouble  of  coming  to  get 
her  by  bringing  her  back  in  his  car. 

39 
PAG 


i 


J* 


"xMOTION  PICTURE 
W  I  MAGA2INL     L 


Which,    of 
Benchley's  in 

overwhelmed 


! 


course,  brouglit  Aunt  Penelope  to  Miss 
high  agitation.  The  love-smitten  Billy  was 
by  the  idea  of  separation  from  his  best- 
beloved,  but  Pat  solemnly  promised  to  see  him  in  New 
York,  so  there  was  some  joy  in  life  after  all. 

But    no    sooner    had    Pat    got    settled    in    the 
train  than   she  beheld  a  most  enchanting 
sight.      This   was   a   splendid   youth, 
something  of  a  baby  elephant  as 
to    size,    but   handsome    none 
the   less,   who   was   sitting 
directly  across  from  her, 
speaking  in  words   of 
one  syllable  to  Ethel, 
one   of   her  school- 
mates. 

Ethel     signalled 
unmistakably. 
"Pat,    take    this 
big   dumb-bell 
off    my    hands," 
and      Pat,     who 
was  beginning  to 
be  bored,  crossed 
over    to    them    at 
once. 

"Miss   Stanhope, 
Mr.  Tom  Morton." 

Mr.    Tom    Morton  wl  mm  J& 

lifted  a  pair  of  cowlike 
,eyes    to    appraise    Miss 
Stanhope.    Once  fixed,  his 
eyes  remained  riveted.    What 
he  lacked  in  brains  he  made  up  in 
adoration.      By  the  time   the  train 

slid  into  Grand  Central,  he  was  will-        Pat's    i00k    sent    Billy's    blood-pressure 
ing  to  be  Pat's  personal  doormat  for  sky-rocketing 

life. 

"Now,  remember,"  said  he,  "I'm  taking  you  to  Sherry's 
tomorrow." 

"Yes,  Tom,"  said  Pat,  giving  him  a  sidelong  look  that 
sent  his  blood-pressure  skyrocketing,  "but  you  must  go 
with  me  to  see  Mr.  Warner  first." 

Tom  was  suspicious.  "Who's  this  Warner  egg,  any- 
way?" he  demanded. 

"Oh,  now,  Little  Boy's  jealous  of  Old  Man!"  she 
mocked.  "Scott  Warner's  my  guardian,  silly.  He  looks 
after  all  my  money — and  he's  an  old,  dried-up  Babbitt  of 
a  business  man." 

But  the  next  day  when  Pat  entered  Scott  Warner's 
office,  leaving  a  disconsolate  Tom  outside,  she  received  a 
first-class  surprise.  Scott  was  not  so  old  as  she  had 
remembered  him ;  he  was  not  only  distinctly  young — but 
actually  handsome. 

As  she  waited  for  him  to  finish  his  dictation,  she  care- 
fully moved  her  chair  nearer  and  nearer  his  desk,  so  that 
the  astounded  Scott,  suddenly  looking  up,  found  her  eyes 
sparkling  into  his. 

But  this  time,  Pat  had  met  her  match.     Scott  merely 
leaned  back  in  his  chair  and 
asked,     "What's     all     this 
about   your   engagement   to 
this  Carmichael  kid  ?" 

Pat  dimpled  in  her  most 
entrancing  manner.  "Oh, 
I  suppose  we're  sort  of  en- 
gaged, but  that  doesn't 
really  mean  anything." 

Scott  brought  his  eyes 
back  from  a  dreamy  con- 
templation of  the  ceiling  to 
say  "No?"  in  a  bored  voice. 
40 


CAST  OF  CHARACTERS 

Patricia    Stanhope Consumer    Tahnadge 

Scott   Warner Antonio   Moreno 

Aunt  Virginia Emily  Fitzroy 

.  \  unt    Penelope Ed  y  I  he    Chapman 

Billy   Carmichael Johnny  Harron 

Tom   Morton ' Ray   Hallor 

Professor    Ponnard Wallace    MacDonald 

John,  the   Barber Alf.  Goulding 

Count   Coo-Coo Byron  Munson 

The    Butler Edgar  Morton 


"Oh,  my,  no !  It's  always  happening  to  "me.  Being 
engaged,  1  mean." 

Scott  suddenly  became  less  amiable.     "Look  here,  if 

you're  going  to  marry,   why  dont  you  pick  a  real  man 

instead  of  these  college  kids?"     He  raised  his  eyebrows 

quizzically.     "Provided,  of  course,  that  any  real 

man  would  look  at  you  twice.     I  doubt  if 

he  would." 

"Why,"     spluttered     the     open- 
mouthed  Pat,  "I  think  you're 
terrible !" 

I  dare  say,"  said  Scott 
calmly.     "I've  told  you 
the     truth,     anyway. 
Run  along  now  and 
dont    bother    your 
aunts      with      any 
more    'engage- 
ments.' " 
Whereupon   the 
enraged  Pat  fell 
upon  her  adoring 
admirer. 
"Stupid !"  she  ac- 
cused.    "Why  do 
you  have  to  be  so 
dumb  ?" 

Mr.    Tom    Morton 
opened      his      mouth 
three    times    and    then 
shut    it.      Things    were 
getting  too  deep  for  him. 
They    rapidly    became    worse. 
When  they  arrived  at  the  Stan- 
hope house,  he  was  not  at  all  pleased 
to-  find,  waiting  for  Pat  and  glaring 
at  each  other,  Billy  Carmichael  and 
Prince  Victor  de  Amalfi. 
"Hello,  Billy.     Hello,  Coo-Coo,"  sang  out  Pat.  tripping 
up-stairs.      "You'll   have   to    wait   in   the   drawing-room, 
boys.     My  hair-dresser's  here,  and  he's  the  nicest  man !" 
So  when  Scott,  coming  on  important  and  unexpected 
business,  arrived,  he  found  three  gloomy  youths  full  of 
murderous  thoughts. 

"Miss  Patricia  will  see  you  in  half  an  hour."  announced 
the  maid  who  had  taken  his  card.  "She's  with  her  hair- 
dresser." 

But  the  maid  bore  back  word  to  Pat  that  Mr.  Warner 

refused  to  wait  on  any  account.     "Tell  him  to  go " 

ordered  Pat  angrily.    "No.    Tell  him  I'll  be  right  down!" 
Sure  enough,  clown  she  came,  alluring  enough  to  attract 
anyone.     But  Scott  seemed  made  of  stone. 

"You'll   have  to   sign   this   paper,"   he   said   brusquely. 
"It  means  that,  hereafter,  your  income  will  be  in  your  own 
hands,  but  I'll  have  to  O.  K.  all  your  expenditures." 
"I  wont  sign  any  such  thing!"  Pat  declared  angrily. 
Scott  shrugged  his  shoulders.     "All  right.     There'll  be 
no  money  then." 

Pat's  eyes  snapped.    "Give  me  your  old  paper !    There  !" 

As  she  signed  her  name 
in  a  savage  scowl.  Scott 
peered  into  the  next  room 
where  the  assembled  swains 
were  more' or  less  patiently 
waiting. 

"Nice  lot  of  men  you 
have,"  he  commented  sar- 
castically. 

Pat  slapped  the  paper 
down  in  front  of  him.  "If 
you  dont  like  them,  sup- 
pose  you   introduce   me  to 


some  others,"  she  said  venomously.     "I  dare  you   to !" 

"Delighted,"  said  Scott  in  an  aggravating  drawl.  "Dine 
with  me  next  Thursday  night." 

True  to  his  word,  Scott  gave  his  dinner.  It  was  a 
brilliant  affair,  and  he  had  been  at  pains  to  invite  many 
men  of  social  prominence.  He  put  Pat  next  to  Mr. 
Moore,  a  typical  frequenter  of  the  more  fashionable 
Broadway  cabarets.  As  Scott  occupied  his  time  in  con- 
versation with  the  lady  on  his  left,  Pat  turned  her  bat- 
teries loose  upon  Mr.  Moore.  So  well  did  she  succeed  in 
enslaving  him  that  immediately  after  dinner  he  guided 
her  to  the  conservatory.  As  a  mere  matter  of  course,  Pat 
let  him  kiss  her,  and  then  things  began  to  happen.  For 
once  she  found  she  had  caught  a  Tartar. 

"No — no  !"  she  cried,  trying  to  escape  from  his  passion- 
ate embrace. 

Opportunely,  Scott  stepped  in  the  door.  "Hot  in  here, 
isn't  it?"  he  said  drily.  "So  sorry  you  have  to  leave  us, 
Moore." 

Slightly  ruffled,  Mr.  Moore  rose,  bowed  and  made  his 
departure. 

"Oh,  Scott,"  said  Pat,  clinging  to  her  guardian,  "it  was 
awful !     Drive  me  thru  the  park  for  some  air." 

Once  in  the  park,  Pat  rapidly  recovered  from  her  fright. 
"I'm  cold,"  she  said  prettily,  and  cuddled  closer  to  Scott. 

He  leaned  forward  to  the  speaking  tube.  "Oh.  Jenkins, 
turn  on  the  heat.    The  lady  is  cold." 

Then,  adding  insult  to  injury,  he  wrapped 
her  in  a  rug  and  settled  himself  in 
the  opposite  corner. 

"Beast  !"  thought 
Pat,  but  she  said 
as  she  stepped 
out  at  her  house  : 
"Aren't  you  go- 
ing to  kiss  me 
goo  d-n  i  g  h  t, 
Scott  ?" 

"Certai  nly 
not !"  he  said, 
and  slammed  the 
door.  He 
slammed  it  un- 
necessarily hard. 
It  would  have 
seemed  to  an  un- 
prejudiced  ob- 
server that  Scott 
Warner  wanted 
that    kiss    badly. 

Then  came 
the  night  of 
Pat's  debut.  All 
her  suitors  were 
present.  Even 
Scott  came. 
With  the  first 
dance,  her 
troubles  began. 

"I've  been 
planning  a 
honeymoon  for 
you  and  me  on 
the  Mediterra- 
n  e  a  n,"  w  h  i  s- 
pered  the  Prince 
as  the  jazz-band  moaned  out  a  fox-trot. 

"Oh !"  gasped  Pat,  and  just  then  Tom  Morton  cut  in 
and  swung  her  away,  leaving  the  Prince  standing  in 
the  middle  of  the  floor  with  a  slightly  acid  smile  on  his 
face. 

"Here!"  whispered   Morton,  thrusting  a  ring  on  her 


OTION  PICTURI7 

MAGAZINE      t\ 


will  steal  you  away  from   V 


'Who  gave  you  that  ring?"  demanded  Billy,  still  alive  and  slightly  more  sober 


finger.     "I'm  afraid  someone 
me.    No,  dont  take  it  off." 
Pat  hesitated. 

"Keep   it   on !"   ordered   Morton   fiercely.      "It   means 
'  we're  engaged." 

But  the  worst  had  not  yet  happened.  At  the  end  of  the 
dance,  the  Prince  again  claimed  Pat  and  led  her  into  the 
conservatory.  With  an  air  of  great  triumph  he  laid  an 
evening  paper  on  her  lap.  One  hasty  glance  convinced  her 
of  the  awful  truth.  There  in  black  type  was  the  announce- 
ment of  her  engagement  to  the  Prince. 

"Fast  work,  eh,  as  you  Americans  would  say,"  smirked 
the  Prince,  twisting  his  little  mustache.  "Dont  you  like 
it?" 

"Of  course,  I  dont !"  Pat  blazed. 

Just  then  the  Prince  saw  Morton's  ill-fated  ring  on  her 
finger.  "What  man  gave  you  that?"  he  demanded. 
"Whoever  he  is,  I'll  kill  him !" 

Pat's  brain  reeled.  It  didn't  seem  possible  for  so  many 
unpleasant  things  to  happen  at  once. 

So,  of  course,  another  batch  of  trouble  came  tapping  on 
the  door.  "Telephone,  Miss  Patricia,"  said  the  maid,  dis- 
approvingly. "It's  Mr.  Carmichael,  and  he's  so  mad  he's 
shouting  his  lungs  off." 

Billy  was  not  merely  angry ;  he  was  also  slightly  the 
worse  for  drink  and  he  sounded  like  a  fog-horn.  "What's 
this  about  your  marrying  the  Prince?"  he  roared. 

"It  isn't  true.     You  know  it  isn't!"  pleaded 
Patricia. 

'I  dont  believe  you.     You're 

double-crossing  me.  I'm 

up    at    Warner's 

apartment,     and 

I'm    going    to 

shoot  myself." 

The  receiver 
went  down  with 
a  crash. 

In  two  min- 
utes she  was  in 
Scott's  racing 
car.  Traffic  rules 
went  into  the 
discard  as  they 
whirled  about 
the  deserted 
streets.  But 
when  they 
reached  Scott's 
apartment,  Billy 
was  alive  and 
more  sober. 

"Who  gave 
you  that  ring, 
then  ?"  he  de- 
manded, break- 
ing in  on  Patri- 
cia's denials. 

"Tom  Mor- 
ton." 

"Well,   you're 
going  home,  and 
you're   going  to 
give  Tom  Mor- 
ton his  old  ring 
back." 
"All  right,"  broke  in  Scott,  whose  temper  was  becom- 
ing ruffled.     "You  kids  clear  out  and  settle  it  for  your- 
selves.    I'm  staying  here.     Pat  can  run  her  own  private 
mad-house." 

As  Billy  and  Pat  bowled  along  in  a  taxi,  he  announced, 
{Continued  on  page  86) 

41 
PAS 


t 


"This  B 


usmess 


( Jeorge  Edward  Dewey 


gate    in    an    organdie 


I 


"TT^vO    you    enjoy    being    a    vamp    in    pictures.    Miss 
I   Naldi?"  .  .  .  or,    "Would   you    rather   be   an   in 
genue,    and    swing    on    the 
frock?"     "Dont  you  get  fed  up  with  vamping?' 

These  are  just  a  few  of  the  questions  fired  at  me-  from 
time  to  time.  The  answer  to  the  first  is,  "Yes."  To  the 
other  two,  "No."  A  picture  vamp  is  often  painted  in 
mighty  black  colors  on  the  screen,  but  there  has  to  be 
someone  darkly  wicked  to  make  the  ingenue  seem  sweet 
and  pure.  I  dont  mind.  I  never  considered  before  why 
not,  but  when  the  question  was  asked,  various  reasons 
sprung  to  the  rescue. 

Consider  what  goes  to  make  a  screen  vamp.  You  never 
heard  of  a  blonde  vamp,  did  you  ?  No,  the  screen  vamp 
is  a  brunette,  preferably  with  Latin  blood  flowing  in  her 
veins.  The  Latin  type  is  a  flaming  contrast  to  any  other. 
It  is  her  inheritance — the  warm-eyed  woman,  with  her 
passionate  response  to  moods,  her  sophistication,  her 
sparkling,  yet  subtle,  appeal  to  the  opposite  sex.  That  is 
her  inheritance  from  the  climate  in  which  she  and  her 
ancestors  were  reared. 

The  women  of  Egypt  and  Asia  Minor  are  funda- 
mentally vamps.  One  of  the  earliest  vamps  recorded  in 
history  is  Esther,  of  Biblical  fame.  Her  burning  influ- 
ence over  the  king  raised  the  Jews  from  abject  misery 
into  power  again.  A  poor  girl,  unnoticed  among  thou- 
sands of  others,  she  was  espied  by  the  king  one  day.  He 
ordered  her  brought  to  his  palace.  What  happened  ? 
Esther's  ravishing  appeal  raised  him  from  the  common- 
place to  such  dizzy  heights  that  he  said  to  her"  "Ask  and 
ye  shall  receive,  even  unto  the  half  of  my  kingdom." 

Look  at  Sappho,  a  Greek  lyric  poetess  of  Lesbos, 
whose  immortal  love  poems  have  come  down  to  us  from 
the  seventh  century  B.  C. — poems  in  which  she  sings  of 
ler  amours.  There  is  Cleopatra,  whose  vamping  ways 
42 

ee. 


of 


"I  like  being  a  vampire.  A  vamp 
is  an  asset  to  society  and  not  a 
liability ;  she  is  society's  negative 
lesson.  "Dont  do  as  I  do,'  she 
says,    'do   as   I   dont    ' 

41 

By 
N1TA  NALDI 


nearly  put  a  crimp  in  the  Roman  Empire  when  she 
threw  the  glamour  of  her  dazzling  personality  and 
beauty  over  Mark  Antony. 

A  vamp  is  an  asset  to  society  and  not  a  liability. 
She  personifies  the  greatest  romantic  and  moral  lesson 
that  can  be  taught.  There  has  been  much  written 
about  why  some  players  do  not  like  being  vampires  on 
the  screen.     Well,  frankly,  I  like  being  one. 

/^ne  of  my  happiest  roles  was  that  of  the  vamp  in 
^-*  Valentino's  picture,  Blood  and  Sand.  There  was 
a  woman  for  you!  Cruel,  yes,  in  her  utter  love  of 
self  and  disdain  for  others.  But  she  was  honest  in 
her  own  way  and  honesty,  even  when  it  isn't  to  be 
emulated,  can  be  admired. 

As  the  vamp  in  Valentino's  other  picture,  A  Sainted 
Devil,  I  was  very  happy.  It  was  a  splendid  part,  yes,  and 
I  played  with  Rudy  again  who.  in  my  opinion,  is  one  of 
the  great  actors  in  pictures.  The  woman  I  portrayed  in 
this  production  is  as  devoid  of  scruples  as  a  fence  is  of 
speech.  She  deliberately  sets  out  to  win  the  man  to  whom 
she  has  taken  a  fancy,  regardless  of  the  fact  that  she  may 
ruin  his  life. 

To  get  him,  I  vamp  the  desperado  leader  of  a  bandit 
crew.  He  is  so  infatuated  that  he  promises  to  do  any- 
thing I  ask.  I  order  him  to  kidnap  the  girl  Valentino  is 
to  marry.  He  does,  capturing  her  after  her  wedding. 
Valentino  gives  chase.  In  the  meantime,  I  adorn  myself 
in  the  bride's  clothes,  and  he  arrives  to  see  her  who 
he  believes  his  wife  in  the  bandit's  arms. 

Disillusioned  by  what  he  thinks  he  has  seen,  he  rides 
away,  vowing  he  is  thru  with  all  women.  Having  got 
everything  I  could  from  the  bandit  chief,  I  leave  him, 
and  devote  myself  to  infatuating  Valentino.  In  the  end, 
of  course,  he  learns  of  my  perfidy  and  returns  to  the  girl, 
leaving  me  a  woman  scorned.     You  know.  .  .  . 

Now,  if  there  isn't  a  lesson  in  this,  I  dont  know  where 
there  could  be  a  lesson,  especially  as  I  suffer  the  conse- 
quences of  my  love-lawless  deeds.  The  law  of  com- 
pensation plods  to  the  certain  ruin  of  the  vamp,  provided 
she  doesn't  reform,  which,  in  a  picture,  she  most  assuredly 
cannot  do.  So  again  I  say,  a  vampire  is  an  asset  and  not 
a  liability  to  society. 


~C  very  woman  is  potentially  a  vampire.  In  an  impulsive 
*~*  moment,  weary  of  the  monotony  of  her  life,  she  may 
decide  to  take  a  fling  at  something  different,  and  this  fling 
may  ruin  her  life. 

Now  suppose  such  a  reckless  woman  dropped  in  to  see 
a   movie,    in   which    there    was    a   character   in    just   her 
{Continued  on  page  100) 


Being  a  Vampire" 


"I  hate  the  term  Vampire  — it  is 
contemptuous.  Ana  I  do  not  like 
to  play  vampire  roles ;  I  do  not 
believe  that  there  is  such  a  woman, 
or   that   there    ever   has    been 


By 
BARBARA  LA  MARR 


'TNU  you  like  to  play  vampire  roles?" 

I       This  question  has  been  asked  me  at  least 
fifty  times  a  clay  for  the  last  two  years  and 
a  half — ever  since  I  have  been- in  pictures. 

It  is  a  queer  question  to  be  asked  to  dwell  upon, 
yet  repetition  eventually  brings  concentration.  And  I 
have  decided  to  give  the  world  my  answer  to  this 
Question,  once  and  for  all. 

Do  I  like  to  play  vampire  roles  ? 

No !     Most  emphatically  I  do  not. 

Personally,  I  do  not  believe  there  is  such  a  woman 
Is  a  "vamp"  ...  or  that  there  ever  has  been. 

In  the  final  analysis,  what  is  a  vampire? 

Cleopatra    is    pointed    to   as    the    perfect    vampire. 
And  yet,  was  she?     She  was  a  woman  who  combined 
sex   appeal  with  a  masculine  mind  and  an   independent 
spirit. 

Sex  appeal  is  that  indefinable,  magnetic  something  that 
attracts  the  opposite  sex.  A  masculine  mind  is  one  that 
thinks  clearly,  decisively,  and  acts  accordingly.  An-  inde- 
pendent  spirit   rounds   out   this   triumvirate   of   qualities. 

Cleopatra  had  all  three.  But  why  has  she  flamed  thru 
history  as  the  perfect  vamp?  Because  historians  have 
glossed  over  her  executive  reign  of  Egypt  to  tell  of  her 
love  affairs,  and  with  each  rewriting  of  these  affairs, 
embroidered  them  a  little  more.  So  eventually  she  has 
come  to  be  visualized  as  a  woman  who  played  with  men, 
gloried  in  her  power  over  them,  and  died  a  death  in 
keeping  with  her  scruples,  or  lack  of  them. 

Is  it  not  so? 

"p  very  woman  is  at  heart  a  Cleopatra.  Every  woman 
has  sex  appeal,  to  a  greater  or  lesser  extent.  Every 
woman,  consciously  or  subconsciously,  believes  herself  the 
cynosure  of  masculine  eyes ;  the  pursued,  rather  than  the 
pursuer. 

This  is  as  natural  as  the  dawn  of  a  day.  It  is  as  in- 
stinctive as  hunger.  During  the  early  days  of  civilization, 
woman's  social  position  was  precarious  to  the  extreme. 
She  feared  being  captured  by  an  unfriendly,  wandering 
tribe.  There  are  even  many  instances  of  her  actually 
being  compelled  to  live  in  a  cage  for  years,  until  her 
people  were  ready  to  sell  or  exchange  her  in  marriage. 

Traditionally,  therefore,  woman's  instincts  include  that 
of  being  pursued.  Imagination  and  reason  are  kindred. 
Hence,  women  not  pursued — or,  in  other  words,  not 
popular — still  cherish  the  thought  that  they  are. 

On  the  other  hand,  there  are  women  who,  thru  no 
effort  of  their  own,  have  that  elusive  something  called 
sex  appeal.  If  such  women  go  into  motion  pictures,  they 
are  cast  for  the  role  of  vampire.    The  ingenue's  sweetheart 


becomes  enamored  of  her  thruout  three-fourths  of  the 
picture — in  love  with  her.  a  woman  with  calloused  heart 
and  selfish  desires.     She's  a  vampire,  you  see ! 

Again  the  flashback  to  Cleopatra.  Why.  that  woman 
in  the  picture  is  something  of  a  modern  edition  of  the 
Egyptian  queen.  Pshaw,  she  is  just  a  vampire !  And  so 
the  very  word  vampire  has  been  standardized. 

To  me  she  is  not  a  vampire.  The  term  is  contemptuous. 
In  the  animal  world,  a  vampire  is  a  treacherous  creature 
that  destroys  other  creatures  at  night.  Does  it  not  seem 
mentally  incompetent  to  characterize  a  woman  like  Cleo- 
patra, or  any  woman  with  sex  appeal,  a  masculine  mind 
and  an  independent  spirit,  in  such  a  way  ? 

Personally,  I  am  interested  in  this  type  only  in  so  far  as 
she  represents  life.  In  motion  pictures,  however,  she  has 
come  to  stand  for  not  only  the  "other  woman"  but  also 
for  a  sort  of  fashionable  "clothes-horse." 

She  adorns  herself  in  bizarre  gowns.  She  narrows  her 
eyes  at  the  sight  of  a  man.  (That  is  calculation!)  She 
bends  forward  slightly  after  this.  (That  indicates  ap- 
proval.) Finallv,  thru  a  mutual  friend,  she  meets  the 
man.  She  gazes  at  him  slumberously  as  he  holds  her 
hand,  and  smiles  slowly,  with  a  display  of  white  teeth. 
( He  capitulates  to  her  charm  ! ) 

That  is  the  vampire  in  motion  pictures! 

Isn't  she  a  fearful  bore,  this  "clothes-horse"  woman, 
this  denatured  conception  of  a  Cleopatra? 

'  I  'here  is  such  a  thing  as  a  happy  medium.  Clothes 
-*■  should  color  personality,  not  subdue  it.  If  the  time 
ever  comes  when  clothes  rather  than  her  own  histrionic 
merits  make  an  actress  popular,  then  her  day  is  short- 
lived. There  are  models  to  be  procured  for  "clothes- 
horsing." 

In  my  last  picture.  Sandra,  Miss  Claire  West,  one  of 
(Continued  on  page  100) 

43 
PAG 


i 


Pieces   of  Hate 


I 


HATE  good-looking  men 
Almost  as  much 
As  I  detest 
Good-looking  women. 


! 


I  am  quite  fed  up 
On  pulchritude. 


"p  very  shop-girl 

■*-'    In  Hollywood 

Looks  like 

A  Ziegfeld  graduate. 

The  postman  has 

A  classic  profile. 

You  pay  your  bus  fare 

To 

A  handsome  conductor. 

A  Sheik  with  curly  hair 

Collects 

Your  garbage. 

The  waitress 

At  Ptomaine  Tommy's 

Won 

A  Beauty  Contest 

In  Oskaloosa,  Iowa. 

The  Blonde  behind  the  cash  register 

Was 

Miss  Kansas 

In  a  Bathing  Girl  Parade. 

44 


Circulated 

Against 

the 

Handsome   Men 

and    the 

Beautiful  Women 

of 

Hollywood 

by 

SAXON  CONE 


T  am  tired  of 
*■■  Greek  Model  noses 
And  slicked  pompadours, 
Cupid's  bow  mouths 
And  long  eyelashes, 
Men  that  look  like 
Novarro 
(Or  try  to), 
Girls  that  imitate 
Corinne  Griffith, 
Swanson  bobs, 
Valentino  eyes, 
Pickford  blondes, 
Negri  brunettes. 


HPhere  are  ten  thousand 
■■•    Extras 
In  Hollywood, 
All  of  them  good-looking 

They  were  earning 
An  honest  living 
Massaging  typewriter  keys. 
Weighing  out  prunes, 
Keeping  house, 
Farming — 

Until  somebody  noticed  that 
They  looked  exactly  like 
Barbara  La  Marr 


OTION  PICTUR! 

MAGAZIME 


Or  Ronald  Colman — 

After  that  there  was  nothing  left 

But  to  hunt  up  trains 

To  Hollywood 

Except  perhaps 

The  matter  of  raising  the  fare 

To  Hollywood. 

Ten  thousand  extras 

In  Hollywood, 

All  of  therri  beautiful ! 

I  am  awfully  tired 

Of  good-looking  people ! 


'"Phey  talk  about 
•*■  Girls  having  to 
Pay  the  Price : 
The  only  price  most  of  them 
Are  asked  to  pay  is 
To  the  Landlady 
And  the  Laundryman. 

The  studios  all  say  the  same  thing 

"We  aren't  casting  any  stars  today ,': 

So  the  budding  Blanche  Sweets 

And  the  near-Naldis 

And  the  Boy-Wonders 

Who  can  wiggle  their  eyebrows 

Like  Menjou 

.Answer  the  ads 

"Wanted  Waitresses"  or 

"Gentlemanly  Young  Men 

To  Sell  Lots  in  Cactus  Crest." 

Girls  who  came  out 

To  be  Bathing  Beauties 

Find  the  nearest  they 

Can  get  to  water 

Is  a  job  washing  dishes — 

Boys  who  longed 

To  play  Leading  Man 

Have  to  be  satisfied 

Leading  a  lawn-mower  around. 

That's  how  it  .happens  that 

Hollywood 

Is  simply  infested  with  beauty. 


Tn  Milwaukee 

"■■ .  Or  Kalamazoo 

Or  Liverpool,  England, 

Passers-by  will  turn  to  stare  after 


On  the 

Opposite  Page 

ELDON  KELLEY 

Gives   You 

An  Opportunity 

To  Observe 

HollywoocTs 

Comely  Clerks 

and 

Grand  Gardeners 

and 

Winsome  Waitresses 

and 

Darling  Dishwashers 

and 

Pulchntudinous  Postmen 

and 

Gorgeous  Garbage 

Collectors 

and 

Simply  Stunning 

Stenographers 


A  good-looking  person 
But  not  in  Hollywood — 

Apollo  couldn't  get  past 
Any  studio  gateman — 
Venus  would  be  unnoticed 
Among  the  crowds  on  the  boulevard. 

Every  other  shop 

Is  a  Beauty  Parlor 

Or  the  office  of  a  Facial  Wizard 

Who  will  bob  your  nose, 

Make  your  eyes  bigger, 

Put  a  dimple  into  your  chin 

And  a  crimp  into  your  pocketbook. 

I've  got  the  Beauty  Contest  Blues. 


Tf  I  ever  met  a  girl 

■*■     With  freckles  and  a  pug  nose 

On  the  Boulevard 

1  would  utter  a  cry  of  joy ! 

If  I  ever  met  a  man 

With  buck  teeth 

And  an  Adam's-apple, 

I  would  fall  in  love  with  him 

At  first  sight ! 

But  I  never  shall 

Anyway  not  in  Hollywood 

Where  we  have  Sheiks 

For  milkmen 

And  Vamps 

For  schoolma'ams 

And  you  cant  tell  a  movie  star 

From  an  honest  citizen — 

Gosh  !     I  hate 

Good-looking  women 

Almost  as  much  as  I  detest 

Good-looking  men ! 


1  could  write  more 
Only 
I've  got  an  appointment 
At  Madame  Helen's 
Beauty  Emporium — 
My  dear,  it's  simply 
Wonderful 
What  she  can  do 
For  you ! 


I 


If  I  ever  met  a  man  with  buck  teeth  and  an  Adam's 
apple,  I   would  fall  in  love   with  him  at  first  sight! 


Helen  Lowell  and  Carol  Dempster  as  Polish  War  refugees 

ISNT  LIFE  WONDERFUL 

The   Best    Drama 

HERE  we  have  D.  W.  Griffith  in  a  mellow  mood, 
relating  with  all  his  eloquence  for  sentiment  and 
his  resourcefulness  for  emotional  effect,  the  tale  of 
two  young  lovers  who  plight  their  troth  and  work  out 
their  happiness  in  a  pathetic  welter  of  poverty  and  hunger. 
For  this  is  the  story  of  Inga  and  Hans,  Polish 
refugees  in  a  little  German  village  where  famine 
and  death  performed  their  grim  ritual  in  the  days 
following  the  war.  Against  this  moving  pano- 
rama of  distress,  these  two  play  their  lover  roles 
in  an  aura  of  sunshine  and  beauty. 

If  we  think  of  Griffith  speaking  instead  of  pic- 
turizing  the  play,  we  hear  a  sonorous,  deliberate 
reading  of  the  lines  in  a  voice  which  grows  vibrant 
in  the  recital  of  the  love  passages,  rich  and  im- 
pressive in  describing  the  plight  of  these  starving 
people,  and  consciously  unctuous  in  his  little 
asides  for  the  sake  of  comedy  relief.  At  times 
he  prates.  But  always  he  is  effective  in  exciting 
the  tender  emotions.  He  does  not  keep  the  lump 
in  your  throat  all  the  time,  but  it  never  gets  far 
back,  and  when  he  does  command  it,  the  response 
is  so  ready  that  you  are  actually  grateful  and 
really  enjoy  his  patronizing  comedy  relief. 

The  element  which  will  decide  the  question 
Will  Hans  marry  Inga?  is  a  crop  of  potatoes. 
If  successfully  harvested,  the  lovers  win.  The 
climax,  therefore,  shows  them  trying  to  wheel 
home  their  potatoes  whilst  a  mob  of  hunger-mad 

{Continued  on  page  106) 
46 


The  Winners 


Selected   and   Reviewed 


GREED 

The    Best   Melodrama 

NOTHING  that  was  grim  or  gruesome  has  been  lost 
in  the  transition  of  McTcague  from  the  graphic 
pages  of  the  Frank  Xorris  novel  to  the  motion- 
picture  screen,  which  this  brutally  candid  story  reaches 
under  the  title  of  Creed.  Eric  von  Stroheim  has  been 
assiduously  at  the  task  of  making  die  play  as  uncompro- 
mising as  the  novel,  and  the  fruit  of  his  labor- is  a  grimac- 
ing, ugly  spectacle,  which  pounds  home  its  story  with 
sledge  blows. 

Greed  depicts  the  courtship,  marriage  and  ultimate 
debacle  of  a  great,  slow-thinking  brute,  coarse,  gross  and 
uncouth,  and  a  pallid,  scrawny  cinder-wench.  Both  an- 
in  every  particular  the  product  of  a  strata  which  is  made 
up  of  the  groundlings  of  humanity.  She"  wins  money  in  a 
lottery  and  develops  an  unbridled  avarice  for  gold. 
McTcague.  thrown  out  of  employment  when  the  authori- 
ties stop  his  charlatan  practice  of  dentistry,  becomes  the 
victim  of  drink.  Then  they  slowly  sink  in  the  mire  of  the 
river-bottom  of  humanity  on  which  they  existed.  He 
beats  her  to  death  with  his  hands  and,  taking  her  hoarding 
of  money,  escapes  into  Death  Valley.  The  jealous  Marcus 
follows,  and  when  he  comes  up  with  McTeague,  struggles 
for  the  money.  The  latter  beats  him  over  the  head  with 
a  pistol,  but  just  before  the  death-blow,  Marcus  snaps  a 
handcuff  over  their  wrists,  so  that  in  the  end  the  big  dul- 
lard sits  manacled  to  a  dead  man.  facing  a  death  from 
anguish  under  the  blistering  sun  of  the  desert. 

Lest  the  spectator  confuse  this  environment  and  the>e 
characters  with  other  societies  and  other  men,  there  is  a 
constant  parade  of  the  vulgarisms  in  which  they  wallow. 
Their  swinish  appetites  and  bestial  habits  are  insisted  upon 
with  raw  and  repelling  detail.  Grime  and  squalor,  coarse- 
ness and  rowdyism' are  elaborately  presented.  It  is  ail 
very  true,  but  we  dont  think  it  belongs  in  the  theater. 
(Continued  on  page  106) 


^46 

1a££ 


Zazu    Pitts,   Jean    Hersholt,    Gibson    Gowland — three    great    actors 


of  tke  Montk 

kv  LAURENCE  REID 


NORTH    OF    36 

The   Best  Western 

THERE  is  an  extraordinary  breadth  to  the  scenes 
Which  lrvin  Willat  has  contrived  for  this  screen  ver- 
sion of  the  Emerson  Hough  story,  about  a  great  cattle 
drive  across  the  plains  from  Texas  to  Abilene,  Kansas — 
railroad  terminus  and  one  of  the  first  cow-towns  in  the 
country.  Dimension  alone  is  sufficient  to  make  the  pic- 
ture notable  among  the  more  pretentious  Western  melo- 
dramas done  in  the  films.  Indeed,  the  director  has 
attempted  nothing  more  than  bigness  and  ruggedness  of 
setting. 

But  that  is  enough,  as  we  have  said.  The  scope  of  the 
camera  is  tested  in  the  reproduction  of  the  huge  cattle 
drive  described  in  the  novel.  To  one  who  knows  only  that 
cattle  herds  consist  of  "many"  animals,  the  herd  which 
Taisie.  Jim  and  Han  command,  is  such  a  one  as  might  have 
been  the  pride  of  all  Texas.  They  huddle,  mill  and  mull 
about  in  such  a  fashion  as  to  make  the  whole  landscape 
heave  and  writhe.  Onward  they  go,  with  the  inexorable 
movement  and  measured  tread  of  Time  itself.  It  becomes 
an  enthralling  spectacle,  this  sea  of  movement.  It  is  so 
expansive  that  at  times  it  seems  as  tho  Mr.  Willat  must 
have  pushed  back  the  horizon  to  give  such  compass  to  bis 
scenes. 

Running  parallel  with  this  seething,  physical  activity, 
is  the  romance  which  was  written  as  a  foreground  piece 
for  the  atmosphere  of  the  cattle  country.  Judged  on  its 
own,  this  romance  is  no  "great  shakes"  and.  without  the 
setting,  it  seems  that  its  brittle  and  fragile  structure  would 
shatter  under  the  weight  of  its  own  pretensions.  The 
story  tells  about  the  determination  of  Taisie  Lockhart  to 
drive  her  herd  to  Abilene  and  there  dispose  of  it  at  a 
favorable  price.  There  is  another  consideration.  The 
villainous  Sim  Judabough  aims  to  gain  possession  of  the 
property.  Jim  Xabours  and  Dan  McMastcrs  accompany 
{Continued  on  page  106) 


Jack   Holt,   Noah  Beery,  Lois  Wilson   and   Ernest   Torrence 


Lillian  and   Dorothy   Gish,   in   one  of  the   most   poignant   scenes 


ROMOLA 

The   Best  Costume    Drama 

AS  everyone  knows,  this  adaptation  of  George  Eliot's 
greatest  novel  was  made  in  Italy.     In  order  to  estab- 
"  lish  a  historically  correct  background,  Henry  King, 
the    director,    journeyed    to    Florence    and    other    Italian 
cities,  taking  Lillian  and  Dorothy  Gish  and  several  other 
American    players    with    him.      The    result    is    a 
gorgeous   picture — which    is   impressive   with    its 
reproduction  of  Florence  of  the  fifteenth  century. 
We  have  come  to  expect  great  things  of  Henry 
King.     He  has  triumphed  in  bringing  forth  the 
historical   significance  in  his  fidelity  to  detail — in 
his    handling   of    the    mobs,    and    the    manner    in 
which   its   central    figures,    Savonarola   and   Tito, 
dominate  the   story.      It's  a  picture  of  grandeur 
and  atmosphere — with  the  historical  side  dwarf- 
ing the  heart  interest. 

Despite  the  title  of  the  picture  and  the  char- 
acter who  is  supposed  to  be  the  central  figure, 
Romola  herself  is  relegated  to  the  background  in 
order  to  stress  the  political  conflict.  It  takes  some 
time  to  get  started,  due  to  its  collection  of  scenes, 
detail,  and  characters.  And  it  often  seems  dull 
because  it  lacks  movement.  The  attempt  to  show 
the  plottings  and  counter-plottings  of  the  Floren- 
tines by  building  up  the  atmosphere  and  setting, 
tends  to  slacken  one's  interest.  Yet  at  the  same 
time,  the  eye  is  caught  and  held  by  the  exquisite 
photography,  the  massive  reproductions,  the  color 
and  sweep  of  the  picture. 

(Continued  on  page  106) 

47 

PAG 


t 


Have  You  a  Pet  Superstition? 


In  a  pocket,  over 
his  heart,  Walter 
Hiers  carries  a  rab- 
bit's foot  which 
was  given  to  him 
by  a  Spanish 
gypsy,  and  he 
touches  it  when 
he's  afraid  things 
may  go  wrong. 
On  the  rare 
days  when  the 
thirteenth  of  the 
month  falls  on 
Friday,  he  makes 
a  wish  for  good 
luck,  with  the  rab- 
bit's foot  in  one 
and  a  horse- 
in  the  other, 
he's  never 
stroke  of 
luck  on 
day 


hand 
shoe 
An<l 
had 


K.  O.  Rahr 


Mary  Pickford  and  the  new  director, 
Josef  von  Sternberg,  both  believe  in  the 
horseshoe  as  a  bringer  of  good  luck.  The 
other  day  they  found  a  rusty  old  shoe  on 
the  studio  lot,  and  picked  it  up  together. 
We  leave  it  to  you  to  decide  whether 
Mary  took  it  home  to  nail  over  a  door, 
or  whether  her  director  pocketed  it 


How  many  of  you 
knock  on  wood  for 
good  luck  after  you 
have  made  a  state- 
ment of  which  you're 
a  bit  doubtful?  Nor- 
man Kerry  always 
does  this,  and  he  says 
that  if  you  turn 
your  head  away  while 
you  make  three 
knocks,  no  harm  will 
ever   befall   you 


Bert  Lytell  has  a 
queer  notion  about 
"lady  luck."  He 
says  he  can  ward 
off  bad  luck  best 
by  doing  the  very 
things  that  many 
people  believe  will 
bring  disaster.  For 
instance,  he  always 
passes  under  a 
ladder,  and  even 
stands  beneath  it 
as  long  as  he 
pleases 


Zazu  Pitts  has  a 
collection  of  wish- 
bones that  would 
amaze  and  delight 
you.  Whenever  in 
doubt  about  a  pro- 
ject, she  names 
one  end  of  the 
wishbone  "Yes" 
and  one  "N  o  ," 
then  breaks  it  her- 
self and  acts  ac- 
cordingly 


Wkose  Hand? 


In  .which  the  owner  oi  the  missing  hand  stalks  unwelcome  and  by  night 

By  W.  ADOLPHE  ROBERTS 

Illustrations  bv  Edward  R\an 


PART  III 

(A  synopsis  of  Parts  I  and  II  will  be  found  on  page  120) 


I 


T  was  a 
night  for 
the  balance 
of  w h i  c h 
y\ argot  did  not 
even  contem- 
plate returning 
to  bed.  An  at- 
mosphere of  the 
s  u  per  natural 
had  settled 
down  upon  the 
house,  and 
against  this  her 
clear  brain  was 
resolved  to 
strive.  Eugene 
followed  her 
lead  with  an  un- 
ci u  e  s  t  i  on  ing 
loyalty  that 
showed  she 
would  always 
have  to  do  the 
thinking  for 
both  of  them ; 
yet  this  in  him 
pleased  her 
subtly,  aroused 
a  special  tender- 
ness for  the 
boyish,  brave 
lover  and  hus- 
band he  would 
be. 

Margot  be- 
lieved as  stead- 
fastly as  she 
had  at  the  be- 
ginning that  the 
amazing  hand 
was  part  of  the 
body  of  a  living- 


She  knew  if  she  were  in  costume  by  eleven  it  would  be  all  right,  and  that  the 
cast  would  probably  eat  lunch  before  settling  down  to  work.     It  is  like  that 

in  the  movies 


-a  sinister — human  criminal.     But  the 


landlady,  Cora  Bellew,  was  doing  her  best  to  shake  her 
nerve  by  indulging  in  hysterical  vows  that  the  house  was 
haunted.  And  the  two  Irish  policemen  were  far  from 
taking  the  mystery  in  a  normal  spirit. 

Quinlan  and  Boyle  had  reported  to  the  station-house 
by  telephone.  They  had  been  told  to  stay  where  they 
were  and  try  to  get  at  the  bottom  of  the  matter.  Their 
notion  of  how  this  order  should  be  obeyed  was  to  prowl 
heavily  about  Margot's  room  and  wrangle  ceaselessly  as 
to  whether  any  one  had  seen  anything  come  out  from 
under  the  bed. 

"That -movie  girl  may  have  been  dreaming,"  insisted 
Boyle.  "But  I  seen  it  with  me  mortal  eyes — a  white,  thin 
hand,  the  hand  of  a  ghost,  God  help  us!" 

"Ghosts!"    argued    Quinlan,    uncorivincingly    scornful. 


"Ghosts !  Ain't 
ye'  ashamed  to 
have  such  a 
heathen 
thought  ?" 

T  It  ere  re- 
mained a  point 
o  n  w  h  i  c  h  no 
one  had  a  theory 
to  offer.  What 
fl  a  m  e  on  the 
carpet  had 
Patrolman 
Boyle  seen  the 
hand  extin- 
guish  ?  Margot's 
light  was  that  of 
a  match  she  had 
herself  thrown 
down.  His  was 
inexplicable.  A 
frozen  horror 
prevented  the 
company  from 
voicing  what 
was  in  the 
minds  of  all: 
Would  it  appear 
again?  But  the 
night  passed 
without  further 
happenings. 

Dawn  found 
Margot  sitting 
up  with  Eugene 
in  Mrs.  Bellew's 
basement  room. 
She  felt  sud- 
denly stricken 
with  weariness, 
but  fought 
against  it.  A 
day  of  work  lay  ahead  of  her,  her  first  day  in  the  role  of 
Conchita  in  A  Toreador's  Love.  She  was,  due  at  the 
studio  at  nine  o'clock.  There  were  repairs  which  even 
her  vouthful  beauty  would  need,  if  she  were  to  appear 
fresh  before  the  camera,  and  any  physical  surrender 
would  neutralize  them  •  hopelessly. 

She  started  to  her  feet  and  got  the  still  shuddering 
landlady's  permission  to  make  coffee.  The  three  had 
breakfast  together,  then  Margot  overruled  Gene's  pro- 
tests and  packed  him  home. 

"See  you  at  the  shop,  old  dear,"  she  declared  lightly. 
"If  you  get  there  first,  keep  mum.  The  story's  my  story. 
Leave  the  fun  of  telling  it  to  me." 

Returning  upstairs,  she  expelled  the  dubious  police- 
men from  her  room.  They  could  stay  on  the  landing, 
she  said,  but  she  simply  had  to  bathe  and  primp  generally 

49 
PAG 


i 


GM°ticn  FICTURF 


"I'm  not  a  society  bud  or  a  sister  of  mercy,"  said  Margot.    "I'm 
if   publicity   ever   harmed   anyone    in   that   profession,   it' 

in  some  sort  of  privacy.  With  daylight  streaming  thru 
the  windows,  the  room  no  longer  frightened  her.  It 
would  be  absurd  to  believe  that  the  lurker  was  still  there. 
Somehow,  adroitly,  he  had  escaped.  Whether  he  might 
return  was  a  problem  that  did  not  immediatelv  concern 
her. 

Cold  cream,  mascara  and  rouge  have  magical  properties 
in  the  hands  of  a  clever  woman.  By  half  past  eight 
Margot,  looking  her  exquisite  best,  was  on  her  way  to 
Astoria.  She  changed  in  the  subway  at  Oueensboro 
Plaza,  got  off  at  Washington  Avenue,  and  walked  for 
several  blocks  thru  a  ragged  suburban  district.  The 
Superfilm  Company's  vast  studio  loomed  ahead  of  her 
like  a  hangar  for  Zeppelins.  As  one  approached  it,  how- 
ever, one  discovered  an  ornate  entrance,  with  columns 
and  insets  of  green  stone  and  a  sheltered  curb  for  the 
automobiles  of  directors  and  stars. 

Margot  hurried  in,  took  several  turns  thru  bare  pas- 
sageways and  found  herself  on  the  main  production  floor, 
it  suggested  all  that  mysterious  region  behind  the  curtain, 
stage  and  back-stage,  of  many  opera  houses  brought  to- 
gether, thrown  into  one  and  fantasticallv  jumbled.  Tall 
scenic  creations — the  sides  of  buildings,  garden  walls 
embowered  in  greenery,  the  prows  of  ships — stood  about, 
or  leaned  against  one  another  in  stacks.  Carpenters  and 
other  mechanics  hammered  and  hauled  industriously  at 
/Tv  the  material  for  new  structures.     And  here  and  there,  in 


the  midst  of  the  confusion, 
showed  completed  sets  where 
work  was  going  on ;  rooms 
furnished  to  the  last  detail,  but 
without  walls  on  at  least  on 
side,  sometimes  on  two  and 
three  sides;  rooms  where  actor; 
strolled  and  mimed,  and  upon 
which  the  batteries  of  as- 
sembled Kleig  lights  blazed. 

The  filming  of  scenes  that 
had  been  prepared  the  day  be- 
fore started  at  nine  o'clock 
sharp,  tho  following  this  con- 
cession to  the  boring  doctrine 
of  efficiency,  the  amount  of 
time  wasted  thru  the  day.  on 
one  pretext  or  another,  was 
truly  remarkable.  The  movies 
are  like  that.  Margot  knew  that 
her  set  was  not  ready,  that  the 
instructions  she  had  received  to 
be  on  time  were  little  more  than 
an  official  gesture.  If  she  were 
in  costume  by  eleven  o'clock,  it 
woidd  be  all  right,  and  then  the 
cast  would  probably  have  lunch 
before  it  settled  down  to  work. 
Yet  she  changed  before  she 
picked  her  way  thru  a  tangle  of 
props  to  the  far  end  of  the 
floor,  where  A  Toreador's  hove 
had  been  in  process  of  birth  for 
the  past  fortnight.  May 
Cheshire,  Lulu  Leinster  and 
June  Moore,  in  their  street 
clothes,  stood  in  a  group  with 
other  minor  members  of  the 
cast.  Electric  lights  shining 
thru  the  slats  of  a  cabin  on 
wheels,  her  dressing-room,  in- 
dicated that  the  star.  Miss 
Corinne  Delamar,  was  making- 
tip.  Frederick  Stoner,  for 
once,  lounged  silently,  while 
the  stage  hands  adjusted  a  Spanish  balcony,  lie  was  a 
director  of  the  old  school  whose  regular  habit  it  was  to 
cut  grotesque  capers,  launch  orders  and  criticisms  at  the 
top  of  his  voice,  and  behave  generally  like  an  escaped 
lunatic.  A  signal  to  the  cameraman  did  not  suffice  for 
Stoner.  He  yelled,  "Shoot!"  as  if  that  word  possessed 
some  magical  quality.  When  a  close-up  was  being  regis- 
tered, he  squatted  down,  cupped  his  hands  about  his  eyes 
and  peered.  If  the  results  were  good,  he  dramatically 
implored  the  actor  to  "Hold  it!"  and  if  displeased,  he 
indulged  in  anguished  cursing.  A  simple  call  for  the 
lights  to  be  switched  on  or  off  came  uproariously  from 
him. 

Margot  could  tell  by  the  incurious  faces  of  her  friends 
that  Eugene  had  been  discreet.  He  was  standing  apart 
from  the  crowd,  tinkering  with  a  camera,  his  back  toward 
her. 

Margot !"    Stoner  greeted   her. 
Sleep   well,   after   that   grand 


a  picture  actress,  and 
i    news   to   me" 


"Hello. 


morning ! 


vours 


"Top    of   the 
little   party   of 


wink."   she  answered.      "I   was 


rehearsing  the 


f'Not  a 

first   scene   of    \'ew   York's   greatest  detective   mystery 

''Aw,  come  on!  You  look  fresh  as  a  daisy.  It  would 
take  a  real  mystery  to  keep  you  awake  all  night.  You 
cant  convince  us  that  Stella  Ball  and  Old  Man  Murchison 
meant  that  much  to  your  young  imagination." 

As  he  spoke,  it  struck  Margot  as  a  remarkable  thing 


that  not  once,  since  she  had  seen  the  hand  of  the  lurker 
under  her  bed,  had  the  case  of  Stella  and  Murchison 
crossed  her  mind.  She  had  worked  up  finite  a  thrill  in 
telling  her  guests  about  those  two,  but  their  odd  disap- 
pearance from  the  same  house  had  been  outdone  by  the 
experience  that  had  come  to  her.  Wildly  outdone — yes, 
that  was  it,  she  told  herself.  Yet  she  wondered  now 
whether  there  might  not  be  a  connection  between  their 
drama  and  hers. 

"This  was  something  brand  new.  Mr.  Stoner."  she 
cried  excitedly,  her  plan  of  building  up  the  suspense 
thrown  to  the  winds.  "A  creature  without  a  body  or  a 
face.  It  was  in  my  room  for  hours.  A  policeman  saw 
it.  too." 

"A  policeman!"  repeated  Stoner.  Profound  surprise 
and  a  certain  apprehension  were  in  his  voice.  "You 
were  scared  badly  enough  to  call  in  the  police,  Margot?" 

"Oh,  I  was  scared,  all  right!  I  called  in  Gene  Yalery  ■ 
first.  Stand  close,  people,  if  you  dont  want  to  miss  any 
of  the  grisly  details." 

Her  gesture  in  the  direction  of  the  girls  was  scarcely 
needed.  They  were  crowding  toward  her,  buzzing  like 
bees,  and  followed  by  Yalery,  calm  in  his  superior  role 
of  the  confidant  in  a  great  adventure.  She  was  forced 
to  return  half  a  dozen  times  to  the  high  spots  of  her 
story  before  the  exclamatory  emotionalism  of  the  May 
Cheshire  type  of  mind  was  sated.  But  Stoner.  from 
whom  she  had  expected  a  racy  skepticism,  listened  to  her 
merely  with  gloom. 

"It's  a  rotten  thing  to  have  happened — rotten!"  he 
declared  sourly. 

"Why  so?"  she  snapped  back,  irritated,  tho  an  hour 
earlier  she  would  have  agreed  with  his  comment.  "I'll 
wait  a  long  time  for  another  such  break  in  the  mdnotony 
of  life" 

"A  low-down  burglar  sneaking  in  and  out  of  your 
room.     Nothing  very  charming  in  that."  he  mumbled. 

"But,  Mr.  Stoner — you're  absurd!  It's  an  extraor- 
dinary mystery  that  hasn't  begun  to  be  cleared  up  yet. 
I'm  going  to  solve  it." 

"Want  to  be  a  woman  Sherlock  Holmes,  eh?  There's 
a  danger  in  meddling  witli  that  sort  of  thing.  It  might 
break  into  the  newspapers." 

Margot  stared  at  him,  frowning.  "I  dont  understand." 
she  said.  "I'm  not  a  society  bud  or  a  sister  of  mercy. 
I'm  a  motion  picture  actress.  If  publicity  ever  harmed 
one  in  this  profession,  it's  news  to  me." 

"Dont  get  me  wrong,  Margot,"  he  blustered.  "Yon 
know  I've  done  all  I  could  to  shove  you  ahead.  When 
I  advise  you  to  lay  off  of  freakish  publicity,  it's  for  your 
own  good." 

"But  I'm  not  planning  to  do  anything 
just  for  the  sake  of  being  written  up. 
My  investigation  will  be  serious.  If 
the  reporters  hear  about  it  and  come  to 
me.  I'll  give  them  a  straight  story. 
What  is  there  wrong  about  that?" 

Stoner  had  become  lugubrious  again. 
"I  see  I've  got  to  say  it.     You're  not  a 
star  yet,  and  you  cant  afford  to 
pull  front  page  stuff  that  would 
make  the  leading  lady  sore." 

"Oh — Miss  Delamar  !"  said 
Margot,  taken  aback. 

"Yes,  Miss  Delamar!  Think 
she'd  like  to  see  you  in  the 
papers  when  she  hasn't  been  able 
to  make  them  in  a  big  way  since 
we  started  this  picture?  Not 
so's  you'd  notice  it !" 

"She  might  become  interested 
herself,  if  she  knew  how  queer 


„„-,0TI0N  PICTURfT 

101  I    MAGAZINE      t) 

it's    all    been.       Suppose    I    tell    her    what    happened."    * 

"No.  Drop  the  whole  business — please."  Stoner's 
face  flushed  and  his  voice  sharpened.  An  angrv  light 
burned  in  his  eyes.  Margot- turned  bruskly,  walked  off 
the  floor  and  up-stairs  to  the  dressing-room  she  shared 
with  several  other  girls.  She  was  furious  at  the  recep- 
tion she  had  had  from  Stoner.  It  struck  her  as  being 
unsympathetic,  unjust.  If  his  attitude  toward  publicity 
for  her  was  sincere,  why  had  he  vacillated  between  one 
argument  and  another?  First  it  had  been  the  bogy  of 
freakishness,  then  the  possible  hostility-  of  Corirme 
Delamar.  It  was  too  silly!  And  suddenly  Margot  began 
to  laugh.  She  saw  beneath  the  surface  now.  Stoner  had 
been  moved  by  petty  jealousy.  He  had  not  been  able  to 
endure  the  thought  that  Eugene  had  been  associated  with 
her  in  an  adventure,  instead  of  himself.  She  recalled  how 
especially  glum  he  had  seemed,  listening  to  her  tell  of 
the  help  Gene  had  been.  Of  course,  he  didn't  want  a 
sequel,  which  might  become  a  sensation  and  bracket  her 
name  with  that  of  the  man  he  looked  upon  as  an  im- 
pudent rival. 

Margot  resolved  that  nothing  should  induce  her  to 
discuss  the  matter  in  the  studio  again  that  day.  She  did 
not  weaken  under  the  avid  questioning  of  the  girls  of 
the  cast.  Hut  it  proved  difficult  to  evade  Stoner.  The 
director  had  more  approaches  than  one.  He  led  her  aside 
about  an  hour  after  she  had  reappeared  on  the  set. 

"You  dont  credit  me  with  being  in  love  for  the  first 
time  in  my  life,  do  you?"  he  asked,  in  his  blunt  way. 

"Really!"  stalled  Margot.  "I'm  not  in  the  habit  of  con- 
sidering such  things  in  working  hours." 

"We're  both  in  a  game  where  love  and  work'  are  often 
mixed  up.  kid." 

She  loathed  him  for  the  implication  of  favoritism  at  a 
price — for  calling  her  "kid."  But  she  controlled  herself, 
and  smiled  bleakly.  "I've  told  you  several  times  that  \ 
cant  marry  you.     Why  insist  on  talking  about  it?" 

"Just  so  you'll  recognize  that  I  do  love  you.  That's 
all  T  a>k  for  the  present.  Now.  take  that  story  you  told 
(Continued  <•»  pane  92) 


Dawn  found  Eugene 
and  Margot  still  hud- 
dled in  Mrs.  Bellew's 
basement  room.  They 
were  weary  with  fa- 
tigue, but  none  dared 
voice  the  question  that 
was  torturing  the  minds 
of  all  three — would  it 
appear    again 


Reeling 

Witk 

Laughter 


Glenn  Tryon,   of   Hal  Roach   comedies,  learned   to    drive   his   car  by  mail. 
Now     Glenn     wants     his     money     back     on     his     correspondence     course 


Beauty  and 
Olive  Borden 
go  hand  in 
hand.  After  one 
sparkle  from 
her  glowing 
eyes,  Arthur 
Stone's  heart 
caught  on  fire, 
and  he's  willing 
to  smash  all 
records 


Even  the  pigs  and  the  geese  grow  cocky 
Up  on  the  Farm  after  they've  seen 
themselves  on  the  screen.  You'll  all 
want  to  go  down  to  the  farm  after  you've 
watched     this     Fox     Sunshine     comedy 


First  down  — 
five  to  kill ! 
But  Ralph 
Graves  is  sure 
he  wont  weaken. 
You'll  see  this 
tackle  in  Parlor, 
Bedroom  and 
Plumbers, 
played  by 
the  Sennett  All- 
American    team 


It's  a  good  joke,  but  you'll 
never  guess  it  till  you  see  it  on 
the  screen.  But  Our  Gang  is 
always  up  to  tricks,  %vith  little 
Farina    in    the   lead,   of   course 


A  department  devoted  solely 
to  tickling  the  funny-bone. 
Here  we  offer  an  advance 
showing  of  laughs  from 
comedies  soon  to   be  released 


One  day  among  the  girls  made  Billy  Bevan  a  Mormon  for  life.     You'll 
learn  the  latest  vamping  tactics  in  Giddap 


In  vain  Ben  Turpin  pleads  that 
Monsieur  Dont  Care,  but  it's  no  use 
to  try  to  argue  with  a  lady  who  does 
her  arguing  behind  a  screen.  The 
shy   bride   is    Madeline   Hurlock 


There  are  times  and  positions  in 
which  danger  counts  for  naught. 
But  in  this  Fox  Sunshine  comedy, 
it's  "All  for  love  and  the  world 
well  lost" — even  if  the  bough  does 
break 


It  takes  more 
than  this  to 
ruin  the  wed- 
ding -  day  for 
Harry  Langdon 
and  Natalie 
Kingston.  A 
bad  beginning 
makes  a  good 
ending,  is  the 
motto  for  His 
Marriage    Vow 


Jack  Dempsey, 
attention !  Larry 
Semon,  all 
dressed  up  in  a 
starched  white 
collar,  will  show 
you  how  he 
licks  'em  all  with 
one  hand  tied 
behind  him. 
He's  Kid  Speed, 
all  right 


53 

PAfil 


Wkat  I  Can  Read  in  tke 


A   Complete  Analysis 


ADOLPHE    MENJOU 


ANNA    Q.    NILSSON 


W.  F.  Seely 


I 


OX  the  screen  one  is  always  impressed  with  the 
finished  manners  and  gentlemanly  bearing  of 
Mr.  Menjou.  In  every-day  life  he  is  the  same 
courteous,  well-mannered  person. 

In  reading  his  character.  I  find  in  the  forehead  excel- 
lent mentality.  He  is  a  logical  thinker,  has  well-developed 
perceptives  and  reflective  faculties.  Here,  too,  are  shown 
splendid  powers  of  visualization,  an  inclination  to  dream 
and  to  picture  life  as  he  wants  it  to  be. 

The  cheeks  show  a  reserved,  cautious  nature,  with  well- 
developed  secrecy. 

The  chin  and  jaw  show  a  love  of  the  beautiful  and 
artistic ;  strong  likes  and  dislikes,  and  combativeness. 
Here,  too,  there  is  shown  much  endurance.  In  the  long 
line  from  the  metus  of  the  ear  to  the  point  of  the  chin 
there  is  shown  executive  and  business  ability. 

By  his  nose  I  know  he  is  an  observing  person,  quick 
to  notice  even  minute  details;  a  man  with  quick  judg- 
ment, foresight,  and  splendid  ability  to  concentrate ;  one 
who  thinks  ahead  and  puts  aside  for  the  future.  He  has 
an  inventive  turn  of  mind  and  a  good  sense  of  values. 

His  mouth  shows  kindness,  enthusiasm,  and  interest 
in  human  nature.  It  shows,  also,  much  poise,  dignity, 
self-control,  and  the  ability  to  be  firm.  The  lower  lip 
-hows  patriotism  and  a  love  of  animals. 

His  hands  prove  he  is  a  tactful,  sensitive,  artistic,  in- 
spirational nature,  one  who  is  interested  in  the  unusual. 

The  lobe  of  the  ear  shows  longevity. 

In  making  a  summary  of  his  character,  \  find  that 
Adolphe  Menjou  is  a  man  of  high  intellect,  quick  of 
action  both  physically  and  mentally,  an  athlete  and  a 
good  sportsman. 

I  Tc  is  orderly,  neat,  and  particular  about  his  personal 


54 


OXE    of    the   most   natural,    unaffected    people    I 
have  ever  met  is  Anna  O.  Xilsson.     She  makes 
no  effort  to  impress  one  with  her  appearance  or 
her  importance.     It  is  a  rare  treat  to  meet  so 
real  a  person. 

The  outstanding  thing  about  her  is  the  strength  of 
character  in  her  face.  Her  success  has  not  come  thru 
luck  or  good  fortune  but  thru  ability,  hard  work,  and  her 
strength  and  force  of  character. 

Most  prominent  is  her  splendid  development  of  the 
will  faculties.  These  are  found  in  the  chin  and  jaw.  The 
long  line  from  the  metus  of  the  ear  to  the  point  of  the 
chin  shows  much  determination  ;  the  firmness  of  this  line 
indicates  that  she  has  put  forth  every  effort  in  all  she  has 
attempted.  Her  chin  shows  much  persistence,  great 
nervous  energy  and  force  rather  than  physical  strength  ; 
a  great  love  of  all  that  is  beautiful  and  modesty  of  her 
own  ability.  Here,  too,  is  shown  affection.  She  not 
only  likes  affection  but  she  also  calls  it  forth. 

In  the  upper  lip  there  is  shown  a  charitable,  enthu- 
siastic, sympathetic  nature,  with  much  poise  and  self- 
control.  The  upper  lip  shows  a  highly  emotional  nature 
with  a  well -developed  maternal  instinct,  strong  likes  and 
dislikes,  and  great  loyalty  to  those  she  loves. 

The  breadth  of  forehead  shows  high  mentality.  She  is 
interested  in  intellectual  and  serious  things.  Above  the 
eves,  tune  and  rhythm  are  well  developed ;  she  has  a 
good  ear  for  sounds.  Back  of  the  hair-line  the  language 
sign  is  well  developed,  indicating  a  natural  aptitude  for 
languages.  She  has  great  susceptibility  to  color,  high  in- 
dividuality, and  splendid  powers  of  visualization. 

Her  cheeks  show  a  reserved,  cautious  nature.     She  can 
keep  a  secret.     Her  cheeks  show,  also,  a  great  sense  of 
(Continued  on  page  115) 


Faces  of  the  Film  Stars 


By   F.   Vance   de   Revere 


Edwin  Duwev  lie 


BESSIE    LOVE 


MILTON    SILLS 


Donald  Diddle  Keyt 


THIS  analysis  was  made  under  difficulties,  for 
Bessie  Love  was  working  in  a  picture,  and  be- 
tween sets  was  being  interviewed  by  several 
people. 

Miss  Love  is  very  girlish,  with  a  pleasing,  friendly  atti- 
tude toward  everyone. 

In  reading  her  character,  I  noticed- first  her  chin  and 
jaw.  Here  are  shown  persistency,  determination,  forti- 
tude and  endurance,  an  ability  to  rebound  quickly  from 
defeat  or  disappointment,  and  to  surmount  difficulties. 
The  independence  and  liberty  sign  seems  to  be  develop- 
ing in  her  jaw  line.  Such  people  think  independently, 
have  their  own  ideas  on  subjects.  Her  chin  shows  affec- 
tion, devotion  to  family  ties  and  friendships:  ability  to 
call  forth  affection  in  others. 

In  the  mouth  (upper  lip)  we  find  love  of  display  and 
of  pretty  clothes,  sympathy,  kindliness,  charity,  and  much 
enthusiasm  and  interest  in  people.  In  the  lower  lip  we 
find  the  maternal  instinct  well  developed.  The  parentheses 
about  the  mouth  show  pride,  dignity,  and  a  desire  to 
lead  and  excel. 

The  cheeks  indicate  that  she  has  the  courage  of  her 
convictions,  industry,  earnestness,  sincerity  of  purpose, 
daring,  lack  of  caution,  and  good  powers  of  recuperation. 

In  the  nose  we  find  observance,  a  lack  of  aggression, 
quick  judgment,  a  good  imagination,  and  a  dislike  for 
details.  She  learns  quickly  from  everything  she  sees  and 
hears. 

Her  forehead  shows  a  good  mentality  but  not  the 
student  mind.  Tune  and  rhythm  are  well  developed, 
showing  a  love  for  dancing  and  music.  The  music  sign 
is  also  well  developed,  proving  her  musical  ability.  In 
the  forehead  we  find  also  mathematical  ability. 

(Continued 


WHEN  meeting  Mr.  Sills,  one  is  immediately 
impressed  with  his  forceful,  dominant  per- 
sonality. 

In  reading  his  character,  one  notices  first 
his  forehead.  It  has  unusually  good  breadth  and  height, 
indicating  well-developed  mentality  and  good  powers  of 
visualization,  with  ability  to  plan  and  organize.  He  is  a 
highly  individual  person.  The  lines  in  the  forehead  show 
logical  thinking  and  seriousness.  Back  of  the  hair-line 
there  is  a  development  indicating  a  large  vocabulary  and  a 
fluent  use  of  words. 

The  shape  of  his  nose  shows  that  he  does  not  like  to 
work  at  things  in  opposition  to  his  tastes.  It  shows  also 
quick  judgment,  a  good  imagination  and  constructive 
ability.  He  is  an  observing  young  man  and  very 
analytical. 

The  mouth    (upper  lip)    shows   poise,   self-control,  an 
interest  in  human  nature,  and  the  ability  to  be  firm.    The 
lower  lip  shows  a  love  of  pets,  and  strong  desires, 
parentheses  about  the  mouth  denote  leadership,  pride 
dignity. 

The  cheeks  show  daring  and  the  courage  of  his 
victions. 

The  lobe  of  the  ear  shows  longevity. 

In  the  chin  there  is  found  a  love  of  beauty,  and 
sistence.  He  is  not  easily  swayed  ;  has  endurance 
combativeness,  and  great  ability  to  debate  and  argue. 
His  chin  indicates,  also,  well-developed  business  ability. 
The  line  from  the  metus  of  the  ear  to  the  point  of  the 
chin  is  unusually  long  and  shows  determination.  It  has  not 
yet  been  used  to  its  fullest  extent  and  so  it  is  not  so  firm 
as  it  should  be.  No  one  could  have  the  mentality  and 
the  business  and  executive  faculties  Mr.  Sills  has  without 
on  page  115) 

PAfi 


The 
,  and 

con- 


per- 
and 


t 


Dick  Barthelmess  has  a  romantic  as  well  as  highly  dra- 
matic role  to  play  as  the-  hero  of  Classmates.     Some  of 
the    scenes   were   actually   shot   at    West    Point 


If  you  like  stories  of  African  jungle  life,  you  must  hot 

miss  White  Man,  with  Alice  Joyce  and  Kenneth  Harlan 

as   the   central   figures 


1 


Barbara   I.a  Marr  plays  a  woman  with  a  dual  nature,  in 
Sandra;   Bert   Lytell   plays   a   neglected   husband 


56 

Gt 


Critical  Paragraph: 


Classmates 

IT'S  an  ideal  romance  that  .Richard  Barthelmess  has 
in  Classmates.  He  steps  right  into  the  character 
of  the  West  Pointer  and  humanizes  the  role  with 
such  fine  feeling  that  he  appears  thoroly  lifelike. 
The  picture  was  made  several  years  ago  but  there  is  no 
comparison  with  the  modern  version.  John  Robertson 
has  actually  "shot"  West  Point  and  every  bit  of  color 
and  reality  of  the  Academy  is  caught  with  marvelous 
detail.  The  central  character  who  wins  his  appoint- 
ment from  a  small  Southern  town  and  who  learns  how 
to  become  a  gentleman  and  an  officer  is  finely  estab- 
lished. It  is  a  most  sympathetic  study.  And  Barthel- 
mess brings  out  the  pathos  in  admirable  style  when 
he  is  dismissed.     It  is  inspiring — this  touch. 

What  follows  is  a  melodramatic  chapter  of  adventure, 
as  the  youth  is  determined  to  bring  back  the  cad  who 
brought  about  his  dismissal  and  thus  restore  himself  in 
the  good  graces  of  his  sweetheart.  There  is  sincerity 
back  of  this  picture — and  drama  and  romance.  It  is 
saturated  with  atmosphere.  The  supporting  company 
is  excellent. 

White  Man 

A  story  of  exile  and  romance  in  the  reaches  of  darkest 
■^^  Africa  comes  forward  here — one  telling  a  plot  of  a 
highborn  lady  running  away  from  the  altar  to  avoid  a 
mercenary  marriage — and  who  learns  to  love  the  fearless 
aviator  who  pilots  her  to  the  jungle.  There  it  is  in  a 
nutshell.  The  h.  b.  lady  using  all  her  feminine  wiles  brings 
out  the  chivalry  of  the  youth.  But  in  playing  the  gentle- 
man, the  plot  has  nothing  to  offer  aside  from  the  effort  of 
an  exiled  scoundrel  to  ruin  her.  The  aviator  rescues  her 
and  eventually  turns  out  to  be  an  old  friend  of  the  hero- 
ine's brother.     And.  so  there  is  a  happy  wedding. 

Old  stuff?  Most  assuredly.  Nothing  is  revealed  that  is 
out  of  the  ordinary — and  the  director,  sensing  the  plot 
shortcomings,  has  tried  to  hide  it  with  atmosphere.  The 
backgrounds  are  suggestive.  Alice  Joyce  is  appealing  as 
the  harassed  heroine.  Walter  Long  has  the  acting  mo- 
ments as  the  villain,  as  Kenneth  Harlan  has  nothing  to  do 
except  wear  his  uniform  becomingly. 


One   of   the   mellowest   of  melodramas   is   The   Midnight 

Express.     Elaine    Hammerstein    is   the    innocent    heroine 

of  a   dozen   terrific   adventures 


. 


About  New  Pictures 


Sandra 

HPhis  one  looks  artificial  all  the  way,  particularly  in 
"*■  its  climax  when  the  dream  situation,  so  strongly 
suggested  as  a  possibility  for  the  director  to  make  it 
somewhat  real,  is  not  taken  advantage  of — and  it 
reaches  its  end  with  considerable  straining  of  the  intel- 
ligence. It  is  all  about  a  woman's  dual  nature.  Her 
passionate  side  dominates  her.  So  she  leaves  the 
domestic  hearth  to  worship  at  lavish  shrines  set  up  for 
her  by  European  philanderers.  The  woman  is  in  con- 
stant conflict  with  herself — and  Barbara  La  Marr  is 
called  upon  for  some  exacting  work  which  eludes  her. 
So  emphasis  is  placed  upon  her  voluptuous  figure. 

The  action  becomes  wandering  and  takes  its  character 
with  it.  The  plot  is  relegated  to  the  background  to 
exploit  the  lavish  settings  of  the  heroine's  triumphal 
jaunt  thru  Europe.  The  scenes  as  a  result  become 
repetitious  and  meaningless.  The  poor  husband  is 
totally  neglected.  The  director  has  sacrificed  every  rea- 
sonable premise  to  exploit  the  picture's  expenditures. 
The  players  strive  to  be  real,  but  they  fail  because  of 
artificial  plot  and  characters.  Too  much  effort  is  spent 
in  having  them  stare  into  the  camera. 

The  Midnight  Express 

'  I  'he  business  of  making  good  by  the  dissolute  and  cow- 
■*■  ardly  son  of  a  railroad  president  furnishes  the  plot  of 
this  picture.  It  is  an  idea  that  has  performed  yeoman 
service  on  the  screen,  but  dressing  it  up  with  fast  and 
exciting  action  sort  of  compensates  for  the  hoary  material 
back  of  it.  Indeed,  everything  happens  in  the  film  that 
should  happen  in  the  mellowest  of  melodramas.  It  makes 
no  pretense  to  being  anything  else.  At  least,  what  it 
reveals  is  sincere. 

As  may  be  expected,  the  story  deals  with  the  rattlers — 
of  how  the  regenerated  hero  saves  the  life  of  the  president 
of  the  road — and  the  latter's  daughter  when  he  flags  the 
train.  For  good  measure,  it  is  packed  with  wild  jazz  par- 
ties, auto  smash -ups,  escaped  murderers  who  make  them- 
selves dc  trop  with  the  innocent  heroine — and  various 
other  tried  and  true  ingredients.  Elaine  Hammerstein  is 
(Continued  on  page  82) 

A  scene  from  The  Mine  With  the  Iron  Door,  a  Western 

which  is  a  scenic  gem,  featuring  Dorothy  Mackaill   and 

Pat  O'Malley 


Idle   Tongues,   which   exploits    the  evil    consequences    of 

gossip,  has  a  notable  cast,  including  Doris  Kenyon,  Percy 

Marmont  and  Lucille  Ricksen 


Alma  Rubens  plays  Gerald  Cranston's  Lady,  and  James 

Kirkwood    her    husband,    in    this    interesting    domestic 

drama   based   on   a   marriage   of   convenience 


Ian  Keith  plays  the  part  of  the  villain  in  Love's  Wilder- 
ness, with  Corinne  Griffith  and  Holmes  Herbert  as  the 
exemplary  characters 


57 

PAfi 


i 


W9 


Keen    Comment   by  TAMAR   LANE 

Illustrated  by  Harry  L.   Taskey 


They  Do  It  in  the  Movies 

THE  Governor  grants  a  pardon  just  in  time  to  stay 
the  execution. 
The  dashing  young  American  always  succeeds 
in  quelling  the  revolution  in  the  South  American 
republic  and  marries  the   President's  daughter. 

The  kind  and   forgiving  wife  gladly   takes  the  erring 
husband  hack  after  his  wild  affair  with  the  other  woman. 


The    dashing   American   always   quells   the   revolution 
and    marries    the    President's    daughter 

The  husband  gladly  goes  back  to  his  wife  after  his  affair 
with  the  gay  and  beautiful  other  woman. 
But  in  real  life  it's  different ! 


The  "Discovery"  of  the  Month 

f~^  regory  Kelly,  who  plays  the  role  of  the  weakling  in 
^-*  Manhattan.  He  is  a  new  and  pleasing  personality  to 
the  screen.  He  will  go  far  if  given  the  right  kind  of  roles. 
But  will  the  producers  make  use  of  him? 


Will  von  Sternberg  Sell  Out  to  the  Box-Office? 


Xow.  it  remains  to  be  seen  whether  von  Sternberg  will 
persist  in  his  energies  and  announced  ambitions  to  do  tine 
things  on  the  screen,  or  whether  he  will,  like  all  the  rest 
who  have  gone  before  him,  answer  the  call  of  "big  money" 
and  give  himself  over  to  the  business  of  making  films  for 
the  box-office. 

Tn  this  will  lie  the  answer  to  whether  The  Salvation 
Hunters  was  a  sincere  effort,  or  merely  an  accident. 


Rudy  the  Great  Must  Watch  His  Step 

"V\7"hex  this  column,  several  months  ago,  suggested  that 
Valentino  had  made  a  mistake  in  absenting  himself 
from  the  screen,  thus  allowing  other  players  easily  to 
steal  their  way  into  the  hearts  of  many  movie  fans,  we 
were  bombarded  by  a  score  of  film  followers  who  ridi- 
culed the  idea  that  anyone  could  usurp  Rudy's  popularity. 

Time  has  proved  these  admirers  to  be  wrong.  Not 
only  has  Xovarro  risen  to  a  popularity  approaching  Val- 
entino, but  Rod  La  Rocque  has  also  stolen  his  way  into 
millions  of  hearts,  while  Jack  Gilbert  is  rapidly  becoming 
one  of  the  most  popular  players  of  the  day. 

Public  favor  is  a  fickle  thing:. 


I 


'""Piie  most-talked-of  film  of  the  year 
is   The  Salvation  Hunters,  made  by 
the  young  man  named  von   Sternberg. 
Charlie    Chaplin    and    Doug    Fairbanks 
say  that  it  is  a  great  picture.     In 
truth.  The  Salvation  Hunters  is 
not    a    great    picture,    but    von 
Sternberg   is   to  be  highly  com- 
mended   for   the  subject   he   has 
selected   and   for  the  manner  in 
which   he  has   handled  the   story 
as  a  whole.     As  a  director,  this 
newcomer  shows  promise. 
58 
at 


Thank  You,  Jack 

Jack  Gilbert-  is  making  good  the  predictions,  of  this 
column  published  over  two  years  ago  when  it  placed 
him  among  the  twelve  best  actors  on  the  screen  and  fore- 
cast a  brilliant  future  for  him  as  a  screen  favorite. 

Gilbert's  work  in  His  Hour  was  sufficient  to  place  him 
up  among  the  most  popular  stars  of  the  day,  and  now 
The  Snob  proves  him  to  be  an  actor  of  rare  power  and 
subtlety. 

Frivolous  Sal,  which  is  a  clever  combination  of  heart 
interest  and  melodrama,  is  something  radically  different  in 
the  way  of  a  Western,  and  proves  that  McDonald  is  one 
of  the  most  versatile  producers  now  engaged  in  the  busi- 
ness of  supplying  the  film  public  with  entertainment. 
(Continued  on  page  124) 


The  actor  hoom  is  on  again  in  Holly- 
wood; even  the  inferior  ones  are  holding 
out  against  the  producers  for  larger 
salaries 


On  this  page  we 
present  two  of  the 
finest  character 
actors  on  the 
screen:  Claude 
Gillingwater  and 
Alec  B.  Francis. 
They're  both  play- 
ing in  A  Thief  in 
Paradise— Mr.  Gil- 
lingwater is  Noel 
Jar  dine,  a  crusty 
old  Englishman, 
and  Mr.  Francis 
is  Bishop  Saville 


Mr.  Jardine  and 
the  Bishop  are  old 
cronies,  who 
spend  many  an 
evening  over  the 
chess  board.  The 
Bishop  adores 
rousing  his  friend's 
fiery'  temper  by 
trying  to  help  him 
self  to  an  extra 
move  (above),  but 
he  never  gets  away 
with  it,  as  you  can 
see  if  you  glance 
at   the   left 


Question:  Can  a  BisKop  Cheat  at  Chess? 


(You'll  find  the  answer  above) 


59 

PAfi 


i 


m 


MM  -.- B    I 


CLARA 
BOW 


■MMi 


Since  Clara  made  her  little  bow 

Upon  the  screen,  fans  have  asked  how 

To  say  her  name:     She'll  have  you  know 

That   it's   pronounced   not   "bough"    but   "bow' 


P.    S. — Above,    she's    imitating    Mae    Murray;    at    the    right,    she's 
showing  you  how  Gloria  Swanson  looked  in  The  Humming  Bird 


I 


60 


. 


Wide  World 


DAGMAR   GODOWSKY 

Did  yon  see  her  trying  to  vamp  Rudolph  Valentino  in  A  Sainted  Devil? 

She  has  a  subtle  and  mysterious  method  all  her  own.    Watch  for  her  in 

Playthings  of  Desire,  and  after  that,  in  The  Lost  Chord 


i 


61 

PAfiU 


Picking  Actors  for  Parts 


W 


Kcyes 

Walter  Long  can  put  the  most 
villainous  look  into  his  lustful 
close-ups  of  any  man  on  the  screen 


HO    is    the 

most    useful 
actress   in  the 
world  ?"    I    asked    the 
casting  director. 

"What   do   y'    mean 
—the  most  useful?" 

"Well,  if  you  had  to 
send  a  company  away 
on  a  long  trip  and  they 
were  going  to  make  a 
lot  of  pictures  and  you 
could  only  send  one  actress  whom  would  you  choose." 
I  knew  what  his  answer  would  be  before  I  asked  him — 
Bessie  Love !  Any  casting  director  in  Hollywood  would 
give  the  same  answer.  For  versatility,  little  Miss  Love 
is  without  rivals. 

She  can  be  fifteen^-or  fifty.  She  is  convincing  and 
winsome  as  a  screen  sweetheart,  yet  she  can  be  almost 
sexless.  She  is  one  of  the  few  women  of  the  screen 
who  can  make  you  believe  in  pure  virginal  innocence  and 
unsophistication ;  yet  one  of  her  best  parts  was  that  of 
the  ruined  girl  in  Neilan's  The  Eternal  Three.  In  Charlie 
Ray's  Dynamite 
Smith,  she  gave  an 
astonishingly  vivid 
and  accurate  picture 
of  a  prostitute  in  a 
tough  dive  on  the 
Barbary  Coast. 

r  I  'he  casting  direc- 
"*"  tors  tell  me  that 
one  of  the  hardest 
parts  to  cast  in  any 
picture  is  a  mother. 
Most  of  them  are 
too  sweet  and  sticky. 
They  are  inhumanly 
loving  in  their  ten- 
derness. One  of  the 
best  bets  in  Holly- 
wood for  mothers  is 
Mary  Carr,  because 
she  always  preserves 
a  little   note   of   de- 


Zazu  Pitts  has  no  rival  for  wist- 

fulness,  pity  and  dull  despair — 

the  deceived  servant  girl 


©  Lumiere 


Anders  Randolph  always 
looks  as  if  he  has  a  lot  of 
brutal,  ruthless  force  un-- 
derneath  his  gleaming 
shirt-front 

tachment  and  humor. 
She  can  be  motherly 
without  being  mushy. 
When  it  is  to  be  a 
mother  of  a  duke  or  a 
climbing,  newly  rich 
heiress — where  the 
mother  love  has  to  be 
a  little  hard-boiled — 
the  casting  directors' 
thoughts  are  apt  to 
turn  to  Emily  Fitzroy. 


B>>  HARRY  CARR 


She  is  tall  and  commanding,  with  an  aquiline  face  and  a 
haughty  carriage.  As  a  villain  mother,  Josephine 
Crowell  stands  alone.  She  is  the  one  who  yanks  the 
crippled  children  around  by  their  frail,  thin  arms.  Off  the 
screen,  she  is  one  of  the  most  charming  women  imagin- 
able, but  she  has  more  mean  screen  menace  than  any 
other  character  woman. 

"\7illains  are  the  most  interesting  actors  to  cast  in  a 
"  picture — and  the  most  important.  A  really  good 
heroine  and  a 
capable  villain 
can  carry  along 
a  very  common- 
place hero. 

The  casting 
directors  like 
Wally  Beery 
best  for  a 
villain  if  he  is 
going  to  be 
rough  with 
men ;  he  is  the 
champion  hero 
beater  of  the 
screen.  They 
tell  me  that 
when  they  want 
a  villain  to  chase 
the  pure,  un- 
sul  li  e  d  gell 
around  the 
room,    knocking 

over  the  tables,  there  is  no  one  like  Walter  Long.  He 
can  put  the  most  villainous  look  into  his  lustful  close-ups 
of  any  man  on  the  screen.  Noah  Beery  is  a  great 
"heavy"  for  parts  like  the  brutal  and  suspicious  old  hus- 
band of  the  unhappy  girl-wife.  He  has  the  slow  delibera- 
tion of  a  cat  torturing  a  mouse ;  but  he  is  at  his  best  when 
he  has  the  mouse  actually  and  admittedly  in  his  claws. 
Lew  Cody  is  regarded  as  the  best  of  society  villains — the 
caressing  and  wily  betrayer  of  young  wives.  Charlie 
Gerard  is  nearly  always  used  when  they  want  a  crook  in 
high  society — the  outcast  son  of  a  great  family  gone 
wrong. 

George  Seigmann  is  a  great  villain,  and  a  great  actor 
in  parts  where  his  villainy  has  the  weight  of  authority 
behind  it,  such  as  brutal  army  officers,  or  bestial  political 
bosses. 

The  funny  part  of  all  this  is  that  none  of  these  villains 
is  in  the  least  like  this  in  private  life. 

I  dont  know  a  single  villain  who  isn't  charming  off1 
the  screen.  Most  of  them,  by  a  coincidence,  are  witty 
and  brilliant  talkers.  They  are,  on  the  whole,  the 
most  kindly  and  unselfish  actors  in  Hollywood.  Which 
almost  goes  without  saying,  because  no  actor  with 
very  much  selfish  vanity  would  consent  so  to  sacrifice 
himself. 

There  is  one  actor  in  Hollywood  who  occasionally  does 
villain  parts  that  stand  by  themselves.  That  is  Hallam 
Cooley.  His  villainy  is  tossed  off  with  gay,  debonair 
indifference;  you  never  can  help  having  a  sneaking  lik- 
ing for  him. 


Alice  Terry  gives  you  the  idea  that 
if  the  heroine  weren't  a  mission- 
ary's daughter  or  something,  she'd 
just  naturally  tear  up  the  scenery 


WHY  the  different  stars  stick  to  their  own 
particular  roles — the  girl  whom  you  adore 
as  a  sweet  young  thing  would  he  a  failure  as 
a  disappointed  wife,  and  the  man  you  adore 
as    a    lover    you    would    hate     as     an    army    officer 


•""There  are  two  actors  with  a  singular  ability  to  portray 
■*"  stern  authority.  No  one  in  Hollywood,  available  to 
the  casting  directors,  can  so  convincingly  paint  -a  picture 
of  a  banker,  an  editor  or  a  sea  captain  in  a  big  way  as 
Hobart  Bosworth.  He  has  the  unmistakable  air  of  a 
man  who  has  "arrived"  by  his  own  efforts,  and  who  has 
a  lot  of  brutal,  ruthless  force  underneath  a  gleaming  shirt- 
front.  Anders  Randolph  has  a  power  something  akin 
to  this,  only  he  runs  more  to  directness.  As  a  bucko 
mate  or  a  ruthless  man-hunter,  he  is  wonderful.    Strangely 

enough,  both 
Mr.  Randolph 
and  Mr.  Bos- 
worth  are 
painters  ;  they 
would  be  at  the 
easel  now  if 
they  could 
choose  the 
career  that  ap- 
peals  most 
strongly  to 
them. 


H1 


Bessie    Love    is    one    of    the    few 

screen    actresses    who    can    really 

make  you  believe  in  pure  virginal 

innocence    and    unsophistication 


ENRY     WAL- 
T    H     A    L    L 

does  a  line  of 
parts  which  are 
exclusively  h  i  s 
by  right  of  con- 
quest. No  one 
on  the  screen 
ever  has  ap- 
proached him.  They  are  a  little  hard  to  describe.  He  is 
at  his  best  as  a  quiet,  self-contained  man  of  aristocratic 
blood,  relentlessly  consecrated  to  his  own  ideals.  Stern 
elegance,  so  to  speak. 

Alice  Terry  has  a  quality  that  is  unique  to  herself; 
"*■•*-  that  makes  her  one  of  the  most  interesting  of  the 
"free-lance"  actresses  available  to  casting  directors.  She 
has  an  air  best  described  by  quoting  Stephen  Phillips' 
Ulysses  .  .  .  "in  her  wildest  abandonment  a  something 
withheld."  She  has  a  great  power  of  suggestion ;  she 
gives  you  always  the  idea  that,  if  the  heroine  were  not  a 
missionary's  daughter,  or  the  daughter  of  an  aristocrat  or 
something,  she  would  just  naturally  tear  up  the  scenery. 
Also,  she  has  humor. 

"K/Talcoi-m  McGregor,  the  casting  directors  tell  me. 
is  a  boy  who  also  has  a  unique  quality.  The 
average  screen  lover  is  a  lover.  McGregor  is  a  young 
business  man  in  love.  He  always  gives  the  impression 
that  he  has  a  number  of  interests  and  purposes  in  life; 
and  one  of  them  is  getting  married  to  the  girl  he  has 
found. 

T-Jelene  Chadwick  is  something  like  this.  When  she 
is  wooed  and  won  on  the  screen,  you  always  have 
the  feeling  that  she  is  entering  into  a  marriage  that  will 
have  its  share  of  love  and  kisses;  but  will  also  have 
regard  for  gas  bills  and  country  club  dues. 

There  is  a  practical  reality,  a  down-to-earth  quality,  to 


both  these  actors  that 
is  of  great  value  in  get 
ting  over  certain  dra- 
matic effects  and  cer 
tain  kinds  of  stories. 
When  you  see  Mc- 
Gregor win  a  girl  on 
the  screen,  you  know 
she  has  surrendered  to 
a  "good  provider." 
And  this  without  los- 
ing romance. 


Leonard 


Lewis  Stone  is  about  the  only 
star  who  can  act  like  a  pro- 
fessional army  officer  of  the 
American   type 


"\7"iola  Dana'  is  perhaps  the  most  famous  of  the  free- 
*  lancers  available  to  casting  directors.  She  has  the 
unusual  combination  of  high  humor  with  big  emotional 
fire.  Viola  also  has  the  advantage  of  a  beautiful  flapper 
figure  and  a  whale  of  a  box-office  appeal.  But,  of  course, 
she  demands — and  gets — a  very  high  salary. 

Tewis  Stone  also  has  a  line  of  parts  absolutely  sewed  up. 

■*-*  For  one  thing,  he  is  one  of  the  few  actors  in  Holly- 
wood not  to  the  man- 
ner born,  who  can  act 
like  a  professional 
army  officer  —  of  the 
American  type,  that 
is.  I  have  seen  no 
actor  except  von 
Stroheim  who  makes 
a  German  officer  con- 
vincing. Even  so 
clever  and  adroit  a 
young  fellow  as  Ben 
Lyon  put  in  hours 
upon  hours  under  the 
tutorage  of  an  ex- 
Prussian  dragoon 
captain  trying  to  learn 
the  German  formal 
bow.  In  the  end  they 
had  to  give  it  up  in 
despair.  Eric  von 
Stroheim  has  an 
educated  back-boni 
that  knows  how. 


C.  Heighton  Monroe 

Helene   Chadwick  looks  the 

kind     of     wife     that     keeps 

count    of    the    bills    as    well 

as  the  kisses 


Lew  Cody  is  the  very  best 
of    the     society    villains — 
the  caressing  and  wily  be- 
trayer of  young  wives 


"D  obbie  Agnew  is  an- 
other  actor  who 
has  the  inside  track  on 
a  peculiar  line  of  parts. 
He  almost  stands  alone 
as  the  kid  brother  of 
the  heroine  —  to  be 
kissed  and  cuffed  and 
confided  in. 

Hulking,  slow,  lout- 
ish awkwardness  goes 
(Continued    on    page    113) 


If  you  pointed  a 
snub-nosed  revol- 
ver at  a  young 
lady,  and  ordered 
"Hands  Up!"  what 
would  you  do  if 
she  only  waved 
her  hands  impishly 
at  you,  and  then 
brazenly  winked 
one  eye  at  the 
revolver? 


Turning  tke  Tables 


i 


There  is  one  adjective  in  the  English  language  that 
suits  Madge  Kennedy  to  a  T.  It  is  "glorious." 
Whether  she  is  dancing  and  dimpling,  or  whether 
she  is  solemn  and  sorrowful,  or  whether  she  is  petu- 
lant and  prankish,  or  whether  she  is  tempestuous  and 
terrifying,  she  is  ever  glorious.  Motion  picture-goers 
may  well  celebrate  her  return  to  the  screen,  for  she 
long  ago  proved  that  she  was  one  of  its  most  ver- 
satile actresses,  just  as  she  has  long  been  considered 
one  of  the  cleverest  stars  on  the  legitimate  stage. 
Her  last  screen  appearance  was  over  a  year  ago,  when 
she  played  Molly  Townsend  in  Three  Miles  Out.  She 
has  been  starring  in  Poppy,  a  highly  successful  musi- 
cal comedy,  for  more  than  two  years  now,  which 
proves  to  perfection  that  she  can  sing  and  dance  as 
well  as  act  and  look  the  glorious  person  she  really  is 


"Put  up  your  hands!" 
barks  Madge  Kennedy  to 
Conway  Tearle,  in  a 
breathless  scene  from 
Bad  Company.  Conway 
obeys  with  one  hand, 
but  how  about  the  other? 
It  looks  very  much  as  if 
he  were  preparing  to  box 
the  fair  bandit  smartly 
on  the  ear.  Do  not  miss 
this  picture,  for  the 
denouement  of  this  par- 
ticular scene  is  well 
worth  seeing 


64 
Gi. 


"In  Days  of  OH,  When  Knights  Were  Bold" 


At  the  top  of  the  page 
we  give  you  a  stirring 
scene  from  Dangerous 
Money.  Wouldn't  the 
modern  flapper  just 
"eat  up"  excitement 
like  this?  Bebe 
Daniels  told  us  she 
had  the  most  thrilling 
time  of  her  life.  And 
doesn't  she  look  as  if 
she  really  were  a  lady 
heart-breaker  of  "ye 
good  olde  days"?  We 
never  have  seen  her 
in  a  modern  hat  half 
so  becoming  as  this 
medieval    head-dress 


Here  you  meet  young  Mr.  Gonzalez  again,  in  a  scene  from  his  second 
picture,  Argentine  Love.  And  here  is  a  real  puzzle  for  you:  Which  is  the 
handsomer,  Marc  Gonzalez  or  Ricardo   Cortez,  who  is  pictured  with  him? 


Do  you  recognize  the 
two  gallant  young 
gentlemen  who  are 
crossing  swords  so 
wickedly,  to  prove 
which  is  the  braver 
and,  consequently, 
the  more  deserving 
of  the  beautiful 
Bebe's  favor?  Yes, 
you're  correct,  the 
one  at  the  right  is 
William  Powell,  who 
played  with  Lillian 
Gish  in  Romola.  But 
the  one  at  the  left  is 
an  almost-new  screen 
hero — Marc  Gonzalez, 
a   young   Spaniard 


65 

PA  6 


t 


AILEEN 
PRINGLE 

This  striking  study 
of  Miss  Pringle 
was  made  especially 
for  this  magazine. 
She  is  posing  -on 
the  stairway  of  her 
beautiful  home  in 
Hollywood  which 
she  has  just  closed 
for  several  months. 
She  is  now  in  the 
East,  playing  op- 
posite Adolphe 
Menjou  in  A  Kiss 
in  the  Dark 


Along  the 
Atlantic  Way 

Eastern  News  ana  Gossip  from 

HAL  HOWE 


W 


HEX  I  dropped  in  one  day  last  week  to 
see  Jack  Dillon,  who  is  producing  One 
Way  Street  at  the  Biograph  Studios,  1 
heard  a  great  piece  of  news.  Arriving  on 
die  set.  1  noticed  an  atmosphere  of  something  different. 
On  the  faces  of  the  electricians,  property  men,  camera- 
man and  the  balance  of  the  staff,  was  a  broad,  appre- 
ciative grin.  And  their  eyes  were  focused  on  a  group 
familiar  to  all  of  you.  There  was  lovely  Anna  Q. 
Nilsson,  adorably  ingenue-ish  Marjorie  Daw.  and  the 
screen's  new  Adonis,  Hen  Lyon.  They  were  gathered 
about  the  director,  Jack  Dillon,  and  all  three  were  pat- 
ting him  on  the  back  and  shaking  his  hands.  As  J 
watched,    Anna    Q.    and    Marjorie    Daw    clapped    their 


No,  no.  tlii:-  isn't  a 
little  make-up 
party,  staged  in  the 
Bartlielmess  apart- 
ment, it's  a  domes- 
tic scene  from  New 
Toys,  in  which 
bath  Mary  a  n  d 
Dick     are     playing 


Adolphe  Menjou. 
the  Prince,  and 
Frances  Howard, 
the  Princess,  in 
The  Suan,  pose 
with  Mme.  Ferenc 
Molnar,  wife  of 
the  author  of  the 
play 


A  famous  quartet,  snapped  in  Italy.  Reading 
from  left  to  right :  Ramon  Novarro,  Lina 
Cavalieri,  Kathleen  Key,  and   Lucien  Muratore 


Coast,  these  two  will  officiate  as  godfather  and 
godmother  at  the  christening. 

/'"YV  another  set  I  bumped  into  Milton  Sills, 
^-^  Doris  Kenyon  and  May  Allison,  all  bring- 
ing their  pulchritude  (with  apologies  to  Milton 
Sills)  and  their  dramatic  caliber  to  The  Inter- 
preter's House,  which  Lambert  Hillyer  is  di- 
recting. May  Allison  told  me  that  sbe  wanted 
to  get  away  from  the  golden-haired  ingenue 
rule-  >be  has  been  playing,  and  show  the  great 
American  screen  public  what  a  "reel  bad" 
woman  she  can  be. 


O 


Bachracl) 


hands  ecstatically  and 
simply  gushed — that  is  the 
word,  simply  gushed  !  Then 
I  got  the  news.  Mrs.  Jack 
Dillon  had  that  day  pre- 
sented a  son  to  her  hus- 
band. John  Francis  Dillon. 
Jr..  and  the  whole  pro- 
ducing unit  were  joining- 
Jack,  Sr..  in  a  pxean  of  joy. 
In  professional  circles. 
Mrs.  Dillon  is  known  as 
Edith  Hallor  and  was  the 
star  of  Leave  It  to  Jane 
and  other  Broadway  suc- 
cesses. As  soon  as  Richard 
Rowland,  President  of 
First  National,  returns 
from  Europe,  and  Colleen 
Moore    returns    from    the 


YER    at    the    Famous    Players    Studios    in 
Astoria.      Sidney     Olcott     was     finishing 
Salome  of  the   Tenements,  and  I  got  a 
glimpse  of  the  exotic  face  of  Jetta 
Goudal,  looking  the  camera  out 
^        of  countenance.     Onlv  a  few 
weeks    back.      I    dined    with 
Jetta  at  the  Ritz.     She  told 
me    then    that    she    felt    this 
role   would   give   her  a   real 
opportunity    to    show    her 
wares.      She  has  been  wait- 
ing a  long  time  for  such  an 
opportunity,    and,    to    judge 
by   the   general   chatter,    she 
will  arrive  in  this. 

Sidney  Olcott  was  busy 
directing  five  hundred  people 
in  the  Ghetto  scenes,  when 
one  of  the  Jewish  extras 
tapped  him  on  the  shoulder 
and  pointed  out  a  glaring 
anachronism. 

"You   see   those   lace   cur- 
67 
PAfi 


I 


03 


AMOTION  PIClURf 

CI   I  MAGAZINE      <- 


to  know  what  a  motion  picture  star  is  supposed  to  do 
in  a  social  way,  just  read  the  list  of  social  and  civic 
organizations  which  invited  Tommy  to  be  present: 
the  Dixie  Automobile  Show  wanted  him  to  drop  in 
as  guest  of  honor  for  a  special  gala  night,  the  Better 
Films  Committee  desired  his  presence  at  dinner,  the 
local  theater  managers  all  begged  him  to  make  personal 
appearances,  a  dozen  civic  organizations  made  a  bid 
for  his  services,  and  a  country  club  wanted  him  for 
University  Night ! 

Tommy  had  to  turn  a  deaf  ear  to  most  of  these  re- 
quests, but  when  he  heard  that  the  Community  Chest 
was  having  a  hard  time  to  raise  its  budget,  he  pitched 
in  with  a  contribution  of  his  own  and  gave  his  time 
also. 

T\7illiam  de  Mille  has  come  East  with  Jack  Holt 
v*  and  is  ready  to  shoot  Men  and  Women,  an  in- 
triguing title  which  I  hope  will  stand.  However,  dont 
be  surprised  if  it  is  released  under  Trousers  and 
Skirts,  for  what  we  want  nowadays  is  sex  appeal,  and 
Men  and  If  omen  isn't  sexy  enough.  It  sounds  rather 
technical.  Read  the  daily  newspapers  for  the  balance 
of  the  cast.  As  our  forms'  close,  it  is  not  yet  announced. 
When  I  was  in  Astoria,  E.  Mason  Hopper  had  arrived 
and  was  busy  preparing  for  the  production  of  Thf 
Crowded  Hour.  Bebe  Daniels,  by  the  time  this  goes  to 
press,  will  have  arrived  and  be  busy  at  work  on  her 
fourth  starring  vehicle.  One  who  should  know  tells 
me  that  Bebe,  in  Argentine  Love  is  lovelier  than  ever 


World 
Wide 


The   Gishes   and   their 

mother  wave  good-bye 

to     their     New     York 

friends 


tains  over  J.  Cohn's  store?"  the  extra  said.  Mr.  Olcott  nodded. 
"Well,  that  "ain't  right  at  all,  'cause  down  in  Hester  Street  they  never 
had  any  lace  curtains  in  those  windows." 

The  setting,  which  was  erected  on  the  huge  upper -stage  of  the  Para- 
mount Long  Island  studio,  was  the  largest  ever  built  for  a  picture 
made  in  the  East  by  Famous  Players.  It  showed  Flester  and  Ludlow 
Streets  of  New  York's  East  Side. 

TOMMY     Meighan     has    returned     from     Birmingham,    Alabama, 
where  he  made  his  exteriors  for  Coming  Through.     If  you  want 


Ben   Lyon   congratulates  Director  Dillon 
on   the  birth   of  John  Francis,  Jr. 

before.  How  this  can  be,  I  cannot  imagine,  for 
in  Dangerous  Money  I  figured  she  had  scaled 
the  peak  of  pulchritude — couldn't  be  any  lovelier 
and  still  be  human.  Argentine  Love  also  marks  the 
debut  of  another  Latin  great  lover.  Marc  Gon- 
zalez, a  Cuban,  who  deserted  materia  medica  for 
the  screen.  He  did  so  well  in  a  duel  scene  with 
William  Powell  in  Dangerous  Money  that  he  was 
given  this  opportunity  in 
Argentine  Love.  By  the 
way,  before  I  forget  it, 
William  Powell  is  playing 
"heavy"  opposite  Dix  in 
Too  Many  Kisses. 
(Continued  on  page  102) 


Two  of  the  fiercest 
cross-word  puzzle  fans 
in  Filmdom  are 
Frank  Tuttle  and 
Beb?  Daniels 


They're  Getting  Each  Other's  Number 


Above,  Director  Paul 
Sloan  has  put  in  a 
short-distance  call  for 
Richard  Dix.  They're 
great  friends,  these 
two.  Both  are  blessed 
with  an  amazing  fund 
of  energy,  and  a  rare 
sense  of  humor  —  a 
combination  that  is 
bound  to  win  success 
for  anyone.  Since 
starring  in  Manhattan, 
Richard's  fan  mail  has 
more  than  doubled 
and,  as  you  all  know, 
that  means  he  is  twice 
as  popular — and  so 
that  means  he  is  just 
about  the  most  pop- 
ular of  all  the  film 
stars 


Richard  Dix  wears  a 
fandango  costume — • 
whatever  that  is — in 
his  new  picture,  Too 
Many  Kisses,  and  it's 
the  first  time  he's 
ever  been  "all  dressed 
up"  for  the  screen. 
Frances  Howard  is  his 
leading  lady.  Just  for 
fear  the  few  of  you, 
who  have  not  seen 
Dick  on  the  screen, 
may  think  of  him  as  a 
handsome  hero  who 
is  always  suave  and 
smiling,,  we  give  you 
proof  that  he's  a 
"regular  guy"  in  this 
picture  from  the  won- 
derful scrap  staged  in 
A  Man  Must  Live 


69 

PAG 


t 


On  the  C 


amera 


Coast 


Ti 


Marion   Davies   in    cute   pigtails 

instead  of  curls  in  a  scene  from 

the    first    part    of    Zander    the 

Great 


'Bobby,"    the    newest    member 
of    Buster    Keaton's    family 


Below,  the  La  Plante  sisters,  Laura 
and  Violet,  were  snapped  before 
they  left  Los  Angeles  for  Honolulu 


HE  return  of  the  Gish  girls  for  the  open- 
ing of  Rom ola  was  one  of  the  most  pic- 
turesque and  appealing  incidents  I  have 
ever  seen  in  Hollywood. 
It  has  been  five  years  since  they  have  been  in 
California.      When   she  left  here,   Lillian   was 
still  struggling  for  recognition.     She  came  back 
the  acknowledged  queen  of  tragedy. 
The  crowd  that  met  them  at  the  station  was  al- 
most an  index  to  the  Gish  girls.     There  was  a 
group     of     millionaire     producers     and     famous 
authors  who  never  succeeded  in  getting  within  a 
mile  of  them.     There  was  another  group  that  were 
gathered  to  the  Gish  hearts :  old  stage  carpenters  with 
toil-worn  hands  all  slicked  up  in  their  store  clothes  ;  girl 
cutters   married    and   bringing   down    their    new    babies ; 
seamstresses  who  had  sewed  the  clothes  for  the  Gish  girls 
in  their  earlier  pictures.    Any  one  who  could  have  witnessed  that 
home-coming  without  being  affected  would  have  to  have  had  a  heart 
made  out  of  re-enforced  concrete. 
By  way  of  contrast,  the  actual  opening  of  the  picture  was  the  most  gorgeous 
event  I  have  seen  in  Hollywood.     The  Gish  girls  came  out  on  the  stage  together 
when  the  picture  was  over  ;  and  Lillian  made  a  frightened  but  sincere  little  speech. 
1  hey  were  dressed  in  quaint,  lovely  gowns  that  somehow  gave  the  impression  that 
they  were  not  quite  of  this  world.     Out  there  behind  the  footlights,  they  looked 
like  two  fragile  and  beautiful  little  flowers. 

They  only  stayed  from  Saturday  afternoon  until  Tuesday  morning,  when  they 
left  again  for  Xew  York. 

Mary  Pickford  was  so  anxious  not  to  lose  one  minute  of  Lillian  that  she  and 
her  mother  took  rooms  at  the  Ambassador  Hotel  during  their  stay. 

After  their  departure,  one  of  the  Los  Angeles  newspapers  commented  on  the 
fact  that  the  only  three  girls  who  had  been  seen  on  the  streets  of  Los  Angeles 
for  five  years  without  one  bit  of  make-up — no  lip-sticks,  no  mascara,  no  powder 
and  no  eye-brow  smooch — were  Mary  and  Lillian  and  Dorothy. 

Tt  has  been  announced 
A  that  Mary  is  to  do  a 
picture  under  the  direction 
of    the    newly    discovered 


Viola  Dana  is  a  little  savage 

in    her    new    picture.    As    u 

Man    Desires 


Colleen's     favorite     Sunday     occupation     is 

reading  a  magazine  in  a  cozy  outdoor  swing 

with  just  her  own  self  for  company 


Piarry  Carr  s    department  of  news    and 
gossip  of  the  Hollywood  picture  folk 


genius,  Josef  von   Sternberg;  and  that  it  is  to  be 
laid,  as  to  scenery,  in  the  steel_  mills  of  Pittsburgh. 

Mary    seems,   however,    to   be   a   little   uncertain 
about  it.     The  truth  is,  the  whole  direction  and 
trend  of  her  future  screen  career  seems  to  be 
a  little  uncertain.     She  doesn't  know  whether 
to  grow  up  or  remain  a  little  girl  on  the  screen. 
Douglas  Fairbanks  is  going  back  to  the  scene 
of  one  of  his  early  triumphs  for  his  next  picture. 
lie  is  going  to  make  a  sequel  to  The  Mark  of 
Zorro.    The  hero  is  to  be  a  son  of  Zorro  and  the 
great  thrill  of  the  drama  is  to  come  when  the  young 
Zorro  is  fighting  against  hopeless  odds.     A  figure 
comes  riding  up  over  the  hill  to  the  rescue.     It  is  the 
old  Zorro  with  his  trusty  sword. 

'"Phe  Warner  Brothers  have  made  a  sensational  announce 
■*■  merit  about  Ernst  Lubitsch.     He  is  to  make  another  satirical 
comedy  somewhat  in  the  manner  of   The  Marriage  Circle.     This  is 
to  be  the  last  short  picture  he  will  ever  make.     Thereafter,  he  will  make 
nothing  but  big  historical  costume  spectacles.     As  an  assurance  that  this  plan  will 
be  carried  out,  the  Warners  have  made  a  permanent  budget  of  $900,000  for  each 
of  his  future  pictures. 

"K/Toxte  Blue  has  struck  on  stiff  shirts  and  high  social  atmosphere.  Monte 
■*■  -1  wants  to  do  Western  outdoor  pictures  where  he  can  bestride  the  bucking 
bronc.  In  his  boyhood  days,  Monte  was  a  real  cowboy  ;  also  a  locomotive  fireman. 
a  hobo,  and  man)-  other  he-man  things.  And  now  he  has  the  agony  of  watching 
(hessed-up  actors  trying  to  play  cowboy  parts  while  he  strides  thru  drama  in 
the  odor  of  an  effete  culture.  Monte  was  married  not  long  ago  to  a  lovely  little 
Danish  girl  who  was  the  model  for  many  of  the  Howard  Chandler  Christy  maga- 
zine covers.  They  have  gone  to  live  in  a  beautiful  bungalow  home  in  Beverly 
Mills.  Of  all  the  actors  in  Hollywood  1  imagine  that  Monte  is  the  most  sincere 
student  of  the  theory,  and  technique  of  acting. 

One   of    the    reasons    why 
Monte  is     so   anxious    to   do 
Western    stories    is    they 
(Continued  on   paye  90) 


Dont  miss  seeing  Mae  Busch 

in    Frivolous    Sal;     she's     a 

wonder 


No,  this  isn't  a  tea-garden  in 
China,  it's  a  little  open  air 
restaurant  near  Hollywood,  fre- 
quented by  Carmel  Myers, 
Aileen    Prin  gle    and   other   stars 


L 


A  sketch  of  Rex  by  Mr.  Ingram 


Charlie  Murphy,  the  screen's 

youngest   actor,   has   lion   cubs   for 

playmates 


\AA/%        -A^ 

<    A¥   A 


Mary  Astor  learned  the  difficult  art  of  walk- 
ing   with    snow-shoes,    before    she    left    for 
Canada,    where    her    next    picture    is    being 
filmed 


PAG 


A   Page  of  Promising  N 


ewcomers 


'JU/isu 


a    Vi  o  u  5  e 
on    fir>e 


Are  You  a  Pola  Negri  Fan? 

IF  so,  you  will  enjoy  her  picture  on  the  cover  of  our 
April  magazine — Pola,  in  all  her  dark,  barbarian 
beauty,  pictured  on  a  background  of  flaming  red. 
Inside  is  The  Mystery  of  Pola,  by  Harry  Carr,  who 
knows  her  well.  What  sort  of  woman  is  she  to  you?  Do 
you  feel  you  understand  her — Pola,  the  untamed  barbarian 
of  the  screen,  who  might  kiss  a  cook  or  kick  a  king,  if  the 
spirit  so  moved  her? 
To  you  does  she  seem 
cruel  or  kind  ?  Con- 
descending or  over- 
bearing? Gracious  or 
disagreeable?  What  do 
you  prophesy  for  her 
future  ?  She  is  capable 
of  almost  anything. 
Will  she  follow  her 
ambitions  and  become 
the  greatest  actress  the 
world  has  ever  known  ? 
Or  will  she  "elope  with 
a  hermit  and  spend  the 
rest  of  her  life  hunting 
wolves  or  diving  for 
pearls"  ?  Give  us  your 
Opinion. 


Are  You  a  Vamp? 

"Dead  what  Nita 
Naldi  and  Barbara 
La  Marr  have  to  say 
on  the  subject.  The 
two  greatest  vamps  of 
the  screen  disagree. 
Nita  admits  she  is  a 
vamp  —  says  she  is 
proud  of  it.  Barbara 
insists  there's  no  such 
thing  as  a  vamp — to  be 
called  one  is  an  insult. 
Which  one  of  the  two 
is  right  ?  Turn  to  pages 
42  and  43  and  decide. 

Write  Fan  Letters? 

And  do  the  stars 
"^^  answer  them?  If 
they  dont,  read  What 
the  Fans  Write  the 
Stars,  on  page  24.  Per- 
haps you'll  find  there 
the  explanation  of 
the  ominous  silence  to 
your  letters. 

Did  you  rave?  Did 
you  gush?  Did  you 
tell  them  how  much 
you  loved  them?  Or 
did  you  offer  construc- 
tive criticism? 


Have  You  Ever  Put  a  Plot  into  Practice  ? 

See  what  happened  to  Peter  the  Playgoer 
when  he  tried  to  do  a  movie  rescue 


J))    do    a     little 
rescue     work 


Are  You  Superstitious? 

TTL7'ould  you  go  around  the  block  rather  than  walk 
v  under  a  ladder?  Would  you  rather  starve  than  be 
the  thirteenth  at  a  table?  Are  you  disillusioned  to  know 
that  all  movie  stars-  believe  in  signs  and  are  frightfully 
superstitious?  The  men  as  well  as  the  women!  Walter 
Hiers  always  carries  a  rabbit's  foot.  Alary  Pickford 
would  rather  die  than  not  pick  up  a  horseshoe.    Her  new 

director,  Josef  M.  Stern- 
berg, wont  start  a  pic- 
ture without  one  hang- 
ing over  the  set.  You'll 
find  Their  Pet  Super- 
stitions, on  page  48  of 
this  number,  amusing 
and  interesting.  Do 
you  know  the  pet  super- 
stitions of  any  other 
stars?  Or  have  you 
some  interesting  ones 
of  your  own? 


Can  You  Pick 
a  Winner? 

"pROM  out  a  thousand 
shadows  who  flit 
across  the  silver  screen 
in  parts  obscure  and 
small,  can  you  pick  the 
one  that  will  live  and 
be  great  from  the  nine- 
hundred  -  ninety  -  nine 
who  will  die  ?  Look  on 
the  page  at  your  left. 
Is  the  girl  or  the  man 
whom  you  picked  for  a 
star,  pictured  here  on 
our  page  of  Promising 
Newcomers  ?  What  is 
that  indefinable  quality 
which  makes  for  great- 
ness on  the  screen? 
Who  has  it  whom  we 
have  omitted  ?  Whose 
face  would  you  add  to 
this  page?  Send  us 
your  Promising  New- 
comer. We  will  be 
glad  to  hear  from  you. 

New  Faces? 

"Y\7hose   would   you 

like  to  see  in  our 

Portrait      Gallery?      If 

you     have    a     favorite 

whom  we  have  omitted, 

suggest  his  or  her  name 

to  us.     Perhaps  we  can 

feature  that  special  one 

in  our  next  issue.     We 

want  to  hear  from  you. 

73 

PAG 


I 


! 


Frances  K.  —  So  you 
think  I  am  too  snappy  for 
an  old  man  of  over  eighty. 
Yes,  I  liked  Norma  Shear- 
er very  much  in  He  IT  ho 
Gets  Slapped.  She  was 
born  in  Montreal,  Canada, 
and  is  twenty-two  years 
old.  Dark  hair  and  blue 
eyes.  Dorothy  Mackaill 
has  brown  hair  and  she 
was  born  in  Hull,  Eng- 
land,  hazel    eyes    and    is    five    feet    five. 

Ruth  T. — Money  is  the  ball-bearings  on  the  wheel  of  life,  but 
the  happiest  people  are  often  those  who  have  the  least.  Tom 
Mix  was  born   in   Texas.     Yes,  married   to  Victoria  Forde. 

Virginia  F. — But  flirtation  is  detention  without  intention. 
Claire  Windsor  was  married  to  a  Mr.  Bowes.  Charles  Ogle  was 
Doctor  McGovern  in  Secrets.  Conway  Tearle  is  to  play  in 
The  Pleasure  Woman  for  Vitagraph,  to  be  produced  in  Brooklyn. 

Maureen  M. — Well,  men  are  born  with  two  eyes,  but  with  one 
tongue,  in  order  that  they  should  see  twice  as  much  as  they  speak ! 
I'll  be  quiet.  Valentino  is  twenty-nine  and  Charles  Ray  is 
thirty-three.  Richard  Barthelmess  is  twenty-nine  also,  and 
Ramon  Novarro  is  not  married.  Alan  Hale  has  started  directing 
his   first   picture — The   Scarlet  Honeymoon,   with    Shirley    Mason. 

Pell. — Well.  I  am  sure  glad  to  see  you  again.  Thanks  for 
the  picture.  That  was  a  funny  joke  you  sent  me.  Your  letters 
always   brighten  up  the  whole  room. 

L.  De  Vita. — Boil  within,  not  over.  He  who  is  most  slow  in 
making  a  promise  is  the  most  faithful  in  its  performance.  Jack 
Holt  and  Lois  Wilson  have  the  leads  in  The  Thundering  Herd. 
Bebe  Daniels  is  with  Famous   Players-Lasky. 

Wendy. — Well,  if  every  man  works  at  that  for  which  nature 
fitted  him,  the  cows  will  be  well  tended.  Reginald  Denny  is 
playing  in  California's  Straight  Ahead.  Well,  it  is  this  way — 
calories  are  units  of  heat.  All  bits  of  food  we  eat  are  units  of 
calories,  and  if  you  are  stout  you  will  probably  require  about 
1900  to  2000  calories  a  da}-,  depending  upon  your  age  and  weight. 
No,  that  was  Gertrude  Olmstead  as  the  sister  in  George 
Washington,  Jr.  Enid  Bennett  is  twenty-eight.  Your  letter  was 
mighty   interesting. 

Gunvor  E. — Well,  the  number  of  stars  visible  with  the  naked 
eye  is  only  about  7000,  but  the  number  visible  thru  the  telescope 
is  over  70,000,000.  Mae  Murray  is  with  Metro.  Yes,  there  is 
a  new  club,  the  Pastime  Movie  Club,  Stephen  Patrick,  202  Plum 
Street,  Fairport   Harbor,   Ohio. 

Blue-Eyed  Baby. — People  take  great  pains  to  catch  each  other, 
but  very  little  pains  to  hold  on  to  them.  Joseph  Schildkraut  was 
born  in  Vienna.  Virginia  Valli  in  The  Alaskan.  Lila  Lee  in 
Coming    Thru. 

Yetta  G.  R. — T  should  say  I  am  good.  I  swear  only  by  my 
country,  lie  ohly  for  my  best  friend,  steal  only  away  from  bad 
company,  and  drink  only  buttermilk.  Too  good  to  be  true. 
Virginia  Valli  was  born  in  Chicago,  Illinois.  Yes,  of  course  I  am 
over   eighty.      Write   me   again    some   time. 

Victoria  Estate.— T  like  the  way  you  start  off.  Carmel  Myers- 
is  playing  in  Ben  Ilur.  you  know.  Winston  Miller,  Patsy  Ruth's 
twelve-year-old  brother,  has  one  of  the  three  leads  in  Kings  of  the 
Turf,   for   Fox. 

Pell.— Oh,  hello!  Thanks  for  "The  Dazzling  Light."  It 
was   sure  interesting. 

Donnie   M. — Yes,   1    walk   very   erect,   having   been   straightened 
74 
GE 


This  department  is  for  information  of  general  interest  only.  Those 
zAio  desire  answers  by  mail,  a  list  of  film  manufacturers,  etc., 
must  enclose  a  stamped,  addressed  envelope.  AH  letters  should 
contain  the  name  and  address  of  the  writer,  but  a  fictitious  name 
will  be  used  in  answering  inquiries  if  it  is  written  in  the  upper 
left-hand  comer  of  the  letter.  Address:  The  Answer  Man,  ljj 
Duffield   Street,   Brooklyn,   N.    Y. 


by  circumstances.  Kenneth 
Harlan  is  married  to  Marie 
Prevost.  Charles  Ray's 
second  luce  Picture  made 
under  the  working  title 
The  Desert  Tiddler,  has 
been    changed    to    Percy. 

Louise     W. — Yes,      The 
Eagle's    Mate    was    filmed 
some  years  ago  with  Mary 
Pick  ford  and  James  Kirk- 
wood   in   the   cast.    You're 
right.      Now    there    is    the    Honorable    Patches    Club,    with    John 
Bowers  as  the  hero.     Write  to   Helen   Gillet,  Route   1,   Box  383, 
Inglewood,  California. 

Jack  Spkatt. — How's  the  wife.  Jack?  No,  neither  Liliom  nor 
Lombard!.  Ltd.,  have  been  Actionized  in  our  magazines.  Buck 
Jones  is  playing  in  The  Arizona  Romeo,  for  Fox,  and  Jack  Hoxie 
in   The  Taming  of  the  West  for  Universal. 

Harry  I. — Forrest  Stanley  in  U'hcn  Knighthood  Was  in 
Flower.  Lynn  Harding  was  the  King.  Betty  Compson  and  Lop 
Chaney  and  Joseph  Dowling  in  The  Miracle.  Well,  there  isn't 
much  difference  between   the  best   and   the  worst   of   us. 

L.  L.  Dimples. — Reckless  drivers  may  be  entitled  to  liberty — 
but  not  license.  Some  philanthropists  dont  even  let  their  right 
hands  know  where  their  left  hands  got  it.  Renee  Adoree  is  not 
married.  Your  letter  was  very  interesting.  Beverly  Bayne. 
Dorothy  Devorc  and  Louise  Fazcnda  have  all  been  loaned  by 
Warner  to  star  in  Cheaper  to  Marry  for  Metro-Goldwyn. 

Billy  Blue  Eyes. — Warner  Brothers  for  Monte  Blue.  Buster 
Collier  and  Tan  Keith  are  included  in  the  cast  of  Nazimova's 
My  Son.  Malcolm  McGregor  and  Alan  Roscoe  in  The  Girl  of 
Gold  with  Florence  Yidor.  Yes,  he  laughs  most  who  has  fine 
teeth. 

Ade  D. — You  will  have  to  have  more  than  experience,  Ada,  to 
get  into  pictures.  There  are  a  lot  of  experienced  players  out  of 
work. 

Micky. — How  are  things  in  Gay  Paree,  Micky?  You  refer 
to  Jetta  Goudal  in  The  Bright  Shawl.  I  liked  your  stationery 
too.  I  should  say  I  do  do  cross-word  puzzles.  Who  isn't  doing 
them  over  here?  "  The  discovery  that  the  cross-word  puzzle  dates 
back  to  2000  B.  C.  doubtless  accounts  for  the  obsolete  words  in 
the  modern  ones. 

Dick's  Admirer. — Everybody  gets  bumped  now  and  then.  Some 
get  it  harder  than  others.  Richard  Barthelmess  was  born  in 
New  York  City.  David  Powell  is  included  in  the  cast  of  Kings 
in  Exile,  with  Alice  Terry  and  Lewis  Stone. 

Eregon  Rose. — Robert  Frazer  is  not  an  Indian,  no  more  than 
I  am.  The  home  of  the  President  was  named  the  "White  House," 
after  the  home  of  Martha  Washington,  in  Xew  Kent  County, 
Virginia,  in  which  her  wedding  occurred.  Laura  La  Plante  in 
The   Rambliu'    Kid. 

Marion  S  —  Well,  I  will  be  glad  to  help  you  any  time,  but 
when  you  ask  for  the  cast  of  about  ten  pictures,  I  will  have  to 
pass.  "Buck  Jones  was  born  in  Yineennes,  Indiana,  and  he  is 
twenty-nine.  Victoria  Forde  is  Tom  Mix's  wile  and  he  is  forty- 
four."  Well,  it  is  easier  to  get  married  than  to  Stay  so. 

M  W.— You  want  an  interview  with  Lewis  Stone.  And  now 
the  Norma  Talmadge  Correspondence  Club,  Constance  .Riquer, 
14207  Northfield  Street,  East  Cleveland.  Ohio.  Kenneth  Harlan 
will  probably  play  opposite  his  wife  in   Recompense. 

Ermina  G. — Of  course,  T  am  an  old  man— with  a  long.  long, 
beard.      It   sure   does   come    in   handy    these   bitter   cold   days.      So 


(ft-MOTION  PICTURE 

11101  I    MAOAZIM" 


you  like   Pierre  Gendron.     Sidney   Chaplin  is  going   to   play   any 
time  for  a  Distributing  Company. 

The  Sainted  Devil. — Really!  J.  Warren  Kerrigan's  name 
stands  for  Jack.  That  was  Norman  Kerry.  That  was  Lincoln 
who  said :  "You  can  fool  all  of  the  people  some  of  the  time, 
and  some  of  the  people  all  of  the  time,  but  you  cannot  fool  all 
of  the  people  all  of  the  time."     Glad  to  hear  from  you. 

Bonnie. — Yes,  I  do  admire  the  man  who  raises  a  family,  pays 
his   bills,   and   minds    his   own   business.      The   pictures   you    men- 
tioned are  to  be  released  thru   Pathe  Exchange.     Monte   Blue  in 
Lover  of  Caniillc;  Huntley  Gordon  in  Ne'er  the   Tivain  Shall 
Meet. 

Dick. — Ha,    ha  —  how    to    get    rich  —  manufacture    something- 
pie    dont    need.      You    can    reach    Ernst    Lubitsch   at    Warner 
Brothers,   Sunset   Boulevard   and   Bronson   Avenue,   Los   Angeles, 
California. 

Roberta  H. ;  Inquisitive;  Juanita;  Mildred  F. ;  Wild  Peggy: 
Mary  A.;  Curious  Kids;  Curious  Coolie;  Alice  M.  W. ;  Victor; 
Movie  Bug  ;  Dorothy  S. ;  Ralph  L. ;  Marty  ;  Marion  L. ; 
Cherry  D.  Your  letters  were  very  interesting.  But  I  had  to 
put  you  in  the  alsorans. 

Doris  A. — Virginia  Warwick  is  married  to  Jimmie  Adams. 
David  Powell  in  Kittys  in  Exile.  Aileen  Pringle  in  One  Year  to 
Live,  with  Antonio  Moreno,  Rosemary  Thebyand  Dorothy  Mac- 
kaill.' 

Tommy  Lou. — You  say  the  reason  telephone  girls  are  called 
operators  is  because  they  cut  you  off  in  the  middle  of  a  con- 
versation. Lloyd  Hughes  is  married  to  Gloria  Hope.  Marjorie 
Daw  has  the   lead  opposite   Ben   Lyon   in   The   One    Way   Street. 

Thomas  F.  K. — No,  Ramon  Novarro  never  played  in  Monsieur 
Beaucaire.  I  know  of  no  such  picture.  Robert  Frazer  is  six 
feet  and  weighs  170  pounds.  Brown  hair  and  eyes  and  not 
married. 

Harry    and    Eddy. — Fred    Thomson    is    married    to    Frances 

Marion.     Well,  there  is  no  trouble  so  great  that  can   stand  up  in 

a    busy    brain.      I    never    worry,    what's    the    use.      Everything-    is 

ng  to  be  all  right,  as  Ernest  Truex  say>.     Anyway,  when  the 

ook  is  not  good,  try'  the  uplook. 

Marvin. — Thanks    for   the   picture.     Warner   Baxter 
was  born  in  Columbus,  Ohio.     He  is  married  to 
Winifred    Bryson    and    they    are    living    in 
Hollywood,    California.      Mary    Pick- 
ford's  next  is   to  be  a  story  of   the 
Pittsburgh      steel      mills.      Joseph 
Sternberg  will  direct. 

SUNKIST.  —  Ah,  that's  grape- 
fruit! Giving  advice  is  an  un- 
necessary responsibility — and  it  is 
not  popular.  Tom  Mix  is  forty- 
four,  you  know.  Billie  Burke, 
Clara  Bow  and  Mae  Marsh  have 
red  hair.  Jack  Holt  was  born 
May  31,  1888.  George  Walsh  is 
playing  for  I.  E.  Chadwick,  a  new 
producer. 

Kitty  P. — Raymond  McKee  i- 
married  to  Marguerite  Courtol. 
Walter  Miller  in  The  Rapids. 
Norma  Talmadge  still  has  three 
productions  to  make  for  First  Na- 
tional before  starting  her  releasing 
contract  thru  United  Artists.  They 
will  probably  be  Tzvo  Women; 
Kiki ;  and  Mine.  Pompadour. 

What'll  I  Do.— Well,  I  am 
glad  you  get  enjoyment  in  reading 
my  answers  away  off  in  Paris. 
No,  Pierre  Gendron  is  not  Amer- 
ican. Address  him  at  Warner 
Brothers,  Sunset  Boulevard  and 
Bronson  Avenue,  Los  Angeles, 
California. 

Flaming  Lily.— No,  I  try  to 
please  my  readers  when  I  can. 
Fatty  Arbuckle  is  playing  in 
vaudeville  in  Paris  and  will  later 
go  to  Berlin  to  play  there.  Home 
is  the  place  where  we  are  treated 
best,  but  where  we  grumble  most. 

Helen  K. — No  soft  soap  please, 
soap  is  often  made  of  lye.  Wil- 
liam Haines  is  with  Metro-Gold- 
wyn.  Yes,  naturally,  I  like  to 
hear  the  nice  things  that  are  said 
about  this  department.  I  believe 
it  was  Bulwer  who  said :  "How  a 
little  praise  warms  out  of  a  man 
the  good  that  is  in  him,  and  the 
sneer  of  contempt  which  he  feels  to 
lie  unjust  chills  the  ardor  to  excel." 


Tony    Fan. — Yes,    indeed,    your    favorite    motion 

picture  star  is  very  happily  married.     Above,  meet 

Mr.    and    Mrs.    Antonio    Moreno 


Viola  S. ;  Marie  B. ;  The  Unlucky;  Nettie;  Louise 
Miss  Kreitzberg;  Florida;  Helen  C. ;  J.  Hoxie  Admirer;  Mary 
P.;  Tommy  Lou;  Annie  M. ;  Dottie;  Interested;  Sophie; 
George  T. ;  Jack  C.  P. ;  Janet  G. ;  Hazel  Eyes  ;  Helen  M.  D. ; 
Miggs  and  Roy  D.  O.  Boy.  Your  letters  were  just  the  thing, 
but  all  of  your  questions  have  been  answered  somewhere  else  in 
this   department. 

Enzedder. — Thanks  very  much  for  the  little  black  cat  calendar. 
I  have  it  hanging  right  over  my  desk,  where  I  can  see  it  all  the 
time.  I  dont  know  whom  you  can  be  referring  to  when  you  speak 
of  Beatrice.  Creighton  Hale  isn't  doing  much  these  days.  So 
you  liked  Anna  Christie  better  than  you  did  A  Woman  of  Paris. 
Lila  Lee  and  Thomas  Meighan  are  playing  together  again  in 
Coming  Thru.  The  young  lady  you  mention  is  married,  but  she 
has  no  small  son.  Your  letters  are  always  mighty  interesting, 
so  write  to  me  often. 

Miss   Ruby  W. — Well,  you  cant  bring  sunshine  into  the   li\ -es 
of  others  and  keep  it  from  yourself.     Lewis   Stone  is  with  First 
National.     Billy  Sullivan  and  Marceline  Day  are  included   in  the 
cast  of  William  Desmond's   Red   Clay. 
Peggy. — No,  no,  Baby  Peggy  is  not  a  Jap. 

Fictitious  Billie. — So  you  liked  Colleen  Moore  in  Flirting 
Willi  Lore.  Margaret  Landis  and  Cullen  are  brother  and  sister. 
Molly  H. — W'hen  we  are  young,  we  have  all  we  can  do  to 
keep  from  laughing  when  we  shouldn't ;  when  we  grow  older, 
we  have  all  we  can  do  to  laugh  when  we  should.  Monte  Blue  is 
with  Warner.  No,  I  haven't  seen  The  Take  yet,  but  I  !  ope  to. 
Stewart. — Well,  you  do  say  such  very  nice  things  about  this 
department.  Yes,  the  Bushmans  and  Baynes  are  still  married. 
No,  Norma  Talmadge  has  no  children. 

Nobody's   Darling. — Rudolph  Valentino  has  decided  that  after 

all,  his   first  picture   for   Ritz-Carlton  will   be  Cobra,   Nita  Naldi 

has    the    lead    opposite.      Incidentally,    Rudy    has    shaved    off    his 

beard.     I  can  see  that  Adolphe  Menjou   is  one  of  your  favorites. 

W.  Roa. — You  sure  have  the  right  idea. 

Rosalie   L. — Ben    Lyon    is   twenty-three.      Irving    Cummings   is 

with    First    National.      Mary    Miles    M inter    is    reported    engaged 

to  Commander  Harold  H.  Ritter  of  the  U.  S.  N.    Well.  I  manage 

three  meals  a  day.     To  eat  is  human — to  digest,  divine. 

Mary   Mc. — There  is   really   no  way   I   can  help 

you  get   into  pictures.     I'm   sorry,   indeed. 

Gibraltar. — The     old     rock     himselfi 

Well,    they    cant    call    you    a    brick 

anyway.      No,    how    do    I    know 

whether   Gloria   Swanson   is   going 

to    let    her    hair   grow.      They    tell 

me   that   it  is  the  style  to   let  hair 

grow.      Your     letter    was    mighty 

interesting. 

C.  E.  K.  Queensland. — Vivian 
Martin  is  on  the  stage,  you  know. 
Yes.  travel  tends  to  broaden  one, 
but  a  padded  coat  will  do  it,  too. 
Eugene  O'Brien  is  playing  oppo- 
site Virginia  Valli  in  Siege,  with 
Mary  Alden  as  the  Aunt  and 
Marc  McDermott  as  the  Uncle. 

Gerald  M.  K. — Dagmar  Godow- 
sky  played  in  pictures  for  some 
time.  Conway  Tearle  has  had 
several   wives. 

Lucio  R.— I  should  say  your 
letter  was  interesting.  Speaking 
about  Clara  Bow,  she  is  heading 
the  casts  of  Capital  Punishment, 
free  to  Lore  and  The  Boomerang, 
all  for  Schulberg  Productions. 
Nilcs  Welch  is  with  Vitagraph. 

Georgina. — Yours  sure  was  a 
treat.  No,  indeed,  my  beard  isn't 
a  joke.  It's  quite  a  necessity  to 
me.  Yes,  Sigrid  Holmquist  is 
playing  in  The  Pleasure  Woman. 
adapted  from  the  novel.  The  House 
of  Lynch. 

M.  L.  B. — Bobby  Connelly  was 
the  little  boy  in  Humoresque.  Gas- 
ton Glass  was  the  lad  grown  up. 
No,  Ben  Lyons  isn't  in  the  cast. 
Agnes  Ayres  in  The  Awful  Truth. 
Hot  Dorg. —  It's  a  question 
which  you  enjoy  most,  attracting 
praise  to  yourself,  or  detracting 
praise  from  others.  Charles  Mack- 
is  playing  in  Bad  Company.  He  is 
married  to  Marion  Lovers,  and  Anna 
Q.  Nilsson  to  John  Gunnerson. 

Chippy. — Mae  Murray  is  five 
feet  and  weighs  100  pounds.  Al- 
berta Vaughn  is  twenty. 

75 

PAG 


PICTURI7 
VZIME      i\ 

D.;     I 


Letters  to  the  Editor 


W 


Page  the  Casting 
Director 

Dear  Editor  :  It's  not 
"what's  wrong  with  the 
movies?"  It's  "what's  wrong 
with  the  casting  director?" 
For  he  deserves  a  large  part 
of  the  blame  for  ruining  pic- 
tures that  might  otherwise  be 
splendid. 

If  there  is  one  thing  more 
vital  than  any  other  to  the 
success  of  a  picture,  it  is  the 
casting  of  the  psychological 
type  into  at  least  the  principal 
roles.  Yet  many  casting 
directors  show  no  discretion 
whatsoever  and  insist  on 
assigning  the  roles  with  an 
utter  disregard  of  type. 

If  Miss  Blank,  the  popular 
flapper  actress,  has  proved  a 
good  box-office  attraction,  the 

casting  director,  in  order  to  use  her  name  as  bait  for  unsuspecting 
fans,  will  cast  her  in  a  tragic,  emotional  role,  wholly  unsuited  to 
her,  perhaps  one   entirely   foreign   to  her   personality   and  ability. 

The  best  example  of  this  sort  of  bone-headedness  is  Viola 
Dana  in  Revelation.  Also — but  I  wont  judge  Colleen  Moore  until 
I  see  her  in  So  Big,  tho  to  me  Florence  Vidor  would  make  a 
far  more  convincing  Selina  and  is  much  better  suited  to  the  role. 

Another  victim  of  this  monster  of  indiscretion  (I  refer  to  the 
casting  director)  is  Percy  Marmont.  He  is  one  of  the  very  few 
screen  stars  who  have  the  power  to  interpret  a  character  in  a 
natural,  restrained  manner;  yet,  whenever  he  is  given  a  role,  it 
is  played  down,  and  someone  far  less  deserving  than  he  is  takes 
the  laurels.  As  Valentino  is  the  great  lover,  Charles  Ray,  the 
country  boy,  so  Percy  Marmont  is  the  psychological  man  for 
the  idealistic  role.  If  someone  with  foresight  would  only  recog- 
nize this  and  sign  him  up  for  a  really  big  part,  what  a  picture 
could  be  made !  Then  others  might  realize  his  sterling  qualities 
and  he  would  become  one  of  the  big  personalities  of  the  screen. 

There  are  other  capable  actors  and  actresses  of  the  highest 
ability  who,  if  they  were  only  given  a  chance  by  that  champion 
blunderer,  would  make  pictures  that  would  be  remembered  in 
the  future  as  the  very  best  of  their  kind.  May  some  of  the  un- 
honored  and  unsung  artists  be  appreciated  in  the  near  future, 
and  given  a  chance  to 
show  exactly  what  they 
can  do !  R.  E.  M., 

Quebec. 


E  are  giving  our  readers  a  chance  to 
express  their  opinions  in  print,  ana 
to  be  paid  for  it.  For  the  best  letter  (which 
we  will  illustrate)  we  will  pay  nve  dollars. 
Writers  of  otber  letters  published  will  re- 
ceive three  dollars ;  extracts  from  letters,  one 
dollar.  Be  brief,  and  to  the  point.  Write 
us  a  snappy,  interesting  letter  of  from  two  to 
four  hundred  -words  in  length.  Give  your 
reasons  for  your  likes  or  dislikes.  Do  not 
neglect  to  sign  your  name  and  address,  altho 
we  will  use  your  initials  only,  if  requested. 


I 


More  Pshaw! 
Mr.  Shaw 

Dear-  Editor:  Edi- 
torial, Pshaw,  Mr. 
Shaw!  in  December 
issue  is  fair  enough. 

In  my  opinion  it 
strikes  at  the  root  of 
what  is  wrong  with  the 
whole  motion  picture 
industry,  or,  rather, 
what  the  people  think 
is  wrong  with  it.  For 
the  people  in  general 
know  as  little  about  the 
industry  as  they  do 
about  Soviet  Russia, 
and  those  who  pop 
loose  with  a  personal 
opinion  in  a  trade  ar- 
ticle, interview  or  fea- 
ture article,  usually 
come  of  the  herd  who 
know  the  least  about  it. 

To  me  it  seems  some- 
what flimsy  when 
someone  cracks  loose  a 
lot  of  hunches,  pro- 
cured with  one  eye  out- 
side   the    studio    fence. 

76 
OB 


The  casting  director  is 
never  so  happy  as  when 
he  has  draped  an  actor 
in  a  role  that  does  not  fit 


To  review  a  film  is  not  grasp- 
ing the  truth  of  that  which 
produces  it. 

Mr.  Shaw's  opine  should 
not  mean  anything  to  anyone 
but  Mr.  Shaw.  The  same  is 
true  of  other  attempts  to 
knock  the  polish  off  the  in- 
dustry. I  often  wonder  what 
Tamar  Lane  tames.  I  am 
wondering  now  just  how 
Walter  Haviland  answers  his 
own  question,  Why  Did  They 
Doll  Up  Dempsey?  He 
speaks  of  the  "olden  days" 
and  the  "picturesque  mug." 
Mr.  Haviland  should  have 
been  with  me  one  day  in  Salt 
Lake  City  as  I  stood  in  front 
of  the  old  Zang  bar.  He 
would  have  seen  a  half-baked 
roughneck  draped  awkwardly 
in  the  doorway.  Enter  the 
old  Jack  Dempsey  of  Grand 
Theater  fame,  trotting  along  doing  his  training.  A  sarcastic 
remark  dribbled  from  the  booze-soaked  human  curtain  in  the 
doorway.  Blam ! ! !  In  the  result  of  that  scrap  I  saw  the  answer 
to  Mr.  Haviland's  question.  Jack  Dempsey's  appearance  in  that 
battle  and  his  appearance  "dolled  up"  in  the  picture  today,  is 
answer  enough.  But  if  Mr.  Haviland  did  not  know  the  Dempsey 
of  other  days,  "before  the  dawn,"  he  is  excused.  After  all, 
pictures   are  not  teachers ;   they  are   entertainers. 

P.  V., 
— Alhambra,  California. 

The  Rise  of  Rudy 

Dear  Editor  :  Once  upon  a  time  there  was  a  young  man  who 
was  not  a  perfect  specimen  of  American  manhood,  neither  re- 
markably dauntless  nor  brave.  His  appearance  did  not  suggest 
shining  virtue  nor  impeccable  nobility.  The  casting  directors 
whom  he  interviewed  decided  he  wasn't  the  sort  of  man  to 
appeal  to  our  American  girls.  He  did  not  seem  fitted  to  jump 
off  cliffs,  rescue  maidens  in  distress  or  register  high-minded 
devotion  in  the  close-ups.  But  they  admitted  he  could  dance  well 
and  that  he  was  what  was  recognized  about  the  studios  as  a 
good    type    for    the    "society    villain."      They    forgot    to    find    out 

whether  or  not  he  could 
act — but  sometimes  the 
big  movie  organizations 
are  careless  about 
minor  details. 

At  any  rate  Rudolph 
Valentino  got  into  the 
movies. 

Here,  then,  is  my 
theory  of  his  phenom- 
enal rise  to  stardom — 
this  man  who  is  not  a 
hero  in  real  life,  but  a 
sensational  success  on 
the  screen.  It  is  this : 
He  does  not  look  like 
your  husband.  He  is 
not  in  the  least  like 
your  brother.  He  does 
not  resemble  the  man 
your  mother  thinks  you 
should  marry.  He  is 
not  like  the  nice  boy 
who  takes  you  to  all 
the  high-school  dances. 
Women  throng  to  see 
him  in  motion  pictures 
because  he  typifies  Ro- 
mance. He  is  the  hero 
of  the  love  affair  you 
always  longed  for,  but 
never  had. 

The  men  who  know 
him  in  business  like 
him.  But  they  dont 
understand  the  reason 
(Cont'd    on   page    107^ 


/    / 


tfM^ 


Advertising  Section 


<OfJ^SM 


^  ihe  Duchesse  do,  Richelieu 

tells  how  to  have 
A  Lovely  Skin 


I 


"  The  woman  whose  life  is  given  not  only 
to  Society  but  to  concert-singing  must  al- 
ways appear  with  a  complexion  fresh- 
ana  radiant. 

"Care  of  her  skin,  second  only  in  im- 
portance to  the  care  of  her  voice,  can  best 
be  obtained  by  the  daily  use  of  Pond's 
Two  Creams.  They  keep  the  skin  ex- 
quisitely soft  and  lovely." 


^kNXOoA^X—  ^i-T^l  n  tVj^XXJw 


^ 


1LTAIR  full  of  golden  lights,  shadowy 
*■  ■*  blue  eyes  and  a  cream-and-white 
complexion  which  makes  everybody  turn 
to  look,  women  with  envy,  men  with  de-' 
light.  The  charm  of  a  nature  gay,  gener- 
ous and  sincere. 

These  make  the  Duchesse  de  Richelieu 
a  woman  everybody  loves  to  see — and  to 
know.  And  to  hear,  too,  for  she  has  a 
lovely  soprano  voice  of  limpid  tone. 

In  the  exclusive  social  set  of  Baltimore 
— always  famous  for  its  "Baltimore  belles" 
— she  spent  her  gay  girlhood.  But  since 
her  marriage  to  the  head  of  one  of  the 
oldest  titled  families  of  France,  she  is 
oftener  seen  in  the  smart  circles  of  Paris. 
And  in  New  York,  too,  where  her  home, 
"The  House  on  the  River"  is  the  scene  of 
many  gatherings  of  the  socially  elect. 

Among  its  lovely  old  furniture,  books 
and  objets  d'art  from  France — many  of 
them  handed  straight  down  from  the  great 
Cardinal  de  Richelieu,  himself— she  moves, 
a  hostess  full  of  grace  and  charm. 

The  Duchesse  de  Richelieu  was  deter- 
mined that  her  cream-and-white  skin 
should  remain  always  as  fresh  and  youth- 
ful as  it  is  today.  For,  she  said,  "the 
woman  whose  life  is  given  not  only  to 
society  but  to  concert-singing  is  com- 
pelled to  appear  fresh  and  radiant." 

When  she  learned  of  the  Two  Creams 
that  beautiful  women  everywhere  depend 
upon  to  cleanse  and  protect  the  skin,  she 


declared:  "They  keep  the  skin  exquisitely 
soft  and  lovely."  This  is  the  method  the 
Duchesse  approves: 

Pond's  Cold  Cream  for  Cleansing.  At 
least  once  a  day,  always  after  any  expo- 
sure, smooth  the  cream  liberally  over  your 
face  and  neck.  Let  its  pure  oils  bring  to 
the  surface  dust,  powder  and  excess  oil. 
Now  wipe  off  all  the  cream  with  a  soft 
cloth.  Repeat  the  process.  Just  look  at 
your  skin  now — as  refreshed  as  rose-petals 
washed  with  dew! 

Next,  Pond's  Vanishing  Cream  for  a 
Delicate  Finish  and  Protection.  Smooth  on 
just  as  much  as  your  skin  will  instantly 
absorb.  Now  see  how  soft  and  even  the 
surface  looks — transparently  lovely.  How 
well  this  cream  takes  your  powder,  too — 
holding  it  in  a  velvet  grip  long  and  evenly 
— and  how  perfectly  it  protects  you  from 
soot,  wind  and  cold. 

Try  for  yourself,  today,  this  method 
which  all  the  world's  lovely  women  are 
pursuing.  You  will  find  thatPond's  Creams 
will  keep  your  skin  as  creamy-white,  as  soft 
and  fine  as  the  Duchesse  de  Richelieu's 
own.     The  Pond's  Extract  Company. 


The  Duchesse  deRiCHEnEu 

Twice  an  aristocrat.  Before  her 
marriage  to  the  head  of  one  of  the 
oldest  houses  in  France  she  was  a 
"Baltimore  belle"  oj  one  of  the 
first  families.  Today  she  is  a  social 
leader  in  France  andtheUnited  States. 
Above,  a  glimpse  of  the  music-room 
of  her  New  York  home,  "  The  House 
on  the  River." 


THE  PRINCESSE  MARIE  DE  BOURBON 

THE  PRINCESSE  MATCHABELLI 

THE  VICOMTESSE  DE  FRISE 

LADY  DIANA  MANNERS 

MRS.  MARSHALL  FIELD,  SR. 

MRS.  CONDE  NAST 

MRS.  O.  H.  P.  BELMONT 

MRS.  JULIA  HOYT 

MRS.  GLORIA  GOULD  BISHOP 

MRS.  CORDELIA  BIDDLE  DUKE 

are  among  the  women  of  distinguished 
taste  and  high  position  who  approve 
Pond's  Method  of  caring  for  the  skin. 

FREK  OFFER  :  Mail  the  coupon  and  we  will 
send  you  free  tubes  of  these  two  famous  creams  and 
an    attractive    little  folder  telling  how   to   use  them. 


The  Pond's  Extract  Company,  Dept.  C 

143  Hudson  Street,  New  York. 

Please  send  me  your  free  tubes,  one  each  of 
Pond's  Cold  and  Vanishing  Creams. 

Name 

Street 

City State 


When  you  write  to  advertisers  please  mention  MOTION   PICTURE   MAGAZINE. 


77 
PAG 


FABLES  IN  CELLULOID 


By  MARGARET  NORRIS 


anc 


HELEN  HOKINSON 


m 


^t 


\jf  1/w  iMeU'  fov  %h ,  n>! " 


To   a   poor   and   improvident   couple   in   Hollywood  was  born   an 

unwanted  child.  A  babe  of  extraordinary  beauty.  One  day  as 
the  mother  aired  him  in  the  park,  a  beautiful  lady  said  to  her,  "If 
you  will  rent  me  this  baby  to  act  in  my  picture,  I'll  pay  you  well." 

The  mother  consented  gladly.  They  called  for  the  baby  in  a 
limousine  and  returned  him  a  few  hours  later  with  a  fat  check 
pinned  to  his  bonnet. 

"Now  we  need  work  no  more!"  cried  the  mother,  waving  the 
check  before  the  father.     "Our  baby  will  support  us." 

But,  blinded  by  the  easy  money,  the  parents  let  him  be 
worked  so  hard  they  did  not  notice  he  was  growing  thin  and 
fretful  until  the  lovely  lady  said,  "You  have  neglected  your  baby's 
health,  we  must  find  another  for  our  picture." 

"See!"  cried  the  angry  father  to  the  mother,  "You  have  killed 
the  goose  that  laid  the  golden  eggs.     Now  I  must  go  to  work!" 

Moral :     Greed  to  need  doth  often  lead. 


ft    ^cny'cd/To-'Jfi/ufiir  CuMfiwdj \P-oe&/. 


A  max  who  for  years  had  played  only  the  role  of  a  "heavy,"  grew 
tired  of  being  stupidly  bold  and  bad  and  having  the  audience 
hiss  when  he  entered.  He  longed  to  become  a  comedy  star,  to 
throw  custard  pies,  chase  in  and  out  revolving  doors  and  flirt  with 
scantily  gowned  women. 

So  he  bought  himself  some  Charlie  Chaplin  shoes,  a  pair  of 
eyebrows  that  did  not  match,  and  appeared  before  the  director 
to  pull  off  some  comedy  stuff. 

At  his  first  stunt  nobody  cracked  a  smile. 

At  his  second  one,  everybody  yawned. 

At  his  third,  one  of  the  electricians  chased  him  off  the  set  and 
they  proceeded  with  the  regular  business  of   the  picture. 

"Never  mind,"  said  the  Heavy,  "only  nit-wits  go  in  for  comedy, 
Melodrama  has  much  more  class."  And  he  pasted  on  the  familiar 
black  mustache  of  the  villain. 

Moral :     It  is  easy  to  despise  the  unattainable. 


I 


T  wo  brothers,  a  farmer  and  a  screen  hero,  laid  a  wager  as  to 
A  -which  one  would  be  the  richer  in  ten  years. 

Said  the  screen  hero  to  the  farmer  :■  "You  poor  rube !  my 
salary  is  more  in  a  week  than  you  can  lay  by  in  a  year.  I  will 
spend  like  a  drunken  sailor  for  nine  years  and  beat  you  by  saving 
for  just  one." 

So  he  built  himself  a  magnificent  home,  bought  many  cars,  mar- 
ried a  beautiful  wife,  and  cut  a  wide  swath  from  coast  to  coast. 

But  the  farmer  sold  his  crops  in  the  best  markets,  saved  every 
cent  and  banked  the  profits.  The  value  of  his  land  increased  with 
time  and  at  the  end  of  five  years   he   was   in   clover. 

Meanwhile  the  screen  star  had  grown  so  extravagant  he  couldn't 
economize:  his  debts  were  piled  sky-high  when  he  lost  his  job. 
And  he  had  to  borrow  money   from  the   farmer. 

Moral :     Plodding  often  wins  the  race. 

78 
oe. 


A     WOMAN    who,  altho   long   past   her   first   youth,   was   still   play- 

ing  flapper  roles  on  the  screen,  was  horrified  by  the  carrying 
of  her  own  flapper  daughter. 

The  girl  carried  her  own  hip  flask,  smoked  like  a  chimney, 
danced  each  night  until  dawn,  and  flirted  outrageously  with  every 
man  she  met,  whether  on  or  off  location. 

The  newspapers  were  full  of  her  escapades.  Ministers  made 
her  the  subject  of  their  sermons.  From  coast  to  coast  she  was 
known  as  what  the  young  girl  should  not  be. 

Scandalized  by  what  she  saw  and,  still  more,  by  the  reports  that 
came  to  her  from  all  sides,  the  mother  called  her  daughter  to  her 
and  said : 

"My  child,  why  do  you  not  behave  like  a  lady?" 

"Mother,"  replied  the  girl,  "why  do  you  not  show  me  how:" 

Moral :     Example  is  the  best  preeept. 


Advertising  Section 


OTION  PICTimi 

MAGAZINE 


"But  Your  Highness  doesn't 
even  know  who  I  am." 
"Too  true,"  sighed  the  Princ.-: 
"Ionly  knowl  have  foundered 
in  the  waves  of  your  hair!" 


I 


---that  night  she  danced 
with  the  Prince 


TheMostThrillingMoment  of  my  Life 

by  Jacqueline  Harwood 
When  I  first  got  to  Paris,  some  months  ago, 
I  was  the  most  excited  girl  you  ever  saw.  How 
eagerly  I  anticipated  the  many  delights  of  this 
capital  of  youth  and  gaiety — the  hundreds  of 
interesting  places  to  visit;  the  inspiring  monu- 
ments and  marvelous  cathedrals;  the  fascinat- 
ing shops,  lovely  mannequins,  the  races,  the 
wonderful  art  galleries — to  say  nothing  of  the 
myriad  receptions,  balls  and  other  court  affairs 
to  which  I  had  entree  through  my  friends 
among  the  inner  circle  of  the  American  colony ! 

During  the  next  few  weeks  my  life  was  one 
lovely  dream,  but  there  was  one  great  dis- 
appointment in  store  for  me.  Frankly,  I  didn't 
seem  to  meet  with  my  usual  success  at  these 
social  affairs. 

Naturally  I  was  mortified  when  I  realized  this, 
and  I  set  about  to  find  the  reason.  Finally  in 
desperation  I  begged  my  trusted  friend,  May 
Norton,  to  tell  me  what  was  wrong. 

At  first  she  hesitated.  Then  when  she  realized 
I  was  in  earnest  she  tried  to  help  me. 

"What  feature  do  you  think  is  most  impor- 
tant to  a  girl's  beauty,  Jacqueline?" she  began 
tactfully. 
"I'm  not  sure  if  I  know,"  I  replied. 

"Well,  if  you'll  notice  you'll  see  that  all  the  real  popular 
girls  here  have  very  thick  hair  and  keep  it  beautifully 
marcelled.  The  men  of  France  are  very  critical  about  a 

woman's  hair,  and " 

She  didn't  need  to  finish  her  sentence.  That  was  where 
the  trouble  lay  —  my  tousled,  scraggly  hair!  Hmv  unat- 
tractive it  looked  that  moment,  as  I  turned  a  troubled 
glance  into  the  mirror! 

May  tells  her  secret 

"But  what  can  I  do,"  I  asked  anxiously.  "I  have  had 
marcels  galore.  My  hair  looks  fine  for  a  while,  but  soon 
it  s  straightand  scraggly  again." 

"That's  just  the  trouble,"  May  replied,  "you've  been 
having  it  marcelled  too  much.  It  has  taken  all  the  lifeout 
of  your  hair.  You  know,  every  operator  does  it  differently 
and  puts  the  waves  in  a  different  place.  That's  what  makes 
your  hair  so  unruly." 

May  hesitated  a  moment  and  then  walked  over  to  her 
dresser    Opening  the  lower  drawer,  she  pulled  out  a  queer 
little  elastic  contraption  and  a  bottle  of  liquid. 
"I  used  to  have  the  same  trouble  you're  having,"  she  con- 
tinued, "until  I  learned  about  this  curling  cap.  I  got  it 


just  before  I  left  home— and  since  then  I've  never  had 
any  more  trouble  with  my  hair." 

It  took  but  a  moment  for  her  to  explain  how  this  simple 
curling  device  worked;  how  it  put  in  the  waves  without 
applying  heat  and,  by  always  getting  them  in  exactly  the 
same  place,  trained  the  hair  to  slay  marcelled. 
In  a  second  May  had  a  towel  about  my  shoulders  and 
was  giving  me  an  actual  demonstration  of  her  new  dis- 
covery. Icould  hardly  wait  the  fifteen  minutes  it  took 
for  the  curling  fluid  to  dry.  Finally  when  May  removed 
the  cap  and  told  me  to  look  in  the  mirror,  what  a  delight- 
ful surprise  it  was!  Instead  of  the  unruly,  scraggly  locks 
I  was  accustomed  to  seeing,  there  was  the  loveliest  mar- 
cel I  had  ever  had! 

On  with  the  dance! 

The  next  night  was  to  be  held  la  Grande  Bat  Masque, 
which  it  was  rumored  Prince  Dimitri  was  to  attend  in- 
cognito. Before  dressing  that  evening,  May  let  me  try 
her  curling  cap  again.  This  time  my  marcel  was  even 
more  beautiful,  so  I  went  to  the  ball  with  pulse  beating 
fast  and  hope  running  high. 

About  midway  of  the  evening  I  noticed  a  pair  of  burning 
eyes  focused  on  me.  They  belonged  to  a  tall,  graceful 
young  man  whose  handsome  face  was  only  partly  hidden 
by  a  tiny  mask.  His  regal  bearing  told  me  here  was  the  . 
Prince. 

The  rest  seems  like  a  dream  to  me. 

I  remember  being  held  in  the  strongest  arms  I've  ever 
felt.  I  remember  floating  through  the  most  beautiful  waltz 
I've  ever  heard.  I  remember  a  stroll  through  the  con- 
servatory, where  a  melodious  voice  murmured  "sweet 
nothings"  in  my  ear.  I  remembermany  other  dances  with 
the  fascinating  Prince  —  and  hundreds  of  envious  eyes 
that  followed  every  step. 

I  shall  never  forget  that  evening  as  long  as  I  live.  It  was 
my  night.  Yes — thanks  to  May  Norton  and  an  ingenious 
American  inventor — that  was  my  night ! 
*  *  * 

You  may  be  sure  I  was  never  a  "wall  flower"  after  that. 
Immediately  I  ordered  a  curling  outfit  for  myself,  and  as 


To  put  on  the  Curling  Cap. 
simply  extend  the  elastic  head- 
band with  the  hands  and  bring 
it  over  the  hair.  Then  with  the 
fingers  or  an  orange  stick,  you 
puff  out  the  hair  in  little 
"waves"  and  let  them  dry  in 
this  position 

(Patents  pending) 


After  you  have  adjusted 
the  Curling  Cap  you  can 
read  or  finish  dressing 
while  theCurling  Liquid 
is  drying.  It  takes  only 
15  minutes— and  then 
you  will  have  the  love- 
liest marcel  youeversaw ! 


I  continued  to  use  the  remarkable  Curling  Liquid  and 
Curling  Cap  my  hair  constantly  became  thicker,  glossier 
and  more  wavy.  I  felt  it  would  be  no  more  than  fair  for 
me  to  write  the  inventor  about  my  wonderful  experience 
and  thank  him  for  what  he  had  done  for  me.  I  felt  that  I 
would  be  doing  a  fine  thing,  too,  for  thousands  of  other 
girls  who  have  the  same  trouble  with  their  hair  that  I 
had.  T>>  them  I  cannot  recommend  this  Curling  Cap  and 
Liquid  too  highly. 


Try  it  at  our  risk 


Thousands  of  girls  and  women  will  have  Miss  Harwood 
to  thank  for  this  opportunity,  for  at  her  suggestion,  we 
are  going  to  give  them  a  chance  to  convince  themselves  of 
the  remarkable  results  they  can  get  with  McGowan's 
Curling  Cap  and  Curling  Fluid,  without  risking  a  cent. 
Ninety-eight  women  out  of  a  hundred  who  try  this  Curl- 
ing Cap  are  most  enthusiastic  ahout  it  and  can't  say 
enough  in  its  favor.  They  are  the  best  advertisements  we 
could  have,  so  naturally  we  are  anxious  to  get  the 
McGowan  Curling  Outfit  into  their  hands  as  quickly  as 
possible. 


Send  no  money— just  mail  the  coupon 

You  don't  have  to  risk  onecent  to  try  the  McGowan 
Curling  Outfit  in  your  own  home.  Simply  sign  and 
mail  the  coupon.  When  the  postman  brings  your 
outfit,  just  pay  him  $1. 87,  plus  a  few  cents  postage, 
and  your  marcel  worries  are  at  an  end.  After  you 
have  tried  this  magic  Curling  Cap  and  Curling 
Fluid  for  5  days,  if  you  are  not  perfectly  delighted 
with  results —  if  it  doesn't  give  you  the  most  beauti- 
ful marcel  you  ever  had  and  improve  your  hair  in 
every  way— simply  return  the  outfit  and  your  money 
will  be  refunded  without  a  single  question. 
If  you  are  tired  of  wasting  your  time  and  money  on 
expensive  beauty  parlor  marcels ;  if  you  have  trouble 
keeping  .  our  hair  marcelled  and  looking  its  best;  if 
you  want  the  beauty  that  rich,  glossy,  curly  hair 
will  bring,  take  Miss  Harwood's  advice  and  don't 
put  it  off  another  minute.  Sign  the  coupon  now  and 
mail  it  right  away.  Remember,  you  do  not  risk  a 
single  penny. 


■COUPON- 


The  McGowan  Laboratories 
710  W.  Jackson  Blvd.,  Dept.  2$,  Chicago 
Dear  Mr.  McGowan:  Please  send  me  your  hair  curl- 
ing outfit,  which  includes  your  newly  invented  Curl- 
ing Cap,  and  a  bottle  of  Curling  Liquid.  I  agree  to 
deposit  52.87  (plus  postage)  with  the  postman  upon 
its  delivery.  If  I  am  not  satisfied  with  results  in  every 
way  I  will  return  outfit  to  you  within  five  days  and 
you  are  to  refund  my  money. 


Name.. 


■  Address 

\  Note  •  I  f  you  expect  to  be  out  when  the  postman  calls, 

■  enclose  S3  with  your  order  and  the  McGowan  Curl- 

■  ing  Outfit  will  be  sent  postpaid. 


%. 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


•ip 

PAGtl 


What  the  Stars  Are  Doing 


A   department  for   the   fans,    in   which   they   are    informed 
of    the    present    picture    activities    of   their   film    favorites 

Conducted  by  Gertrude  Driscoll 


Adams,  Claire — is  honeymooning  since  becoming 
Mrs.  Benjamin  D.  Hampton.  Her  latest  release  is 
The  Devil's  Cargo— F.  P.  L. 

Adoree,  Renee — plays  a  jealous  apache  in  Pari- 
sian Nights— F.  B.  O. 

Agnew,  Robert — playing  in  The  Square  Peg — 
M.  G. 

Alden,  Mary — playing  in  The  Siege — U. 

Alexander,  Ben — playing  in  Pampered  Youth 
— -V. 

Allison,  May — will  have  an  entirely  different  role 
than  she  lias  heretofore  enacted,  that  of  a  married 
women  flirtatiously  inclined,  in  The  Interpreter's 
House— F.  N. 

Astor,  Mary — has  been  chosen  by  public  vote  to 
play  the  leading  role  in  Enticement — T.  H.  I. 

Ayres,  Agnes — is  vacationing  in  Mexico  with  her 
newly  acquired  husband.  Her  latest  picture  is  To- 
morrow's  Love — F.  P.  L. 

B 

Baby  Peggy — latest  release  Helen's  Babies.  Dis- 
engaged at  present. 

Ballin,  Mabel — playing  in  Riders  of  the  Purple 
Sage — W.  F. 

Barnes,  T.  Roy — has  been  added  to  the  cast  of 
The  Re-creation  of  Brian   Kent — P.  P. 

Barry,    Wesley — playing   in   The  Fighting  Cub — 

A.  E. 

Barthelmess,  Richard — recently  completed  New 
Toys,  a  comedy  of  domestic  life,  with  Mrs.  Barthel- 
mess (Mary  Hay)  for  his  leading  lady — I.  P. 

Baxter,  Warner — playing  an  important  part  in 
The  Golden  Bed,  a  Cecil  De  Mille  production — 
F.  P.  L. 

Bayne,  Beverly — playing  in  Who  Cares — W.  P. 

Bedford,  Barbara — playing  opposite  Edmund 
Lowe  in  Trailing  Shadows — W.  F. 

Beery,  Noah — playing  in  Contraband — F.  P.  L. 

Beery,  Wallace — has  just  arrived  in  town  from 
the  Coast  to  play  in  Coming  Thru — F.  P.  L. 

Bellamy,  Madge — has  just  started  work  in  The 
Parasite— B.  F.  S. 

Bennett,  Alma — playing  in  A  Fool 
and  His  Money— C.  B.  C. 

Bennett,  Constance — has  started 
work  on  her  first  picture  under  her  new 
contract  with  F.  P.  L.,  The  Goose  Hangs 
High,  to  be  directed  by  James  Cruze. 

Bennett,  Enid — latest  release  The 
Red  Lily.  She  is  vacationing  in  Italy, 
where  her  husband,  Fred  Niblo,  is  direct- 
ing Ben  Hur. 

Blue,  Monte — and  Marie  Prevost  re- 
cently deserted  the  W.  B.  studio  to  get 
married — but  not  to  each  other.  Now 
they  are  both  back  to  work  after  their 
respective  honeymoons  and  were  as- 
signed to  play  the  two  leading  roles  in 
Recompense. 

Blythe,    Betty — playing    in   Speed — 

B.  F.  S. 
Boardman,  Eleanor — playing  in  The 

Summons — M.  G. 

Bonner,  Priscilla — cast  as  Sally  May 
in  Drucilla  with  a  Million— F.  B.  O. 

Bosivorth,  Hobart — playing  in  My 
Son—F.  N. 

Bow,  Clara — has  rushed  back  to  the  Coast  to  lend 
her  colorful  presence  to  the  cast  of  Free  to  Love — 
B.  F.  S. 

Bowers,  John — playing  in  Lady  of  the  Night — 
B.  P. 

TJreamer,  Sylvia — has  recently  become  Mrs. 
Harry  Martin.  It  is  rumored  she  will  desert  the 
screen  for  a  domestic  career.  Her  latest  picture  is 
Women  and  Gold — G.  P. 

Brent,  Evelyn — plays  a  dual  role  of  a  society 
woman  and  a  thief  in  Midnight  Molly — F.  B.  O. 

Bronson,  Betty — recently  completed  playing 
Peter  Pan  for  F.  P.  L. 

Brook,    Clive — playing    Solomon    in    Declasse- 


Bums,  Edward — has  returned  to  the  States  from 
his  visit  abroad.  He  will  be  seen  in  The  Redeeming 
Sin  shortly — V. 

_  Busch,  Mae — has  been  cast  as  an  American  so- 
ciety girl  who  seeks  a  thrill  in  the  Paris  underworld. 
She  will  display  a  variety  of  fashionable  gowns  in 
The  Triflers—B.  F.  S. 

Butler,  David — playing  in  Trapped  in  the  Stiow 
Country — W.  B. 


Calhoun,  Alice — will  be  seen  as  Isabel  Minafar 
in  Pampered  Youth — V. 

Carey,  Harry — playing  in  Beyond  the  Border — 
P.  D.  C. 

Carr,  Mary — playing  Drucilla,  an  elderly  woman 
who  is  a  charity  patient  in  an  old  ladies'  home  in  Dru- 
cilla with  a  Million — F.  B.  O. 

Chadwick,  Helene — playing  Betty  Jo  in  The 
Re-creation  of  Brian  Kent — -P.  P. 

Chaney,  Lon — plays  the  role  of  the  Phantom  in 
the  mystery  melodrama,  The  Phantom  of  the  Opera, 
which  has  as  its  grotesque  setting  the  underground 
tunnels  of  Paris.  There  are  over  three  thousand  ex- 
tras employed  in  this  production — U. 

Chaplin,  Charles — playing  in  Chilkoot  Pass. 

Chaplin,  Sydney — is  busy  selecting  lace  mitts, 
corkscrew  curls,  etc.,  as  part  of  his  wardrobe  in 
Charley's  Aunt— A.  C. 

Clifford,  Ruth — recently  completed  work  in 
A   Husband's  Secret — F.  N. 

Cody,  Lew — playing  a  different  kind  of  villain  in 
The  Dixie  Handicap — M.  G. 

Collier,  Buster,  Jr. — playing  a  neglected  son 
brought  up  on  money  instead  of  love  in  Playthings 
with  Souls— F.  N. 

Colman,  Ronald — recently  finished  work  in  A 
Thief  in  Paradise— F.  N. 

Compson,  Betty — playing  in  New  Lives  For  Old. 
a  story  concerning  a  famous  dancer  who  sacrifices 
love  and  reputation  for  her  country's  sake. — F.  P.  L. 

Coogan,  Jackie — latest  release  The  Rag  Man — 
M.G. 

Corbin,  Virginia  Lee — playing  in  The  Cloud 
Rider— F.  B.  O. 

Cornwall,  Ann — playing  the  feminine  lead  oppo- 


Davies,  Marion — playing  the  part  of  Mamie  in 
Zander  the  Great— C.  P. 

Daw,  Marjorie — has  returned  to  California  to 
play  in  0«e  Year  to  Live — F.  N. 

Day,  Shannon — playing  in  The  Star  Dust  Trail — 
W.  F. 

Dean,  Priscilla — playing  in  Viennese  Madness,  a 
society  drama  with  an  Austrian  background — 
P.  D.  C. 

De  la  Motte,  Marguerite — is  visiting  New 
York  for  the  first  time  in  her  life.  While  she  was  in 
town  she  was  offered  the  leading  r61e  in  Lady  of  the 
Night  and  has  accepted  it — B.  P. 

Dempster,  Carol — is  disengaged  at  present.  Her 
most  recent  release  is  Isn't  Life  Wonderful — D.  W.  G. 

Denny,  Reginald — playing  in  the  final  scenes  of 
California  Straight  A  head — U. 

De  Roche,  Charles — playing  in  Madame  Sans- 
Gene,  which  is  being  filmed  in  France.  The  entire 
cast  with  the  exception  of  Gloria  Swanson  and  Mr. 
De  Roche  is  made  up  of  French  stars — F.  P.  L. 

Desmond,  WiHiam — playing  in  Red  Clay — U. 

De  Vore,  Dorothy — playing  in  Who  Cares — 
W.  P. 

Dexter,  Elliott — plaving  in  Capital  Punishment 
— B.  F.  S. 

Dix,  Richard — has  been  cast  as  an  Englishman 
in  None  But  the  Brave — F.  P.  L. 

Dove,  Billie — has  just  started  work  in  The  Air 
Mail  which  is  being  directed  by  her  husband,  Irvin 
Willet  for  F.  P.  L. 

DuPont,  Miss — playing  in  Off  the  Highway — 
R.  P. 

Dwyer,  Ruth — has  been  chosen  to  play  the  fem- 
inine lead  opposite  Buster  Keaton  in  Seven  Chances 
— M.  G. 

E 

Earl,  Edward — playing  in  Her  Market  Value — 
P.  D.  C. 

Edeson,  Robert — has  been  cast  for  an  important 
role  in  One  Year  ioLive — F.  N. 

Ellis,  Robert — playing  in  Capital  Punishment — 
B.  F.  S. 

Evans,  Madge — recently  completed 
the  leading  feminine  role  in  Classmates — 
I.  P. 


H 


UXDREDS  of  inquiries  reach  this  office  every 
week,  from  movie  fans  all  over  the  country,  ask- 
ing for  information  about  the  nezv  pictures  their 
favorite  stars  are  making.  In  consequence,  we  have 
opened  this  department,  which  henceforth  zvill  be  one 
of  the  regular  features  of  the  magazine.  We  give 
information  that  is  accurate  when  we  go  to  press, 
but  changes  may  occur  in  the  time  that  elapses  while 
the  magazine  is  being  printed  and  distributed.  A  key 
to  the  abbreviations  zvill  be  found  on  page  126. 


(ho 


site  Douglas  MacLean  in  Introduce  Me — A.  E. 

Cortez,  Ricardo — playing  in  The  Spaniard — 
F.  P.  L. 

Crane,  Ward — is  temporarily  deserting  his  villain- 
ous tactics  to  appear  as  leading  man  in  Viennese 
Madness— P.  D.  C. 

D 

D'Algy,  Helen — playing  Olga,  a  Russian  artist,  in 
.4   Man's  World— M.  G. 

Dana,  Viola — recently  completed  her  role  as  Pan- 
dora in  As  Man  Desires — F.  N.  > 

Daniels,  Bebe — has  just  returned  from  a  short 
holiday  and  is  busy  selecting  her  costumes  for  The 
Crowded  Hour—F.  P.  L. 


Fairbanks,  Douglas — seems  to  be 
unable  to  decide  just  what  sort  of  picture 
to  produce  next.  The  latest  reports  are 
that  he  will  make  a  modern  Spanish 
melodrama,  part  of  the  scenes  to  be  filmed 
in  Spain.  His  latest  release  is  The  Thief 
of  Bagdad— -U.  A. 

Faire,  Virginia  Brown — will  be  re- 
duced from  five  feet,  two  inches  to  about 
five  inches,  in  order  to  portray  Tinker- 
Bell  a  fairy  in  Peter  Pan.  Roy  Pomeroy, 
wizard  of  screen  magic,  will  perform  this 
remarkable  feat. 

Fawcett,  George — will  be  seen  as  the 
old  King  in  The  Merry  Widcna — M.  G. 

Fazenda,  Louise — has  been  added  to 
the  cast  of  Cheaper  to  Marry — M.  G. 

Fellows,    Rockliffe — plaving    in    De- 
classe—F.  N. 
Ferguson,    Helen — just    started    work    in    The 
Cloud  Rider— F.  B.  O. 

Flynn,  Maurice — playing  in  the  third  of  his  out- 
door productions,  Breed  of  the  Border — F.  B.  O. 

Ford,    Harrison — playing   the   leading   male  role 
in  Zander  the  Great — C.  P. 

Forrest,  Alan — playing  in  Pampered  Youth — V. 
Fox,  Lucy— appearing  opposite  Charles  Jones  in 
The  Trail  Rider— -W.  F. 

Francis,    Alec    B.  —  playing   in   Capital    Punish- 
ment—B.  F.  S. 

Francisco,      Betty — playing     opposite     Charles 
Hutchinson  in  On  Probation. 

(Continued  on  page  118) 


Advertising  Section 


n,.-.(mON  PICTUR] 

01  I   MAGAZINE 


I 


EARN  EXTRA  MONEY 


IN  SPARE  TIME 
AT  HOME 


l:   '''    >^£^?tr*Wf*— ■J3* 


Mrs.  G.  M.  Choate,  of  Mississippi, 
at  work  in  her  spare  time,  surrounded 
by  checks  such  as  we  send  our  workers. 


What  Steber  Checks 
Have  Done  For  Others 
They  Can  Do  For  You 

Miss    Mary    Hitzcroth,    of 
New  York,  wanted  indepen- 
dence   and    found    it!      Con- 
stantly afraid  of  losing  her  po- 
sition, she  started  Steber  spare 
time  work  and  liked  it  so  well 
that  she  soon  devoted  her  en- 
tire time  to  it.     She  now  has 
no  fear  of  losing  her  job.    Her 
recent  letter  tells  ns,  "I  am 
now  independent  and  have  a 
sure  income.     I  feel  well  fixed  for  years  to  come. 
Your  treatment  is   fair  and  square  and   I   have 
found  you  a  mighty  fine  concern  to  deal  with." 

Miss  Leona  Fritz,  of  Ken- 
tucky, says  that  she  cannot 
get  along  without  this  work 
and  advises  any  woman  who 
desires  to  earn  more  money  to 
try  the  Steber  plan.  It  took 
Miss  Fritz  only  a  few  minutes 
to  master  our  simple  instruc- 
tions and  she  is  now  most  en- 
thusiastic about  the  work. 


T.eger  Verner,  of  Massachu- 
setts, was  making  only  $15.00 
a  week  when  he  got  in  touch 
with  us.  He  had  four  chil- 
dren to  support  and  owed  a 
doctor  bill  of  S200.00.  Within 
an  hour  after  he  received  our 
instructions,  he  knitted  his 
first  pair  of  socks  from  the 
free  yarn  we  furnished  and 
sold  them  for  $1.25.  It  was  the  foundation  of  his 
present  comfortable  situation,  for  he  wrote  us 
that  within  five  months  he  was  happy  and  out 
of  debt. 

It  took  just  twenty  minutes 
for  Mrs.  W.  C.  Sapp.  of  Geor- 
gia, to  make  her  first  pair  of 
socks.  "I  have  made  as  many 
as  1  %  doren  in  just  a  few 
hours."  she  writes,  "and  am 
getting  a  new  hat.  dress  and 
slippers  and  other  things  that 
1  could  not  buy  if  I  was  not 
working  for  your  company.  I 
hardly  miss  the  time  I  spend  knitting/* 

Myron  Green,  of  New  York 
State,  is  another  Steber  spare- 
time  booster.  He  lives  on  a 
farm  and  besides  attending  to 
twenty  cows  a  day,  he  lias 
found  time  to  earn  as  much  as 
$3.00  in  a  day  from  us.  A  re- 
cent letter  tells  us  that  he 
bought  a  car  which  he  could 
not  have  had  if  he  had  not  so 
occupied  his  spare  time. 

Copies  of  letters  from  any  of  the  above 
Steber  workers  will  be  sent  upon  re- 
quest. What  they  have  done,  you,  too, 
should  be  able  to  do.  Take  their  advice, 
don't  delav.  Act  now!  Sign  Your  Decla- 
ration of  INDEPENDENCE  Today! 

SEND    IT   NOW  ! 


Let  Us  Send  You  Checks  Like  These 

—  Under  Our  Five-Year  Absolute  Guaranteed  Contract! 

If  you  wish  to  be  financially  independent,  if  you  want  money  of  your  own,  or  if  you 
are  willing"  to  help  your  family  have  more  of  the  comforts  of  life — do  some  work  for  us,  in 
your  spare  time,  sitting  in  your  easy  chair  at  home.     Earn  checks  like  those  shown  above. 

Thousands  of  men  and  women  are  helping  us  by  doing  light,  fascinating  work  at 
home,  and  getting  good  pay  for  it,  under  our  five-year  guaranteed  contract.  With  Steber 
pay-checks  they  can  now  have  many  extra  comforts  and  luxuries  that  they  had  been 
longing  for. 


We  Must  Have  More  Workers 

Hut  we  need  you.  too.  With  Steber  checks  you 
can  become  independent;  you  can  buy  not  only 
furniture  and  clothes  and  other  substantial  neces- 
sities, but  if  you  will  save  your  money,  you  can  have 
some  of  the  luxuries  of  life.  Steber  checks  can  help 
you  buy  a  home,  educate  the  children,  travel  some, 
or  even  have  a  car! 

Easily  Learned  Spare  Time  Work 

Adam  Vrabel  learned  this  work  in  fifteen  min- 
utes. Mrs.  Tostesen,  of  Chicago,  has  her  own  busi- 
ness. Hundreds  have  done  as  well,  some  even 
better.  Read  a  few  of  their  experiences  and  see  for 
yourself. 

Our  contract  is  simple  and  straightforward — a 
real  guarantee.  We  give  you  full  instructions  for 
knitting  at  home,  and  we  buy  all  the  standard 
work  you  send  us  for  five  years.  We  guarantee  a 
fixed  price  for  this  work  and  furnish  the  yarn  free, 
replacing  pound  for  pound  all  the  yarn  you  send  us 
in  standard  homeknit  hosiery.  The  work  is  done 
on  our  Steber  High  Speed  Family  Knitting  Ma- 
chines. 

Spare  Time  Work;  No  Canvassing 

Some  Steber  earners  work  only  a  few  minutes  a 
day,  others  work  full  time.  Earnings  vary  from 
the  rate  of  three  to  forty  dollars  a  week — or  even 


more.  You  have  no  slave-driving  boss  to  hold  you 
to  time  clock  hours.  You  work  when  you  please, 
as  you  please  and  at  home  in  an  easy  chair.  We 
guarantee  to  pay  you  for  all  the  work  you  do  ac- 
cording to  our  instructions. 

Reliable  House;  Sure  Pay 

Our  organization  is  32  years  successful,  an  old 
reliable  house,  given  highest  credit  rating  by 
BRADSTREET'S.  DUN'S  and  all  banks.  You 
are  sure  of  your  pay. 

We  cannot  tell  the  full  story  here.  You  must  get 
all  details  in  our  free  folder.  Read  the  letters 
people  write  us  in  gratitude.  Let  us  make  your 
home  happy,  too.  The  folder  is  free  for  the  price 
of  postage.  It  tells  the  whole  story,  giving  actual 
letters  from  Steber  boosters.     Get  it  and  read  it. 

Get  Particulars  Without  Obligation 

Every  day  means  that  much  time  and  money 
lost.  The  coupon  can  pave  your  way  to  Indepen- 
dence just  as  quickly  as  you  send  it.  It  has  helped 
thousands  and  it  should  help  you.  Clip  it,  fill  it 
in  and  send  it  today.    Do  it  Now! 

THE  STEBER  MACHINE  CO., 

507  Steber  Building,  Utica,  N.  Y. 


VALUABLE     COUPON 


THE  STEBER  MACHINE  CO., 
507  Steber  Bldg.,     Utica,  N.  Y. 

Gentlemen:  Here's  2  cents  to  cover  mailing  cost  of  free  particulars  on  how  I  can  turn  my  spare  time  into 
money.     It  is  understood  that  it  does  not  obligate  me  in  any  way. 


Send  Free  Folder  to. 


Complete  Address 

Note. — If  you  wish  to  see  a  sa,mple  of  the  work  that  Steber  earners  do,  just  enclose  fifty  cents  for  complete 
samples  of  our  regular  SI. 00  guaranteed  All  Wool  Health  Hose.  2  pairs  SI. 00.  Satisfaction  guaranteed,  or 
money  back. 


This  Can   Be  YOUR  Declaration   of  INDEPENDENCE!        Sign   It! 


i 


When  you  write  to  advertisers  please  mention  MOTION  PICTURE  MAGAZINE. 


81 

PAfi 


Critical  Paragraphs  About  Kfe^  Pictures 


(Continued  from  page  57) 


At  the  left  is  a 
scene  from  The 
Beloved  Brute, 
a  liist-rate  -tor) 
of  the  open 
spaces 


At  the  right  is 
a  scene  from  a 
stereotyped  jazz 
story,  The  Mad 
Whirl,  which 
points  a  moral 
in  a  c  c  o  r  d  a  n  c  e 
with  the  pop- 
ular formula 
for  such  stories 


I 


the  girl  and  the  prize  won  by  the  made-over  wastrel.  Old  stuff, 
but  entertaining. 

The  Mine  with  the  Iron  Door 

The  popular  Harold  Bell  Wright  fiction  is  certain  to  become 
even  more  popular  if  all  of  it  receives  such  excellent  treatment 
on  the  screen  as  this  story  about  a  fugitive  from  justice  who 
takes  to  the  mountains  and  there  wins  over  villains  in  several 
heroic  encounters  and  over  love  in  a  romantic  adventure  with 
the  beautiful  Marta.  Scenically,  the  offering  is  one  of  the  most 
beautifully  equipped  Western  melodramas  we  have  had,  and  in 
point  of  acting  the  picture  deserves  a  high  rating, 

The   best    traditions    of    the    Western    have    been    observed,    for 
here    is   movement,    action    and    stirring    encounters.      The 
climax  shows  the  hero  riding  into  a  storm  to  rescue 
the  girl  who  seeks  oblivion  because  she  has 
been  told  she  is  a  nobody.     This  intro 
duces   some  spectacular  and  thrill- 
ing scenes.     Pat  O'Malley  and 
Dorothy    Mackaill    have    the 
leading  roles,  and  important 
parts  are  done  by  Raymond 
Hatton,     Charlie     Murray, 
Mitchell     Lewis,     Creighton 
Hale,    Mary    Carr,    William 
Collier,      Jr.,      and      Robert 
Frazer.     A     stirring     melo- 
drama,   finely    produced   and 
splendidly  acted. 

Gerald  Cranston's  Lady 

T"  he    marriage    of    conve- 

nience  crops  out  here  and 
serves  as  its  sustaining  point. 
It  is  a  story  (a  familiar  one, 
incidentally),  of  a  self-made 
man  who  desires  to  become 
a  factor  in  the  social  world, 
and  who  arranges  a  con- 
venient marriage  with  a 
titled  woman  to  make  him- 
self a  social  lion.  The  plot 
uncovers  some  conflict,  tho 
there  is  too  much  of  an  even 
temper  in  its  construction. 
If  the  original  story  carries 
sex  appeal,  this  quality  has 
been  carefully  eliminated  in 
the  picture  version. 

So  it  develops  a  triangle — 
with  a  caddish  admirer  of 
the  wife  attempting  to  "gum 
up  the  works."    There  doesn't 

seem  to  be  much  excuse  for  the  wife's  airing  her  superiority  in 
front  of  her  husband.  He.  on  the  other  hand,  doesn't  register 
humility.  Love  comes  to  both  of  them — when  disaster  threatens 
in  the  form  of  financial  ruin.  And  when  the  couple  art-  separated 
for  a   time,  both   realize  they   depend    very   much   on   each    other. 

82 
Gi 


Claire  Windsor  and  Bert  Lytell  star  together  in  a  sophisti 
cated  picture,  Born   Rich 


The  story  doesn't  build  much  sympathy  for  the  central  figure.  But 
it  does  present  some  tense  dramatic  scenes  and  is  played  with 
authority  by  James  Kirkwood  and  Alma  Rubens. 

Love's  Wilderness 

Just  a  straight  simple  romance  ignited  with  the  spark  of  con- 
flict is  offered  in  this  Corinne  Griffith  picture.  It  deals  with  a 
girl  brought  up  in  seclusion  who,  in  searching  for  love,  marries  a 
wastrel.  The  point  is  well  established  that  she  is  completely 
ignorant  of  life,  but  that  love  cannot  be  denied  when  a  girl  is 
young  and  attractive.  So  when  her  patronizing  lover  absents  him- 
self from  the  picture,  propinquity  lends  its  charm  and  she  weds  the 
ne'er-do-well.  In  pointing  the  characterization,  the  director  has 
framed  a  perfect  setting.  The  heroine  is  a  girl  of  the 
old  South. 

The  story  soon  leaves  its  environment  and 
plunges  into  melodrama — one  fraught 
with  tragic  consequences,  as  the 
girl  is  forsaken  by  her  hus- 
band whom  she  believes  dead 
and  also  loses  her  baby.  Then 
the  absent  lover  reappears — 
rather  conveniently — and  re- 
stores her  happiness.  There 
is  some  coincidence  when  the 
couple  encounter  the  first 
husband.  But  he  pays  for 
his  life  in  the  convenient  exit 
arranged  by  the  author. 
Just  a  fair  offering — but 
one  enhanced  with  -•  the 
beauty  and  charm  of  Miss 
Griffith. 

Idle  Tongues 

Celf-sacrifice  provides  the 
key-note  of  this  story — . 
and  while  it  may  assume  ex- 
aggerated pretensions,  in  the 
innocent  victim's  going  to 
such  lengths  as  keeping 
silent  and  assuming  another's 
guilt,  it  manages  to  extract 
sympathy  and  heart  interest, 
the  elements  apparently 
striven  for  by  the  sponsors. 
The  characterization  is  truth- 
ful enough — and  there  is 
very  little  coloring  of  the 
plot. 

We  look  upon  a  gentle 
doctor  going  to  prison  for 
live  years  and  emerging  a 
figure  of  scorn.  He  returns  to  the  village  of  his  disgrace  and 
lives  to  lift  up  his  Ik  ad.  There  is  a  girl  who  has  unbounded  faith 
in  him — and  eventually  the  doctor  plays  his  trump  card  and  ex- 
poses the  real  scoundrel  of  the  village.  He  saves  the  community 
i  'ontinucd  on  page  121) 


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m 


WKat  the   Fans  Write  to  tke   Stars 


(Continued  from  page  25) 


of    the    little    star,    jumped    at    conclusions.      It    took    weeks    of 
explaining    by    the    company    before    some    of    these    good    ladies 
would    speak    to    their    husbands. 
Letters  asking  help   in  get- 


ting into  the  pictures  are 
numerous,  usually  accom- 
panied by  a  photograph  of  a 
solemn  young  man  with  his 
hair  pasted  into  a  pompadour, 
or  a  young  woman  with  an 
arch  smile,  ringlets  and  hands 
clasped  on  a  tulle- 
draped  bosom.  "I  am 
not  c  o  n  c  e  i  t  e  d,"  the 
opening  lines  assure  the 
stars,  "but  I  am  con- 
sidered very  beautiful 
(or  handsome),  and 
wherever  I  go  people 
stare  at  me."  Many 
conclude  with  the  sim- 
ple request :  "Send  me 
my  fare  to  Hollywood 
and  I  will  come  out  at 
once." 


I  ove  letters  make  up  a 
large  percentage  of  the 
fan  mail.  There  seems  to  be 
something  about  the  screen 
which  removes  all  repres- 
sions and  inhibitions.  Girls 
of  high  school  age  pour  out 
their  adolescent  hearts  with 
the  utmost  freedom,  after  a 
first  preparatory  sentence : 
"Dear  So-and-So :  I  dont 
want  you  to  think  I  am  un- 
womanly and  immodest,  but 
I  love  you.  I  adore  you !" 
After  a  picture  in  which  he 
played  a  reckless  and  gal- 
lant   role,    a    film    juvenile 

recently   had   one   thousand,   four   hundred   and    seven   letters,   all 
but  five  of  them  from  women! 

Even  the  younger  generation  of  stars  is  not  exempt  from  love 
letters.  Bennie  Alexander  has  captured  the  hearts  of  the  ninth 
grade,  and  every  mail  brings  him  primly  written  little  letters 
beginning,  with  dignity,  "Dear  Mr.  Alexander,"  and  concluding, 
"Affectionately  (Miss)  Hazel  Simmons  (aged  nine),"  while 
down  in  one  corner  appears  a  row  of  arch  XXXX's ! 

Begging  letters  contain  every  variety  of  hard-luck  story  known 
to  man.  Some,  describing  abject  poverty,  are  written  on  ex- 
pensive paper,  but  the  great  majority  are,  no  doubt,  real  enough. 
If  picture  stars  sent  a  dollar  to  everyone  who  begged  for  a 
hundred  dollars,  they  would  be  unable  to  tell  where  their  next 
Rolls  Royce  was  coming  from.  The  women  stars  are  asked  for 
"the  white  satin  evening  gown  you  wore  in  the  party  scene  in 
Devil's  Gold.  You  have  so  many  you  wont  miss  it  and  I  want 
to  wear  it  to  the  Elks'   Ball." 

Sometimes  the  writers  urge  no  especial  claim,  but  say  calmly, 
as  a  Finnish  fan  wrote  to  Patsy  Ruth  Miller,  "I  have  errand  for 
you.  I  am  much  obliged  if  you  subscribe  to  me  money.  I  am 
poor.  You  are  magnificent  and  famous  artist.  I  am  satisfied 
if  you  give  fifty  dollar.  The  sooner  the  better.  I  send  picture. 
See  my  aspect !  My  eyes  are  clear  and  honest.  I  am  vacant 
man.  Farewell !"  The  last  statement  seems  to  hold  out  a  hint 
of  bachelorhood  as  a  lure  for  the  fifty! 

Irene  Rich,  who  has  played  neglected  wife  roles,  gets  many 
letters  from  wives  telling  their  woes  and  asking  for  advice  what 
to  do  when  Friend  Husband  stays  out  nights  or  has  a  blonde 
stenographer  in  his  office.  Women's  clubs  frequently  write  this 
star,  and,  when  Boy  o'  Mine  ,was  released,  many  youngsters  in 
their  teens  wrote  her  as  they  might  write  their  mothers,  confess- 
ing their  scrapes   and   telling   their   troubles. 

T*he  letters  the  stars  are  really  interested  in  are  those  in  which 
.the  writer  criticizes,  makes  suggestions  and  praises  some 
especial  bit  of  work  in  a  particular  picture.  Letters  of  this  class 
are  far  more  likely  to  be  read  personally  than  ones  filled  with 
adjectives  and  extravagant  flattery.  Fan  mail  readers  are  in- 
structed to  save  such  letters  and  turn  them  over  to  the  players, 
who  are  honestly  anxious  to  better  their  work  and  to  please  their 
audiences. 

At   the   Pickford-Fairbanks    Studio,   the    fan   mail    is    carefully 


filed  under  headings,  and  the  prevailing  opinions  watched  like  a 
weather-vane.  In  order  to  determine  whether  a  certain  picture 
will  please  Mary  or  Doug's  audience,  a  hint  that  they  are  going  to 

make  it  is  published  widely. 


In  Japanese  city  squares  there  are 
booths  where  a  professional  fan  letter- 
writer  sits  all  day  and  covers  rice- 
paper  with  polite  compliments  for 
Sun-Haired  Mary  Pickford,  and  Hon. 
Chaplin  who  walks  in  different 
directions 


Then  the  studio  sits  back 
and  waits  for  the  verdict  to 
come  in  by  mail.  It  was 
the  fans  who  discouraged 
Mary  from  making  Cinder- 
ella, as  she  had  considered 
doing. 

"I  have  to  play  a  drunken 
scene  in  this  picture  and  I 
am  scared  to  read  my  fan 
mail !"  "I've  always  been 
a  'good'  woman  in  my  pic- 
tures— what  will  the  fans 
think  of  me  as  an  adven- 
turess?" "I  was  offered  a 
'heavy'  part,  but  my  fans 
dont  want  me  to  do  heavies 
so  I  turned  it  down.  .  .  ." 
You  hear  the  players  say 
these  things  every  day  on 
the  lots.  Intelligent,  con- 
structive criticism  is  the  best 
kind  of  fan  letter.  But  Rod 
La  Rocque  wishes  that  when 
people  want  to  slam  his 
work  they  would  sign  their 
names  and  addresses  so  he 
could  write  and  ask  them 
how  to  better  it. 

The  anonymous  letter  is 
the  reptile  in  the  fan  mail, 
striking  in  the  dark  with 
poisoned  fang.  Sometimes 
it  is  written  by  a  woman 
(probably  spinster)  upbraid- 
ing some  film  beauty  who  is 
successful  in  winning  lovers 
on  the  screen,  and  calling 
her  Old  Testament  names. 
Or  perhaps  it  viciously  pens  personal  insults  about  her  appear- 
ance. Sometimes  it  is  a  criminal  letter,  hinting  at  blackmail,  or 
threatening  personal  injury,  such  as  three  which  have  come _  to 
Alma  Rubens  lately  in  the  same  handwriting.  Probably  five 
per  cent  of  the  fan  letters  are  anonymous.  These  are  turned 
over  to  the  stars'  lawyers  or  the  police.  One  woman,  who  had 
hounded  Adolphe  Menjou  for  a  year,  demanding  that  he  return 
imaginary  loans  she  had  made  him  and  claiming  that  he  had 
broken  an  engagement  to  marry  her  daughter,  was  convicted 
and  sent  to  prison. 

Letters  claiming  relationship  are  received  by  all  the  stars.  The 
writers  base  their  claims  on  family  names,  not  realizing  that  most 
movie  names  are  assumed.  Edmund  Lowe,  however,  was  dis- 
covered by  the  English  branch  of  his  father's  family,  because 
of  the  family  nose  a  cousin  noticed  when  he  saw  him  on  the 
screen.  And  this  fan  letter,  inviting  him  to  visit  Lowecroft, 
whenever  he  was  in  England,  bore  a  crest  with  something  ram- 
pant on  a  ground  vert ! 

Letters  announcing  to  the  happy  star  that  some  infant  has 
been  christened  "Conway  Tearle  Jones"  or  "Betty  Compson 
Rosenbaum"  and  inviting  him  please  to  remit  suitable  godfather 
fee  by  return  mail,  are  frequent.  George  Hackathorne  was  in- 
formed that  he  had  a  namesake  in  San  Francisco,  and  the  mail 
following  brought  its  picture,  held  in  mother's  arms  beside  a 
table  on  which  was  prominently  displayed  a  photograph  of  the 
star.     The  baby  was  a  pickaninny,  black  as   the   ace  of   spades ! 

■"Pho  fan  letters  all  fall  into  more  or  less  definite  classifications, 
■*■  -each  star's  mail  has  an  individuality.  The  Slavic  melancholy 
in  Pola's  eyes  has  called  forth  many  letters  with  the  burden,  "I 
know  that  you  have  suffered,  so  you  can  understand."  Cross- 
eyed people  write  to  Turpin  ;  one  woman  applied  for  the  position 
of  his  sister  on  the  screen,  sending  a  picture  of  a  pair  of  optics 
that  double-crossed  Ben's !  Ministers,  college  professors  and 
millionaires  write  Harold  Lloyd. 

Louise  Fazenda  seems  to  appeal  to  prisoners,  and  one  gentleman 
sentenced  to  be  hung  wrote  her  such  interesting  fan  letters  that 
Louise  circulated  a  petition  to  get  his  sentence  commuted — and 
succeeded  in  doing  so !  Old  ladies  write  George  Hackathorne, 
who  has  played  so  many  forlorn  boys,  quote  Scriptures  at  him 
and  beg  him  not  to  make  evil  companions  or  get  his  feet  wet! 
(Continued  on  page  114) 

85 

PAfi 


t 


am 

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'Clear  out  of  here! 


Scott 


!'' 


t 


You're  not  go- 
ing home.  You're 
going  to  Jersey 
with  me,  now — 
to    get    married  !" 

"Goodness 
gracious,"  sighed 
Pat,  falling  hack 
on  the  cushions. 
"Billy,  look 
quick!  Out 
there !" 

When  Billy 
looked,  she  quick- 
ly slipped  out  the 
opposite  door 
into  the  street, 
ran  to  a  corner, 
jumped  into  an- 
other cab,  and 
went  whirling 
home  —  safe  at 
last. 

But  not  so  safe 
as  she  thought. 
When  she  neared 
her  house  she 
heard  all  the 
sounds  that  usu- 
ally accompany  a 
first-rate  war. 

''Soak  hi  m, 
wop !"  called  an 
urchin. 

"Bean  him,  Big 
Boy  !"  bawled 
another  youth. 

Pat  peered  out. 
There,  on  her 
own  front  steps, 
Morton  and  the 
Prince  were 
fighting  furiously. 

"Gee,     here     comes     anudder     guy 
howled  the  audience  as  Billy  came  sail- 
ing up  the  steps  and  plowed  right  and 
left  into  both  combatants. 

Pat  ordered  the  taxi  driven  around 
the  block.  She  needed  time  to  think. 
When  she  came  back,  the  street  was 
deserted.      She   asked   one  of   the   street  loafers 

"Lady,   de   cops    came   and   pitched   dose    guys 
Mebbe  dey'll  get  six  mont's." 

So  Pat  had  to  go  to  the  'phone  and  plead  with  Scott  to  release 
her  lovers. 

"All  right,  Pat,"  he  growled,  "but  it's  the  last  time.  If  you 
get  into  another  scrape  with  any  man,  I'll  make  you  marry  him !" 

It  is  dangerous  to  give  novel  ideas  to  a  woman  in  love.  At 
once  Pat  determined  to  get  into  a  scrape,  with  the  man,  the  one 
man.  .  .  .  And  with  her,  determination  and  action  were  the 
same  thing. 

So  that  was  why  Scott,  yawning  out  of  his  bedroom  the  next 
morning,  started  back  in  surprise.  On  the  couch  in  his  library 
lay  Pat,  fully  clothed  and  fast  asleep. 

Scott  was  a  fast  thinker.  It  immediately  flashed  into  his  brain 
that  Pat  had  thought  she  would  compromise  herself  with  him. 
So  he  went  out  hastily,  slamming  the  door  behind.  Pat  woke 
up  with  a  start  to  see  Scott,  his  hat  and  overcoat  on,  evidently 
just    letting    himself     into     his     apartment. 

"Pat,"  he  cried  in  pretended  surprise, 
"have  you  been  here  all  night?" 

"Y-yes,"   she  whimpered. 

"Well,  in  that  case,"  said  Scott  cheer- 
fully, "it's  a  good  thing  I  spent  the  night 
at  the  club.  But  why  on  earth  did  you 
do  it?" 

Pat  sat  up,  her  lips  quivering.  "You 
know  why  I  did  it.    I  love  you !    I  love  you !" 

"Bosh!"  said  Scott  hastily.  "What  you 
want  is  breakfast.     Good-bye." 

But  Pat,  heart-broken  and  letting  large 
tears  roll  into  her  coffee  cup,  was  reassured 
from  an  unexpected  quarter. 

"It's  my  private  idea.  Miss,"  whispered 
the  butler,  "that  Mr.  Warner's  in  love  with 
you  himself.  And  whatever  he  may  say, 
he  slept  here  last  night.  Excusing  me  for 
mentioning  it,  Miss,  but  I'm  a  man  of  ex- 
perience and  I  know  the  signs." 

So   Pat   resolved   to  try  one   more  daring 

86 

Gt 


house'* 


Learning   to 

(Continued  from  page 


for   information. 
into    de    wagon. 


scheme.  She  took 
up  the  telephone 
and  called  Town 
Tattle. 

Two  days  later, 
she  paused  over 
breakfast  to  read 
in  that  chronicle 
of  scandals: 
"Everyone  is 
w  o  n  d  e  r  i  n  g 
whether  a  certain 
debutante  is 
secretly  married 
to  her  guardian, 
the  president  of  a 
great  trust  com- 
pany. We  sin- 
cerely hope  she 
is,  else  how  could 
we  explain  that 
she  spent  the 
night  with  him  in 
his  Park  Avenue 
apartment  last 
Tuesday." 

Even  as  she 
gloated  over  it. 
Scott  came  rush- 
ing in  the  door. 
"Pat,  get  your 
hat  and  coat ;  ■ 
we're  going  to  be 
married !" 

That  night, 
Pat  sat  serenely 
triumphant  in  a 
filmy  negligee, 
waiting  for  Scott. 
It  seemed  hours 
before  his  knock- 
sounded  on  the 
door,  and  she  al- 
most   shouted,    "Come    in  !" 

Scott  solemnly  peered  in,  said,  "Good 
night,"   and   started   to   close   the   door. 
"Scott !    Scott !"    she    called,    rushing 
to  him.     "What  do  you  mean?" 

"Mean?"    said    the    unruffled     Scott. 
"Just  this.     I  married  you  for  the  sake 
of  your  reputation.    You  aren't  fit  to  be  a  real  wife.    You've  been 
utterly  selfish,  and  you  haven't  a   real  emotion   in  your   body." 
"But  I  love  you!" 

"You  dont  even  know  the  meaning  of  love." 
Pat's    eyes    flashed    with    rage.      "Now,    Scott    Warner,    let    me 
tell  you-  something.     I  wouldn't  live  with  you  if  you  were  the  last 
man   in   the   world.      I'm   going   where    I'll    never    see   you    again. 
Get  out  of  my  way !" 

The  Berengaria  was  beating  against  a  head  wind  two  days  out 
■*■  from  the  French  coast.     Pat  leaned  on  the  rail,  sadly  thinking 
of   Scott,  of   the   wistful   little  note   she   had   left   him,   admitting 
that  all  his  accusations  were  true.  .  .  . 
"Hello,  Pat!" 

"Billy   Carmichael !     What  are  you  doing  here?" 
"Going   to    Paris — I    mean    Hell,"    said    Billy    melodramatically. 
"I  cant  stand  the  idea  of  your  being  married  to   Scott." 
"But   I'm  on  my  way  to  Paris   for  a  divorce." 

"Then — then "   appealed    Billy,    "would 

you — could   you    marry    me?      If   you    dont 
I'll — -" 

Pat's  face  was  very  solemn.  "Billy,  I'll 
never  love  anyone  but  Scott,  but  if  you 
want  what's  left  of  my  life,  you  can  have  it." 
Once  arrived  in  Paris,  Billy  began  to 
cheer  up.  He  took  his  troubles  to  the 
cabarets,  and  found  that  it  did  them  good. 
But  Pat  was  far  too  down-hearted  to  join 
him. 

One  night  she  was  sitting  forlornly  in 
her  hotel  room,  thinking  of  Scott,  when  a 
great  knock  sounded  on  the  door.  It  was 
the  knock  of  someone  in  a  hurry. 

She  opened  the  door  to  be  caught  in 
Scott's  arms.  "Darling !  Darling !  Dar- 
ling!" he  whispered. 

"B-but — but,"  cried  Pat.  clinging  to  him, 
"you  dont   love  me !" 

"Dont   I?"    _aid    Scott,  proving   it   with   a 
(Continued   on   page    101) 


L 


ove 


41) 


Advertising  Section 


OTION  PICTUR 

MAGAZINE 


Martha  Washington  Initial 
Dinner  Set 


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Terms:  $1 .00  with  order,  bal- 
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NATHANIEL  SPEAR 
President 


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■  nasisjiisiitiiixiiiiii 

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■  Send  roe  the  110-piece  Initial  Dinner  Set,  also  the 

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B  firstpayment.  It  is  understood  that  if  at  the  end  of  r;'m    •""V".'/.    '" 

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■  Monthly.  Order  No.  SA2920.  Price  $29.95.  Terms:  „„..  rffxiirp 
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i 


HMOTIQN  PICTURE 
118)1  I  MAGAZINE     *■ 


Advertising  Section 


U 


99 


Fm  proud  of 
you,  Tom ! 

"I  always  knew  you  would  get  ahead 
if  you  only  tried.  And  the  minute  you 
started  studying  with  the  I.C.S.  I  knew 
it  wouldn't  be  long  before  you'd  be 
coming  home,  just  as  you  have  to-day, 
to  tell  me  of  a  raise  in  salary.  I'm 
proud  of  you,  Tom — prouder  than  I  can 
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thought  of  you  for  this  promotion  if 
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you  did." 

HOW  about  you?  Are  you  always  going  to  work 
for  a  small  salary?  Are  you  going  to  waste 
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to  get  ahead  in  a  big  way?  It  all  depends  on  what 
you  do  with  your  spare  time. 

Opportunity  knocks — this  time  in  the  form  of  that 
familiar  I.  C.  S.  coupon.  It  may  seem  like  a  little 
thing,  but  it  has  been  the  means  of  bringing  better 
jobs  and  bigger  salaries  to  thousands  of  men. 

Mark  and  mail  it  to-day  and,  without  cost  or 
obligation,  learn  what  the  I.  C.  S.  can  do  for  you. 

j"   INTERNATIONAL  CORRESPONDENCE  SCHOOLS  ~ 

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how  I  can  qualify  for  the  position  or  in  the  subject  iefora 
which  I  have  marked  an  X: 

BUSINESS  TRAINING  COURSES 

□  Business  Management  □  Salesmanship 

□  Industrial  Management  □  Advertising 

B Personnel  Organization  D  Better  Letters 

Traffic  Management  D  Show  Card  Lettering 

□  Business  Law  □  Stenography  and  Typing 

□  Banking  and  Banking  Law  □  Business  English 
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Spanish  □  French  □Illustrating 

TECHNICAL   AND    INDUSTRIAL  COURSES 


DElectrical  Engineering 

Zl  Electric  Lighting 

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BEFORE.-AFTEB 


"*\ 


Kenneth  Alexander 


Norma  Poses  for  Her  Portrait 

How  a  great  movie  star  appears  to  Ker  favorite  pkotograpker 
By  Kenneth  Alexander 


GOOD     MORNING,"    said    Norma 
Talmadge,    gaily,    as    she    stepped 
into  my  studio  with  the  sunshine, 
for  a  Monday  morning  session  of  posing. 

Norma  had  recently  arrived  in  New 
York,  and  was  leaving  for  Europe  at  the 
end  of  the  week — quite  indefatigable,  as 
usual.  So,  of  course,  I  was  tremendously 
flattered — why  not?  Every  photographer 
in  the  land  wants  Norma  to  pose  for  him. 
Fifth  Avenue  studios  vie  with  each  other 
in  inducements  to  get  her  before  their 
cameras.  They  would  rather  have  her 
photograph  above  their  name,  they  will  tell 
you,  than  that  of  a  Vanderbilt  or 
an  Astor.  In  advertising  value, 
she  equals  the  Prince  of 
Wales.  Besides,  Norma 
poses    so    charmingly. 

Contrary    to    popular 
opinion,  many  stars  are 
difficult  to  pose.     Once 
they    are    beyond    the 
call    of    the    director, 
they  are   apt  to  grow 
stiff  and  self-con- 
scious,  have  to  be 
coaxed  to  smile  at  the 
birdie.       But     not     so 
Norma     Talmadge. 
She   seems   to  catch  in 
advance  the  mood  which 
the   photographer   wishes 
to  interpret,  to  fall  into  it 
with  one  gesture,  and  every- 
thing goes  like  clockwork.    It 
went    that    way    this    morning. 

There  were  many  exposures  in 
many  different  costumes— costumes  of  be- 
wildering beauty  which  Norma  wears  so 
well.  There  were  evening  gowns  and 
wraps  which  might  have  graced  a  princess 
royal,  street  frocks  and  sport  frocks,  with 
hats  and  without.  There  were  sittings 
with  wigs  and  in  her  natural  head-dress, 
but  the  happiest  effects  we  achieved  were 
with  a  group  of  scarfs — delicate  feminine 
things  of  indescribable  design  with  all  the 
colors  of  a  mountain  sunset.  A  dozen  or 
more  there  were,  no  two  of  them  alike. 

One  I  used  as  a  background;  another  I 


draped  over  her  shoulder ;  this  one  fell 
about  her  neck  as  gracefully  as  tho  the 
wind  had  dropped  it  there.  I  needed  to  give 
her  only  a  suggestion — to  droop  the  shoul- 
ders so — to  glance  so — to  hold  the  hands 
so. 

All  lightings  fall  restfully  and  easily  in 
my  studio,  so  there  was  merely  the  insert- 
ing of  a  plate,  the  click  of  a  shutter,  then 
another — the  slightest  change  in  expression 
which  produced  quite  a  different  effect,  and 
behold — here  was  a  brand-new  Norma, 
quite  a  different  picture  from  that  on  the 
previous   plate ! 

I   worked    fast,    with   much  to   do 
and  very   little   time   in   which 
to  do  it. 
"You   get   tired   of    posing, 
perhaps?"  I  asked  her.   "A 
bit     bored     with     having 
your  portrait  taken?" 
"A  wee  bit,   at  times." 
replied  Norma.     "I  al- 
ways  fight  to  get  out 
of  it ;  but  once  I   am 
cornered   and  have  to 
do     it,     strangely 
enough,    I   always    en- 
joy   it.      Now,    this 
morning    has    passed 
very  pleasantly." 
I    acknowledged    the 
compliment  with   a  bow. 
I    didn't    tell    her   we    had 
already    been    working    two 
hours,    for    two    hours    with 
Norma  Talmadge  is  altogether 
too  short.     We  chatted  a  little  to 
bring    the    right    expression    to    her    face. 
She  told  me  about  The  Lady  and  Secrets, 
in  both  of  which  she  had  played  the  part 
of  an  old  lady. 

"I  am  tired  of  grandmother  roles,"  she 
said.  "It  is  a  great  relief  to  take  off  the 
gray  wig,  wipe  the  wrinkles  away,  and  find 
I  am  still  young." 

Young?     Yes,  she  is  gloriously,  beauti- 

tifully   young,   at    the   very   zenith   of   her 

career,    at    that    place    in    a    woman's    life 

where    strength    combines    with   beauty   to 

(Continued  on  page  127) 


88 


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Advertising  Section 


DEMOTION  PICTURR 

"1 


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and  Loud 
Speaker  in 
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Compare  the  beautiful  Combination  Cabinet,  pictured  above,  with  the  usual  radio  box 
and  horn.  Here  the  receiver  and  Loud  Speaker  are  contained  in  a  single  handsoma 
cabinet.  Or,  if  you  prefer,  we  also  have  the  Receiver  in  a  separate  ceoinet  of  Che 
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of  the  extra  value,  these  Marshall  sets  are  surprisingly  low  in  price.  Compare  them 
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In  buying  from  Marshall,  you  have  the  choice  of  a  set  complete  with  all 
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89 
PAG 


t 


MOTION  PICTURF 
I  MAGAZINE     L 


Advertising  Section 


SOMEDAY  smiling  fprupb 
will  escort  you  |o 
the  Famous 
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concerts. 


Mary    Pickford    and    Douglas    Fairbanks    with    two    of    the   J'aste-i 

racing    clogs    in    the   West,    Stella    II    and    Tuck    o'    Drum.      They 

attain  a  speed  of  thirty-five  miles  an  hour 


On  trie  Camera  Coast 

(Continued  from  page  71) 


couldn't  then  send  him  back  to  New  York 
again.  Not  that  he  has  anything  against 
that  enterprising  little  town.  The  trouble 
with  him  is  getting  there. 

Monte  is  six  feet  three  inches  tall ;  and 
riding  in  a  Pullman  car  is  acute  agony  for 
him.  The  only  way  he  can  travel  with 
any  comfort  at  all  is  to  take  a  lease  on 
the  Pullman  drawing-room  compartment 
and  sleep  on  the  floor.  Even  when  he 
gets  to  New  York,  it  isn't  much  better. 
Hotel  rooms  aren't  built  with  that  kind  of 
bed.  He  either  has  to  wind  himself  around 
in  a  circle  like  a  dog  or  drape  his  feet 
over  the  foot-boards.  At  home  he  can  be 
comfortable,  for  he  has  had  an  eight-foot 
bed  made  to  order. 

"Hollywood  was  electrified  last  week 
by  the  unexpected  marriage  of  June 
Mathis,  the  scenario  writer  who  discovered 
Rudolph  Valentino  and  wrote  the  script 
for  The  Four  Horsemen.  The  bridegroom 
is  Sylvano  Balboni,  a  young  Italian  who 
has  been  a  cameraman  in  Hollywood.  He 
is  said  to  be  of  a  distinguished  Italian 
family.  He  and  Miss  Mathis  met  while 
on  the  way  to  Rome  last  spring  where 
both  were  to  take  part  in  the  making  of 
Ben  Hur.  When  Miss  Mathis  resigned 
from  the  production,  Signor  Balboni  re- 
signed also.  It  appears  that,  all  the  time 
the  theatrical  papers  were  filled  with 
rumors  of  Miss  Mathis'  engagement  to 
George  Walsh,  she  was  under  verbal  agree- 
ment to  become  Mrs.  Balboni.  They  were 
married  in  the  St.  Cecilia  Chapel  at  the 
Mission  Hotel  in  Riverside.  Mrsi  Balboni 
will  continue  her  work  as  a  scenario  writer. 

Just  before  Thomas  H.  Ince  died  he  very 
graciously  loaned  his  star  scenario 
writer,  Bradley  King,  to  Corinne  Griffith 
to  write  the  script  for  Declasse.  It  seems 
likely  now  that  the  transfer  will  become 
permanent.  There  is  very  little  prospect 
of  the  Ince  studio  going  on  with  picture- 
making.  Mrs.  Ince  has  taken  an  office 
at  the  studio  and  is  personally  supervising 
the  completion  of  several  unfinished  pic- 
tures. I  understand  that  the  studio  is  for 
sale.  Among  others  negotiating  for  its 
possible  purchase  is  Hunt  Stromberg,  the 
young  publicity  man  who,  in  three  years, 
lias  broken  into  the  front  rank  of  pro- 
ducers. 


Mr.  luce's  will  was  made  public  the 
other  day.  He  left  an  estate  valued  ai 
more  than  $4,000,000.  He  had  built  this 
fortune  up  from  nothing  in  about  fifteen 
years.  He  told  me  once  that,  even  after 
he  had  earned  this  large  fortune  he  never 
could  cross  on  the  ferry  from  New  Jersey 
and  see  the  lights  of  New  York  without 
a  feeling  of  dread.  So  many  times  those 
lights  had  meant  coming  home,  broke,  from 
a  road  show  that-  had  collapsed. 

£*harlie  Chaplin's  wife  probably  wishes 
now  that  she  had  adopted  a  less  sensa- 
tional marriage  ceremony.  Since  the  re- 
turn of  the  couple  from  Mexico,  the  re- 
porters have  been  trying  to  read  a  sensa- 
tion into  the  event.  One  of  the  most  em- 
barrassing sequels  was  the  descent  of  the 
truant  officers  upon  the  household.  The 
law  relating  to  compulsory  education  in 
California  is  very  rigid.  When  it  was 
discovered  that  Mrs.  Chaplin  is  but  sixteen 
years  old,  the  truant  officers  swooped 
down  and  demanded  to  know  why  she  was 
not  in  school.  Marriage  or  no  marriage, 
they  told  her  she  would  either  have  to 
return  to  school  or  make  a  solemn  agree- 
ment to  study  at  home  for  a  certain  num- 
ber of  hours  a  day,  under  the  guidance 
of  a  teacher.  She  adopted  the  latter 
course.  In  the  one  interview  she  has  given 
out  since  the  marriage,  Mrs.  Chaplin  says 
the  only  reason  they  went  to  Mexico  for 
the  wedding  was  to  escape  the  usual  star- 
ing eyes,  fainting  relatives  and  tears. 

TJetty  Bronsox  celebrated  the  comple- 
tion  of  Peter  Pan  by  giving  a  big 
Christmas  party  to  the  newspaper  and 
magazine  writers  of  Hollywood,  the  as- 
sistant hosts  being  Jesse  L.  Lasky  and 
Herbert  Brenon,  the  director.  There  is 
some  prospect  that  little  Miss  Bronson 
will  be  put  out  in  a  screen  version  of 
The  Little   French   Girl. 

The  last  "shot"  of  Peter  Pan  released 
Charles  Eyton.  the  Lasky  studio  manager, 
for  a  belated  vacation  trip  with  his  wife, 
who  is  known  on  the  screen  as  Kathlyn 
Williams.  She  left  several  weeks  ago  for 
a  trip  to  Japan,  China  and  India.  Mr. 
Eyton  will  go  around  the  other  way- 
thru  Europe  and  Suez  Canal— and  meet 
her  in  India. 

(Continued  on  page  103) 


C/90 


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92 


Later   she   contrived   to    get   Eugene 
apart  and  make  a  hurried  appoint- 
ment for   dinner 


Whose  Hand? 

{Continued  from  page  51) 

us,"  he  hurried  on.  "My  advice  was  from 
the  heart,  and  yet  you  got  as  mad  as  if 
I'd  tried  to  injure  you." 

"I'm  no  longer  mad.  I  acknowledge 
your  good  intentions,"  she  replied  with 
faint  sarcasm. 

Stoner's  face  lighted  up.  "I've  been 
thinking  since,"  he  said,  "that  it  mightn't 
do  any  harm  to  make  a  cautious  investiga- 
tion of  your  spook.  Will  you  have  dinner 
with  me?  Afterward,  I  could  help  you 
hunt  thru  your  room  for  clues." 

"Thanks  so  much,  but  I  have  another 
engagement,"  she  asserted  coolly. 

"As   usual !" 

"You  exaggerate.  But  in  any  case,  my 
mystery  couldn't  be  on  the  cards  for  to- 
night. Second  thoughts  are  not  best.  You 
ordered  it  dropped,  and  that's  that." 

It  scarcely  surprised  her  that  Stoner, 
quivering  with  repressed  wrath,  so  manipu- 
lated matters  for  the  rest  of  the  day  that 
her  scene  was  not  called.  Dressed  as 
Conchita,  she  stood  on  the  side  lines  and 
watched  the  filming  of  secondary  shots. 
It  was  just  as  well,  she  decided,  that  the 
creating  of  her  first  important  role  had 
been  postponed.  She  was  in  no  mood  to 
do  herself  credit.  Late  in  the  afternoon, 
she  contrived  to  get  Eugene  Valery  apart 
and  make  a  hurried  appointment  with  him 
for  dinner.  They  left  the  studio  sepa- 
rately, and  met  in  New  York  at  the  Times 
Square  station  of  the  subway. 

The  cameraman  was  intent  upon  fol- 
lowing up  his  advantage  of  the  evening 
before.  But  he  encountered  a  Margot 
whose  mind  was  far  removed  from  any 
dalliance    with   romance. 

"No,  Gene,  no!"  she  protested  at  his 
first  lover's  word.  "I  can  give  myself 
satisfactorily  to  only  one  thing  at  a  time." 

"That  hand  that  put  out  the  match?" 

"What  else?  All  day  I've  kept  from 
telephoning  home,  so  as  not  to  take  the 
edge  off  tonight.  Let's  eat  quickly,  then 
find  out  if  there  have  been  any  develop- 
ments." 

The  boy  swung  eagerly  and  smoothly 
into  her  mood. 

They  reached  her  house  on  Forty-sixth 
Street  a  little  after  eight  o'clock,  and 
stepped    instantly    into    the    atmosphere    of 


Every  advertisement  in  MOTION  PICTURE  1IAGAZIXE  is  guaranteed. 


»JT!* 


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(Tr.MOTION  PICTURn 

\M  I   MAGAZINE      t\ 


suspicion  and  jangled  nerves  they  had  left 
behind  them  in  the  morning.  Margot's 
room  was  still  patrolled  by  Quinlan  and 
Boyle.  Mrs.  Bellew  hovered  about  them, 
bubbling  over  with  theories  that  no  one 
cared  to  hear.  An  addition  to  the  company 
presented  himself,  in  the  person  of  Cor- 
nelius Hart,  plain-clothes  detective  from 
Headquarters.  The  last-named  made  the 
impression  of  being  cold,  shrewd,  a  trifle 
intolerant.  He  had  brushed  aside  reports 
at  second-hand.  He  had  been  waiting  for 
her,  and  so  for  the  third  time  Margot 
found  herself  in  the  witness  box. 

Hart  listened  closely  and  occasionally 
prodded  her  with  questions.  "Miss  An- 
struther,"  he  said  at  last,  "I  think  you 
have  a  very  powerful   imagination." 

"But  the  policeman  saw  what  I  saw," 
she  protested. 

"Sure.  Boyle's  an  Irishman.  They  be- 
lieve in  the  banshee  where  he  comes  from. 
He  heard  your  story,  and  was  all  set  for 
something  to  happen." 

Boyle  growled  indignantly,  but  did  not 
speak. 

"The  difficulty  in  accepting  the  arm  you 
tell  about  is  that  it  was  attached  to  no 
body,"  went  on  Hart. 

"Isn't  it  a  problem  worth  solving,  that 
an  arm,  apparently  attached  to  no  body, 
did  certain  definite  things  ?  Put  it  that 
way." 

Hart  shrugged.  "This  room  has  been 
searched  over  and  over  again.  There  are 
no  tracks  of  a  person  having  hidden  under 
the  bed." 

"Yet  I  found  a  hollow  in  the  nap  of  the 
carpet,  where  a  finger-tip  pressed  down 
the  match,"  said  Margot. 

"Maybe.  It's  fluffed  out  now.  I  can 
only  say  there  isn't  the  slightest  evidence 
that  a  crime  was  committed,  or  attempted. 
So  it  doesn't  seem  to  concern  the  police 
department." 

"Then,  you  are  finished  with  the  case?" 

"Not  quite.  Sleep  elsewhere  tonight, 
and  I  shall  leave  Quinlan  to  guard  this 
room.  If  he  has  nothing  to  report  to- 
morrow, we'll  be  thru." 

It  was  late  before  Hart  and  Boyle  ac- 
tually decided  to  go,  and  Margot,  overcome 
by  fatigue,  dismissed  Eugene  also.  She 
went  down  to  the  basement,  where  Mrs. 
Bellew  had  offered  her  a  cot.  Mechani- 
cally, she  set  about  combing  her  thick,  red 
hair,  preparing  for  the  night,  while  she 
closed  her  cars  to  the  tedious  chatter  of 
the  landlady.  She  could  not  shake  off  the 
premonition  that  the  mystery  would  soon 
take  a  new  and  fantastic  turn.  Yet  she 
hoped  for  a  few  hours  of  rest,  now — 
now,  when  she  needed  it  so  grievously. 

The  discovery  that  she  had  forgotten 
her  pajamas  forced  her  to  appeal  to  Mrs. 
Bellew. 

"I've  got  to  run  up-stairs  for  something," 
she  said.  "Will  you  go  with  me?  I'd 
rather  not  go  into  the  room  alone,  with 
that   policeman   there." 

"Of  course,  dearie,  of  course.  He's  a 
hard-looking  cop,  I'll   say." 

They  climbed  the  stairs  and  knocked 
lightly.  When  Quinlan  let  them  in,  they 
stood  for  a  moment  with  him  in  the  dark, 
while  Margot  explained  her  errand.  "Seen 
anything?"  she  questioned  softly. 

"No,  Miss,"  he  whispered  back. 

The  next  moment,  he  stiffened,  and 
threw  his  arm  out  to  bar  their  way.  "Shh! 
Shh !"  he  admonished  tensely. 

A  creaking,  scraping  noise  reached  them 
from  the  fire-escape  outside  the  main  win- 
dow. Then  a  human  shadow  loomed  upon 
the  drawn  blind.  Someone  was  tamper- 
ing with  the  catch.  The  window  vibrated ; 
at  last  was  raised.  An  indistinct  figure 
crouched  hesitatingly,  before  it  stepped  into 
(Continued  on  page  120) 


Send  the  Coupon 


Maybe  your  teeth  are  gloriously  clear,  simply  clouded  with  a  film  coat.  Thou- 
sands have  gleaming  wonderful  teeth  without  knowing  it  .  .  .  }rou  may  be  one. 
Make  this  remarkable  test  and  find  out. 


Your  Smile 

will  show  dazzling 
clear  teeth  in  a  few 
days  if  you  do  this 


< 


This  simple,  NEW  method,  removes  the  stubborn 
film  that  hides  the  natural  beauty  of  your  teeth 


TEN  years  ago  dull  and  dingy  teeth  were  seen 
01)  every  side.     Today  they  are  becoming  a 
rarity.     Note  the  gleaming  smiles  you  see  now 
wherever  your  eyes  turn. 

Please  don't  believe  your  teeth  are  "different"; 
that  they  are  naturally  off-color  and  dull.  You 
can  correct  that  condition  remarkably  in  even  a 
few  days. 

Modern  science  has  discovered  new  methods  of 
tooth  protection  and  tooth  beauty.  Millions  now 
employ  them.  Leading  dentists  advise  them.  In 
fairness  to  yourself,  make  the  test  offered  here. 

DO    THIS— Remove  that  dingy 
film;  it  invites  tooth 
trouble  and  ugliness 

Run  your  tongue  across  your  teeth,  and  you  will 
feci  a  film. 

That  film  is  an  enemy  to  your  teeth.  You  must 
remove  it. 

It  clings  to  teeth,  gets  into  crevices  and  stays. 
It  absorbs  discoloration*  and  gives  your  teeth 
that  cloudy  look.  Germs  by  the  millions  breed  in 
it,  and  they,  with  tartar,  are  a  chief  cause  of 
pyorrhea. 

Most  tooth  troubles  and  decay  now  are  traced 
to  this  film.  Old-time  methods  could  not  success- 
fully combat  it.     That's  why  tooth  troubles  were 


on  the  increase,  and  ugly  teeth  the  order  of  the  day. 

3  times  daily — 
then  note  the  difference 

In  Pcpsodent  dental  science  has  discovered  two 
effective  film  combatants.  Their  action  is  to  curdle 
the  film,  then  remove  it. 

Now  what  you  see  when  that  film  is  removed — 
the  clearness  and  whiteness  of  your  teeth — will 
amaze  you. 

*       *       * 

Old  methods  of  cleansing  fail  in  these  results. 
Harsh   gritty  substances  are    judged  dangerous 
to  enamel. 

Thus  the  world  has  turned,  largely  on  dental 
advice,  to  this  new  method.  It  marks  the  latest 
findings  in  modern  scientific  research. 


It  will  give  you  the  lustrous  teeth  you  wonder 
how  other  people  get.  It  will  give  you  better  pro- 
tection against  tooth  troubles.  And,  too,  against 
gum  troubles;  for  it  firms  the  gums. 

A  few  days'  use  will  prove  its  power  beyond  all 
doubt. 

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Another    scene    from    Tar- 
nish, with   May   McAvoy 

Tke  Stor-p  of  My  Life 

(Continued  from  page  34) 

Yorkshire  peasants  and  Whitechapel  cock- 
neys. The  play  was  a  Tagore  drama,  I 
remember,  and  I  was  an  Indian  passenger 
who  heralds  the  arrival  of  the  beauteous 
princess  or  something  of  the  sort — not  a 
severe  test  of  dramatic  ability,  but  Miss 
Ashworth  was  encouraging-  and  introduced 
me  to  Iter  theatrical  friends. 

Meanwhile,  my  uncle,  a  merchant  who 
had  lived  for  years  in  China,  returned  to 
England  and  announced  that  he  was  apply- 
ing for  a  civil  appointment  for  me  to 
Peking.  Once  that  would  have  opened  up 
visions  of  pagodas  against  pale,  lacquered 
skies,  but  now — I  didn't  know.  I  wasn't 
exactly  on  the  stage,  but  I  had  one  foot  on 
it,  and  different  managers  were  hinting 
tliat  they  might  have  something  for  me. 

I  decided  to  put  it  definitely  up  to  Fate. 
"Whichever  offer  comes  first  I  will  take!" 
I  promised  myself.  "If  I  get  the  civil 
appointment  first  I  will  go  to  China.  If 
I  get  a  part  in  a  West  End  theater  I'll 
stick  here." 

Before  the  three  weeks'  vaudeville  en- 
gagement was  up  I  had  a  part  offered  to 
me  with  Gladys  Cooper — a  tiny  part  with 
a  tinier  salary,  and  almost  on  its  heels  came 
the  civil  appointment  with  a  far  better 
salary.  But  I  took  the  first,  as  I  had  de- 
cided to  (I  shall  never  wear  that  embroi- 
dered satin  robe  and  sit  at  a  teakwood  desk 
now!),  and  for  several  years  after  that  I 
played  in  London. 

California  had  become  golden  in  another 
sense  from  my  childish  dreams.  After- 
war  England  was  discouraging.  Why  not 
go  to  America  and  try  the  movies  ? 

I  was  married  just  before  leaving  Lon- 
don. Incidentally,  I  am  still  married.  But 
an  Englishman's  heart  is  his  castle.  He 
doesn't  invite  the  whole  world  in. 

1  landed  in  America  to  find  a  picture 
slump  and  closed  studios.  For  months  I 
carried  my  letters  of  introduction  to  pic- 
ture directors  and  stars  until  they  were 
frayed  and  illegible.  Then  in  desperation 
(for  I  was  kept  awake  by  the  wolf  howl- 
ing outside  my  hotel  door)  I  took  a  small 
part  in  a  new  play.  Perth  Amboy  didn't 
like  it  at  its  try-out  and  they  closed  it  up. 
Another  new  play — Atlantic  City  didn't 
approve  and  they  took  it  off.  Still  a 
third — and  the  good  citizens  of  Hartford, 
Connecticut,  turned  thumbs  down ! 

Then  at  last  I  reached  Broadway. 
Parts  began  to  come  my  way — and  then. 
just  when  I  had  definitely  given  up  all 
ideas  of  the  movies,  Mr.  Henry  King,  the 
director,  sent  for  me  and  asked  me  to 
have  a  test  taken  for  the  leading-man  in 
The  White  Sister. 

I  refused  it  three  times,  but  in  the  end 
T  went  to  Italy  to  make  the  picture. 
Months  in  Rome,  back  to  New  York,  and 
almost    at    once    to    Italy    again    to    make 


Romola.  We  went  there  for  authentic 
settings,  only  to  find  the  streets  of  Flor- 
ence were  so  narrow  we  had  to'  build  a 
replica  on  a  lot  outside  of  town,  which 
explains  why  tourists  looking  down  from 
Fiesole  see  two  Duonios  rising  among  the 
trees  and  swear  off  drinking  vin  ordinaire. 

Tho  I  had  lived  within  a  night's  trip 
of  Italy  all  my  life,  I  had  to  come  to 
America  to  see  Rome  and  Florence.  Eng- 
lish are  not  such  travelers  as  Americans. 
Many  people  live  within  sight  of  Dover 
and  never  cross  the  Channel  to  the  Conti- 
nent. 

Tho  it  rained  most  of  the  time  in  sunny 
Italy  and  our  wildest  diversion  was  check- 
ers, I  enjoyed  the  two  pictures  I  made 
there.  To  my  mind.  Lillian  Gish  is  the 
greatest  actress  of  the  screen. 

And  now  at  last  the  cross-roads  have 
brought  me  to  California,  and  I  feel  at 
home  among  the  foothills,  as  tho  I  had 
been  traveling  toward  them  always,  down 
the  Thames,  thru  the  tuppenny  tubes,  thru 
the  mud  at  Ypres.  Some  day  I  hope  to 
build  my  house  in  sight  of  them.  If  I  do 
I  am  resolved  that  it  shall  have  no  tele- 
phone in  it— that  is  one  American  "con- 
venience" I  can  do  without. 

This  is  the  story  of  my  life — so  far. 
It  gives  me  quite  a  gray-bearded  sensation 
to  write  my  autobiography.  But  I  hope 
that  there  will  be  several  more  interesting- 
things  happen  to  me — pictures  to  be  made, 
friends  to  be  discovered,  strange  lands  to 
be  seen,  before  the  story  is  completed. 


Next  Month 

"CHEATERS" 

By  HARRY  CARR 

Ever  Hear  of  Them? 


The  "dope"  on  pictures  made  by 
producers  with  no  money — but  a 
bright  idea. 

"A  man  was  making  a  picture  in 
•which  lie  had  to  have  a  mob — a  mob 
or  his  picture  perished!  So  he 
rented  a  grocer's  wagon,  hid  a 
camera  inside  it,  and  made  it  lose  a 
wheel  vtt  .he  busiest  corner  in  Los 
Angeles.  He  was  almost  arrested 
by  the  traffic  policeman,  but  he  got 
his  mob  all  r>ght.  And  he  was  saved 
$5,000." 

"Another  time  he  had  to  have  a 
fire  engine  rushing  thru  the  traffic. 
He  caught  one  coming  home  peace- 
fully after  a  fire  and  to  get  the  rush, 
he  himself  hired  an  ambulance  from 
an  undertaking  establishment  and, 
with  a  camera  inside,  drove  it  furi- 
ously himself  thru  the  heart  of  the 
traffic,  hooting  the  siren  that  gave 
him  the  right  of  way." 

Read  how  "Cheaters"  have  made 
some  men  millionaire  producers  over- 
night in 

April 

Notion  Pktupt 

MAGAZINE 


Advertising  Section 


lesterdaq-fbmmonpl 
^adaii"  a^eautq! 

Only  a  difference  of  pores— enlarged  or  invis- 
ible. Think  of  this  new  "freezy"  cream  that 
does  what  ice  does  in  contracting  the  pores,  but 
so  much  more  gently,  swiftly  and  daintily 

Those  of  us  who  really  want  beautiful  skins,  have  them.  It  is 
simply  a  matter  of  caring  enough  and  of  helping  inscead  of 
fighting  nature.  Nature  gave  every  one  of  us  a  soft,  clear, 
lovely  skin  with  pores  so  tine  as  to  be  almost  invisible — and 
meant  us  to  keep  it. 

And  then  the  raw  wind  blew,  and  the  dust  swirled  — and  one 
night  as  we  looked  in  the  mirror,  we  found  not  the  satin-like 
complexion  of  yesterday,  but  the  first  unmistakable  signs  of 
waning  beauty. 

With  cleansing  and  softening  creams  we  labored  arduouslv  at 
restoration.    And  we  enjoyed  the  benefits  of  good  creams  in 
helping  to  cleanse  and  replenish  the  oil  cells  of  the  skin. 
But  the  task  is  not  finished — the  pores  have  not  usually  been 
closed.  And  if  we  go  forth  with  relaxed  pores  we  simply  invite 
the  dust  and  germs    to  work  new  damage  to  our  complex- 
ions. Then  we  wonder  why  we  have  large  pores. 
But  some  of  us  who  really  want  beautiful  skins  and  have  them, 
have  taken  care  to  close  the  pores  to  their  natural  fineness 
before  going  out  into  the  air  and  before  powdering. 
Many  of  us  use  ice  every  morning  to  contract  the  pores — others 
use  cold  water.  Both  are  effective  to  a  certain  degree,  but  such 
treatment  is  troublesome,  inconvenient  and  harsh  to  tender 
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The  sensation  is  one  of  pure  delight — a  cool, refreshing  thrill. 
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And  how  wonderfully  your  powder  adheres!  Too,  you  may 
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«S« 


Beauty  Hints 
by  "The  Princess" 

My  night  treatment 

Cleanse  the  skin  thor- 
oughly with  a  soft,  sol- 
vent cleansing  cream. 
Remove  with  soft 
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My  morning  treatment 

Awaken  the  skin  with  cool,  not 
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cream,  again  gently  manipulat- 
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I  find  dry  tint  most  natural 
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Apply  in  the  shape  of  a  V,  the 
point  toward  the  nose,  leaving 
a  clear  space  in  front  of  the  ear. 
For  waterproof  effect,  appjy 
before  powdering.  I  use  an  al- 
mond base  powder— both 
soothing  and  beautifying. 


C7ree  — 

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GJMfflaisisiuasjaisfSMaiaji 

April  Tutorial  of  Stage  and  Screen  April 

The  Theatre  that  Started  on  a  Shoe  String 

HPhe  romantic  history  of  the  New  York  Theatre  Guild.     Ten  years  ago 

it  was  started  without  a  nickel  by  a  group  of  penniless  artists.     Now 

famous  playwrights  from  all  over  the  world  clamor  to  have  their  plays 

produced  here. 

The  Great 
Divide 

TT7HERE  does  it  lie? 
Before  you  see 
this  picture,  starring 
Conway  Tearle  and 
Alice  Terry,  read  of 
it  in  story  form  in 
our  April  number. 
The  romance  of  the 
great,  open  spaces — 
the  story  that  never 
grows  old. 


Poverty   Row 

T~\°  you  know  it? 
*-*  It's  the  row  of 
little,  independent 
producers  who  live 
— or  starve — on  the 
crumbs  that  fall 
from  the  table  of  the 
big  picture  com- 
panies. You'll  learn 
inside  movie  secrets 
from  this  newest 
story  from  Holly- 
wood. 

LOUISE  FAZENDA  Fx\NS,  ATTENTION! 

Her    picture    in   colors   on   the   cover — a    new   Louise   you    never    knew 
before.     No  longer  a  comedy  star  but  a  beautiful  heroine,  who  wins 
the  hero  in  the  end  in  a  new  picture,  The  Lighthouse  by  the  Sea. 

Be  Sure  Not  to  Miss  the  April  Issue 


aMSJ2MSMaf3MaiS| 


Q^vssic 


,ajaMis.faMiafi3fi5MSM2Mn^ 


! 


96 

Gt 


That  "Different"  Screen  Magazine 
On  the  News-stands  February  12 

Every  advertisement  in   MOTION  PICTURE  MAGAZINE  is  guaranteed 


Back  to  tke  Never-KTever- 

Land  with.   Ernest 

T  orrence 

Captain  Hook  of  Peter  Pan  tells  why 
he  loved  this  role  best  of  all 


E 


RNEST  TORRENCE  was  so  happy 
to  be  playing  the  villainous  Captain 
Hook  in  the  screen  version  of  Peter 
Pan  that  he  didn't  know  whether  he  was 
in  Hollywood  or  in  Heaven. 

"You  were  glad  to  be  given  the  role?" 
asked  a  friend,  offering  him  congratula- 
tions. 

"Glad  ?"  shouted  Mr.  Torrence ;  "it  was 
the  greatest  thing  that  ever  happened  to 
me  in  my  life.  In  all  the  history  of  the 
world's  literature  there's  not  a  character 
I'd   rather   play  !" 

Even  without  the  make-up,  Mr.  Torrence 
looks  the  part.  Give  him  a  wicked  hook 
for  his  right  hand,  an  alarm  clock  for  a 
heart,  a  red  silk  sash  and  a  pirate's  sword 
— and  there  he  is  in  real  life — the  desper- 
ate captain  of  the  pirate  ship  whom  Peter 
Pan  encountered  while  cruising  the  sea 
of  the  Never-Never-Land,  and  vanquished 
single-handed. 

Of  course,  those  who  remember  Mr. 
Torrence  as  the  great  brute  in  Tol'able 
David,  as  the  half-witted  clown  in  Singed 
Wings,  or  the  grizzly  old  scout  in  The 
Covered  Wagon,  might  wonder  how  he 
could  play  an  imaginative  part  in  Barrie's 
fairy  fantasy.  They  might  find  it  hard  to 
believe  that  this  man  who  looks  so  fierce 
and  acts  so  rough  is  really  a  poet  at  heart, 
the  mildest  man  alive.  Strictly  sub  rosa 
it  might  be  said  he  loses  some  of  his  mild- 
ness when  on  the  losing  end  of  a  golf 
match — but  that,  as  Kipling  said,  is  an- 
other story. 

But  when  Herbert  Brenon  chose  this 
man  to  play  the  pirate  captain  in  the  Para- 


•#57"» 


Advertising  Section 


«°siuri 


mount  version  of  this  play,  with  lovely, 
little  Betty  Bronson  as  Peter,  he  knew 
well  what  he  was  doing.  For  underneath 
his  gruff  exterior  there  is  in  Ernest  Tor- 
rence  the  heart  of  a  Peter  Pan,  a  boy  that 
never  grew  up. 

"pVERY  man  with  the  heart  of  a  boy  is  a 
potential  Peter  Pan,"  said  Mr.  Tor- 
rence.  "In  infancy  he  may  not  have 
fallen  out  of  his  baby  carriage  when  his 
nurse  was  looking  the  other  way,  nor 
have  flown  in  and  out  of  windows  to 
play  with  other  people's  children.  But, 
at  some  time  in  his  life,  he  has  been  blood- 
brother  to  that  wonderful  band  of  Lost 
Boys — the  boys  who  never  grew  up.  He 
has  had  his  adventures  in  the  forest  of 
the  Never-Never-Land,  and  cruised  on  its 
desperate   seas. 

"It  is  easy  enough  for  a  boy  to  find  the 
trail  to  that  wonderful  land  of  adventure. 
The  feet  of  youth  skip  over  it  nimbly 
enough;  in  fact,  most  of  them  cant  miss 
it ;  but  alas,  there  are  many  stones  in  that 
path  when  age  comes  to  travel  that  way. 

"Sometimes  the  trail  runs  thru  an  or- 
chard, across  a  field  or  along  a  stream. 
Sometimes  it  starts  and  ends  inside  the 
fence  of  your  own  back  yard.  Sometimes 
it  never  gets  outside  at  all,  but  runs  thru 
hallways,  up  long  flights  of  stairs,  into 
dim  and  dusty  attics. 

"Ah,  yes !  There  are  many  trails  to 
the  Never-Never-Land,  but  most  of  them 
are  secrets,  for  the  path-finder  is  reluctant 
to  share  their  mysteries  with  anyone — it 
is  only  to  a  rare,  kindred  spirit  he  con- 
fides them. 

"Indeed,  I  am  sorry  for  the  man  who 
has  grown  too  old  to  remember  the  days 
of  his  hand-to-hand  encounters  with 
whiskered  pirates  of  the  Spanish  Main ; 
his  desperate  battles  with  savage  red- 
skins, when  every  clump  of  bushes  was 
an  ambuscade,  every  tree  concealed  a 
deathly  foe. 

"What  heroes  we  were,  what  strategy 
we  used;  what  wonderful  brains  we  had! 
For  our  enemies  never  defeated  us,  they 
schemed  against  us  in  vain.  We  laughed 
at  the  plots  of  the  nefarious  Captain 
Hook;  the  wily  Long  John  Silver  laid  his 
traps  for  us  in  vain;  armed  with  our 
trusty  (albeit  rusty)  rifle,  Chief  Red 
Eagle  had  no  terrors  for  us.  We  thwarted 
them  at  every  strategic  point,  and  how 
we  gloated  over  their  mangled  bodies! 
The  shock  of  battle,  the  clash  of  swortis, 
the  deep  boom  of  the  giant  cannon  were 
music  to  our  ears  and  in  this  world, 
which  we  shared  with  only  a  trusty  few, 
we  reveled   in   it  all. 

'""Those  were  great  days.  We  have 
grown  up  now ;  hair  is  turning  gray, 
feet  are  stiff  and  weary,  back-yards  have 
shrunk  to  diminutive  dumps  and  into 
something  to  be  avoided.  The  clump,  of 
trees  is  an  ambuscade  only  for  dampness 
that  might  bring  on  rheumatism.  The 
trail  to  the  Never-Never-Land  is  faintly 
marked,  almost  forgotten.  Yet  some  of 
us  there  are  who  can  close  our  eyes  and 
still  see  it  shining  brightly,  quite  as  dis- 
tinctly as  ever,  full  of  allure  and  glory. 
"That  is  why  I  was  glad  to  play  Cap- 
tain Hook  of  Treasure  Island  in  the 
Never-Never  seas ;  to  blaze  anew  the  trails 
that  were  so  familiar  in  my  youth.  I 
wanted  to  pause  in  my  duel  with  Peter 
Pan  and  cry  hoarsely,  'Who  are  you, 
Pan?'  And  to  hear  once  more  Peter's 
reply : 

"  T  am  youth,  eternal  youth !  I  am  the 
sun  shining!  I'm  the  poets  singing!  I'm 
the  new  world!  I'm  the- little  bird  that 
has  broken  out  of  the  egg!  I'm  joy,  joy 
joy  !* " 


"Everyone  is  looking 
at  you,  dear" 


They  can't  help  admiring  you — you 
are  so  beautiful !"  he  whispered,  look- 
ing down  at  her  pink  and  white  beauty. 

Her  heart  was  lighter  thafi  her 
golden  slippers,  for  she  knew  the  secret 
that  made  everyone  admire  her — and 
made  him  more  devoted  than  ever. 

She  had  learned  from  Madame 
Jeannette  how  to  apply  her  Pompeian 
Bloom  (for  youthful  color). 

Do  you  know  that  a  touch  of  Bloom 
in  the  cheeks  makes  the  eyes  sparkle 
with  a  new  beauty  ?  Do  you  also  know 
that  Pompeian  Bloom  enjoys  the 
widest  use  the  world  over,  by  all 
■women  who  need  youthful  color? 

Mme.  Jeannette's  Beauty  Treatment 

FirNt,a  bit  of  Pompeian  Day  Cream  to  make 
your  powder  cling  and  prevent  "shine." 
Next,  apply  Pompeian  Beauty  Powder  to  all 
exposed  portions  of  face,  neck  and  shoulders. 
Lastly,  just  a  touch  of  Pompeian  Bloom. 
Presto!  The  face  is  beautified  in  an  instant. 


dMpttl 


Shade  Chart  for  selecting  your  correct  tone 
of  Pompeian  Bloom. 

Medium  Skin:  The  average  American 
woman  has  the  medium  skin,  and  should 
use  the  Medium  shade  of  Pompeian  Bloom 
or  the  Orange  Tint. 

Olive  Skin :  Women  with  the  true  olive 
skin  are  generally  dark  of  eyes  and  hair — and 
require  the  Dark  Shade  of  Pompeian  Bloom. 

Pink  Skin:  This  youthful-looking  skin  is 
not" florid," hut  has  real  pink  tones  Medium 
or  Light  tone  of  Pompeian  Bloom  should  be 
used.  Sometimes  the  Orange  Tint  is  ex- 
quisite on  such  a  skin. 

White  Skin :  Few  women  have  a  decided- 
ly white  skin — they  may  use  the  Light  or 
the  Medium  Bloom. 

At  all  toilet  counters,  60c.  (Slightly 
higher  in  Canada.) 


for  color 


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and  Four  Samples 

This  new  1025  Pompeian  Art 
Panel,  '  'Beauty  Qained  is  Love 
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Use  Pompeian  " 


Madame  Jeannette,  Pompeian  Laboratories, 

2229  Payne  Ave.,  Cleveland,  Ohio 
Gentlemen:   I  enclose  10c  (dime  preferred)  for 
the  new    1925    Pompeian  Art  Panel,  "Beauty 
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Name, 


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97 

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AMOTION  PICTUfip 
21  I  MAGAZINE     I 


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Sani-Flush  removes  every  mark, 
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After  you  get  the  4  easy  mo- 
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40,000  students  have  learned  to 
ptay  in  this  easy,  pleasant  way. 
EASY    LESSONS 

The  52  printed  lessons  with  a  srreat 
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J 


Advertising  Section 
Confidences   Off-Screen 

(Continued  from  page  37) 

arc    favorable   liofirs,   when   a   woman   star 
one  is  trailing  does  not   happen  to  be   en- 
gaged on  a  new  picture. 
I  had  never  onstance  Talmadge, 

and  wanted  her  very  much  for  this  confi- 
dential page.  How,  when  and  when  to 
arrange  for  a  tea?  I  asked  myself.  The 
chief  difficulty  lay  in  the  fact  that  I  could 
not  find  out  where  she  was.  Some  said 
Hollywood,   some   New   York. 

Then  an  invitation  dropped  from  the 
skies.  (  onstance  had  arrived  from  the 
'oast,  and  was  giving  a  tea  in  her  suite 
at  the  Ambassador.  The  members  of  the 
motion-picture  press  were  all  asked. 
Would]  bring  myself  and -my  questions  to 
the  party  ? 

Of  course,  I  would. 

I  had  visions  of  waiting  my  turn,  getting 
the  star  to  myself  and  interviewing  her 
peacefully.  But  little  did  I  realize  the 
popularity  of  Constance.  Dozens  and 
dozens  and  dozens  of  people  were  as  eager 
to  talk  to  her  as  I  was. 

Mrs.  Al  Smith,  the  wife  of  the  Gover- 
nor, was  there.  So  were  Anita  Loos  and 
John  Emerson,  and  two  or  three  book  pub- 
lishers, and  nine  or  ten  poets,  and  more 
editors  than  one  could  count. 

I  dont  remember  ever  having  drunk  such 
good  tea.  <  onstance  served  it,  gave  me  a 
nice  smile,  then  had  to  dart  away  to  make 
a  newcomer  happy.  I  wouldn't  have  had 
the  nerve  to  try  to  talk  shop.  She  was  a 
hostess  with  much  on  her  hands. 

So  I  stood  back  and  observed  her.  She 
is  one  star  whose  personality  off-screen  is 
identical  with  that  with  which  the  public 
is  familiar.  You'd  recognize  her  tall, 
graceful  figure,  her  piquant  face,  in  any 
crowd.  There's  a  touch  of  the  tomboy  in 
her  manner,  and  mighty  attractive  it  is. 
But  her  bright  golden  hair  is  a  detail 
that  the  camera,  unfortunately,  cannot 
record. 

The  afternoon  was  a  huge  success,  tho 
a  word  with  Constance  here  and  a  word 
with  Constance  there  was  all  it  yielded  in 
the  way  of  an  interview. 

She  told  me  she  was  returning  to  Cali- 
fornia in  a  few  days,  to  make  a  picture 
called  The  Man  She  Bought. 

She  also  gave  me  an  appointment  all  to 
myself,  but  what  I  learned  on  that  occa- 
sion is  material  for  another  story. 

A  Wise  Jester 

V/Toxtv  Banks  has  been  letting  me  be- 
hind the  scenes  concerning  the  diffi- 
culty of  making  people  laugh.  He  is  one 
of  the  livest  funny  fellows  in  motion  pic- 
tures, and  he's  left  me  with  the  feeling 
that  he's  a  shrewd  psychologist  and  no 
small  shakes  as  a  business  man. 

In  spite  of  his  name,  Banks  is  an 
Italian  who  landed  in  America  some  years 
ago  without  a  word  of  English  at  his  com- 
mand. Mastering  the  language  was  just  a 
preliminary  canter  for  him.  He  was  wild 
to  break  into  the  movies,  and  proceeded 
to  do  so  by  the  direct  method  of  promoting 
his  own  first  starring  vehicle.  His  friends 
shook  their  heads  and  told  him  ■  that  his 
being  a  foreigner  was  an  awful  handicap. 
Needless  to  add.  that  was  before  the  rise 
of  Valentino,  Xovarro  and  other  Latin 
stars. 

"But,  no,"  he  argued:  "the  Americans, 
they  may  not  want  to  be  serious  with  a 
wop.  You  betta  your  life  they  laugh  with 
one  !" 

He    induced    a   trusting   acquaintance   to 


7/ 


llou  must  be  slender 
to  have  bobbed  hair~ 

For  the  shingle  bob  or  the  straight  bob,  you 
must  have  a  youthful  silhouette.  One  simply 
can't  be  stout — or  even  overweight. 

How  thankful  we  should  be  that  there  is 
one  pleasant  method  of  taking  off  weight. 
No  exercises  or  diets — just  use  MarmolaTab- 
lets  (thousands  of  men  and  women  each 
yearregain  healthy,  slenderfigures  this  way). 

Have  you  ever  tried  them?  Many  of  your 
slender,  vivacious  friends  use  Marmola 
Tablets. 

All  drug  stores  have  them —  one  dollar 
a  box.  Or  they  will  be  sent  in  plain  wrap- 
per, postpaid,  by  the  Marmola  Co.,  17J4 
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DEAFNESS      IS      MISERY 

I  know  because  Iwas  Deaf  ancf  had  Kead  Noise* 
for  over  30  years.  My  invisible  Antiseptic  Ear 
Drum?  restored  my  hearing  and  stopped  Head  Noises, 
and  will  do  it  for  you.  They  arc  Tiny  Megaphones. 
Cannot  be  seen  when  worn.  Effective  when  Deafness 
is  caused  by  Catarrh  or  by  Perforated,  Partially  or 
Wholly  Destroyed  Natural  Drums.  Easy  to  put  in, 
easy  to  take  out.  Are  "Unseen  Comfort*."  In- 
expensive. Write  for  Booklet  and  my  sworn 
statement  of  how  1  recovered  my  hearing. 

A.  O.  LEONARD 

Suite  314. 70  5th  Ave..  New  York  City 

j*t  Comer^four  Pictures-Album 

where  yoa  can  keep  tbem  safe  and 
enjoy  tbem  always. 

Eno'd 

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Styles  I  ,r"v,rt Corners  |  Colors 
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'■  s'     Xante 


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\GL 


Advertising  Section 


^-.MOTION  PICTUR] 

IH0I  I   MAGAZINE 


put  up  twenty  thousand  dollars,  hired  a 
company  and  went  to  work.  Immediately 
he  collided  with  the  problem  of  judging 
humor  from  the  actor's  side  of  the  fence. 
It  was  easy  to  think  up  gags,  impossible  to 
know  how  they  would  be  received  by  an 
audience.  To  this  day,  he  finds  it  is  largely 
a  matter  of  guesswork  most  of  the  time, 
of  intuition  when  one  is  lucky  enough  to 
be  at  the  top  of  one's  form. 

Banks  completed  his  picture  and,  posi- 
tively trembling  with  apprehension,  he  ob- 
tained a  trial  showing  for  it  in  a  Los 
Angeles  theater. 

"I  tear  a  nice  new  cap  to  little  pieces 
while  I  wait — I  do  for  a  fact,"  he  grinned 
reminiscently. 

But  his  stuff  got  across.  The  chuckling 
of  that  first-night  crowd  encouraged  ex- 
hibitors to  book  his  comedy  all  over  the 
country.  He  made  enough  money  to  go 
ahead  with  others  like  it.  Nevertheless, 
he  has  had  his  ups  and  downs. 

Banks  finds  it  a  great  joke  that  he  is 
popular  in  Italy,  without  his  compatriots 
suspecting  he  is  an  Italian.  They  inno- 
cently suppose  him  to  be  a  typical  Yankee 
comedian.  Here,  of  course,  it  is  the  ex- 
uberant Mediterranean  note  in  his  humor 
that  his  admirers  appreciate  and  reward. 

His  recent  releases  have  been  thru 
Pathe.  But  he  retains  the  independence  of 
the  free-lance,  on  both  the  artistic  and  the 
financial  ends.  I  f  I'd  had  a  doubt  of 
Monty's  business  ability,  the  circumstances 
of  our  meeting  dispelled  it.  To  excuse 
himself  for  being  late,  he  proved  to  my 
satisfaction  that  he'd  been  at  a  bank  rais- 
ing a  big  loan  for  his  next  venture.  How 
many  comic  actors,  I  ask  the  world,  would 
have  been  able  to  do  as  much  ? 

The  Most  Fortunate  Girl 

The  most  fortunate  girl  in  motion  pic- 
tures today  is  Carol  Dempster.  A  great 
genius  has  been  training  her  for  years  in 
the  mysteries  of  her  art.  He  took  her 
when  she  showed  few  signs  of  promise  to 
any  eye  but  his.  He  saw  the  potential 
actress  in  her  and  ardently,  patiently,  he 
brought  her  to  flower. 

He  gave  her  at  last  a  role  in  which  she 
had  no  opportunity  to  wear  fine  clothes, 
which  demanded  that  she  be  hungry  and 
gaunt.  But  what  a  role  it  was  emotion- 
ally, and  how  marvelously  she  has  risen 
to  it! 

She  is  the  girl  in  Isn't  Life  Wonderful 
— a  star  worthy  of  D.  \V.  Griffith.  I  offer 
her  my  homage  and  my  congratulations. 


Constance     gave     a     tea     for     editors, 

writers  and  motion  picture  people  in 

her     suite     at     the     Ambassador,     in 

New   York,  recently 


The  Nestle  Home  Outfit  for 
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I 


U ruler  the  influence  of  moisture,  perspira- 
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hair  becomes  straighten  but  LANOIL- 
waved  hair,  like  naturally  curly  hair,  be- 
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AYE  your  straight  hair  made 
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very  day  you  apply  the  Outfit — natural 
lasting  waves,  curls  and  ringlets! 

The  celebrated  scientist,  Metchnikoff  of 
Paris,  said  of  the  Nestle  Permanent  Wave, 
"It  is  the  greatest  discovery  ever  made  for 
woman's  comfort,  and  the  benefit  and 
health  of  the  hair." 


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'  This  Business  of  Being  a 
Vampire  " 

(Continued  from  pages  42  and  43) 
NITA    NALDI 

situation.  Suppose  she  saw  this  character 
"throw  over  the  traces."  For  the  first  few 
reels  everything  is  lovely  and  the  sweet 
little  heroine  is  getting  the  worst  of  it. 
Consequences  begin  to  pile  up  against  her 
and  by  the  time  ol  the  final  close-up  she 
not  only  has  lost  the  man  she  coveted  but 
is  shunned  by  everyone  else  and  is  worse 
off  than  she  was  before. 

Mind  you,  I  am  writing  no  treatise  on 
the  vampire — a  moral  lesson,  nor  do  I  say 
that  I  enjoy  playing  vampire  roles  for  this 
reason.  I  simply  want  to  show  that  she 
is;_  undeniably,  -a  moral  lesson.  Dont  you 
think  the  woman  who  is  bored  to  tears 
with  the  sameness  of  her  life  might  get 
an  idea  that  she  would  be  precipitated  into 
something  worse  if  she  stepped  out  of  her 
character  and  yielded  to  the  urge  to  take 
a  flier  at  vamping? 

A  vampire  is  society's  negative  lesson. 
"Dont  do  as  I  dov"  she  says.  "Do  as  I 
dont."  She  holds  up*  the  mirror  of  life 
and  shows  you  a  certain  phase  of  it  vividly. 

To  be  a  screen  vamp  requires  not  only 
the  coloring  and  the  flair  for  such  roles ; 
it  requires,  also,  a  certain  amount  of  hardi- 
hood. What  you  are  on  the  screen,  that 
you  are  in  real  life,  is  the  general  idea. 

You  would  be  surprised  to  know  how 
many  Nita  Naldis  there  are  in  this  coun- 
try. There  comes  to  mind  an  example  in 
a  story  a  friend  told  me. 

"I  was  dining  with  a  chap  the  other 
night,"  he  said,  "who  was  anxious  to  meet 
you.  Suddenly,  he  nodded  across  the  room 
and  said: 

"  'There's  Nita  Naldi  over  there.  In- 
troduce me,  will  you?' 

"From  a  distance,  the  girl  did  look  like 
you,  so  I  walked  over  to  see  her,  only  to 
discover  at  their  table  it  wasn't  you  at  all. 
I  had  to  say  something,  so  I  apologized 
and  explained  my  error.   . 

"The  girl's  escort  leaped  to  his  feet,  fu- 
rious.    This  is  Nita  Naldi.' 

"I  stared  at  him.  'But  I  have  known 
Nita  Naldi  for  eight  years  and  I  lunched 
with  her  only  the  other  day,'  I  protested. 
'This  is  not  Nita  Naldi  of  the  screen !' 

"  'I  dont  know  who  you  know,'  he  raged, 
'but  this  is  the  Nita  Naldi!' 

"Having  no  desire  to  get  into  a  violent 
argument,  I  bowed  again  and  walked  away 
with  the  final  shot :  'But  she  is  not  Nita 
Naldi.'  " 

This  is  only  one  of  the  few  examples  of 
bogus  Nita  Naldis  populating  the  coun- 
try. Not  that  it  particularly  matters,  but 
it  isn't  the  most  agreeable  thing  in  the 
world  to  have  a  woman  galavanting 
around,  saving  her  reputation  by  blacken- 
ing your  own ! 

Why  people  should  think  that  because 
one  is  a  vampire  on  the  screen  one  con- 
tinues the  role  in  real  life,  is  just  another 
mystery  explained  only  by  the  fact  that  at 
heart  every  woman  is  potentially  a  vamp. 


BARBARA  LA  MARR 

the  best-known  designers  and  costumers  in 
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But  Sandra  offered  opportunities  for  act- 
ing as  well  as  for  wearing,  handsome 
clothes.     Which  is  why  I  enjoyed  it. 

One  of  my  most  enjoyable  roles,  how- 
ever, was  in  Thv  Name  Is  Woman.  The 
woman  in  that  picture  was  a  sympathetic 


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Advertising  Section 


character.  Married  to  a  man  years  older 
than  herself,  she  loved  for  the  first  time 
a  handsome,  young  soldier.  She  loved  him 
so  much  that  she  was  on  the  verge  of 
eloping  with  him.  .  .  .  She  was  a  strong, 
fascinating  character;  her  very  qualities 
showed  a  cross-section  of  life. 

In  my  new  picture,  Hail  and  Farezvell, 
one  of  the  greatest  love  stories  ever  writ- 
ten, similar  opportunities  for  a  warm, 
womanly  character  portrayal  offer  them- 
selves. 

!  But  to  the  question  :  "Do  you  like  to  play 
vampire  roles  ?"  my  answer  will  continue  to 
.be  an  emphatic  "No!"  for  the  simple  rea- 
son that  I  do  not  believe  there  is  such  a 
type.  At  all  events,  variety  of  roles,  like 
variety  of  life,  makes  pungent  and  in- 
triguing what  otherwise  would  be  a  drab 
existence. 


Learning  to  Love 

(Continued  from  page  86) 

kiss.     "I  do  tho,  but  I  never  realized  how 
much    till    you    went    away,    sweetheart !" 

For  a  moment  there  was  delicious 
silence.  Then,  "Oh,  but  Scott.  I'm  in  an 
awful  mess.  I  gave  my  word  to  Billy  I'd 
marry  him  as  soon  as  I  divorced  you.  He 
says  I've  wrecked  his  life,  and  he'll  go 
shoot  himself  or  something." 

"Whew!"  said  Scott.  "Where  is  he? 
Let's  go  talk  with  him." 

.So  they  rolled  up  the  Butte  Montmartre 
to  Zelli's.  It  wasn't  at  all  hard  to  find 
Billy ;  he  was  the  center  of  attraction. 
He  was  surrounded  by  champagne  bottles 
and  girls.  Catching  Scott's  eye,  he  became 
possessed  of  an  idea  he  had  seen  this 
man  somewhere  before.  "Come  meet 
French  girls !"  he  called.  "F-french  girls 
b-best  in  world.  Love  'em.  Love  'em 
all !" 

"I  think,"  said  Scott  to  Pat  as  they 
went  out,  "that  Billy  will  survive  es- 
pecially with  the  er-er  attention  he's  get- 
ting." 

So  that  is  why  the  next  morning,  when 
Aunt  Penelope  opened  the  door  to  Pat's 
room,  she  was  startled  to  see,  first  a  man's 
overcoat  hanging  over  the  back  of  a  chair, 
and  second,  Scott's  dark  head  beside  Pat's 
golden  one  on  the  pillow. 

;  Tiptoeing  so  softly  to  her  room,  she 
telephoned  the  office.  "I  made  a  mistake 
just  now,  when  I  ordered  two  breakfasts. 
Please  send  up  three." 

The  gentleman  who  answered  the  phone 
winked  at  his  assistant.  "Man  Dicu,  Henri, 
it  is  wonderful.  What  a  scandalous  effect 
La  Belle  Paris  has  upon  these  Americans. 
I  ask  you,  for  whom  is  this  third  break- 
fast?" 

"How  should  I  know  ?"  shrugged  Henri. 
"It  is  not  my  affair.  Besides  it  is  spring 
—and  in  spring " 


"Kiss  me  again,"   said   Pat 


J7-M0TI0N  PICTURR 

IhBl  I    MAGAZINE      t\ 


"How  the  Shape  of  My  Nose 
Barred  Popularity" 

By  Grace  Sterling 

T  was  a  "wall   flower"!  I  was  a  good  dancer  Attention    to    your    personal    appearance    is 

and    had    no    difficulty    in    following    the    most  nowadays    essential    if    you    expect    to    succeed 

eccentric  partner.     I  belonged  to  a  good  family  in    life.      You    must    look    "your    best"    at   all 

and     three    years    at     "finishing    school"    had  times. 

trained  me   for  my  social  life      1  had  travelled  M     Trilety's   latest    improved    Nose    Shaper, 

a    great   deal    and   could    talk    intelligently    on  ..Trados"  i/ode]  No.  25,  U.  S.  Patent,  is  the 

many   subjects      I   was   very   popular   with   ray  most  meritorious  Nose  Shaper  of  the  age.     His 

girl   friends.     Yet,   I   seldom   received  an   ravi-  ]6    vears    of     experjence    in    perfecting    Nose 

tation   to  a   dance    or  to   spend   an   evening  at  shapers    has    proven    that    to    the    unfortunate 

the  theatre,  from  the  young  men  of  our  social  possessors  of  fll-shapen  noses  he  offers  a  sensa- 

set.     When  I   did  go  to  a  dance  or  to  a  party,  tiona,   opportunitv    to    beautify   one's    Personal 

I  was  seldom  asked  to  dance  and  usually  spent  Appearance.       His    latest    model    has    so    many 

the  evening  as  a      wall  flower.  superior    qualities    that     it    surpasses    all     his 

Finally  I  began  to  analvze  mvself.  I  had  previous  shapers  and  other  nose  adjusters  by 
everything  that  should  mike  a  "girl  popular,  a  ,arse  margin.  This  new  model  has  every 
and 'inspire  young  men  to  seek  her  company.  requirement  that  you  might  need.  The  adjust- 
As  I  looked  into  my  mirror  I  became  firmly  men ts  are  simple  and  such  that  it  will  fit  every 
convinced  of  a  suspicion  which  had  lurked  in  nose  without  exception.  The  apparatus  is  con- 
my  mind  for  a  long  time— it  was  the  shape  of  stJuc'e^  of  light-weight  metal,  is  firm,  and  is 
my  nose—  a  very  decided  "pug"  and  especially  afforded  very  accurate  regulation  for  adjust- 
noticeable  in  profile  ment  in  any  desired  position.     You  can  obtain 

the  absolutely  exact  pressure  for  correcting  the 

I   spoke   to   Mother.      She   knew   all   along —  various    nasal     deformities,     such     as:     long — 

it    was    hard    to   get   her   to    admit   it   but   she  pointed   nose — pug — hook   or   shrew   nose — and 

realized   the  shape  of   my  nose  was  the  reason  will    give    marked    success    in    modulating    the 

for   my   unpopularity — why   1    was   shunned   at  distended    or    wide    nostrils.       There    are    no 

dances,  never  included  in  the  wonderful  parties  straps  to  be  pulled  in  order  to  exert  pressure 

going  on  all  around  me.  on  the  nasal  organ. 

Finally  one  afternoon  while  shopping  I  ran  Model  No.  25  is  upholstered  inside  with  a 
into  Marie  Hamilton,  one  of  my  best  chums  very  fine  chamois  (covering  a  layer  of  thin 
at  Miss  M.'s  School;  she  was  on  a  flying  metal)  which  protects  the  nose  from  direct  con- 
trip  from  Chicago  to  select  her  trousseau — but  tact  with  the  apparatus;  this  lining  of  metal 
OH!  what  a  change.  It  was  she  who  recog-  causes  an  even,  moderate  pressure  on  the  parts 
nized  me — she  used  to  be  an  "ugly  duckling"  being  corrected,  thus  avoiding  a  harsh,  violent 
— but  now  she  was  really  beautiful.     In  talking  pressure  in  any  one  place. 

with   her  she  confided  her  beauty  secret.     My  M  d  ,    N       ,5    ;     guaranteed,    and    corrects 

heart   beat   fast  as   I    pressed    her    for   further  n(m    fl//     ;„.shatcd     *oses    without    operation, 

aetans.  quickly,   safely,   comfortably   and   permanently. 

Marie  had  had  her  nose  reshaped,  yes.  actu-  It  is   to  be   worn  at  night  and,  therefore,   will 

ally    corrected — actually    made   over,    and    how  not    interfere   with    your   daily   work, 

wonderful,    how   beautiful    it    was    now.      This  .  _     .   ,  . .       nr    w        •       t       *~-l  -jj 

change    had    been    the    turning    point    in    her  Model  No.  25  Junior  tor  Children 

career!      It    must   also   hold    the   key   to   popu-  if  vou  wish  to  have  a  perfect  looking  nose, 

larity  for  me.     "How  did  you  accomplish  it?"  dip   the   coupon   below,    insert   your   name   and 

I    asked    feverishly   of    Marie.      She    informed  address    plainly,    and     send    it    today    to     M. 

me  that   M.   Trilety,  a  face  specialist  of  Bmg-  Triletv.  Binghamton,  N.  Y.,  for  the  free  book- 

hamton,    New   ^  ork.    had    corrected    the   shape  let  which   tells   you   how   to   correct   ill-shaped 

of   her   nose — and   in   the    privacy   of   her  own  noses, 

home.  , 

I    wrote    for    information    immediately    and  .   M.  TRILETY, 

received   full  particulars.      The   treatment   was  I         2302  Ackerman  Bldg.,  Binghamton,  N.  Y. 

so  simple,  the  cost  so  reasonable,  that  I  decided  r.        c-        -m                j              >it.<  .*.    t-ii 

to  purchase  it  at  once.     I  did.     I  could  hardly  (i  Dear  SnV     £  ?S\S-e  wT'  wlth°ut  °bhSa: 

wait   to   begin.     At  last   it  arrived.      To   make  I   *  ,on:  you/  booklet  whlch  telIs  how  t0  correct 

my   story    short — in   five   weeks   my   nose   was  I   "'-snapea  noses, 

corrected.  j 

,  I   Name 

Oh !    how    wonderful    it    has    all    been.      Of  i 

course,    it    took    a    month    or    two    before    the        I   Street    Address 

members    of    our    set   had    all    met    me   at    the 

various  dances  and  social  affairs  of  the  season,  J    Town. 

but  now  it  is  just  one  grand  round  of  pleasure, 

and  I  owe  it  all  to  M.  Trilety.  J    qtate 


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Sulphur  oimis 

Skin  Eruptions. 

Mentho-Sulphur,  a  pleasant 
cream,  will  soothe  and  heal 
skin  that  is  irritated  or  broken 
out  with  eczema ;  thatis  cover- 
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so  quickly,  says  a  noted  skin 
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The  moment  this  sulphur  pre- 
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stops  and  after  two  or  three 
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At  Home— In  Your  Spare  Time 

from  the  school  thnt  has  trained  so 
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MIFFLIN 
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Norma  Shearer  tests  out  the 
celluloid  spectacles  used  for 
viewing    stereopticon    pictures 

Along  the  Atlantic  Way 

(Con tinned  from  page  68) 

T  T  i*  at  the  Jackson  Studios,  I  discovered 
Alice  Lake,  Miles  Welch,  Barney 
Sherry  and  Maurice  Costello  making  The 
Fast  Pace.  .The  title  is  very  apropos,  as 
the  director,  Wilfred  Noy,  had  shot  forty- 
one  scenes  the  day  before.  Mr.  Noy  has 
been  in  this  country  only  a  few  months. 
He  came  here  with  the  idea  of  learning 
American  directorial  methods.  He  secured 
small  roles  in  Janice  Meredith,  and' in  one 
or  two  other  pictures  where  he  might 
watch  our  directors  work  at  first  hand. 
Then  he  made  The  Lost  Chord,  for  Whit- 
man Bennett.  Now,  immediately  on  its 
heels,  comes  The  Fast  Pace. 

Just  stumbled  into  a  great  piece  of  news. 
As  we  all  know,  Betty  Bronson  and 
Director  Herbert  Brenon  came  to  town 
to  attend  the -opening  of  Peter  Pan.  Now 
it  is  planned  for  them  to  stay  on  here  in 
the  East  where  Mr.  Brenon  will  begin 
work,  very  shortly,  on  The  Little  French 
Girl,  Ann  Sedgwick's  best  seller,  with 
Betty  in  the  title-role.  The  title  will  be 
changed  to   That  French  Girl. 

YI7 hitman  Bennett,  who  makes  pictures 
as  fast  as  the  normal  person  thinks, 
is  producing  Lena  Rivers,  at  his  studios  in 
Yonkers.  The  cast  is  headed  by  Earle 
Williams,  Gladys  Hulette,  Doris  Rankin 
and  Edna  Murphy.  The  last  time  1  saw 
Earle  Williams  was  some  three  years  ago 
when  he  was  in  the  East  starring  in  The 
Fortune  Hunter. 

A  nother  report  has  it  that  George  Walsh 
is  to  be  starred  in  a  series  of  pictures 
under  the  I.  E.  Chadwick  banner.  His 
running  mate  is  Lionel  Barrymore,  who 
also  rejoices  in  stellar  colors  for  the  same 
organization. 

Trexe  Rich  is  in  town  and  very  happy 
over  her  new  starring  contract  with 
Warner  Brothers.  Also  Julanne  John- 
ston, who  has  been  in  Europe  for  six 
months  making  pictures.  Her  last  Eu- 
ropean venture  was  The  City  of  Tempta- 
tion, made  in  Berlin  and  Constantinople. 
Julanne  says  there  wasn't  anything  tempt- 
ing about  Constantinople  or  if  there  was, 
she  was  too  busy  to  see  it. 

T  i l.max  Rich  is  also  in  town.  She  will 
appear  opposite  Adolphe  Menjou  in 
.  /  Kiss  in  the  Hark.  Rod  La  Rocque  also 
stopped  on  his  way  to  Paris,  where  lie  will 
play  opposite  Gloria  Swanson  in  The  Coast 
of  'Lolly. 


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Advertising  Section 


On  the  Camera  Coast 

(Continued  from  page  90) 

About  the  luckiest  girl  that  ever  struck 
"  Hollywood  is  Dorothy  Sebastian.  She 
is  a  little  Southern  girl  from  Birmingham, 
Alabama.  About  seven  months  ago  she 
took  it  into  her  head  to  go  to  New  York 
and  try  to  get  a  job  on  the  stage.  It  was 
as  tho  someone  had  given  her  a  golden 
key  to  the  city.  Without  the  least  dif- 
ficulty she  got  a  place  in  Ziegf eld's  Follies: 
she  made  up  her  mind  she  would  rather 
be  in  another  Xew  York  show :  she  got 
that  job  just  as  easily.  Then  she  decided 
she  would  like  to  be  a  motion  picture 
actress.  She  came  to  Hollywood.  Almost 
the  day  she  arrived,  it  came  about  that  she 
met  Henry  King,  who  directed  Lillian 
Gish  in  Roinola.  He  gave  her  a  screen 
test  one  day :  cast  her  for  an  important 
part  in  Sackcloth  and  Scarlet  the  next. 
The  next  day  after  that,  the  producer 
gave  her  a  five-year  contract.  Most  girls 
have  worked  for  years  to  achieve  any  one 
of  these  positions.  Miss  Sebastian,  in 
appearance,   suggests   Gloria   Swanson. 

Actors  who  have  recently  been  to  Europe 
have  come  back  bulging  with  excitement 
over  the  Parisian  glory  of  Gloria.  It  ap- 
pears that  she  lives  in  a  young  palace 
and  has  twenty-five  servants  to  help  her 
with  the  housework. 

X/Tae  Marsh  says  she  cant  stand  idle- 
ness  any  longer :  "resting,"  she  says, 
"is  the  bunk."  So  she  will  play  the  lead  in 
J.  Stuart  Blackton's  The  Garden  of 
Charity — from    the    book    by    Basil    King. 

Rod  La  Rocque  has  departed  for  Europe 
to  play  the  lead  in  the  next  Gloria  Swanson 
picture,  which  will  be  The  Coast  of  Folly. 
Rod  is  in  a  great  state  of  excitement  over 
the  event. 

Pola  Negri,  having  turned  her  back  for- 
ever — well,  anyhow  for  the  present — upon 
love  and  romance,  is  going  to  immerse  her- 
self in  literature.  In  her  new  house  which 
she  bought  from  Priscilla  Dean,  Pola  is 
installing  a  new  library,  having  started 
with  an  order  for  two  thousand  volumes. 
In  order  to  perfect  her  knowledge  of  Eng- 
lish, all  her  books  will  be  in  English.  Pola 
is  a  great  admirer — like  most  Slavs — of 
two  American  authors:  Mark  Twain  and 
Jack  London. 

p  ric  vox  Stroheim  and  Mae  Murray 
seem  at  last  to  be  peaceably  started 
on  The  Merry  Widow  .  .  .  after  all  the 
various  rumors  of  war.  As  an  indication 
that  all  was  peace  and  harmony,  invita- 
tions were  sent  out  to  all  the  newspaper 
and  magazine  writers  to  come  down  and 
witness  the  turning  of  the  first  camera 
crank.  Then  these  invitations  were  all 
hastily  canceled  without  explanation.  The 
studio  says  it  was  only  because  the  cos- 
tumes were  not  ready. 

Meanwhile,  Miss  Murray  has  had  other 
troubles.  Near  her  house  in  Beverley 
Hills  was  a  neighbor  with  a  kennel  of 
dugs  which  became  greatly  interested  in 
vocal  exercises  whenever  the  inconstant 
moon  arose :  also  at  other  times.  She 
had  the  offender  arrested  and  he  was  tried 
before  a  jury  which  must  have  consisted 
of  Beverley  Hills  dog  owners.  Anyhow, 
he  was  acquitted,  with  the  explanation 
that  dogs  will  be  dogs.  Miss  Murray  now 
announces  that  she  intends  to  move  and 
leave  Beverley  Hills  flat. 

Q±  as-heaters  seem  to  have  occupied  the 
center  of  the  stage  in  Hollywood  this 
month.  Lois  Wilson  astonished  the  Lasky 
lot  by  appearing  one  day. last  week  minus 
her  long  tresses.  She  said  she  had  had  a 
(Continued  on  page  117) 


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Miraculous? — No,  simply  the  efficient 
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TO  step  into  abaththat 
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it  tells  you  by  its  very  feel  how 
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AMOTION  PICTURF 
101  I  MAGAZINE     L 


Advertising  Section 


The  Art  of 
Looking  Your  Best 

Know  the  joy  of  possessing  an 
appearance  that  always  com- 
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BEE 

Tepsin  Gum 

.  AMERICAN  CHICLE  CO, 

'104 


Ben  Lyon  as  a  young  officer,  in 

Forbidden    Paradise,    where    he 

was  Pola  Negri's  leading  man 


Tke  B037  on  tke  Cover 

(Continued  from  page  27) 

most  talented  young  women  there.  And 
during  the  past  two  years  he  has  played 
opposite  the  very  first  vamps  of  Screen- 
dom.  Barbara  La  Marr,  Pola  Negri  and 
Gloria  Swanson  all  have  vamped  him  in 
their  fashion,  and  Ben  has  vamped  right 
back. 

But  tho  he  has  now  been  taken  to  heart 
by  the  public  and  his  picture  hangs  in 
every  complete  flapper  boudoir,  our  young 
hero  isn't  the  least  bit  spoiled.  He  hasn't 
even  become  blase  about  fan  letters,  tho 
he  gets  over  two  hundred  a  day. 

"I'll  never  forget  the  first  one  I  ever  re- 
ceived," he  said.  "It  was  from  a  girl  who 
wanted  my  picture.  'Dear  Ben,'  she  wrote : 
'I  think  you're  absolutely  wonderful.  I 
have  seen  you  on  the  screen  and  you  are 
my  ideal.  How  I  wish  there  was  someone 
like  you  in  this  town !  Your  eyes,  your 
hair — everything  about  you,  even  your  act- 
ing, is  fine.  Enclosed  please  find  a  one- 
cent  stamp  for  mailing  photo.' 

"I'd  like  to  answer  every  letter,  but  of 
course  that  would  be  impossible.  I  got 
one  the  other  day,  tho,  that  I'm  going  to 
answer,  all  right.  It  was  from  a  girl  who 
said  she  thought  I  was  a  big,  conceited 
mutt,  and  she  couldn't  see  why  her  girl 
friends  liked  me.  She  thought  I  was  ter- 
rible and  demanded  to  know  if  I  had  any 
good  excuse  for  living.  It  is  the  first  one 
like  that  I  have  ever  had,  and  I'm  going 
to  write  to  her  and  tell  her  I'll  try  to  do 
better." 

I  myself  have  something  to  say  to  that 
girl,  and  I  hope  she  reads  this.  For  she 
is  all  wrong.  I  never  met  anyone  less 
aware  of  his  own  talents,  and  when  she' 
wrote  him  that  way,  I  think  she  was  just 
trying  to  get  an  answer  from  him.  She 
will  get  one,  too. 

She  also  intimated  in  her  letter  that  Ben 
was  something  of  a  bad  boy.  Here  she  is 
wrong  again.  True,  he  loves  to  dance,  at- 
tend theaters,  tea-parties  and  that  sort  of 
thing,  but  he  leads  a  very  quiet  life  in 
Hollywood. 

"Not  that  I'm  crazy  about  the  simple 
life,  but  it's  the  only  kind  they  have  out 
there !"  said  Ben.  "One  reason  I  like  New 
York  is  because  everybody  seems  in  a 
hurry.  Everybody  is  wide-awake,  doing 
things,  big  things — you  can  feel  it,  that 
atmosphere  of  accomplishment,  as  soon  as 

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Howto  Speak  and  Write 
Masterly  English! 

Every  time  you  speak  or  write  you  show  just  what  you 
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you  get  off  the  train.  New  York's  all 
right.    I  guess  we'll  let  it  stay  on'  the  map." 

Ben's  mother  travels  with  him,  and  he 
is  always  thoughtful  and  considerate  of 
her.  I  heard  him  planning  to  take  the 
subway  to  the  studio  one  day  so  that  his 
mother  could  go  shopping  in  his  car. 

And  speaking  of  the  car,  I  must  tell  you 
something  very  funny.  We  were  return- 
ing from  the  Biograph  studio,  where  Ben 
was  making  The  One  Way  Street.  As  we 
passed  a  motor  -  cycle  policeman,  Ben 
waved  to  him,  and  told  the  chauffeur  to 
step  on  the  gas.  The  man  stepped,  and 
the  policeman  jumped  on  his  cycle  and 
started  after  us.  "Faster,  faster ;  dont 
spare  the  tires !"  urged  Ben. 

"Wait,  we'll  get  pinched  for  sure!"  I 
cried. 

"No,  we  wont;  he's  a  friend  of  mine," 
assured  Ben.     "Step  on  it !" 

The  light  of  a  naughty  schoolboy  playing 
a  prank  was  in  his  eyes.  Faster  and  faster 
we  sped.  Faster  and  faster,  sped  the 
motor-cycle  policeman.  Just  as  I  was  try- 
ing to  think  that  a  night  in  jail  would  be 
a  unique  experience,  anyway,  trie  cop 
caught  up  to  us  and  ordered  us  to  pull 
over.  The  occupants  in  the  passing  cars 
looked  at  us  sympathetically.  What  a 
nice-looking  young  boy  to  be  getting  a 
ticket,  they  thought.  But  the  policeman 
hailed  us  with  a  "Hello,  Ben — where  you 
been?     I  telephoned  you  last  night." 

"Gee,  sorry  to  have  missed  you,"  said 
Ben  after  the  necessary  introductions  had 
taken  place.  "Take  dinner  with  me  next 
week." 

"Sure,"  replied  the  policeman,  who,  by 
the  way,  was  about  the  sternest-looking 
policeman  I  had  ever  seen.  "I  know  a 
swell  place  where  you  get  grand  steaks." 

"All  set  then,  we'll  go  there,"  said  Ben. 
"Say,  I  think  my  speedometer  is  wrong. 
Come  along  with  us  and  let's  test  it  with 
yours." 

So  we  continued  on  our  way  with  the 
policeman  and  his  motor-cycle  beside  us. 
It  looked  like  a  personally  conducted  tour 
to  the  station-house  for  fair. 

"He's  a  great  fellow,"  remarked  Ben, 
when  we  left  the  policeman  in  the  distance. 
"We  have  a  lot  of   fun  together." 

Who  was  it  that  said  "The  true  aristo- 
crat is  the  greatest  democrat"  ?  It  was 
some  great  man,  anyway,  and  he  would 
surely  say  it  again,  if  he  could  meet  Ben 
Lyon. 


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The  Winners  of  the  Month 

{Continued  from  pages  46  and  47) 

Isn't  Life  Wonderful 

men  forage  in  search  of  food.  It  is  a 
suspenseful  climax  and  caps  a  story  which 
holds  the  attention   in  a  tender  grip. 

The  exteriors  were  produced  in  Germany 
and  are,  consequently,  convincing  in  every 
detail.  Griffith's  insistence  upon  adequacy 
and  quality  in  the  staging  of  his  pictures 
is,  of  course,  evident  here.  His  gift  for 
taking  a  condition  affecting  the  population 
of  a  whole  town,  or  a  whole  country,  for 
that  matter,  and  showing  first,  the  general 
view,  then  narrowing  the  attention  down 
to  an  intimate  few,  is  on  brilliant  display 
in  this  searching  drama  of  the  strn. 
against  starvation. 

Carol  Dempster  and  Neil  Hamilton  do 
excellent  work  in  'the  roles  of  the  lovers, 
and  the  rest  of  the  acting  is  up  to  an 
equally   high  standard. 

Greed 

The  director  has  achieved  some  rugged 
effects,  and  there  are  good  performances 
by  Gibson  Gowland,  'Zasu  Pitts,  Jean 
Hersholt  and  others.  The  scenes  in  Death 
Valley  are  as  realistic  as  those  of  the 
sewer  in  Frisco  Bay,  and  others  which 
occur  in  the  picture.  It  is  a  concentrated, 
deliberate  work  and  reaches  its  climaxes 
so  slowly  as  to  defeat  their  purpose  as 
drama.  Greed  is  realistic,  but  so,  too,  is 
the  actual  photograph  of  a  wheat  field,  and 
at  the  same  time  more  wholesome. 

North   of   36 

the  drive.  Hardships  and  perils  are  en- 
countered and  overcome  and,  in  a  burst  of 
glory,  the  drive  reaches  its  destination. 

Lois  Wilson  and  Ernest  Torrence  are 
much  at  home  in  the  habiliments  they  wore 
so  successfully  in  The  Covered  U'ju,  v. 
Jack  Holt  makes  a  dashing  hero,  and  Xoah 
Beery,  a   successfully  hateful   villain. 

Scenically  and  photographically,  it  is  a 
heroic  effort.  While  the  spectacular  phases 
are  the  picture's  all,  still  that  measure  is 
so  generous  as  to  make  it  an  enjoyable 
and,  at  moments,  a  stirring  hour  or  so  of 
photoplay   entertainment. 

Romola 

The  drama  is  an  extravagant  passage 
from  history,  and,  once  the  second  part  is 
introduced,  it  becomes  completely  absorb- 
ing. There  is  vitality  in  Tito's  political 
intrigues  and  in  his  dual  love-making  to 
Romola  and  Tessa,  the  ladies  whose  sta- 
tions in  life  are  so  widely  separated.  This 
Tito  is  a  sort  of  prototype  of  The  Show- 
Off.  He  builds  his  house  on  lies  and 
carries  on  his  -falsehoods  until  his  hist  for 
power  brings  his  downfall  and  death. 

The  picture,  however,  is  not  such  a  tri- 
umph for  Lillian  Gish's  art  as  was  The 
White  Sister.  The  dramatic  foundation  is 
built  more  upon  political  intrigue  than 
romance.  But  Miss  Gish  lends  a  beautiful 
portrait  as  Romola  —  and  her  sister. 
Dorothy,  gives  an  animated  study,  one 
suggestive  of  her  hoydenish  roles  in  pre- 
vious pictures.  It  does  not  carry  the 
surging  heart-beats  of  The  White  Sister. 
since  it  does  not  employ  so  much  sym- 
pathy and  pathos.  And  there  are  no  great 
moving  scenes,  aside  from  the  climax 
showing  Savonarola's  execution.  But  one 
can  call  it  a  triumph  of  cinema  art. 
Scenically,  it  is  like  peering  at  a  group  of 
rich  tapestries  by  some  artist  of  the  Mid- 
dle Ages.     It  is  a  rich,  historical  pageant. 

And  what  a  treat   for  the  eye! 


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Letters  to  the  Editor 

(Continued  from  page  76) 

for  his  popularity.  The  women  know, 
but  they  dont  tell.  '  Interviewers  find  him 
hard  to  reach  and  shy  on  all  subjects.  He 
declares  he  hates  to  be  a  matinee  idol. 

I  met  Valentino  on  the  Lasky  lot.  With 
me  was  the  perfect  Valentino  fan.  When 
she  saw  him  coining  toward  us,  she  said : 
"Please  introduce  me  by  my  maiden  name 
and  dont  mention  my  husband  and  baby." 
So  saying,  she  took  off  her  wedding-ring 
and  slipped  it  into  her  pocket.  There's 
a  little  bit  of  bad  in  every  good  little 
girl. 

Mr.  Valentino  suggested  luncheon  and 
escorted  us  to  his  motor. 

A.  U., 

Detroit,  Mich. 


Boosts  and  Bumps  for  the  Stars 

Sent  to  the  Editor  by  the  Fans 

Dear  Editor  :  What  more  could  any 
director  ask  than  a  pair  of  actors  like 
Corinne  Griffith  and  Conway  Tearle? 
These  two  are  the  reasons  why  I  liked 
Lilies  of  the  Field  and  Common  Laiv. 
The  versatile  Corinne  is  balm  to  any  eye ; 
one  of  the  most  ladylike  and  natural  ac- 
tresses on  the  screen.  Conway  Tearle  is 
an  old  favorite  with  many  fans.  What- 
ever his  role,  he  carries  it  off  gracefully — 
yet  no  one  could  accuse  him  of  being  any- 
thing other  than  a  real,  live  he-man! 
M.  M., 
London,  England. 


Dear  Editor  :  Tho  the  Red  Lily  is  a 
splendid  picture,  gripping  and  engrossing, 
it  made  me  sick  at  heart  to  see  Ramon 
Xovarro  in  such  a  tragic  role.  I  love 
Ramon  for  his  radiant  youth,  his  beauty 
and  his  priceless  wit.  God  made  him 
beautiful  and  He  did  not  do  that  much 
for  many  of  our  male  film  stars.  So  why 
picture  this  idealistic  star  suffering  and 
degraded?  Why  disfigure  him?  Give 
ME  Ramon  as  he  was  in  the  exquisite  love 
scenes  and  comedy  moments  of  The  Arab! 
I  am  delighted  to  hear  he  is  making  Ben 
Iliir,  for  that  is  an  ideal  role  for  him. 
P.  J-, 

Akron,  O. 


Dear  Editor  :  Nita  Naldi  doesn't  know 
how  to  comb  her  hair.  Wont  someone 
please  show  her  how  ? 

Clara  Bow  is  not  beautiful  and  she  has 
a  very  bad  profile.  Please  tell  her  not  to 
look  sidewise  again. 

M.  S.  L., 

Elmira,  N.  Y. 


Dear  Editor  :  To  me  the  movies  mean 
rapturous  hours  of  fairyland,  my  own  self 
lost  in  the  shadow  players,  while  I  visual- 
ize myself  in  each  role.  Valentino  with 
the  audacious  smile !  "Love  me  and  the 
world  is  yours  !"  it  seems  to  say.  What 
woman  wouldn't?  And  what  man  wouldn't 
give  his  last  dollar  for  half  the  charm  of 
it  in  his  own  smile? 

L.  M., 

Brooklyn,  N.  Y. 


Dear  Editor  :  I  want  to  sing  a  hymn 
of  praise  to  the  finest  villain  of  the  screen 
— Ricardo  Cortez !  No  actor  has  advanced 
with  more  rapidity  from  insignificant 
parts  to  leading  ones.  Each  succeeding 
picture  proves  beyond  a  doubt  that  he  is 
capable  of  really  big  things.  I  admire  Mr. 
Cortez  immensely  and  believe  he  is  going 
to  be  one  of  our  greatest  actors. 
Mrs.  E.  H.  K., 

Milwaukee,  Wis. 


*#? 


Do  You  Like  to  Draw  ? 


Copy  the   picture   of  the   skating 
girl  and  send  us  your  drawing 
perhaps  you  will  win  first  prize. 
This   contest   is  for   amateurs 
only  (17  years  old  or  more), 
so  do  not  hesitate  to  enter, 
even  if  you  have  not  had 
much  practice. 

1st  Prize  $100.02 

2nd  Prize     -     -      50.22 

3rd  Prize,  $25.00     5th  Prize,  $10.00 
4th  Prize,  $15.00    6th  to  15th  Prizes,  each  $5.00 

D„pp|    Everyone  entering  this  contest  will   re- 
•    ceive  a  beautiful  full-color  reproduction 
(suitable  for  framing)  of  a  painting  by  a  nationally 
known  artist. 

If  your  great  desire  i&V^  "-! 

Capable  artists  readily  earn  $50,  $75,  $100,  $150  a  week  and  upwards. 
Hundreds  of  ambitious  young  men  and  women  have  found  their 
true  work  in  life — often  have  doubled  and  trebled  their  incomes — 
through  the  Federal  Home  Study  Course,  recognized  by  authorities 
as  America's  Foremost  Course  in  Commercial  Art.  Exclusive  lessons 
by  nationally  known  artists  and  illustrators;  personal,  individual 
criticism  of  each  lesson.  You  should  be  able  to  succeed  as  others 
have  done  through  our  course.  Enter  the  contest — see  what  you 
can  do. 

Rules  for  Contestants